This chapter contains sections titled: Two‐Wheeled Sensations The “Bicycling Method” Lessons from the Saddle Finding the Words Notes.

“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)

In lieu of an abstract, here is a brief excerpt of the content:Learning Music:Embodied Experience in the Life-WorldEva Alerby and Cecilia FermIn the present age, which is often signified as post-modern or knowledge-intensive, the calls for learning echo loud. Discussions of learning, as well as teaching, permeate almost all levels and arenas of our society, and have a sure place in every-day conversation as well as scientific debate. The concept of learning can be understood and explained in many different ways. (...) Our intention in this article is to make visible and discuss how learning music can be understood and explained from a life-world approach.By life-world approach we mean that learning is constituted by the experiences that we are having in the world. From that perspective it can be seen as a process which leads to some kind of change, whose utmost purpose is—consciously or unconsciously—to create meaning and make managing the world possible. In addition, we stress that learning does not arise nor is formed in a vacuum, but instead is found in complex contexts. In turn this creates the necessity of making learning situated and contextualized.1How one understands how music is learned is consequently influenced not only by what fundamental assumptions one holds about learning but also by prevailing views of music. Furthermore, how musical ability is regarded and whether musicality is accepted as an emotional or cognitive phenomenon is also [End Page 177] important. Other assumptions that need to be considered are whether or not it is possible to divide musicality into smaller parts and if that is the case, what is the relationship between these parts. One further question that has to be illuminated is the question about biological and social influences on musicality.2 According to Sture Brändström,3 musicality is sometimes divided into two categories—absolute contra relativistic musicality. The first category implies that musicality is regarded as a native ability, already existing within the human being, an ability that some people have and others lack. The second category reflects an approach that assumes that musicality is something everybody can acquire, it can be learned and appropriated. We will return later to this issue.These questions reveal a dualistic approach, specifically: whether musicality is an emotional or a cognitive phenomenon, or absolute or relative, which in turn leads to the question of whether or not learning music is constituted within or outside the human being. To expose problems related to this dualistic approach in music education, we will examine musical learning using life-world phenomenology as a theoretical framework, a brief description of which follows.Phenomenology: A Way of ThinkingAt the turn into the twentieth century, the German philosopher, Edmund Husserl (1859-1938), named his philosophical approach phenomenology, and with that the development of modern phenomenology began. Phenomenology is both a method and a way of thought.4 He distinguished the fundamental principle of phenomenology as—'back to the things themselves.' According to Husserl it is through experiences that we gain access to things themselves. The concept of experience was essential to his formulation, and it became a key signature for the whole of phenomenology. His starting-point was how the world is experienced in a subjective way, and the aim was to find a way to describe the meaning of these subjective experiences. In other words, phenomenology has been summarized as a description of how the world is experienced by the person in the world.Various thinkers have interpreted phenomenology in different ways. Jan Bengtsson5 emphasized that phenomenological method should be named in the plural as methods. The phenomenology of the life-world, which was developed as an alternative to the so-called epoché, the special method of transcendental phenomenology, is a philosophy of the life-world without transcendental reduction. It is the life-world that constitutes the basis of our lives. It is the everyday world of our experiences, which we take for granted and where we live our lives. In other words it is the life-world that constitutes people's being-in-the-world.6 Through our existence we experience the concrete world in all its complexity, which is both historically and contextually dependent. Consequently... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning Music:Embodied Experience in the Life-WorldEva Alerby and Cecilia FermIn the present age, which is often signified as post-modern or knowledge-intensive, the calls for learning echo loud. Discussions of learning, as well as teaching, permeate almost all levels and arenas of our society, and have a sure place in every-day conversation as well as scientific debate. The concept of learning can be understood and explained in many different ways. (...) Our intention in this article is to make visible and discuss how learning music can be understood and explained from a life-world approach.By life-world approach we mean that learning is constituted by the experiences that we are having in the world. From that perspective it can be seen as a process which leads to some kind of change, whose utmost purpose is—consciously or unconsciously—to create meaning and make managing the world possible. In addition, we stress that learning does not arise nor is formed in a vacuum, but instead is found in complex contexts. In turn this creates the necessity of making learning situated and contextualized.1How one understands how music is learned is consequently influenced not only by what fundamental assumptions one holds about learning but also by prevailing views of music. Furthermore, how musical ability is regarded and whether musicality is accepted as an emotional or cognitive phenomenon is also [End Page 177] important. Other assumptions that need to be considered are whether or not it is possible to divide musicality into smaller parts and if that is the case, what is the relationship between these parts. One further question that has to be illuminated is the question about biological and social influences on musicality.2 According to Sture Brändström,3 musicality is sometimes divided into two categories—absolute contra relativistic musicality. The first category implies that musicality is regarded as a native ability, already existing within the human being, an ability that some people have and others lack. The second category reflects an approach that assumes that musicality is something everybody can acquire, it can be learned and appropriated. We will return later to this issue.These questions reveal a dualistic approach, specifically: whether musicality is an emotional or a cognitive phenomenon, or absolute or relative, which in turn leads to the question of whether or not learning music is constituted within or outside the human being. To expose problems related to this dualistic approach in music education, we will examine musical learning using life-world phenomenology as a theoretical framework, a brief description of which follows.Phenomenology: A Way of ThinkingAt the turn into the twentieth century, the German philosopher, Edmund Husserl (1859-1938), named his philosophical approach phenomenology, and with that the development of modern phenomenology began. Phenomenology is both a method and a way of thought.4 He distinguished the fundamental principle of phenomenology as—'back to the things themselves.' According to Husserl it is through experiences that we gain access to things themselves. The concept of experience was essential to his formulation, and it became a key signature for the whole of phenomenology. His starting-point was how the world is experienced in a subjective way, and the aim was to find a way to describe the meaning of these subjective experiences. In other words, phenomenology has been summarized as a description of how the world is experienced by the person in the world.Various thinkers have interpreted phenomenology in different ways. Jan Bengtsson5 emphasized that phenomenological method should be named in the plural as methods. The phenomenology of the life-world, which was developed as an alternative to the so-called epoché, the special method of transcendental phenomenology, is a philosophy of the life-world without transcendental reduction. It is the life-world that constitutes the basis of our lives. It is the everyday world of our experiences, which we take for granted and where we live our lives. In other words it is the life-world that constitutes people's being-in-the-world.6 Through our existence we experience the concrete world in all its complexity, which is both historically and contextually dependent. Consequently... (shrink)

The aim of the article is to develop the existing methodological approaches to assessing the military and economic capabilities of the country in conditions of war and peace. To achieve the purpose of the study, its decomposition was carried out and the following were investigated: existing approaches to assessing the military and economic potential of the country, the country's power and national power; the concept of critical load of the national economy is revealed; the generally accepted norms on financing of (...) defense needs are resulted; the experience of financing the needs of defense by the leading countries of the world - in the conditions of the Second World War is given; a methodical approach to assessing the military and economic capabilities of the country is proposed. The article proposes a methodical approach to assessing the military and economic capabilities of the country. According to the results of the research, the existing theory of military economy has been improved in the context of understanding the allowable burden on the country's economy in conditions of war and the development of methodological approaches to assessing the country's military and economic capabilities. The proposed methodological approach is the development of existing military-economic thought and capability-based military-economic planning. The proposed methodological approach allows to assess the ability of the national economy to meet military and economic needs in wartime by industry and type of military support, taking into account the critical load of the national economy, which will help simplify and improve the process of military policy decisions. The practical value of the study is that the proposed method of assessing the military and economic capabilities of the country allows to identify critical sectors of the economy, assess their ability to provide resources for military needs in wartime, based on which to form and make appropriate management decisions. The results of the study can be used in further studies of the development of military and economic potential of the country, balancing military and civilian economic needs in war, as well as military-economic planning based on capabilities. A limitation of the study is the use of publicly available sources. Future research is seen in the further development of methodological approaches to assessing and developing the military and economic potential of the country. (shrink)

Proprioception is usually used in reference to body movement and the self-perception of body movement. Proprius in Latin means “one’s own,” or “self.” It refers to the physical knowledge acquired, say, in the process of doing a particular activity, such as riding a bicycle, for instance. You can be told how to ride a bicycle, and this may be of some help. But in the end, it’s the physical knowledge and not the mere theoretical knowledge that enables you to ride (...) your bike. David Bohm, a world-renowned theoretical physicist, applied this notion of proprioception to the movement of thought, the process of thought. In On Dialogue, he contends that thinking can become aware of its own movement and aware of itself in action: -/- “Proprioception” is a technical term – you could also say “self-perception of thought,” “self-awareness of thought,” or “thought is aware of itself in action.” Whatever terms we use, I am saying: thought should be able to perceive its own movement, be aware of its own movement. In the process of thought there should be the awareness of that movement, of the intention to think, and of the result which the thinking produces. -/- This opens the door to an understanding of thinking as a process like any other physical process, such as riding a bicycle. We usually think of thinking as an abstract process – one of learning abstract knowledge and how to apply that knowledge. And this is what we are primarily taught in school. Unfortunately, some methods used in doing philosophy with children focus too much on strictly developing abstract critical thinking skills. -/- In doing philosophy with children, I am interested in focusing on the process of thinking in the process of thinking. In this way, it is also different from metacognition, which tends to focus on the ability to self-correct in response to the self-assessment toward the completion of a task. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hugh Bredin I. A. RICHARDS AND THE PHILOSOPHY OF PRACTICAL CRITICISM IN much of the English-speaking world, an essential component of literary studies is the exercise known as "practical criticism." The name, and to some extent the practice, originated in a book by I. A. Richards, Practical Criticism, 1 in which he described an experiment conducted by him at Cambridge and elsewhere. In the experiment, undergraduate students of (...) English were given a number of unfamiliar poems, whose authorship was not revealed, and were asked to read and to submit written comments upon them. The result, in the words of one account, "was horrifying. Magazine poetasters were extravagandy praised, Donne, Hopkins, and Christina Rossetti firmly damned; every felicity was ridiculed, and every absurdity praised, by large minorities and even majorities."2 Richards himself did not respond to his discoveries in quite such a marked fashion as this, but he did betray the concern of someone in whom a longheld fear had been confirmed. He suggested that members of the Royal Society of Literature would have fared no better, and argued in general that an ability to read successfully — that is, with correct understanding and appropriate sensuous and emotive response — was rare and intermittent in even the most highly educated products of our schools and universities. He discerned a worsening of language performance compared with a few generations earlier, and advocated, as a corrective measure, widespread study of the theory of interpretation, and widespread training in the techniques thereof. This project he initiated himself in a subsequent work, Interpretation in Teaching.3 Richards's recommendations have not been adopted in general education practice, but they have been extremely influential in the pedagogy of literature; and it is generally said about other writers, such as Leavis, 26 Hugh Bredin27 Empson, and Brooks, that they have reinforced this influence. Practical criticism, as a teaching device, means the close and attentive reading of literary texts, usually poetry, usually by a small group, under the guidance of a tutor. As an examination method, it means the kind of test originally undergone by Richards's undergraduates. The end result ofthe practice — a result which, presumably, may or may not occur in the examination hall — is alleged to be "an opening up of the poem for what it can really be for us: a unique and fascinating experience, carefully wrought by its maker, and fully available only to those with the patience, as well as the sensibility, to recreate."* Practical Criticism is a most interesting work. The variety and divergence of views on the poems used for the experiment reveal unexpected and musty corners of the human spirit. Richards's diagnosis of the factors which may lead to errors in judgment and understanding is acute. His proposals for remedial action win our approval. What is puzzling, however, is that the result of the experiment should be a cause of surprise or dismay to anyone. What other result could there have been? Richards himselfremarked that "the precise conditions ofthis test are not duplicated in our everyday commerce with literature," and upon "the difficulty of judging verse without a hint as to its provenance."5 Yet he makes no concession to the fact that these conditions, with their attendant difficulty, must bear primary responsibility for the failings displayed by his students. His conviction was that the conditions helped to reveal defects in reading, and not, as seems more likely, that they helped to produce them. Any written text requires a context if it is to be fully understood. This is of course true of spoken language as well; and the extra complexity of poetry makes it especially susceptible to misinterpretation and misjudgment if taken in isolation. The first thing that any competent teacher will do with a poem is to provide a context — a period, a chronology, a social, political, religious, and intellectual background, a body of similar and contrasting works, works by the same and by related authors, linguistic and stylistic conventions, the relevant conceptions ofart and literature and their role in the world — all of this, and more. He will take it for granted that, as the student grows more deeply familiar with context, a context which... (shrink)

Aim:This study explores experiences of patients suffering from Korsakoff’s syndrome. It contributes to improved reflection on the value of patient knowledge.Background:An ethics of care perspective states the importance of moving to patients in their vulnerable state of being, and to figure out patients’ individual needs necessary to provide good care. The information given by patients suffering from Korsakoff’s syndrome might be mistaken, invented and even not true. The value of these patients’ experiences and knowledge had not been researched to date. (...) class='Hi'>Method:Data from six in-depth interviews were analysed concurrently through the constant comparative method.Ethical considerations:The principles of voluntariness, confidentiality and anonymity were respected during the research process.Findings:Four important themes within patients’ knowledge emerged: health condition, involuntary admission into the nursing home, the daily routine and interpretation of the caring abilities of healthcare professionals. The findings show that our respondents were able to provide a window into their inner perspective.Conclusion:This study deepens our understanding of the value of patient knowledge in situations where patients see the world in a different manner as do healthcare professionals. The conversations revealed personal subjective knowledge which our respondents create and live by. Healthcare professionals are encouraged to discover and affirm the understandings of these patients, and not be prepossessed due to the diagnosis or general nursing home rules. Understanding patients’ unique knowledge through appreciation of the complexity and richness of different views on the situation can assist to give a more humane response to individual needs and pain. Health staff in healthcare institutions are encouraged to evaluate the – unintended – effect of rigidly applied nursing home rules, and the government is challenged to rethink its policy about care, and provide more resources permitting relational care that nurtures the dignity of patients suffering from Korsakoff’s syndrome. (shrink)

This dissertation is a study of the intersection of two monumental products and shapers of the Chinese tradition: the I-ching (Book of Change), which has influenced nearly all schools of Chinese thought for two millennia; and Chu Hsi (1130-1200), whose systematization of the Confucian tradition (known in the West as Neo-Confucianism) has dominated Chinese intellectual history until the present century. Focusing on Chu Hsi's theory of mind and his view of the ordinary person's need for concrete methods of self-cultivation, the (...) dissertation demonstrates how Chu Hsi's understanding of the I – its history, its contents, and it use in the practice of divination -- was fully integrated with his moral-metaphysics and his methodology of attaining Sagehood (the Neo-Confucian religious goal). In broader perspective, this is a study of the nature and limits of Confucian rationalism, the pragmatic character of Chinese philosophy, and the incorporation of a religious ritual (divination) into a philosophical system. Chapter I is an Introduction in two sections. The first is a survey of ancient Greek and modern theories of divination, establishing a comparative framework in which to analyze Chu Hsi's theory of divination. The second is a brief sketch of the two major schools of I-ching interpretation prior to Chu Hsi. Chapter II outlines the intellectual-historical context of Chu Hsi's approach to the I, concentrating on the complementary poles of his central problematic: cultural (the problem of the "transmission of the Way") and individual (the problem of mind). The "mind of the Sage" is discussed as a symbol of the unification of these poles. Chapter III is an examination of Chu's theory of I-ching interpretation, and the role of the mythic Sage Fu Hsi, who created the hexagrams and began the transmission of the Way, in Chu Hsi's system. Chapter IV concerns the practice of divination as a method of self-cultivation. It is proposed that Chu regarded I-ching divination – within certain limits -- as a method of detecting incipient changes in external events and in one's mind, thereby cultivating "moral responsiveness," or the ability to respond in a timely, intuitive, and correct way to change. Chapter V explores certain levels of symbolic meaning in the "philosophy of change" presupposed by hexagram divination. It is suggested that the human ability to transform oneself into a fully realized moral being, in responsive harmony with the natural world, is a Confucian way of grounding the self in the creative principle that constitutes the ontological foundation of the phenomenal world. (shrink)

The purpose of this study is to identify and explain a religious paradigm in Targum Qohelet (TgQoh). Targum Qohelet is dated to a period between 500 CE and 1101 CE. This study concludes that the most probable setting for this Targum was the beit midrash (the house of study). A paradigmatic research approach is used to identify the range of translation components to explain the translation method employed in TgQoh and the rationale behind it. This research approach reveals how (...) the translator(s) used their interpretative ability to create a completely different thought-world when compared with the original Hebrew Text. Various subparadigms emerge as a network of connected religious beliefs to form a cogent systematic rabbinic theology of a perfect world order to replace the pessimism of the Hebrew base text. The Aramaic version reflects a complete solution to the existential problems raised by Biblical Qohelet. It seeks to provide humankind with guidelines for creating a ‘perfect world’ both on earth and in the afterlife. The use of a paradigmatic analysis based on the concept of a ‘perfect world’ provides an ideal model for analysing the translation strategy of TgQoh and understanding its method of rendering. Contribution: The application of paradigmatic methodology bridges the gap between the relatively secular nature of the Hebrew version of Qohelet (Ecclesiastes) and the overwhelmingly and inescapable theological forms of the Aramaic targum. The paradigms in the Aramaic translation identify how the targum applied rabbinic ideology to explain the meanings that lies behind the original Hebrew text of Qohelet. The paradigms, when taken together reveal how the cynical nature of Hebrew Qohelet was changed into a rabbinical guide for righteous living, here described as ‘perfect world’. (shrink)

The paper defends the thesis that phenomenological methods can play key role in explications of the transformation reasons of philosophical images of science. It can be made by the comparative analysis among phenomenology and other approaches revealing strong and weaknesses of separate approaches. Such principles of an explication of the transformation reasons of philosophical images of science were allocated: 1) the science is a set of the idealizing consciousness attitudes which allow to build images of the world in (...) borders of regional ontologies (or «particular ways of understanding of reality»);2) idealizing attitudes correspond to the comprehension of intentionality experiences structures; 3) the general transformation reason of images of science is the change of consciousness attitudes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ESSE AS THE TARGET OF JUDGMENT IN RAHNER AND AQUINAS 0 NE OF THE commanding currents of thought in Catholic circles since the Second Vatican Council has been Transcendental Thomism. Though its proponents differ among themselves, it is safe to say that the common inspiration is that Thomistic metaphysical conclusions can be arrived at through a Kantian-style transcendental method. The emphasis is on the knower's conditions of knowing, (...) not upon the known. Karl Rahner was a significant figure in this movement. Rahner 's popufarity is undoubtedly connected with his ability cogently to work out attractive theological positions from his version of Transcendental Thomism. In any case, his theology does have this basis. It is a basis that receives extensive elaboration in Rahner's Spirit in the World. This article critically investigates that basis. My conclusion is that Spirit in the World contains a massive misconstrual of the esse grasped in judgment. This is no esoteric point of Thomistic exegesis. A correct appreciation of the esse targeted in judgment shows that no necessity for making a transcendental turn exists. As will be noted, such a turn, at least in Rahner's case, ineluctably leads to a curtailment of metaphysics. Kant is not defeated at his own game. I. The heart of Rahner's philosophy is his understanding of abstraction. Representative descriptions of this understanding are the following. Speaking of the function of the agent intellect, Rahner says, We must therefore ask how the agent intellect is to be understood so that it can know the form as limited, confined, and thus " ESSE " AS THE TARGET OF JUDGMENT 223 of itself embracing further possibilities in itself, as bordering upon a broader field of possibilities. Obviously this is possible only if, antecedent to and in addition to apprehending the individual form, the agent intellect comprehends of itself the whole field of these possibilities and thus, in the sensibly concretized form, experiences the concreteness as limitation of these possibilities, whereby it knows the form itself as able to be multiplied in this field. This transcending apprehension of further possibilities, through which the form possessed in a concretion in sensibility is apprehended as limited and so is abstracted, we call "pre-apprehension." 1 The agent intellect grasps the universal because it pre-apprehends the form so that the form's apparent limitation in the sensible thing reveals the form's in itself universality. Again, The intellect abstracts the forms given in concretion in sensibility insofar as it knows their limitation produced by the already realized synthesis of sensibility, and it does this by the fact that in apprehending them, it comprehends the breadth of their possibilities in a pre-apprehension.2 Finally, Therefore the form must be known as limited by the "this" whose form it is; only then can it be known that it is "broader" in itself and so able to be related to other "this's," and then for the first time can it appear as ontologically different from matter, from its supposit, and as universal in itself.3 I understand Rahner to be saying this. To gras:p a form as universal we must first apprehend it as limited in the individual. Seen as limited in the individual, we realize that in itself it is universal. But we see the individual as a limited instance of the form only because we have first pre-apprehended the form itself. Against this pre-apprehension, the individual appears as an instance of the form. For example, conscious of this thing as a dog, I realize that "dog" is limited here but in itself is broader. My awareness 1 Karl Rahner, Spirit in the World, translated by William Dych (New York: Herder and Herder, 1968), p. 142. 2 Ibid., p. 146. 3 Ibid., p. 140. 224 JOHN F. X. KNASAS of this as an instance of dog generates the awareness that of itself dog outstrips this instance. But this key awareness of the instance is itself generated by a pre-apprehension of dog in itself. Because of the pre-apprehension, I realize the limiting of dog here in Fido. The crucial factor in this understanding of abstraction is the pre-apprehension. Unless the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:A Leaky Boat Holding Wine: A Study of the Word-Meaning Debate in Wei-Jin Six Dynasties Period Thought by Jing YuanRun Gu (bio)Lou Chuan Zai Jiu: Yanyi zhi Bian yu Wei-Jin Liu Chao Sixiang Xueshu Yangjiu 漏船载酒: 言意之辨与魏晋六朝思想学术研究 (A Leaky Boat Holding Wine: A Study of the Word-Meaning Debate in Wei-Jin Six Dynasties Period Thought). By Jing Yuan 袁晶. Shanghai: Shanghai People's Press, 2022. Pp. 247. Paperback RMB23.93, isbn (...) 978-7-208-17567-9.In A Leaky Boat Holding Wine: A Study of the Word-Meaning Debate in Wei-Jin Six Dynasties Period Thought (hereafter A Leaky Boat Holding Wine), Jing Yuan offers a careful review and critical evaluation of one of the major philosophical topics in the Wei-Jin period, namely, the word-meaning (Yanyi 言意) debate. In several previous publications, Yuan has addressed the word-meaning controversy from different angles and in various classics, including Prajnaparamita and The Analects.The word-meaning debate, as Yuan explains, can be interpreted as a conflict between cognition and expression, and reveals a series of contradictions and conflicts in ontology, epistemology, and philosophy of life among scholars in the Wei-Jin period. The debate refers to the controversy on whether words can fully express meaning or not. It departs from the relationships between word and meaning to critically evaluate their functions and limitations, and mainly consists of two ways of thinking: "distinguishing names, analyzing principles" (bian ming xi li 辯名析理) and "getting the meaning, forgetting the words" (de yi wang yan 得意忘言). Although this debate had already developed in China for quite some time, it was only prevalent as a common philosophical theme in the Wei-Jin period, a time characterized by social disorder and endless war. The metaphor in the book title, "a leaky boat holding wine," is from one of Lu Xun's (1881) poems, illustrating that although people use words as a tool to express meaning, it is impossible for words to convey all meaning. Yuan uses the metaphor to refer to the capacity of a word to carry meaning, and indicates that human thought and expression are inseparable from words, but cannot be entirely restricted to them.The book is organized in chronological order, and readers can easily grasp how the word-meaning debate was developed and reshaped in different periods, responding to various social-political contexts. Chapter 1 starts with the origin of the debate in the early Qin period. The author provides a solid examination of relevant theories and high-quality secondary literature. She clearly demonstrates that both early Daoist and Confucian thinkers were involved in the debate, and [End Page 1] that it aimed to describe a core ontology--or a search for the principles of the cosmos--and understand various other aspects of the world, including natural cycles and social ethics. Confucius advocated a metaphorical grasp of the Dao, transforming epistemology into practical philosophy. He held a critical attitude toward the relationship of word and meaning, arguing that words could express meaning because people could use them to influence the state and society. Confucius also believed that Dao, as an imaginative and contextual concept, could not be expressed through words.In contrast, Zhuangzi--"the most significant source of inspiration for Neo-Daoism (Metaphysics) in the Wei-Jin period" (p. 70)--focuses on the limitations of the function of words to convey meaning, highlighting the ineffable nature of Dao. Zhuangzi's concept of Dao, according to Yuan, is always beyond the reach of our senses and can only be attained through an intuitive grasp of reality: through the ability to reach an epiphany and perceive through the mind, even when not observing through physical means. It is only with an intuitive way of thinking that one can identify the ultimate noumenon and grasp the idea of Dao when words cannot contain it. In Zhuangzi's epistemology, Dao is grasped using a method of knowing that transcends ordinary sense perception, knowledge or rationality, and provides a non-logical intuition and an experience of a practical nature that transcends knowing.On this basis, the author brings together ancient and current research on the word-meaning debate, to critically assess the impact of Zhuangzi... (shrink)

_The purpose _of the article is to introduce into scientific circulation works by Ukrainian scholar Taras Zakydalsky on the philosophy of Hryhorii Skovoroda. Taras Zakydalsky is a representative of the Ukrainian diaspora, philosopher, and member of Canadian NTSh (Shevchenko Scientific Society of Canada). _Theoretical basis._ We consider the uniqueness of H. Skovoroda’s philosophy, which stimulates not only intellectually but also spiritually enlightens the reader. The reasons for the complex perception and interpretation of Hryhorii Skovoroda’s philosophy are highlighted. We have verified (...) the main methods of its interpretation given in the works by Dmytro Chyzhevskyi. The influence of philosophical thought of thinkers of Antiquity and the Middle Ages: Aristotle, Epicurus, the Church Fathers, and Tertullian has been studied. We have comprehended H. Skovoroda’s interpretation of the Bible as a two-layer existence, the symbolic world that makes the foundation of his philosophy. The peculiarity of the thinker’s division of the heart into "internal" and "external" is analyzed. Hryhorii Skovoroda’s position on the Good and the evil is stated. The Good is identified with God, and the evil – with the real world, the man can choose between the two. Much attention is paid to the understanding of man as a microcosm – rational thinking, and thought is the fundamental cause of human activity, which generates all existence. Hryhorii Skovoroda’s philosophy of metaphysics as the existence of three worlds is highlighted: the first is the macrocosm (the whole surrounding world), the second is the microcosm (the man), and the third is the symbolic world (the Bible). "Monodualism" as a characteristic feature of H. Skovoroda’s work is analyzed. We have highlighted H. Skovoroda’s attitude to the transcendence of God, which is not separated from the world but is present in it directly. The understanding of faith as a forced act of self-love is analyzed because by loving ourselves we love God. The criteria for true and false faith have been clarified. The significance of H. Skovoroda’s aphorism that _what is necessary is useful, and not useful is unnecessary_ is considered. Examples of ethical principles in H. Skovoroda’s philosophy are considered. Peculiarities of the concept HAPPINESS are revealed. This concept is a universal means of existence of the Good, its source is gratitude to God. _Originality_ of the article is in the systematic presentation of the philosophy of the heart by Hryhorii Skovoroda and the analysis of the integrity of the "inner man", the true meaning of life as interpreted by Taras Zakydalsky. _Conclusions_ summarize the "anthropological pragmatism" of the philosopher, whose main idea is to apply practical skills for the benefit of society. (shrink)

The article discusses human dignity in the aspect of modern challenges of technological civilization, which has entered a new stage of its development. Human dignity as a category of ethics remains underestimated, since in the first row of ethical values humanitarians, as a rule, put the categories of freedom and justice. Today, “dignity” acquires a special and higher status, the concept of human dignity is being rethought, going beyond the ethical category itself as a virtue. In the global world, (...) human dignity is a response to such contemporary challenges as the formation of a communicative world community with a focus on digital civilization, the anthropological problem of the future of humanity, the ecological situation on a global scale, the reorientation of the ethical and legal relations of a globalizing world. Human dignity is a problem of national-ethnic and national-state relations in the transition to transnational regulatory interactions. In the interpretation of the nation, the authors do not share the well-known two approaches to understanding the nation, on the one hand ethnocultural, and on the other - national-civil. Both approaches lead, whenever possible or necessary, to the transnational posing of the question, when human dignity becomes a priority regardless of nationality. In this connection, the utopian idea of the possibility of a global ethos is touched upon. The authors focus on the anthropoxy-axiological approach to the understanding of human dignity, where the cosmological principle of human existence is determined by his creative power. The urgency of the problem of human dignity is due to the fact that, as it were, in the modern life world a person did not put the economy above morality, the basis of human dignity in its being is a value moral consciousness, in the depth of which basic human values of transnational nature “work”, contradicting values consumer society driven by practical interests. Human dignity in this regard should be interpreted as an absolute value and at the same time one should take into account the multidimensionality of the problem of dignity in the context of modern globalization processes. Based on the ontological understanding of globalization as megatrends in the self-movement of the natural historical process, the authors substantiate the anthropological value of human dignity, which has universal, transcultural significance. The use of an anthropoxy-axiological approach and interdisciplinary methods reveals the universal value of virtue, based on the anthropo-social moral nature and the creative value of man. The creative transformational activity itself will not be worthy in quality without moral responsibility. The modern concept of human dignity is addressed to the ethics of responsibility, which means responsibility, which highlights the moral and axiological attitude to life, the adoption of responsible decisions in modern conditions of sociocultural interactions. In the context of globalization, the philosophy of human dignity becomes the dominant of all conscious-volitional activities, the core of the moral rethinking of the transnational and national ratio in the light of tolerance, the ability to non-violence. At the same time, the authors indicate in the formulation of the main issue of the philosophy of human dignity the possibility of going beyond the ethical category of human dignity, since the unchanging core of the universal human values of goodness-beauty-truth does not lose its meaning in the global, changing world. (shrink)

Techne and Truth. The problem of techne in the dispute between Gorgias and Plato -/- The source of the problem matter of the book is the Plato’s dialogue „Gorgias”. One of the main subjects of the discussion carried out in this multi-aspect work is the issue of the art of rhetoric. In the dialogue the contemporary form of the art of rhetoric, represented by Gorgias, Polos and Callicles, is confronted with Plato’s proposal of rhetoric and concept of art (techne). The (...) ingenuous and dramatic structure of the dialogue composed of three acts, in each of which Socrates’ consecutive interlocutors emerge, is difficult to interpret. It seems, however, that even though the first conversation between Socrates and Gorgias constitutes a small part of the dialogue, it forms the foundations for the discussion. This part, dealing with such important issues as the subject of art, knowledge, power and relation between art and good, is the starting point for the conversations which follow. What do the differences between the Gorgias’ and Plato’s concepts of art consist in? Any attempt to answer the question requires presentation of the background for the discussion taking place in Plato’s work as well as the reconstruction of Gorgias’ vision of the art of rhetoric and art in general, defining the relation between art and knowledge. The latter may be undertaken on the basis of two paraphrases of the treatise “On Non-existence”, two epideictic speeches entitled “Helen” and “Palamedes” and some smaller fragments which have been preserved from Gorgias’ creative output. The treatise “On Non–existence”, very paradoxical in its philosophical meaning, testifies to new, sophistic thinking represented by Gorgias of Leontinoi. The treatise is the polemic and attack on Eleatism based on certain principles and methods elaborated by the Eleatics themselves. It also shows that Gorgias – using traditional Eleatic schemes – is opposed to this tradition. Even though the treatise does not discuss the problem of art directly, it anticipates the considerations from epideictic speeches. “Helen” and “Palamedes” constitute further stages in the development of Gorgias’ thought and concept of art combining typically epideictic elements with some philosophical convictions. Gorgias refers to the Eleatic theme considering the issues of truth, knowledge and belief, yet defining them in the empirical spirit. Solutions in the cognitive sphere determine the horizon of Gorgias’ rhetoric. The word is separated from the existence. Human cognition is limited and therefore the word and visual images affect the belief. This promotes the great importance of rhetoric, painting and sculpture, i.e. the areas which influence in a specific way – creating the “delusion” (ἀπάτη). Through idealization art provides pleasure, which is its objective. Therefore the task of art is to create delusion. The rhetor of Leontinoi discusses the issue of “how?” to use the word ‘rhetoric’. Gorgias is aware that rhetoric may be used to talk about what is unknown and that technical correctness of a rhetoric statement is not identical with the truthfulness of the proclaimed message. Mentioning it, Gorgias shows his respect to the truth as a value which should be respected in speech on the one hand, and on the other emphasizes that the truth in itself has no persuasive power. For this reason it is not enough to proclaim the truth, but, to convince the listeners, the orator should possess the skill of speaking. What is then the relation between truth and art emerging from epideictic speeches? Gorgias undoubtedly emphasizes the formal aspect of speech, as rhetoric is art, thus an ability based on certain principles. According to Gorgias, the truth is the value which should be respected in speeches. Rhetoric is able to create a fictive world, as a great range of reality remains outside direct human experience. Rhetoric does not oppose the truth but discussing not only what is directly given concerns the area outside the sphere of direct experience. This concept of rhetoric is the basis of the discussion about art carried out in the dialogue “Gorgias”. Even though the first of the discussions in the dialogue – the conversation between Socrates and Gorgias – is directly concerned with rhetoric itself, numerous remarks testify to its much wider character. This is best exemplified by the way of carrying out the conversation by Socrates, who, asking questions about rhetoric practised by Gorgias, throughout the whole conversation compares it with other skills. Additionally, the manner and the structure of the conversation prove that Plato considers the issue of rhetoric from a wider perspective determined by the issue of art. The specific feature of the conversation is ordering it around main issues – such notions as πρᾶγμα, ἐπιστήμη, δύναμις, each of which has its own meaning in Plato. In the first part of Gorgias Plato presents the principles previously occurring in other dialogues in a certain order, thus constructing the structure of the conversation with Gorgias. The notions are not novum in Plato but the fact that he clearly wants to systematise them and present a certain concept of art is a new and significant aspect. This tendency is of paramount importance for the discussion because Gorgias’ answers are evaluated by Plato from the perspective of this clearly set concept consisting of not only established notions but also certain principles. The discussion between Socrates and Gorgias introduces a theme which is crucial for the dialogue: the relation between art and good, i.e. the technical and ethical spheres. The issue is introduced by Gorgias, who mentions that rhetoric may be used for evil purposes. On this basis Socrates proves that if rhetoricians can use rhetoric for evil purposes, they have no knowledge concerning the subject of their art – justice, because one who knows what is just, always acts justly. Thus the relation between the technical and ethical spheres transpires to be the main point of contention. The question is whether a technician following the principles of the art he practices may act against good. This paradoxical statement based on the well-known Socrates’ principle "nemo sua sponte peccat" acquires philosophical foundations in the dialogue. In its remaining two parts Plato presents a justification, placing the principle within the framework of a certain concept of art, as a result of which not only rhetoric but also many other skills are criticised. The notions on which the conversation with Gorgias focuses are more precisely defined in the subsequent parts of the dialogue. Additionally, Plato presents twice the conditions which art should fulfill. They oblige the “technicians” to know the nature and purpose of the art and to know the causes of undertaken activities and to be able to justify them. These conditions determine the relation between the two spheres – technical and ethical. According to Plato, art may not act against good because it should be the objective of its activities. Certain concepts of good and knowledge outlined in the dialogue are the guarantees of “technicality”. Good, which should be respected by every art, is understood objectively and is contrasted with subjective pleasure. Knowledge, which should be the basis of art, opposes experience, which uses observation and recollection. Additionally, the definition of knowledge, significance of order in the world assuming the form of “geometrical equality”, significance of mathematics becoming the ideal of exactness indicate that Plato’s concept of knowledge is formed in Gorgias. These conclusions render it impossible that the results of any activity deserving the name of art should oppose good. And this is Plato’s main reproach of Gorgias’ concept, who wrote about false speeches possessing the power of conviction because they were written according to the principles proof of art or who defined tragedy as “a deceit, where he who cheats is more just than he who does not and the cheated is wiser than he who was not cheated”. Such determination of the relation between the technical and ethical sphere resulted from Gorgias’ concept of the world and fundamental philosophical principles. The whole concept of art described by Plato in the dialogue opposes the view presented by Gorgias. According to Plato, every technical activity has a defined object (ἔργον), is based on knowledge (ἐπιστήμη) and is always aimed at the good of human soul or body. The danger revealed and presented in the dialogue by Plato exists in the very concept of art presented by Gorgias, i.e. in its empirical foundations and the resulting understanding of the relation between art and good. Gorgias’ concept of art based on empirical cognition, which concerns the world of phenomena and rejects the possibility of perfect knowledge, leads, according to Plato, to a dangerous falsification of the relation between art and good. Plato proves that this weakness of Gorgias’ concept is revealed when confronted with these representatives of “the magnificent art” who are not protected against radicalism by the adherence to the moral tradition. The comparison of two, completely contrasting concepts of art based on different philosophical understanding of knowledge and good is decisive for the criticism of rhetoric in Gorgias. The concept presented by Plato criticises contemporary rhetoric and sophistry but determines the direction of research of the real art of rhetoric. (shrink)

In the modern world of total technologization, scientific knowledge devoid of worldview correction (humanitarian expertise) carries a threatening tendency of self-denial: without a constant, philosophically correct transformation of objective knowledge about certain fragments (branches) of the surrounding reality into human knowledge (questions) about itself, the practical effectiveness of such knowledge inevitably accumulates in itself the threat of practical helplessness. Aim and the tasks of the research. Based on an in-depth analysis of the category of existence, as well as on (...) modern philosophical reflections on the methodological and cognitive insolvency of the idea of the world, to find out the real meaning of those changes that this idea meaningfully undergoes in the conditions of the modern total technologization of human life. The research methodology. From a methodological point of view, the author prefers a dialectical approach, considering the analyzed phenomena, regardless of the mode of their reality, in their development and internally contradictory essence. H. Plesner’s theory of eccentric positionality serves as a certain base point for the analysis of human nature and, accordingly, the world of human existence. Research results: The problematic existence of the world and the epistemological «failure» of the corresponding category, declared in some modern philosophical reflections, are connected exclusively with its anthropological and worldview function, which is based on the fundamental uncertainty of a man’s place in the world. The «worthlessness» («futility») of worldview thematization is derived from the allencompassing inability of the human figure in the world, from that «emptiness» and «invisibility» (specific own transparency) of the spiritual dimension of human existence, on which, however, this existence is based. Discussion. The human «option» of fulfilling the unity of living being can be characterized as extremely intense. In this variant, the phylogenetic line of development turns into an ontogenetic point of worldliness devoid of predetermined content, a fundamentally new type of integration. The horizons of such integration far exceed primarily because of its understanding. And the subject of such a meaningful life is forced to integrate everything that happens to him every time into a certain system (synthesis) of the world. That subjectivity the world has distinguishes the subject from the thing. Subjectivity and the world mutually belong to each other - they are correlative. A thing exists because it is what it is. The subject (and with it his world) does not exist like that. A subject is how and to what it relates. But the relation «how» and «to what» is not carried out completely anew and isolated every time, but exists in its multiplicity in a certain relationship. Each individual case, each individual action (method of action) acquires its meaning from a wider, structured context – in whole or in part. This context is the «world», the «life world» of the real subject, or the «world» as an anthropological idea. Conclusions. The task of modern humanitarianism is not only to find opportunities for rational use of the fact of the fundamental openness of the human being, but also to cultivate the ability to reconcile a man with himself, to accept himself. This gives us certain reasons to hope for the enduring significance of worldview thematization. Criticism regarding the seemingly paradoxical conclusion that to become a man, one must already be one, could be considered fair, but only if one does not take into account the principled nature of such an aphoristic position, because this is exactly how the human world exists - as the art of tolerance uncertainty. (shrink)

The Philippines, a treasury of oral folk epics, gives us opportunities to research epics in transition, which implies documenting and introducing them to wider audiences. The losing of living epic tradition attracts national and international attention and becomes a concern of the state and the educational system. This study is focused on the literary characteristics Ricaredo Demetillo’s Barter in Panay: An Epic in which his materials were gathered from Maragtas, a semi-legendary recordof the Bornean settlement in Panay. The study is (...) anchored to Hornedo’s theory of reality frames in teaching literature. It unfolds the literary characteristics of the text through descriptive-qualitative method employing formalistic-contextualist approach. The study reveals the theme/s through the narration of the persona, the Filipino worldviews in contemporary times though the language of the characters. Barter in Panay: An Epic reflects the “sweetness and light” of the Filipino lifeways and traditional values. Demetillo’s literary epic is vehicle of preserving our folkloric tradition depicting our Filipino identity and worldview, making the text significant in the canon of Philippine and World literatures. The author emphasizes the urgency to know our past and to revise our understanding of the world within the progress of time. Keywords - Folk literature, barter in Panay, formalistic-contextualist approach, reality frames in teaching literature, literary epic, Central Panay, Philippines. (shrink)

In this paper, I analyze two methods of reading archives: ‘against the grain’ and ‘along the grain’. First one focuses mainly on revealing what is marginalized and omitted in archive’s dominant narration. The other carefully studies the logic of an archive itself. As such, reading against the grain allows to reveal victims’ forgotten stories, while reading along the grain helps to understand perpetrators’ perspective that may further lead to better recognition of the mechanisms of organized violence. I apply both (...) approaches to the album War against War (1924) by Ernst Friedrich, which contains archival photographs from World War I. Keywords: War against War; World War I; archival photographs; reading against the grain; reading along the grain. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Derived from Heidegger's interpretation of attractive force with a high volume of inspired beauty care and a master not only the followers. And in order to maintain this special, he followed the great classical psychologists: Ferdinand learning. He also won in the traditional school psychology professor at the certificate, but his real motive is not subject to the ancient hope臘Heidegger was carried out by the interpretation of the full amount of impact force. Nevertheless, Heidegger's classic is still up to the (...) United States: "true management and methods" to maintain significant influence over. Up to the United States as a major interpreter of Heidegger's thinking, and faithful friend. In about two more people, I turned to introduce three other in Heidegger, Gadamer's major research on the influence of the philosopher: Park Latin chart, sub-km Aristotle and Hegel. First we look at the future Park Latin chart, I think the focus on conversation and dialogue up to the United States and the "dialectic dialogue" concept. The relative importance of making it true, so true that people with reasonable doubt and dialogue. Although there are many plans to pull up to the United States Park effect, but I make up as two points and a U.S. interlocutor's talent and try to prove. I have given up by the United States with three coming from Aristotle's concept of sub-km: wise , mimetic and tragedy. Wise is to predict the results of practical wisdom for the rational, he does not see a formula-based learning, as can be, but based on life experience. That mimic the Department of Aristotle in the sub-km only copy, and is reasonable in real life, the ultimate communicator. Finally, the tragedy is not the only sub-km Aristotle considers the six parts of the structure, but compassion and fear the experience of change in the audience angle of view, it is up to the United States in view of the viewer's experience of understanding and application, is a kind of tragedy action meaningful participation and experience. Beneficiary of up to U.S. history in Hegel's awareness of personal, Hegel's dialectic, as well as their knowledge to the arts is the current acceptance of the senses. He does not agree with Hegel referred to the "art of the past things," Hegel explains how this point. Shortly we will be able to see the remarkable work of art as a nervous balcony. Let me give you a visit in Heidelberg, Heidegger's experience in the United States up to the lecture, he objected to clarify and to hide his own dialectic and Hegel's dialectic with links, because at the end of Hegel's philosophy of total abstraction knowledge. In the second part of this lecture, I turned to the analysis of Gadamer's thesis on the art of "the relevance of the United States," and Heidegger in this direction is the famous "Art works of origin> thesis compared. In the late writings, Heidegger shows that there is not his main independent and self-study will be presented in the art of the earth and the world as a tension. In Gadamer's thesis in art, he follows Heidegger in the hope臘by establishing the art of human culture, learn the origin of works of art ontology analysis. He discussed all the cultural roots of the game , the difference between symbolic meaning and religious ceremonies. But he formed an art theory of the problem to analyze, it also clarifies the classical art and contemporary abstract art. In these three elements: the game, symbols and festivals, art up to the United States to find a structure is more deep cultural roots. As in the early hope臘ceremony, dance performances and tragedy. Gadamer's encounter with the magnetic force of Heidegger's interpretations made him cautious not to become simply a follower of the great master. To maintain his independence, he studied with Paul Friedländer, the great classical philologist. He attained certification in classical philology to teach in the secondary schools, but his true motive was to be able to resist the powerful interpretations of Greek philosophy put forward by Heidegger. Nevertheless, Heidegger remained a major leavening influence on Gadamer's classic, Truth and Method, and Gadamer became a major interpreter of Heidegger's thought, and a constant friend. After a few comparisons between them, I turn to three major philosophers other than Heidegger who contributed concepts to Gadamer's masterwork: Plato, Aristotle, and Hegel. Regarding Plato, I point to the emphasis in Gadamer on dialogue and conversation and the concept of eumeneis elenchoi, the respect the opponent that recognizes that he could be right, so they join together in dialogue in quest of the truth. Although there are many other debts to Plato in Gadamer, I point to these two and testify to Gadamer's gifts as a conversationalist and debater. I single out three concepts of Aristotle that Gadamer used: phronesis, mimesis, and tragedy. Phronesis is the practical wisdom that goes beyond calculative reason. It is based not on formulas that can be learned but on experience of life . Mimesis in Aristotle is not just copying, but on a recognition that ultimately conveyed truth about life. Finally, tragedy for Aristotle is not just a structure with six parts but an experience of pity and terror that transformed the perspective of the viewer. This was important in the hermeneutics of Gadamer that looked at the viewer's experience of recognition and application, a participatory experience of the meaning of the action of the tragedy. Gadamer is indebted to Hegel for the historical character of consciousness, the Hegelian dialectic, and the recognition that that art is a sensuous representation of the real. He did not agree with Hegel that art was a thing of the past, and also explained what Hegel meant by this: we no longer saw art as a disclosure of the divine. I mention an experience I had of Heidegger's visit to Heidelberg, where he spoke after Gadamer's lecture rejecting his effort to connect his dialect of clearing and concealing with Hegelian dialectic, because Hegel's philosophy always ended in absolute knowledge. For the second major part of the lecture, I turn to an analysis of Gadamer's essay on art, The Relevance of the Beautiful , comparable in a way to Heidegger's famous lectures on The Origin of the Work of Art . In the latter work, Heidegger declares his independence of his masterwork and presents art in terms of the tension between earth and world. In Gadamer's essay on art, he goes beyond the Heideggerian emphasis on the ontology of the artwork by seeking to establish the anthropological roots of art in Greek culture. He discusses the roots of all culture in play, the significance of the symbol, and the meaning of religious festivals. But he begins with an analysis of the problem of formulating a theory of art that does justice both to classical art and contemporary nonrepresentational art. In all three elements, play, symbol, and festival, Gadamer finds a foundation for art in the deep roots of our culture as found in the ritual, dance, and tragic plays of ancient Greece. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:In Search of the Sense and the Senses:Aesthetic Education in Germany and the United StatesAlexandra Kertz-Welzel (bio)The dream that art is able to humanize human beings is very old. One person fascinated by this idea claimed:The creative artist educates and perfects through his work the nation's capacity for appreciation, just as conversely the general feeling for art thus developed and sustained creates the fruitful soil which is the condition (...) for the birth, the growth, and the activity of creative forces.1The author asserted that art has educational power and is able to improve appreciation as well as activate creative energy. Art is a way to transform the individual through its aesthetic power.Although these ideas sound similar to some approaches in arts education, this quotation does not represent the ideas of an art educator or a music educator. It is a quotation from one of the most powerful and most dangerous believers in the transforming power of art and music, in particular—Adolf Hitler (1889-1945). His ideology matched perfectly with the ideas of German music education in the 1930s, and therefore music education was a significant part of the school curriculum during the Third Reich. One of the most tempting ideas for music educators is the claim that music is capable of transforming human beings and their society.The idea of the educational power of music starts at least with Plato. Since the 1950s, aesthetic education has emphasized the aesthetic value and educational power of music. The German and the American concepts of aesthetic education are significantly different, but as a result of historical developments, they also share some similarities.The main intent of this paper is to analyze crucial issues of aesthetic education that exist in Germany and the United States. By comparing the two approaches, some core issues of music education will also be revealed in terms of idealistic dreams that are intent on making the world a better place [End Page 102] through music. This leads to some interesting insights concerning the significance but also the ambiguity of art for societies.The Roots: Ancient Greece, Schiller, and Holistic DreamsThe origin of the term aesthetics can be found in the Greek word aisthesis, which means perception through the senses.2 This meaning of aisthesis is originally not related to art. It concerns all kinds of sensations through seeing, hearing, touching, smelling, and tasting. In Greek philosophy, aisthesis as a way of experiencing the world through the senses is opposite to cognition in terms of an intellectual way of realization, the theoria. But given that art is something one can perceive through the various senses, aisthesis also concerns art.Most theories of aesthetic education refer to the ancient Greek idea of music, the musiké, which is a unity of music, dance, and literature. Plato emphasized the educational power of music and its effects on character development: "Musical training is a more potent instrument than any other, because rhythm and harmony find their way into the inward places of the soul.... "3 Since music is so powerful, the correct use and the correct kind of music are important. According to Plato, art is a way to learn about truth and ideas through beauty. But art is also dangerous, because the senses "lie" and art is only an imitation of truth. For Plato, the senses are not as clear as the intellect.Plato's concerns about the ambivalence of sensorial perception are typical for the way aisthesis and aesthetics have been understood throughout the history of philosophy. The tension between a "true" intellectual approach to knowledge and an inferior approach through the senses is one aspect of the well-known mind-body dichotomy.During the eighteenth century, the era of enlightenment, Alexander Baumgarten (1714-62) introduced the term aesthesis into the philosophical discussion.4 In his book Aesthetica (published in 1750), he attempted to justify sensorial perception and emotions as a unique way of understanding the world. Baumgarten was not interested in the arts at all and tried to establish aesthetics as the science of sensuous cognition in order to improve the sensuous capacity for cognition. Immanuel Kant (1724-1804) was the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Michael Wreen THE LOGIC OF IONESCO'S THE LESSON As men abound in copiousness of language, so they become more wise, or more mad than ordinary. Hobbes, Leviathan, chap. 4 (L a RiTHMETic leads to philology, and philology leads to crime."1 This is both XXthe plot and die pessimism of Ionesco's The Lesson. As the drama unfolds, the spectator watches the world of progress-through-education crumble and a world (...) oflust and murder rise in its ruins. What has gone wrong? In a word, the life oflogic has become the logic oflife. To understand Ionesco's lesson, we must examine the (largely implicit) logic and philosophy of language of his Lesson. Logic, whether die classical syllogistic logic of Aristode, the modern symbolic logic of Russell and Whitehead, or die dialectical logic of Hegel, has two essentia ] components: a syntax, which distinguishes permissible from impermissible combinations and inferences, and a semantics, which allows interpretation and thus fills out the purely formal shell provided by the former. Ionesco's strategy is to show how each of these components as diey have come to be developed philosophically is inadequate to its real content — life, and how, together, they lead, at least metaphorically, to life's devastation. These diree conceptual moments correspond to the three dramatic divisions of the play, marked out by the interruptions of die maid. Ionesco begins with the methodology of logic, syntax, and focuses on arithmetic, which, we are told, "is more a method than a science" (p. 50). Since the time of Descartes, arithmetic, or more generally mathematics, has been the academic discipline par excellence, the study diat all of the empirical sciences have aspired to. So completely has the idea of the mathematical nature of reality impressed itself upon us diat for many people it has acquired the status of an 229 230Philosophy and Literature unquestioned, and even unquestionable, assumption. And for many in this group, including the Professor, it is more dianjust an assumption; it is a way of life. "Let us arithmetize a little," he says to his pupil (p. 51), and his neologism refers not just to a subject matter, arithmetic, but to a way of dealing with subject matters and, ultimately, to a way of dealing with the whole of reality. The noun "arithmetic" has become a verb, and the ascendancy of abstract method has begun. Formal logic, in adi diree of its classic Western forms, is now subjected to sustained and specific criticism. Generally speaking, the Pupil represents Aristotelian and Russellian humanism, a view based on an optimistic belief in man's capacity for direct knowledge, in understanding through analysis by fine distinctions between terms, and in the elimination of paradoxes, both in logic and life. The Professor, again roughly speadcing, represents Hegeliainism, a view based on an optimistic belief in die capacity of reason to unify all oppositions and to overcome, through a higher syndiesis, the fundamentally paradoxical nature of all phenomena, including life itself. Thus, at die level of formal logic and ontology, the Professor amd the Pupil aire diametrically opposed, united only in their uncritical reliatnce upon a method of reason. This philosophical opposition is in turn correlated with a psycho-physical opposition: the Professor is male, old, retiring, and initially lifeless; the Pupil is female, young, forwaurd, amd initiadly vivacious. The confrontation of the two embodied philosophical/ psychological principles over die matter of arithmetic makes dieir opposition manifest and demonstrates, for the first time in the play, die utter inability of bodi philosophical traditions to maintain a grip on reality. This confrontation is also a struggle, one which the fresh, straightforward, vital Pupil begins with great success. She is "magnificent" in addition, and claims she can "count to infinity" — an ability which would vindicate her confident, optimistic belief in man's mental capacities, but an ability, nevertheless, which is logically impossible to possess, since "infinity" is not the name of a particulatrly large number, ais she seems to think. Her claim to understand reveals her as limited and ignorant of the deeper and paradoxical nature of her subject, and thus as in need of further, more abstract lessons. "One must also be able to subtract," die Professor... (shrink)

The sixteenth century could be understand as a period of renaissance of interest in nature and as a period of development of natural history as a discipline. The spreading of the printing press was connected to the preparation of new editions of Classical texts and to the act of correcting and commenting on these texts. This forced scholars to confront texts with living nature and to subject it to more careful investigation. The discovery of America uncovered new horizons and brought (...) new natural products, which were exotic and unknown to Classical tradition. The aim of this study is to compare strategies and categories, which were used in describing plants of the Old and the New World. Attention will be paid to the first reactions to the new flora, to the methods of naming and describing plants, to the ways of gaining knowledge about plants from local sources or by means of one’s own observation. The confrontation with novelty puts naturalists in the Old World and in the New World in a similar situation. It reveals the limits of traditional knowledge based on Classical authorities. A closer investigation, however, brings to light not only the sometimes unexpected similarities, but also the differences which were due to the radical otherness of American plants. (shrink)

Fredrik Svenaeus has applied Heidegger’s concept of ‘being-in-the-world’ to health and illness. Health, Svenaeus contends, is a state of ‘homelike being-in-the-world’ characterised by being ‘balanced’ and ‘in-tune’ with the world. Illness, on the other hand, is a state of ‘unhomelike being-in-the-world’ characterised by being ‘off-balance’ and alienated from our own bodies. This paper applies the phenomenological concepts presented by Svenaeus to cases from a study of depression. In doing so, we show that while they can certainly (...) enrich our understanding of depression, they can also reveal a clash between some societal definitions of illness and the individual’s definition. Phenomenological analysis may thus cause us to question what we mean, or think should be meant, by the terms ‘health’ and ‘illness’. (shrink)

The review of activity of local governments of Leningrad on the solution of social problems is presented in article in the period of the Great Patriotic War and restoration of municipal economy during the post-war period. The considerable attention is paid to questions of ensuring activity of the population and the main directions of social policy. Consequences of the public regress caused by war, which detained for many decades development of the social sphere in the country, are not studied yet. (...) In this regard, the judgment of process of overcoming of these consequences, research of the principles of work, methods and forms of administrative activities for the organization of full-fledged life of citizens during the recovery post-war period and in the next decades is of special interest. Completion of World War II entailed changes in a control system of the country - as it is known, extraordinary bodies of authority and management of a wartime in the capital and on places were abolished. Management of restoration and maintenance of full functioning life support system of the cities and areas transferred to local governments of the Soviet power - to city and regional councils of deputies and their constantly operating executive committees. The role of the social sphere in modern conditions more and more increases in improvement of economy, development of democratic processes. The scientific analysis of activity of the central and local authorities for protection and providing the population in years of war and the post-war period gives more deep understanding of role and importance of social questions in life of society. It reveals historical experience of creation, development and implementation of effective mechanism of such activity, that experience is useful for modern management practice of state and local authorities. The considerable case of sources, among which analytical and research works of applied and theoretical character is analyzed. (shrink)

Integrating large language models (LLMs) like GPT-4 into medical ethics is a novel concept, and understanding the effectiveness of these models in aiding ethicists with decision-making can have significant implications for the healthcare sector. Thus, the objective of this study was to evaluate the performance of GPT-4 in responding to complex medical ethical vignettes and to gauge its utility and limitations for aiding medical ethicists. Using a mixed-methods, cross-sectional survey approach, a panel of six ethicists assessed LLM-generated responses to (...) eight ethical vignettes.The main outcomes measured were relevance, reasoning, depth, technical and non-technical clarity, as well as acceptability of GPT-4’s responses. The readability of the responses was also assessed. Of the six metrics evaluating the effectiveness of GPT-4’s responses, the overall mean score was 4.1/5. GPT-4 was rated highest in providing technical (4.7/5) and non-technical clarity (4.4/5), whereas the lowest rated metrics were depth (3.8/5) and acceptability (3.8/5). There was poor-to-moderate inter-rater reliability characterised by an intraclass coefficient of 0.54 (95% CI: 0.30 to 0.71). Based on panellist feedback, GPT-4 was able to identify and articulate key ethical issues but struggled to appreciate the nuanced aspects of ethical dilemmas and misapplied certain moral principles.This study reveals limitations in the ability of GPT-4 to appreciate the depth and nuanced acceptability of real-world ethical dilemmas, particularly those that require a thorough understanding of relational complexities and context-specific values. Ongoing evaluation of LLM capabilities within medical ethics remains paramount, and further refinement is needed before it can be used effectively in clinical settings. (shrink)

Aims To examine the understanding of the ethical dilemmas associated with Big Data and artificial intelligence (AI) among Jordanian medical students, physicians in training, and senior practitioners. Methods We implemented a literature-validated questionnaire to examine the knowledge, attitudes, and practices of the target population during the period between April and August 2023. Themes of ethical debate included privacy breaches, consent, ownership, augmented biases, epistemology, and accountability. Participants’ responses were showcased using descriptive statistics and compared between groups using t-test or (...) ANOVA. Results We included 466 participants. The greater majority of respondents were interns and residents (50.2%), followed by medical students (38.0%). Most participants were affiliated with university institutions (62.4%). In terms of privacy, participants acknowledged that Big Data and AI were susceptible to privacy breaches (39.3%); however, 59.0% found such breaches justifiable under certain conditions. For ethical debacles involving informed consent, 41.6% and 44.6% were aware that obtaining informed consent posed an ethical limitation in Big Data and AI applications and denounced the concept of “broad consent”, respectively. In terms of ownership, 49.6% acknowledged that data cannot be owned yet accepted that institutions could hold a quasi-control of such data (59.0%). Less than 50% of participants were aware of Big Data and AI’s abilities to augment or create new biases in healthcare. Furthermore, participants agreed that researchers, institutions, and legislative bodies were responsible for ensuring the ethical implementation of Big Data and AI. Finally, while demonstrating limited experience with using such technology, participants generally had positive views of the role of Big Data and AI in complementing healthcare. Conclusion Jordanian medical students, physicians in training and senior practitioners have limited awareness of the ethical risks associated with Big Data and AI. Institutions are responsible for raising awareness, especially with the upsurge of such technology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophy of Taste by Huanan GongChunpeng Hao (bio)Philosophy of Taste. By Huanan Gong. Beijing: SDX Joint Publishing Company, 2022. Pp. xii + 312. Paperback ¥59.00, isbn 978-7-108-07489-8. Postmodern thought in Western philosophy often criticizes the tradition of logocentrism and ocularcentrism. This tradition of philosophical observation can be found in Pythagoras' definition of the philosopher, who is a spectator as distinct from the sportsman and the merchant in the (...) Great Games. The attitude of observation reflects the logical, objective, and neutral characteristics of philosophy. Especially in Plato's philosophy we could find this objectified "observation" (p. 18). This tradition laid the foundation of Western philosophy. Since then, philosophy has developed "metaphysics," "ontology," "epistemology," "rationalism," "idealism," and other themes. However, if we examine the original meaning of the word "philosophy," it only refers to the "love" (philia) of "wisdom" (sophia). The Chinese "love of wisdom" is different from that of Western philosophers. Professor Gong Huanan's Philosophy of Taste is a work about "taste" and "Dao". It represents a different path from the ancient Greek philosophical tradition. In the book, Gong reveals how the Chinese use these three core concepts ("taste", "sense" and "xiang") to identify things, discuss nature, understand the Dao and live in the world, thus outlining a world of Chinese culture that is different from that of the West. He delves into the principles and rich meanings inherent in these fundamental concepts of Chinese philosophy, and then explores ways of reconstructing Chinese philosophy drawing on contemporary resources (p. 307). There are seven chapters in Philosophy of Taste. In Chapters 1 and 2, which offer a discussion on "taste," Gong gives a broad overview of the definition of "taste" and its scope in Chinese thought; Chapters 3 and 4 deal with the subject of "sense," which moves from taste to the relationship between the senses and the mind. Finally, in Chapters 5, 6, and 7, the main discussion is on "xiang" (象, shape, appearance), where the author distinguishes between "xiang" and "form". "Xiang" in Chinese culture has no form, so it has little relevance to vision, and there is no Western ocularcentrism in China (p. 192). Gong also discusses expressions in the Chinese tradition that equate wisdom with sight and hearing, for example, cong ming 聪明 (intelligent, clever, bright), which is synonymous with wisdom, originally refers to good hearing and [End Page 1] good sight (p. 36). However, Chinese culture is diverse and not "monotheistic." There are many ways of attaining wisdom or the Dao, and Buddhism uses the eyes, ears, nose, tongue, body and mind as a method of practice to attain it (p. 19). For it is basically through the eyes, ears, nose, tongue, body, etc. that one receives information, and among them the sense of taste of the tongue is a viewpoint with Chinese characteristics. Chinese people are very fond of eating, but eating does not simply mean desire and unruliness--there is thought in it. As The Doctrine of the Mean or Zhongyong 中庸 says, "There is no body but eats and drinks. But they are few who can distinguish flavors" (p. 1). The Chinese word for "sense" (ganjue 感觉) has two parts, one is feel (gan 感) and another is awareness (jue 觉). Everyone has the ability to sense, but few have awareness. Only those who have both can know the truth. "Taste" seems to be closer to feeling and is an attribute of objects, of which there are several kinds, such as sour, sweet, bitter, and spicy. But it is not unrelated to the perceiver, for without the organ of perception, there would be no taste. This organ of taste reception is the tongue. In Chinese, "tongue" is also known as the root of the soul, or the opening of the mind (p. 25). The tongue and the mind work together to create the activity of the sense of taste. In short, the sense of taste is the unification of the attributes of things and the human mind in sensation. It is the same as knowing the Dao, which is in everything around us, but one needs to have a "heart" to discover it (p. 89). Gong holds that, in Chinese thought... (shrink)

As John Casti wrote, "Finally, a book that really does explain consciousness." This groundbreaking work by Denmark's leading science writer draws on psychology, evolutionary biology, information theory, and other disciplines to argue its revolutionary point: that consciousness represents only an infinitesimal fraction of our ability to process information. Although we are unaware of it, our brains sift through and discard billions of pieces of data in order to allow us to understand the world around us. In fact, most (...) of what we call thought is actually the unconscious discarding of information. What our consciousness rejects constitutes the most valuable part of ourselves, the "Me" that the "I" draws on for most of our actions--fluent speech, riding a bicycle, anything involving expertise. No wonder that, in this age of information, so many of us feel empty and dissatisfied. As engaging as it is insightful, this important book encourages us to rely more on what our instincts and our senses tell us so that we can better appreciate the richness of human life. (shrink)

In the novels of Tahsin Germiyani, who stands out as a narrator and novelist, dialogue was a basic technique for artistic work. Because he used the art of dialogue in a unique way to carry out communication and understanding and to fictionalize events. Such that Tahsin Germiyani's novels are considered to fill a gap in this aspect, especially in Iraq and in the Arab world in general. What makes him important is the writers he read and was influenced (...) by. Such that when we look at his works, this effect is noticeable. Rather than a reflection, this influence manifests itself in a new and different form with internalization. The new work now contains in itself his character, is far from alienation, and becomes compatible with the culture and values of the society in which he lives. It is possible to see this situation not only in dialogues, but also in the whole structure of the work. Tahsin Germiyani has written 7 novels. However, in this study, we will focus on his three novels (al-Huznu'l-vesim, Evladu'l-Yahudiyye and Zaknemut) to reveal how the dialogue is used as a technique. After giving basic information about the concept of dialogue and Tahsin Germiyani's life and works, we will try to reveal how he used dialogue in these three novels that we will take as a field of application and his artistic connections in the storylines. Germiyani used both forms of dialogues in different stages. In his novel Zaknemut, he performed the internal dialogue mostly in the forms of monologue, pleading and reaction. While the external dialogue is mostly includedin the novel al-Huznu'l-Vesim, he used both dialogues to convey his thoughts, to effectively present his reaction and his opinionson the social phenomena in Iraqi society. Because he wanted to bring to light the mistakes and deficiencies that he saw and experienced in the society. He did this with an artistic task, by describing situations that trigger interpersonal conflict, sometimes using the inner and external dialogues of the protagonists and sometimes of the deuteragonists. One of his prominent features during this fiction is hisability to make the dialogues more vivid and permanent in the mind of the reader by using the cinema technique and to make the reader a partner in this fiction. We also witness that he makes this ability more effective by using the folkspeech. We will try to put forward the relevant issues practically within the framework of his 3 novels. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)

At the present time, when we are experiencing one of the extraordinary conditions in which the basics of life are shaken, exceptional practices concerning the sources of the meaning of the world of life have become one of the urgent issues for the sociology of religion to consider. This study discusses the reactions of people to the effects of the COVID-19 pandemic on the regularity of social life in the early stages in the framework of Muslim religious groups. Since (...) the forms of social organization reveal reactions in their own specific forms, a research design that considers the differences were preferred. The provision that ‘man is social by nature,’ which is the indispensable principle of social sciences, has been the main feature of important issues to elaborate in the restrictions of today’s pandemic. Religious socialization, which is important for the inquiry, is a phenomenon that is desired to be carried out on a continuous basis. Its performative dimension draws attention to important elements that affect the formation and the social ontology of the group, such as consciousness and solidarity. While some religious groups insist on face-to-face interaction and rituals, some of them prefer to use effectively digital tools and channels. This differing approach has become a public issue, especially during the pandemic process. On the other hand, there is a discussion in the context of the digital world of new media tools and the travel possibilities of transportation technology. The theoretical basis of this study, which deals with the insistence of religious groups on face-to-face interaction and rituals is represented from the scope of Erving Goffman. His analyzes face-to-face communication and his comments emphasizing the ritualistic nature of daily life are operationalized through two basic case studies: the first case is the persistence and practice of Tablīghī Djamā‘at, in its annual meetings in the early days of the pandemic. The discussion started with the practice of the religious group in Delhi (Nizamuddin Markaz), since they did not cancel their annual meeting despite the diagnosis of the disease. The second case is based on the ritual insistence of pilgrims in visiting shrines in the Iranian city of Qom. The insistence of the Shiite Islamic understanding on ritual and pilgrimage and the solidarity built with the consciousness based on it is a well-known phenomenon. In the Covid-19 pandemic, the risk of contamination caused by the mobility of the pilgrims coming to the city of Qom from countries such as Pakistan was discussed, as well as the contact and social distance during the Hajj. Two cases were handled with a qualitative design including case analysis method and descriptive analysis technique. The main purpose and intended contribution of the article are to reveal the insistence of face-to-face interaction through the performative based on rituals as an analytical explanatory on the social level. Inferences based on the analysis of religious groups’ response to restrictions in times of emergency build the importance of the issue. Case information identified in the context of the case study shows that groups with traditional interaction forms insist on their own practice in the field of uncertainty and initiative. Unless necessity eliminates the initiative, the determination of this insistence of traditional religious groups is not only theological but also ontological confirmation. It is understood that the members of the group took the initiative to represent their reputation within the group and their extent to dedicate to the group. The fact that Tablīghī Djamā‘at, the largest group of the transnational Islamic da‘wa (call), did not give up on a method based on demographic mobility, has been a matter of discussion. The insistence of the group is because of the methods that require every ordinary believer to accept to convey the da‘wa as his primary duty. On the other hand, Shiism, which stands out with its traditional structure and ritual intensity in the Islamic world, insisted on the initiative process in the pilgrimage phenomenon, on which it attached special importance and built its solidarity and identity on this phenomenon. This insistence aims preserving the dynamics and social ontology of the religious group in the performance of the membership system. Essentially, the individual in the group insists on his position in face-to-face interaction because having a role in a group also means having a face. Thus, this insistence performance by religious groups should also be read as a reflection of self-technologies. In the final analysis, the insistence put forward should be considered essentially in relation to the insistence on the position in social ontology. (shrink)

The COVID-19 pandemic has had pronounced effects on individuals' psychological well-being around the world. Concerns regarding the consequences of infection, as well as the general uncertainty and governmental regulations have resulted in increased psychological distress among many populations and cultures. In this regard, research has shown that the manner by which individuals perceive such large-scale threats and appraise them significantly contributes to the psychological consequences of such events. According to the Hostile-World Scenario model, negative engagement with such threats (...) weakens one's competence and coping abilities, whereas positive engagement facilitates resilience and enhances psychological adjustment. Accordingly, the current study examines the moderating role of both NE and PE in the connections of two main features of the current pandemic, COVID-19-related worries and loneliness, with anxiety. Data were collected between March 16 and April 14, 2020, from 1,112 Israelis, who provided information regarding COVID-19 health worries, loneliness, and anxiety. A special measure assembled items pertinent to the HWS-NE and HWS-PE throughout the survey. Results demonstrated that both HWS-NE and HWS-PE were significant moderators. COVID-19-related health worries/loneliness were linked with anxiety only among individuals with high HWS-NE, and were non-significant among those with low HWS-NE. Moreover, the positive association between loneliness and anxiety was significantly mitigated by high HWS-PE. The discussion highlights the importance of the HWS for understanding the psychological consequences of COVID-19 and offers practical suggestions, which may aid mental health practitioners in providing assistance and support to the general population. (shrink)

As long-term childhood cancer survivors are at risk for late effects, ongoing medical care is crucial to detect and treat physical illnesses as early as possible. However, previous research from around the world has shown that many adult survivors did not participate in long-term medical follow-up. This study aimed to provide insight into German survivors’ care situation, with a particular focus on barriers to follow-up care. We investigated a sample of adult CCS drawn from the German Childhood Cancer Registry’s (...) oldest cohort. Our analyses included data from a standardized medical examination, a self-report questionnaire, and in-depth interviews with a subsample. Half of the participants reported participating in some kind of medical follow-up. In a logistic regression analysis, attendance of medical follow-up care was associated with higher age. Reasons for non-attendance were assigned to four categories: lack of information about medical follow-up and/or its purpose, termination by the health care provider, structural barriers, and emotional-motivational aspects. The interviews contributed to a better understanding of how these reported barriers played out in the care of individual survivors. Further, they revealed that some survivors currently in medical follow-up had had periods without follow-up care in the past—which were also in many cases related to a lack of information, both on the part of health care providers and CCS themselves. The results indicated that a large proportion of long-term CCS do not receive the recommended follow-up care. Further, there is a great need for more information regarding the aims of long-term medical follow-up and available offers. This is an important prerequisite for CCS to make informed decisions. (shrink)

In the field of ʿUlūm al-Qurʾān, in which the conceptual framework of the science of interpretation is drawn and the main rules used in tafsīr are discussed, independent books have been compiled since early periods. Some of these works stand out as foundational texts because they make important determinations about the nature, function, methodology, and relationship of the science of tafsīr with other Islamic sciences. The masterpiece entitled Fahm al-Qurʾān by al-Khāris al-Muhāsibī, a scholar of sufism, tafsīr, kalām, and hadīth (...) is one of these books. Al-Muḥāsibī was a writer who lived in a period when philological and Sharīʿah sciences gained a systematic structure and schools were born and developed. Muhāsib'i's multifaceted scholarly depth, the requirements of his time, and the characteristics of his work distinguish Fahm al-Qurʾān from other works in the field in terms of its problematic, content, and style. It can be said that Fahm al-Qurʾān consists of two main chapters. In the first chapter, the issues of kalām, meaning, and reason are subjected to a quiddity inquiry. In the second chapter, the linguistic aspect of kalām is emphasized and the content and style of the Qur'ān are discussed under the headings of muhkam- mutashābih, naskh and üslūb al-Qur'ān. In this work, al-Muḥāsibī suggests that before asking How we should understand the Qur'ān?, the reader should ask What exactly is being understood and what is meaning? The first of these questions includes the question Who am I? While the sources of The Sciences of the Qurʾān mostly focus on how to understand the Qurʾān at the epistemological and methodological level, in Fahm al- Qurʾān, the meaning of understanding the Qurʾān is problematized and a theory of reason and meaning that is competent with moral training is built. Thus, the conceptual inquiries of the work extend to the existential philosophy of the author. Despite these privileges, it is surprising that Fahm al-Qurʾān did not gain a prominent place among the main sources of tafsir methodology in later periods. This may be due to the theorization of a theory of meaning in which moral maturation is placed at the center. In this research, while trying to reveal the original value that Muhāsibī added to the field with Fahm al-Qurʾān, the systematic structure of the science of interpretation, its connection with other religious sciences, the relationship between speech adjective and language were made problematic and tried to be resolved in the context of the research hypothesis. In this context, it has been determined that al-Muḥāsibī's Fahm al-Qurʾān draws the conceptual framework of tafsīr methodology in relation to the authentic structure of the sharī'ah sciences at a very early period. The fact that Fahm al-Qurʾān carries important signs regarding the position of tafsīr in the hierarchy of sciences and its relationship with other sharī'ah sciences increases the value of the work in identifying the codes of the traditional paradigm. In the research, in which induction methods were used in text analysis and deduction methods were used in discourse analysis, it was determined that Fahm al-Qurʾān had a fiction that shapes the traditional paradigm and depicts the authentic structure of religious sciences. (shrink)

Determinist thought with its sui generis view on life, nature and being as a whole is a point of view that could be observed in many different cultures and beliefs. It was thanks to Greek thought that it ceased to be a cultural element and transformed into a systematic cosmology. Schools such as Leucippos, then Democritos and Stoa attempted to integrate the determinist philosophy into ontology and cosmology. In the course of time, physics and metaphysics-based determinism approaches were introduced, and (...) a wide spectrum has emerged from genetics to behaviorism, from culture to psychology, from atomism to divinity. Determinism, whether physical or metaphysical origin, ignores freedom of will and deny agency competence over human behavior. Due to this feature, it is opposed by ethical theories, legal philosophies and religions. When the arguments for determinism are possible to disprove logically and philosophically, this is not so easy when the claims base themselves on scientific base. As the logical consequence of this novel fact, it is important to question the epistemological value of scientific knowledge and critically analyze the data of experiments and clinical studies in terms of methodology when answering any hypothesis such as neuro-biological, neuro-psychological, or neuro-theological argumentations. On the other hand, it is necessary to reach alternative experiments on the same subject or to show that it is possible to interpret them in different ways, as in the example of the Libet experiment. The neurobiological determinism based on biological reductionism, emerged as the result of ignoring the ontological difference of the mind, equating the mind with the brain, or defining mentality as an epiphenomenon of the brain. The main divergence stems from the acceptance of materialist philosophy. Paradigms that reduce existence only to matter do not take the metaphysical possibilities into account. In this case, although the problems called qualia or subjective experience stand there unresolved, the claim is preserved. Although many new developments such as the discovery of the entropy law, the big bang theory, and quantum physics have shaken the materialist philosophy, modern science resists an epistemological revision. However, with the current epistemology, it does not seem possible to grasp both the universe and the being as a whole. This is the most important reason why every attempt to understand the nature and spiritual side of human beings fails despite numerous experiments on the brain. However, the human brain is an organ that seems sophisticated and its secrets cannot be easily solved. Since there is not enough information about the brain, there is not enough evidence to claim that the brain, and therefore the mind, are part of the deterministic universe. Increasing brain researches since the last quarter of the twentieth century has revealed that genes, neurons and particularly brain chemistry claim much greater role than expected in human behavior. These results have been instrumentalized by some researchers for a radical claim that free will is an illusion, while by others it has led to the acceptance of will as less important over actions than was thought. Both ideas adopted a model of biological determinism in which freedom of will was ignored. Hypotheses based on controversial interpretations of various experiments raised concerns about religious, moral, and legal responsibility. Although man cannot be thought of as a non-free being from the point of view of common sense, the smog screen over the truth would not be lifted unless the scientific data in question had a correct interpretation. At first glance, it seems unreasonable to discuss universal determinism in the quantum universe. Nevertheless, the claim that strong causality prevails in the material world, including consciousness, remains in place. Therefore, firstly criticizing determinism and then examining biological determinism will help to fix the conceptual framework. This article aims to explain why genetics and neurobiology, while acknowledging their importance in the realization of behavior, can’t completely abolish moral agency. Some hypotheses attribute consciousness and free will to the physico-shimic structure of the brain, the random activity of neurons, or the ability to automatically transform inputs into outputs with the advantage of genetic information. This is the most sensitive and important point of being human; it attacks free will. Paradoxically, while global civilization of our time promises infinite freedom to human beings the science of the same age tries to prove that it is not free. (shrink)

The article reveals the value and contribution of A.I. Vvedensky in the formation of Russian neo-Kantianism on the example of a systematic and integrated review of his research. The author reveals the significance of A.I. Vvedensky critical methodology for the subsequent development of Russian neo-Kantianism in the first third of the XX century. The method of “logicism” is designated as an integral part of criticism, which consists in the elimination of dogmatic foundations from philosophical discourse. In turn, the critical (...) methodology, understood as a theoretical tool for constructing a holistic picture of the world on the principles of science, serves as the basis for identifying the problems of the correlation of the rational and the irrational. The indicated problem in the works of A.I. Vvedensky becomes the beginning of the formation of Russian neo-Kantianism, which is opposed to dogmatism and religious and philosophical research. Developing a critical methodology, the Russian philosopher turns to the consideration of the role of philosophy in the formation of ideological foundations. The contents of the article consistently reveal the key provisions of the philosophy of A.I. Vvedensky, from raising the question of the methodological foundations of criticism to identifying the specifics of philosophy in relation to scientific disciplines, on the example of experimental psychology, based mainly on empirical methods. In conclusion, the article indicates the prospect of further comprehensive study of the works of A.I. Vvedensky in order to establish a reliable understanding of the development of the national philosophy of thought. (shrink)

In the verse of Sūrah al-An'ām 6/38, "Nothing has we omitted from the Book" as it is stated in the 59th verse of the same sūrah, “Anything fresh or dry (green or withered) but is (inscribed) in a record clear (to those who can read)." has been commanded. In the verses of the an-Naḥl 16/44 and 89, it is stated that it was revealed to the Prophet to explain to people everything that was revealed to them. In this meaning, there (...) are other verses in the Qur'ān. Based on these and similar verses, according to some, the Qur'ān; it is a general source of information that anyone who has lost his camel's bridle as an allusion to all knowledge, all knowledge of those before him and those who will come until the Day of Judgment, can find it in the Qur'ān. On the contrary, according to some, it is useless to look for everything in the Qur'ān, which was sent for the guidance of man, happiness in this world and the hereafter, and it is necessary to look for things in line with his goals. From this point of view, the article focuses on the content of the thesis that there is knowledge of everything in the Qur'ān, in Turkish and Arabic websites, and it is tried to understand how the Qur'ān is portrayed as a source of information on these platforms. While doing this, a search was made on Google, one of today's popular and easy access to information platforms, by typing ‘Is there everything in the Qur'ān’. And the content in the first five rows, written and visual, was transferred to the study without falling into repetition. Among these, an evaluation was made based on the most read internet sites and it was seen that the general opinion was that there is everything in the Qur'ān. Content creators have often answered the question of how such a thing is possible, by analogy, in which all the information of a tree is stored in a kernel, a large bale of cotton takes up very little space when compressed, or -in an easy-to-understand analogy for today's people- huge amounts of memory cards are stored in tiny memory cards explained by compressing information. As proof of this, History in the Qur'ān, Technology in the Qur'ān, Astronomy in the Qur'ān and Mathematics in the Qur'ān, are just a few of the titles in this content. Again, according to those who think this way, it is another way of explaining the subject that the Qur'ān is secret and only those who have deepened in science and have certain competence can discover that secret when the time comes. On the other hand, there are also some who say that there is no knowledge of everything in the Qur'ān, even if it is a little. Despite the verses stating that nothing is missing in the book and that everything wet and dry is in the book, it is important how those who hold this view explain the subject. For example, the concept of kitāb is one of the words that have a wujūhāt (different meanings) when the whole of the Qur'ān is taken into account. Because, in various places in the Qur'ān, this word is used in the meaning of the Qur'ān, the lawh-i mahfūẓ, the written/obligatory and the book of deeds. In addition, even if the Qur'ān is meant, it has been stated that the wording here is common, not in the meaning that the knowledge of everything is in the Qur'ān, but in the sense that the things about guidance or in line with the goals of the Qur'ān can be found in it. As a matter of fact, there are other examples of this in the Qur'ān. Considering the context, there is no explicit or implicit presumption in the relevant verses that the Qur'ān is meant by the kitāb-ı mubīn (a revealed book). Therefore, the first period commentators and later commentators understood this expression not as the Qur'ān, but as the lawh-i mahfūẓ. Interestingly, some of the content producers of the website were able to claim that although the commentators expressed their views in writing or orally, the Qur'ān was meant by the kitāb-ı mubīn, and the preference for the lawh-i mahfūẓ needed explanation. As a result, it is understood that those who claim to have all the information in the Qur'ān actually understand the verses in question literally. If the Qur'ān has everything, it is the necessary consequence of this proposition that the Qur'ān will suffice for us without the need for anything else. In our opinion, it is an important contradiction that among those whose views are given, that they leave the method aside on this issue, even though they emphasize reason and method. This makes it very difficult to obtain healthy information about the epistemic value of the Qur'ān from the internet, which is a popular source of information, and to clarify the mind of ordinary people on this subject. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Prelude to Tackling Contemporary Crises: William James and a Psychological Springboard to Political ChangePaul Croce (bio)“That selective industry of the mind,... incessantly deciding, among many things,... which ones for it shall be realities.”—William James, 1892 (PBC, 167)“[N]either the whole of truth, nor the whole of good, is revealed to any single observer.”—William James, 1899 (TT, 149)The modern world has witnessed tremendous increases in prosperity, and that material abundance (...) has spurred great achievements. But these successes have also brought enormous and troubling side effects. Climate change, biodiversity loss, social inequality, and more problems have grown into crises with potential to challenge the achievements themselves. Alongside these challenges, many outstanding proposals have also emerged for dealing with our present crises. The crises and the insights for addressing them are in a harrowing competition, reminiscent of what H. G. Wells called “a race between education and catastrophe.” During recent chapters of this contest, especially in the United States, sound suggestions for halting or reversing environmental deterioration and for reducing class and racial inequities have gained some public and political support but have also met considerable resistance.1 While direct work to [End Page 26] address the crises is important, those efforts can be supported with understanding of the people and ideologies resisting that work. In fact, neglect of these impediments, which can further enable them to reduce abilities or willingness to address problems or even notice them, may be the biggest crisis of all.Just as medication can directly heal an illness while rest and self-care can build up general strength to support recovery, so coping with crises calls for both grappling with them directly and also consideration of the impediments that reduce the strength of those steps toward social healing. The inquiry here serves as a complement to sound proposals for immediate action by diagnosing what has hindered their realization. Outcries against injustice and creative interventions address the acute conditions of current crises, while cultural assessments of ways those responses gain or lose attention serve as prescriptions for addressing the chronic conditions that have exacerbated the crises through distraction. As with medical issues, long-term and preventive care of chronic problems can support acute treatment, even as they do not displace the need for immediate action.This article confronts a puzzle about why so many people do not pay attention to such large problems in nature and society and what steps can be taken to bridge that divide between the committed and the distracted. The emphasis here on attention shifts focus away from ideological differences and toward the values selections that drive the ideological differences. This article portrays James’s own path as he learned from differences before explaining how his theories offer insights on how selective choices shape the assumptions supporting ideologies that so often form into hostile contrasts.2 In addition to these alerts about the challenges of disagreement, he also presents methods to encourage listening across differences for chances to turn some of those commitments into constructive possibilities rather than treating them as reasons [End Page 27] to fight. These ways to evaluate cultural and political debates and increase understanding about selective choices can shed light on how so many people have been unwilling or unable to pay attention to the mounting problems, and through encouragement of more listening with respect, these methods can encourage more support for addressing the crises themselves.I. Jamesian Ways to Listen Across DifferencesCharles Taylor calls William James (1842–1910) “our great philosopher of the cusp.” This brief, elegant expression depicts a borderland thinker adept at mediating contrasting ideas. James’s often-difficult experiences in development toward that way of thinking and that reputation provide more depth about the contrasts that he experienced on the way toward his creative syntheses in psychology and philosophy.3 His wrestling with different interpretations serves as a microcosm for the challenges and rewards of listening for potential insights on each side of even hostile contrasts. He designed deliberate ways to reckon with differences, considering each to be a partial yet valuable window into the human condition. In his youth, he was torn between the competing perspectives of religious thought... (shrink)

Abstract“Patient-centred care” is the recent response to the malaise produced in the field of health care from the point of view both of a technical mentality and the paternalistic model. The interest in the story-telling approach shown by both the humanities and the social sciences has favoured a “narrative turn” in medicine too, where the new ethics of therapeutic relationship consider the hermeneutic method a means by which to integrate evidence and subjectivity, scientific data and patient experience. The aim (...) of this paper is to show how Ricoeur’s theory of “threefold mimesis” makes a conceptual contribution to the use of narrative interviews in nursing and also be successfully transferred into and applied in the field of healthcare in general. First, the paper examines how this narrative approach might open up new possibilities for the acquisition of in-depth knowledge of patients’ life experiences, a condition indispensable for the improvement of the quality of care. Secondly, it highlights how this Ricoeurian method seems capable of provide an opportunity for healthcare professionals to review their own understanding of the caregiver-patient therapeutic relationship, beginning with their confrontation with the patient’s world as revealed by the narrative they provide. (shrink)

Navigation ability varies widely across humans. Prior studies have reported that being younger and a male has an advantage for navigation ability. However, these studies have generally involved small numbers of participants from a handful of western countries. Here, we review findings from our project Sea Hero Quest, which used a video game for mobile and tablet devices to test 3.9 million people on their navigation ability, sampling across every nation-state and from 18 to 99 years of (...) age. Results revealed that the task has good ecological validity and across all countries sufficiently sampled (N = 63), age is linked to a near-linear decline in navigation ability from the early 20s. All countries showed a male advantage, but this varied considerably and could be partly predicted by gender inequality. We found that those who reported growing up in a city were on average worse at navigating than those who grew up outside cities and that navigation performance helped identify those at greater genetic risk of Alzheimer's disease. We discuss the advantages and challenges of using a mobile app to study cognition and the future avenues for understanding individual differences in navigation ability arising from this research. (shrink)

The INBIOSA project brings together a group of experts across many disciplines who believe that science requires a revolutionary transformative step in order to address many of the vexing challenges presented by the world. It is INBIOSA’s purpose to enable the focused collaboration of an interdisciplinary community of original thinkers. This paper sets out the case for support for this effort. The focus of the transformative research program proposal is biology-centric. We admit that biology to date has been more (...) fact-oriented and less theoretical than physics. However, the key leverageable idea is that careful extension of the science of living systems can be more effectively applied to some of our most vexing modern problems than the prevailing scheme, derived from abstractions in physics. While these have some universal application and demonstrate computational advantages, they are not theoretically mandated for the living. A new set of mathematical abstractions derived from biology can now be similarly extended. This is made possible by leveraging new formal tools to understand abstraction and enable computability. [The latter has a much expanded meaning in our context from the one known and used in computer science and biology today, that is "by rote algorithmic means", since it is not known if a living system is computable in this sense.] Two major challenges constitute the effort. The first challenge is to design an original general system of abstractions within the biological domain. The initial issue is descriptive leading to the explanatory. There has not yet been a serious formal examination of the abstractions of the biological domain. What is used today is an amalgam; much is inherited from physics and there are many new abstractions from advances in mathematics. Interspersed are abstractions, concepts and underlying assumptions “native” to biology and distinct from the mechanical language of physics and computation as we know them. A pressing agenda should be to single out the most concrete and at the same time the most fundamental process-units in biology and to recruit them into the descriptive domain. Therefore, the first challenge is to build a coherent formal system of abstractions and operations that is truly native to living systems. Nothing will be thrown away, but many common methods will be philosophically recast, just as in physics relativity subsumed and reinterpreted Newtonian mechanics. -/- This step is required because we need a comprehensible, formal system to apply in many domains. Emphasis should be placed on the distinction between multi-perspective analysis and synthesis and on what could be the basic terms or tools needed. The second challenge is relatively simple: the actual application of this set of biology-centric ways and means to cross-disciplinary problems. In its early stages, this will seem to be a “new science”. This White Paper sets out the case of continuing support of Information and Communication Technology for transformative research in biology and information processing centered on paradigm changes in the epistemological, ontological, mathematical and computational bases of the science of living systems. Today, curiously, living systems cannot be said to be anything more than dissipative structures organized internally by genetic information. There is not anything substantially different from abiotic systems other than the empirical nature of their robustness. We believe that there are other new and unique properties and patterns comprehensible at this bio-logical level. The report lays out a fundamental set of approaches to articulate these properties and patterns, and is composed as follows. -/- Sections 1 through 4 are incipient. Section 5 describes the issues affecting Integral Biomathics and Section 6 -- the aspects of the Grand Challenge we face with this project. Section 7 contemplates the effort to formalize a General Theory of Living Systems from what we have today. The goal is to have a formal system, equivalent to that which exists in the physics community. Here we define how to perceive the role of time in biology. Section 8 describes the initial efforts to apply this general theory of living systems in many domains, with special emphasis on crossdisciplinary problems and multiple domains spanning both “hard” and “soft” sciences. The expected result is a coherent collection of integrated mathematical techniques. Section 9 discusses the first two test cases, project proposals, of our approach. They are designed to demonstrate the ability of our approach to address “wicked problems” which span across physics, chemistry, biology, societies and societal dynamics. The solutions require integrated measurable results at multiple levels known as “grand challenges” to existing methods. Finally, Section 10 adheres to an appeal for action, advocating the necessity for further long-term support of the INBIOSA program. -/- The report is concluded with preliminary non-exclusive list of challenging research themes to address, as well as required administrative actions. The efforts described in the ten sections of this White Paper will proceed concurrently. Collectively, they describe a program that can be managed and measured as it progresses. (shrink)

This paper compares the enactive approach to perception, which has recently emerged in cognitive science, with the phenomenological approach. Inspired by Husserl and Merleau-Ponty, the enactive theorists Alva Noë and Evan Thompson take perception to be a result of the interaction between the brain, the body and the environment. Their argument turns mostly on the role of self-motion and sensorimotor knowledge in perceptual experience. It was said to be entirely consistent with phenomenology, indeed its revival. However, this issue is under (...) debate. To show this, I begin with analyzing the enactive conception as a physicalist attempt to overcome the challenge of dualism and representationalism. I then turn to Husserl’s transcendental method and argue that Noë’s solution, unlike Husserl’s, remains naturalistic, as it does not take the phenomenon of intersubjectivity and the constitution of the “cultural world” into account. Afterwards I turn to Merleau-Ponty and demonstrate that there is some certain common ground with Noë, but also major differences. I conclude that the enactive approach is not completely refuted by the phenomenological one, insofar as the latter partly contains the first. Yet the enactivists deal merely with the necessary physiological conditions of perception qua animal perception, not with the sufficient sociocultural conditions for the understanding of human perception, like the inquiry into the historical and linguistic circumstances under which the understanding of human mind is made possible. The reason why the recent transformation of phenomenology into neurophenomenology is perceived as a revival is virtually inherent to the specific scientific ethos of enactivism and reveals a certain oblivion of the objectives of philosophical phenomenology. (shrink)

Free Trade Reimagined begins with a sustained criticism of the heart of the emerging world economy, the theory and practice of free trade. Roberto Mangabeira Unger does not, however, defend protectionism against free trade. Instead, he attacks and revises the terms on which the traditional debate between free traders and protectionists has been joined. Unger's intervention in this major contemporary debate serves as a point of departure for a proposal to rethink the basic ideas with which we explain economic (...) activity. He suggests, by example as well as by theory, a way of understanding contemporary economies that is both more realistic and more revealing of hidden possibilities for transformation than are the established forms of economics. One message of the book is that we need not choose between accepting and rejecting globalization; we can have a different globalization. Traditional free trade doctrine rests on shaky empirical and theoretical ground. Unger takes a new approach to show when international trade is likely to be useful or harmful to the socially inclusive economic growth that every nation wants. Another message is that the movement of people and ideas is more important than the movement of things and money, and that freedom to change the institutions defining a market economy is just as important as freedom to exchange goods on the basis of those institutions. Free Trade Reimagined ranges broadly within and outside economics. Presenting technical issues in plain language, it appeals to the general reader. It puts a disciplined imagination in the service of rebellion against the dictatorship of no alternatives that characterizes life and thought today. (shrink)

For evolutionary biologists, the concept of chance has always played a significant role in the formation of evolutionary theory. As far back as Greek antiquity, chance and "luck" were key factors in understanding the natural world. Chance is not just an important concept; it is an entire way of thinking about nature. And as Curtis Johnson shows, it is also one of the key ideas that separates Charles Darwin from other systematic biologists of his time. Studying the concept (...) of chance in Darwin's writing reveals core ideas in his theory of evolution, as well as his reflections on design, purpose, and randomness in nature's progression over the course of history.In Darwin's Dice: The Idea of Chance in the Thought of Charles Darwin, Curtis Johnson examines Darwin's early notebooks, his collected correspondence, and most of his published writing to trace the evolution of his ideas about chance in evolution. This proved to be one of Darwin's most controversial ideas among his reading public, so much so that it drew hostile reactions even from Darwin's scientific friends, not to mention the more general reader. The firestorm of criticism forced Darwin to forge a retreat, not in terms of removing chance from his theory--his commitment to it was unshakable--but in terms of how he chose to present his theory. Briefly, by changing his wording and by introducing metaphors and images, Darwin succeeded in making his ideas seem less threatening than before without actually changing his views. Randomness remained a focal point for Darwin throughout his life. Through the lens of randomness, Johnson reveals implications of Darwin's views for religion, free will, and moral theory. Darwin's Dice presents a new way to look at Darwinist thought and the writings of Charles Darwin. (shrink)

Deism, which is known for denying the belief in prophethood and the hereafter while accepting the existence of a deity who is understood through reason but does not interfere with the universe while, has gained increasing popularity especially in positive scientific circles in Europe with the Enlightenment period. The development of deism in Europe has been significantly influenced by the ideas of philosophers and scientists such as Descartes, Newton, Voltaire, David Hume, and Kant. Although there is no word in Islamic (...) terminology that corresponds with the meaning of deism, terms such as Dahriyya, Barāhima, ilhad and heresy have been used to refer to different types of denial, including deism and atheism. However, it can be said that “Dahriyyah” is closer to atheism in meaning, while “Barāhima” is used in a more specific sense to deny prophethood. The words “ilhad” and heresy are used to express any kind of denial that rejects the principles of Islam. Parallel to deism being a subject of interest in our country and around the world, there has been a significant increase in studies conducted both in favour and against it. In this article, the rational proofs mentioned by Māturīdī regarding the existence of the hereafter, which deism rejects, have been discussed. In particular, the evidence found in the exegesis of relevant verses of the Qur’ān in Kitab al-Ta’wilat have been subject to examination. Māturīdī has emphasized the importance of providing rational proof for those who do not believe in the Qur’ān, stating that they will not accept any evidence derived from it. Māturīdī, who researched the reasons why people deny the afterlife, explained that people’s attempt to understand everything by comparing them to their own abilities is an important reason for the denial of the afterlife. According to him, people deny the afterlife because they believe that the power to resurrect the dead is beyond their own abilities and assume that their power is not enough for such an act. If they had contemplated the creation of the heavens and the earth, they would have realised that Allāh’s power is different from the power of His creatures. Furthermore, Imam Māturīdī pointed out that it would be absurd and pointless for Allāh, the Creator of the universe, to have created it solely for the purpose of its destruction. He emphasised that there must be a purpose for its creation, and that this purpose indicates the existence of the afterlife, where the actions of the created beings will be accounted for. In addition, Māturīdī, who said “If the world was eternal, it would not be possible to repay the deeds done,” emphasised the necessity of distinguishing between virtuous and evil individuals and giving everyone the reward or punishment they deserve. He acknowledged that human beings live in this world as a test, and the true consequences of their actions will be revealed in the hereafter. (shrink)

The INBIOSA project brings together a group of experts across many disciplines who believe that science requires a revolutionary transformative step in order to address many of the vexing challenges presented by the world. It is INBIOSA’s purpose to enable the focused collaboration of an interdisciplinary community of original thinkers. This paper sets out the case for support for this effort. The focus of the transformative research program proposal is biology-centric. We admit that biology to date has been more (...) fact-oriented and less theoretical than physics. However, the key leverageable idea is that careful extension of the science of living systems can be more effectively applied to some of our most vexing modern problems than the prevailing scheme, derived from abstractions in physics. While these have some universal application and demonstrate computational advantages, they are not theoretically mandated for the living. A new set of mathematical abstractions derived from biology can now be similarly extended. This is made possible by leveraging new formal tools to understand abstraction and enable computability. [The latter has a much expanded meaning in our context from the one known and used in computer science and biology today, that is "by rote algorithmic means", since it is not known if a living system is computable in this sense (Mossio et al., 2009).] Two major challenges constitute the effort. The first challenge is to design an original general system of abstractions within the biological domain. The initial issue is descriptive leading to the explanatory. There has not yet been a serious formal examination of the abstractions of the biological domain. What is used today is an amalgam; much is inherited from physics (via the bridging abstractions of chemistry) and there are many new abstractions from advances in mathematics (incentivized by the need for more capable computational analyses). Interspersed are abstractions, concepts and underlying assumptions “native” to biology and distinct from the mechanical language of physics and computation as we know them. A pressing agenda should be to single out the most concrete and at the same time the most fundamental process-units in biology and to recruit them into the descriptive domain. Therefore, the first challenge is to build a coherent formal system of abstractions and operations that is truly native to living systems. Nothing will be thrown away, but many common methods will be philosophically recast, just as in physics relativity subsumed and reinterpreted Newtonian mechanics. -/- This step is required because we need a comprehensible, formal system to apply in many domains. Emphasis should be placed on the distinction between multi-perspective analysis and synthesis and on what could be the basic terms or tools needed. The second challenge is relatively simple: the actual application of this set of biology-centric ways and means to cross-disciplinary problems. In its early stages, this will seem to be a “new science”. This White Paper sets out the case of continuing support of Information and Communication Technology (ICT) for transformative research in biology and information processing centered on paradigm changes in the epistemological, ontological, mathematical and computational bases of the science of living systems. Today, curiously, living systems cannot be said to be anything more than dissipative structures organized internally by genetic information. There is not anything substantially different from abiotic systems other than the empirical nature of their robustness. We believe that there are other new and unique properties and patterns comprehensible at this bio-logical level. The report lays out a fundamental set of approaches to articulate these properties and patterns, and is composed as follows. -/- Sections 1 through 4 (preamble, introduction, motivation and major biomathematical problems) are incipient. Section 5 describes the issues affecting Integral Biomathics and Section 6 -- the aspects of the Grand Challenge we face with this project. Section 7 contemplates the effort to formalize a General Theory of Living Systems (GTLS) from what we have today. The goal is to have a formal system, equivalent to that which exists in the physics community. Here we define how to perceive the role of time in biology. Section 8 describes the initial efforts to apply this general theory of living systems in many domains, with special emphasis on crossdisciplinary problems and multiple domains spanning both “hard” and “soft” sciences. The expected result is a coherent collection of integrated mathematical techniques. Section 9 discusses the first two test cases, project proposals, of our approach. They are designed to demonstrate the ability of our approach to address “wicked problems” which span across physics, chemistry, biology, societies and societal dynamics. The solutions require integrated measurable results at multiple levels known as “grand challenges” to existing methods. Finally, Section 10 adheres to an appeal for action, advocating the necessity for further long-term support of the INBIOSA program. -/- The report is concluded with preliminary non-exclusive list of challenging research themes to address, as well as required administrative actions. The efforts described in the ten sections of this White Paper will proceed concurrently. Collectively, they describe a program that can be managed and measured as it progresses. (shrink)

The INBIOSA project brings together a group of experts across many disciplines who believe that science requires a revolutionary transformative step in order to address many of the vexing challenges presented by the world. It is INBIOSA’s purpose to enable the focused collaboration of an interdisciplinary community of original thinkers. This paper sets out the case for support for this effort. The focus of the transformative research program proposal is biology-centric. We admit that biology to date has been more (...) fact-oriented and less theoretical than physics. However, the key leverageable idea is that careful extension of the science of living systems can be more effectively applied to some of our most vexing modern problems than the prevailing scheme, derived from abstractions in physics. While these have some universal application and demonstrate computational advantages, they are not theoretically mandated for the living. A new set of mathematical abstractions derived from biology can now be similarly extended. This is made possible by leveraging new formal tools to understand abstraction and enable computability. [The latter has a much expanded meaning in our context from the one known and used in computer science and biology today, that is "by rote algorithmic means", since it is not known if a living system is computable in this sense (Mossio et al., 2009).] Two major challenges constitute the effort. The first challenge is to design an original general system of abstractions within the biological domain. The initial issue is descriptive leading to the explanatory. There has not yet been a serious formal examination of the abstractions of the biological domain. What is used today is an amalgam; much is inherited from physics (via the bridging abstractions of chemistry) and there are many new abstractions from advances in mathematics (incentivized by the need for more capable computational analyses). Interspersed are abstractions, concepts and underlying assumptions “native” to biology and distinct from the mechanical language of physics and computation as we know them. A pressing agenda should be to single out the most concrete and at the same time the most fundamental process-units in biology and to recruit them into the descriptive domain. Therefore, the first challenge is to build a coherent formal system of abstractions and operations that is truly native to living systems. Nothing will be thrown away, but many common methods will be philosophically recast, just as in physics relativity subsumed and reinterpreted Newtonian mechanics. -/- This step is required because we need a comprehensible, formal system to apply in many domains. Emphasis should be placed on the distinction between multi-perspective analysis and synthesis and on what could be the basic terms or tools needed. The second challenge is relatively simple: the actual application of this set of biology-centric ways and means to cross-disciplinary problems. In its early stages, this will seem to be a “new science”. This White Paper sets out the case of continuing support of Information and Communication Technology (ICT) for transformative research in biology and information processing centered on paradigm changes in the epistemological, ontological, mathematical and computational bases of the science of living systems. Today, curiously, living systems cannot be said to be anything more than dissipative structures organized internally by genetic information. There is not anything substantially different from abiotic systems other than the empirical nature of their robustness. We believe that there are other new and unique properties and patterns comprehensible at this bio-logical level. The report lays out a fundamental set of approaches to articulate these properties and patterns, and is composed as follows. -/- Sections 1 through 4 (preamble, introduction, motivation and major biomathematical problems) are incipient. Section 5 describes the issues affecting Integral Biomathics and Section 6 -- the aspects of the Grand Challenge we face with this project. Section 7 contemplates the effort to formalize a General Theory of Living Systems (GTLS) from what we have today. The goal is to have a formal system, equivalent to that which exists in the physics community. Here we define how to perceive the role of time in biology. Section 8 describes the initial efforts to apply this general theory of living systems in many domains, with special emphasis on crossdisciplinary problems and multiple domains spanning both “hard” and “soft” sciences. The expected result is a coherent collection of integrated mathematical techniques. Section 9 discusses the first two test cases, project proposals, of our approach. They are designed to demonstrate the ability of our approach to address “wicked problems” which span across physics, chemistry, biology, societies and societal dynamics. The solutions require integrated measurable results at multiple levels known as “grand challenges” to existing methods. Finally, Section 10 adheres to an appeal for action, advocating the necessity for further long-term support of the INBIOSA program. -/- The report is concluded with preliminary non-exclusive list of challenging research themes to address, as well as required administrative actions. The efforts described in the ten sections of this White Paper will proceed concurrently. Collectively, they describe a program that can be managed and measured as it progresses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nomadic Turns:Epistemology, Experience, and Women University Band DirectorsElizabeth GouldMusic education occupations in the U.S. have been segregated by gender and race for decades. While women are most likely to teach young students in classroom settings, men are most likely to teach older students in all settings, but most particularly in wind/percussion ensembles.1 Despite gender-affirmative employment practices, men constitute a large majority among band directors at all levels.2 At the (...) postsecondary level in the U.S., women constitute less than 10%.3 In all cases and all levels, the vast majority of band directors are white. Occupational segregation inhibits the development of individuals' careers as well as the development of the profession as individuals choose or are hired for positions based on their gender and/or race rather than their abilities.In terms of women university band directors, researchers have investigated employment trends,4 personal and occupational characteristics,5 occupational role models, and professional identity.6 Their findings generally have supported the hypotheses that historical precedent, traditional socialization, discrimination, segregation, and lack of role models contribute to their persistently low percentage as band directors. Longitudinal studies7 demonstrate that the percentage of women band directors has not increased significantly, and may be actually [End Page 147] declining after thirty years of enforcing affirmative action laws, which would suggest that these interventions have not provided the basis for enacting change in the profession. Further, change does not seem possible if members of the profession do not understand what causes the situation to persist. For example, while the College Band Directors National Association has supported the Linda A. Hartley and Deborah A. Sheldon study,8 their concern seems to be in only identifying the extent of the situation with the intention of increasing the number of women and non-white individuals who are band directors within the profession as it currently is constructed. This empirical approach is inadequate because it addresses neither the values held by members of the profession, nor its structure, which as previous research indicates, is poorly understood and must change to make possible meaningful increases in the number of women and non-white people.The profession of conducting university bands exists within the profession of music education in general, which, of course, exists within the profession of music. Clearly, one cannot be adequately understood without placing it in the context of the others. What is needed, then, are richer, more substantive, and meaningful understandings of the professions in general and of specific questions within them in particular, as they may provide the basis on which change can be possible. In addition to addressing the issue of persistent occupational gender and racial segregation, questions that may be addressed include positionalities9 of bands in the music education profession, the relationship of performance/conducting to the music profession, and the role of the musician in society in general. In order to accomplish this, I propose an analytical method that is both postmodern and feminist, and in which the philosophical figuration of the nomad, as explicated by Rosi Braidotti,10 is central.Postmodern/Feminist AnalysisDescribed variously as a "philosophical perspective,"11 a "sensibility,"12 and a historical moment,13 postmodernism resists definition. It may be understood as a way of perceiving the world that accepts and even embraces contradictions and uncertainties while rejecting commonly accepted cultural beliefs and practices, including humanist understandings of identity, representation, and the subject. This is a "postmodernism of resistance"14 that interrogates cultural practices, focusing on what is unexpected, marginalized, and silenced, opening spaces for change. In contrast, analysis based on modernism is constrained by binary oppositions that inscribe the positionalities of social groups. These oppositions are exemplified by Subject/Other (for example, male/female, reason/emotion) and consist of asymmetrical power relations in which the former is privileged over the latter, and the latter is defined in terms of not-the former. Postmodern analysis [End Page 148] reveals what these dualisms exclude, distort, or obscure, and provides flexibility for research from a variety of perspectives. Braidotti describes it as a "new kind of theoretical style"15 in terms of thinking, design, and analysis of research, a style... (shrink)