This chapter contains sections titled: Introduction Salvaging Shadows The Meaning of Pragmatic Efficacy The Sources of Pragmatic Efficacy The Noble Lie Why Plato Wrote.

Between 1942 and the late 1950s, atomic piles (nuclear chain-reactors) were industrialized, initially to generate plutonium for the first atomic weapons and later to serve as copious sources of neutrons, radioisotopes and electrical power. These facilities entrained a new breed of engineering specialist adept at designing, operating and maintaining them. From the beginning, large companies supplied the engineering labor for this new technology, and played an important role in defining the nature of their nuclear expertise. In the USA, the most (...) influential company of the period was DuPont, which assumed responsibility for the first plutonium production reactors at Oak Ridge TN and Hanford WA between 1942-6, and of the postwar production facilities at Savannah River SC 1950-87. This paper explores the transition of authority from so-called “atomic scientists” to nuclear engineers at these sites, and the role played by DuPont in consolidating this new technical profession. (shrink)

Abstract -/- “The Obvious Invisibility of the Relationship Between Technology and Social Values” -/- We all too often assume that technology is the product of objective scientific research. And, we assume that technology’s moral value lies in only the moral character of its user. Yet, in order to objectify technology in a manner that removes it from a moral realm, we rely on the assumption that technology is value neutral, i.e., it is independent of all contexts other than the context (...) in which it is used morally or immorally by someone. However, there is a power to technology. At the very least, technology should be seen as reflecting the values that it rises from: a developmental context. Consequently, we can make the invisible moral realm visible as we investigate the relationship between culture and technology. Pragmatically, we can trace how cultural values inform what counts as a scientific question. When we look at the 1980s epidemiological model for AIDS we see how the presuppositions within a culture frame the type of question asked, i.e. What population do we see AIDS occurring in? This question initially leads scientific research away from actual individual behaviors until a different question is asked that leads the question towards behavioral epidemiological models rather than population models. Secondly, we can make visible the circumstance that depicts that what constitutes a scientific problem has a direct relationship to the types of technologies that are developed. We can more clearly see this circular relationship between culture and technology by looking at clinical research and practice regarding heart disease. Men who were dying of diagnosed heart disease were showing symptoms of problems in large arteries of the heart. Women were also dying of heart disease, but since their large arteries were not overwhelmingly compromised they were not being properly diagnosed until recently. Different technologies and protocol were needed to “see” different symptoms in the smaller vessels of women. Thirdly, I show how the types of technology developed, in turn, can create new values or enhance preexisting values within a culture. DNA research can be used to investigate long, unanswered questions about qualitative dimensions of life in quantitative manners. Yet, long held unanswered questions about a biological basis of race or intelligence are themselves rarely challenged as uninteresting or misguided even when they are tied to prejudicial qualitative assumptions if the chance of a “scientific” answer is possible. When existing technologies or modifications of existing technologies can be used they seem to direct human reactions and behaviors in predictable ways. The technologies themselves may be said to direct culture in ethically valenced manners. (shrink)

Virtues commonly associated with physicians and other healthcare professionals include empathy, respect, kindness, compassion, trustworthiness, and many more. Building upon the work of Bortolloti, Murphy-Hollies, and others, I suggest that curiosity as a virtue has an integral role to play in healthcare, namely, in helping to make those who are invisible, visible. Practicing the virtue of curiosity enables one to engage with and explore the experiences of patients and contributes toward building a physician–patient relationship of trust. As the (...) perspectives and experiences of patients can be too often dismissed or lost within medical settings, curiosity can allow physicians to deeply know their patients, and thus provide better care. However, caution must be exercised so as to not to venture into inappropriate curiosity, where questions are asked for improper reasons or to help satisfy the personal interest of physicians. Finally, I sketch out two cases—on chronic pain and on vaccine hesitancy—to illustrate where curiosity can play a valuable role. (shrink)

This paper describes the construction of the visual space of surveillance by the global anti-doping apparatus, it is a space inhabited daily by professional cyclists. Two principal mechanisms of this apparatus will be discussed—the Whereabouts System and the Biological Passport; in order to illustrate how this space is constructed and how it visualises the invisible act of doping. These mechanisms act to supervise and govern the professional cyclist and work to classify them as either clean or dirty in terms (...) of the use of prohibited doping substances or methods. Contrary to the analysis of liberal anti-doping scholars such as Hanstad, Loland and Møller this paper argues that Foucault’s Panopticon paradigm is a useful tool for the analysis of this apparatus. The Whereabouts System and Biological Passport are the instruments by which the anti-doping apparatus intensifies the construction of the space of surveillance in professional sport. This space of surveillance not only locates and makes visible the physical location of each individual cyclist, but it also makes visible their internal bodily functions, in this case the composition and the fluctuations of the composition of their blood. In making the cyclist visible the instruments do not allow the cause of doping, or the event of doping to be known or observed. Rather what they do is cast the body in terms of abnormalities of time, place or blood. In the case of an abnormality of the cyclist’s blood, the cause itself cannot be identified with any certainty, all that is made visible is a suggestion, or a probability, that doping may have occurred. The ultimate effects are twofold—an internalisation and continual monitoring of one’s self as well as by the authorities, and a radical change in the nature and the definition of the offence of doping. No longer is it positive evidence of doping that is punishable, but what becomes punishable is an abnormality, in the cyclist’s location, or their body, which suggests a probability that the invisible act of doping may have occurred. In the course of this process accepted manners of proving an offence by the use of scientific evidence and expert commentary are transformed. The Whereabouts System and the Biological Passport open up a new manner in which the invisible can be visualised. Through the discourse and the attendant commentary of the expert a new alliance between doping and the law is constructed. The result is a redistribution of the way in which the law visualises and treats the symptoms (the signifier) and the signified act of doping. The Whereabouts System and Biological Passport are the instruments by which the anti-doping apparatus intensifies the construction of the space of surveillance in professional sport. This space of surveillance not only locates and makes visible the physical location of each individual cyclist, but it also makes visible their internal bodily functions, in this case the composition and the fluctuations of the composition of their blood. In making the cyclist visible the instruments do not allow the cause of doping, or the event of doping to be known or observed. Rather what they do is cast the body in terms of abnormalities of time, place or blood. In the case of an abnormality of the cyclists’s blood, the cause itself cannot be identified with any certainty, all that is made visible is a suggestion, or a probability, that doping may have occurred. The ultimate effects are twofold—an internalisation and continual monitoring of one’s self as well as by the authorities, and a radical change in the nature and the definition of the offence of doping. No longer is it positive evidence of doping that is punishable, but what becomes punishable is an abnormality, in the cyclist’s location, or their body, which suggests a probability that the invisible act of doping may have occurred. In the course of this process accepted manners of proving an offence by the use of scientific evidence and expert commentary are transformed. The Whereabouts System and the Biological Passport open up a new manner in which the invisible can be visualised. Through the discourse and the attendant commentary of the expert a new alliance between doping and the law is constructed. The result is a redistribution of the way in which the law visualises and treats the symptoms (the signifier) and the signified act of doping. (shrink)

The main features of a new online database of scientific illustrators are portrayed. We list illustrators of scientific publications of all genres (especially atlases, articles, textbooks) who were active between 1450 and 1950, thus excluding illuminators of medieval manuscripts as well as illustrators still active. Currently (Sept. 26, 2012), we already have more than 3,461 entries, with particular emphasis on anatomy, dermatology, botany, zoology, mineralogy, astronomy, and general natural history. Access to the database with its 20 search fields is free (...) and open to all interested users at www.uni-stu ttgart.de/hi/gnt/dsi/. (shrink)

Sketching as a scientific practice goes beyond the simple act of inscribing diagrams onto paper. Scientists produce a wide range of representations through sketching, as it is tightly coupled to model-based reasoning. Chemists in particular make extensive use of sketches to reason about chemical phenomena and to communicate their ideas. However, the chemical sciences have a unique problem in that chemists deal with the unseen world of the atomic-molecular level. Using sketches, chemists strive to develop causal mechanisms that emerge from (...) the structure and behavior of molecular-level entities, to explain observations of the macroscopic visible world. Interpreting these representations and constructing sketches of molecular-level processes is a crucial component of student learning in the modern chemistry classroom. Sketches also serve as an important component of assessment in the chemistry classroom as student sketches give insight into developing mental models, which allows instructors to observe how students are thinking about a process. In this paper we discuss how sketching can be used to promote such model-based reasoning in chemistry and discuss two case studies of curricular projects, CLUE and The Connected Chemistry Curriculum, that have demonstrated a benefit of this approach. We show how sketching activities can be centrally integrated into classroom norms to promote model-based reasoning both with and without component visualizations. Importantly, each of these projects deploys sketching in support of other types of inquiry activities, such as making predictions or depicting models to support a claim; sketching is not an isolated activity but is used as a tool to support model-based reasoning in the discipline. (shrink)

Introduction: making the invisible visible -- The nobility of the material -- Research at war -- The guilded age of research -- The doctor as whistle-blower -- New rules for the laboratory -- Bedside ethics -- The doctor as stranger -- Life through death -- Commissioning ethics -- No one to trust -- New rules for the bedside -- Epilogue: The price of success.

In lieu of an abstract, here is a brief excerpt of the content:A Pound of Flesh: Lacan’s Reading of The Visible and the InvisibleCharles Shepherdson (bio)This cut in the signifying chain alone verifies the structure of the subject as discontinuity in the real.—Lacan, “Subversion of the Subject”This moment of cut is haunted by the form of a bloody scrap—the pound of flesh that life pays in order to turn it into the signifier of signifiers, which it is impossible to (...) restore, as such, to the imaginary body.—Lacan, “Direction of the Treatment”A philosophy of the flesh is the condition without which psychoanalysis remains anthropology.—Merleau-Ponty, The Visible and the Invisible1. The Limit of LanguageWhen The Visible and the Invisible was published in 1964, Lacan was teaching for the first time at the École normale supérieure. In the fall of 1963, the previous semester, the French Society for Psychoanalysis had excluded Lacan from its list of approved training analysts, which also meant his rejection from the society founded by Freud himself, the International Psychoanalytic Association. 1 As a result, Lacan cancelled his seminar at Sainte-Anne [End Page 70] Hospital, where it had been running for ten years, and began teaching for the first time before a university audience (at the invitation of Fernand Braudel, Claude Lévi-Strauss, Louis Althusser, and other supporters who had arranged for him to continue his teaching). Philosophers like Jean Wahl and Jean Hyppolite had of course taken an interest in his work for many years, but this was the first time that participants in his seminar no longer needed the special credentials required to enter the psychiatric clinic at the teaching hospital. The seminar was now open to the public, was considerably larger than it had ever been, and its participants came mainly from the university. Lacan was now obliged to make a case for his work before the academic world.The seminar he had planned for that year was called Les noms-du-père (The Names-of-the-Father), but only one session took place. 2 When he moved from Sainte-Anne to the École normale, he offered a different course, which was published as Seminar XI: The Four Fundamental Concepts of Psychoanalysis, although it was originally entitled Les fondements de la psychanalyse (The Foundations of Psychoanalysis). 3 It is clear, therefore, that this seminar constitutes a new beginning of sorts, a return to fundamental principles. It also involves a concerted effort, on Lacan’s part, to prove himself.If we begin with these historical details, it is not because of their intrinsic importance, or because a theoretical text can be reduced to its historical milieu, but because Lacan’s remarks on The Visible and the Invisible can be grasped only if we recognize the specific concerns that occupied him during this course. 4Before we turn to that course, however, let us sketch its horizon more precisely. The ill-fated session from the Names-of-the-Father seminar, which has been published in the English (but not the French) edition of Television, contains an analysis of the “voice” which is very close to the account of the “gaze” that organizes his discussion of Merleau-Ponty [see Salecl and Zizek]. The session on the “voice” develops through a reading of the biblical account of Abraham and Isaac [see Derrida], which is in turn elaborated by reference to Caravaggio’s depiction of the sacrifice of Isaac and Kierkegaard’s Fear and Trembling—the entire session providing a brief summary of Lacan’s course on anxiety from the previous semester (the unpublished Seminar X: L’angoisse, 1962–63), in which Heidegger is never far away. 5 The context for his treatment of Merleau-Ponty is therefore extremely complex and overdetermined, opening in many directions, but at the same time it is extremely precise, in the sense that Lacan’s purpose in exploring these materials is not primarily philosophical, but concerns the development of a fairly narrow and technical point within psychoanalytic theory, namely, the problem of the drive. 6 [End Page 71]We thus have an initial orientation: as objects of the drive, the “voice” and the “gaze” are not properties of the subject (the... (shrink)

The vast majority of theologians accept true news, sound senses and healthy working mind as sources of knowledge. Due to the fact that the mind is counted among the sources of knowledge, reason-based evidence has been used in many subjects. It is known that Māturīdī was the first theologian who dealt with the mentioned sources of knowledge in his work. At the very beginning of his Kitāb al-Tawhīd, he determined the ways of acquiring knowledge as correct news, sound senses and (...) reason, and elaborated them in detail. Māturīdī mostly prefers the term inference to describe the use of reason. He has proven his views on theological issues with many types of inference as well as true news and sense knowledge. These include matters related to the hereafter, too. The visible over the invisible, which is a type of inference, was used as evidence by Māturīdī to prove almost every subject. Many definitions of the method of the method the visible as an evidence for the invisible have been made. However, it is possible to understand the structure on which it is built as follows: There are areas that human beings cannot comprehend and have will no definite knowledge about. These areas called as al-ghaib “the invisible” may be related to ontological differences or may be due to differences in time and space. The difference between humans and Allah is ontological difference, and Allah is an ontological invisible for humans. While events that have not yet happened are invisible in terms of time, happenings what beyond the mountain for example, are invisible in terms of spatial difference. It is not possible for human beings to fully understand (perceive) the attributes of Allah, who is ontologically invisible. For this reason, many theologians have used the method the visible as an evidence for the invisible especially in making the attributes of Allah understandable and have tried to explain the divine attributes with this method. Belief in the hereafter is also related to the realm of the unvisible. There are a lot of revelations (true knowledge) about the hereafter. However, because of the conditions of the hereafter are different from this world, it is necessary to make the revelations about that place comprehensible. Accordingly, it is interesting how Māturīdī uses the aforementioned method to understand the nature of reward and punishment in the hereafter, which is the area of the unvisible. Māturīdī sometimes understood the verses about reward and punishment in the hereafter with their real meanings, and sometimes attributed different meanings to these verses. In this context, while dealing with the verses about the afterlife, he listed the possibilities regarding what they might mean, and included interpretations based the method the visible as an evidence for the invisible. Thus, Māturīdī tried to make the hereafter, intelligible based on human being’s experiences in this world. According to Māturīdī, the mind also has a function in understanding the hereafter. The mind has the capacity to go beyond the senses and gives us information about that field. Our mind, based on what we can perceive and understand, can go beyond itself and make inferences about the issues that are incapable of understanding. Knowing the pleasures and tortures of the world in order to understand the reward and punishment that will be given to humans in the hereafter happens in a similary way. In addition, he makes inferences based on events, situations, characteristics, etc. (visible) that people know from worldly life in order to better understand the expressions in such verses, which is quite remarkable for our study. In this context, while interpreting many verses, Māturīdī bases on the aspects of the realm of the visible similar to the realm of the hereafter. He explains the similarities of the hereafter to the worldly life, mostly through human nature, the Arabs’ perception of reward and punishment, and people’s perception of color and direction. In addition to these, he takes our knowledge, which has increased to the knowledge of observation, as a basis even though we learn through news, and evaluates the divine narrations for the hereafter on these principles. For the hereafter can be understood through things known, visible, lived and experienced in the life of this world. Māturīdī emphasizes the similarity of the world and the hereafter as well as the different aspects of the hereafter and uses these differences as a basis for his inferences. Our study is aimed at understanding how Māturīdī brings evidence to what people know from worldly life while explaining the nature of reward and punishment in the hereafter. In this context, methods such as interpretation, comparison, concept analysis, and literature review were used, and the study was limited to the books of Kitāb al-Tawhīd and Ta’wīlāt of Māturīdī. (shrink)

Few studies in the business ethics literature explore marginalized populations, such as the racially minoritized entrepreneur. This absence is an ethical issue for the business academy as it limits the advancement of racial epistemologies. This study explores how this exclusionary space emerges within the academy by identifying white solipsistic behavior, an ‘othering’ of minoritized populations. Using a multi-method approach, we find the business literature homogenizes the racially minoritized business owner regardless of race/ethnic origin and categorizes them as lacking in comparison (...) to White entrepreneurs. A critical discourse analysis of university entrepreneurship website language and images reveals that the racially minoritized are presented as the outgroup. The language used to describe entrepreneurs was found to be predominantly agentic, building a hegemonic categorization of White men dominating entrepreneurship. Troublingly, but consistent with the literature review, when racialized minorities were present in images, we found them to be marginalized. Employing an experimental design to mock-up four websites featuring student entrepreneurs differing by race and gender, we ask ‘what if we make these under-represented entrepreneurs visible?’ Results show that women, and specifically racially minoritized women, have a greater impact on the entrepreneurial interests of university students compared to men. Overall, the results provide empirical evidence for white solipsism in the business academy. We call for self-reflexivity to transparentize the ‘invisible’ racially minoritized entrepreneur and fill the ‘white space’ by changing the framing and context of business research to be more inclusive. (shrink)

Running back then, we can collect a few salient facts about the Invisible World:While things in it are visible, the World itself upon which they are conditioned is not and can not be in principle.Among things in the world, contingency or surprize is a central feature, making possible both the content of perception and the possibility of action, and is in effect some sort of synonym for life. The contingency means both the nondeducibility of what happens as (...) well as the dependence of each thing upon the others in varying degrees of relevance.The World of events and things, certainly ourselves, is composed of singulars, unrepeatable and unique occurrences or things; singularity also derives from the World Itself, the invisible singular condition of Fact.Within the world, each thing appears within a horizon, a last limit of visibility for us wherever we are, but that horizon is itself movable as we move our existential point of view. Beyond one horizon there are other things not too unlike ontologically the ones we see, and so emerges what Jaspers calls a ‘horizon of horizons.’ In short, we remeet that famous ‘etc.’ almost invariably bound up with what the world of things is for us. This ‘horizon of horizons’ itself derives from another aspect of the World as Invisible: its absolute self-enclosed infinity. How else could such an absolute cause or condition express itself seriatim except through endlessness?The last feature we noted was the fracture within the world of things: to wit, that while complete in one sense, in another our world is far from constituting a whole. We are there, too, and are not members of it no matter how much some would like to be so.Singular, unique condition of what is in the world, a world of essential surprize, interdependence, increasingly the Invisible World begins to take on the characteristics of the old philosopher's God, something of the order of Spinoza's God, natura naturans, the world of things being the same substance but taken bit by bit, natura naturata. And if this identity of God and the World seems and has always seemed slightly blasphemous, since God is usually opposed to the World, to soften the blow we might only consider their point of resolution: the Soul, or Transcendental Ego, has the possibility of knowing all this, or at least exploring their unity. To revert to Spinoza again, each Attribute, in his case Extention and Thought, is infinite, but infinite in its own kind. The world of things appears to us indeed infinite, but then it is only a ‘kind’; there is also Thought, or infinite Subjectivity, also infinite in its own kind. And what does thought think about? Well, most usually the world into which it was born; but then it is not long before it perceives the absolute condition of that, and then also there is its reflexivity upon itself. Together, though not by way of summation, the Absolute Source as described is the philosopher's God. Spinoza also said that our Idea of God is identical with God's idea of Himself. (shrink)

The works of the Anglo-Indian artist Anish Kapoor challenge the intangibility of the real and the reality of the objects, the surrounding space, even the spectator himself. They make it appear as an illusion and point to an invisible reality located beyond or beneath, or even at the very heart of the visible. This essay explores the nature of this hidden realm, which the works allow us to see or at least to foresee. It interrogates also the phenomenological (...) mechanisms at play in the works, which induce the spectator into putting the real in doubt, to confront him or herself to the invisible and to name it. (shrink)

An expanded edition of Hickey's controversial and exquisitely written apologia for beauty--championed by artists, reviled by art critics, and as powerful as ever 30 years on 1993: the AIDS pandemic rages through yet another decade, leaving society and the arts devastated and bereft. Dave Hickey sits down to produce a slim volume, The Invisible Dragon. The book ignites a firestorm, and from its ashes "beauty" again rises as a dominant force in artistic life. Academics argue about theoretical minutiae. Artists (...) pass the book around like a samizdat. This 30th-anniversary edition brings back into print Dragon's four essays on beauty and commingles them with five previously uncollected essays. Hickey's 1974 profile of Dolly Parton anticipates Dolly's longevity as a cultural and feminist icon; his appreciation of Richard Pryor weaves an elegiac tapestry; his review of John Rechy's seminal gay novel Numbers outs its literary innovation in the face of a homophobia that otherwise ghettoized it; and his singular essay on Ed Ruscha, a paragon of arts writing by an extraordinary prose stylist, enjoins us to listen to art, not just look at it. An afterword by Hickey's friend and Dragon's editor "queers" the brash, heterosexual gambler as it situates the creation of Dragon squarely within the AIDS pandemic. The book was in part an attempt to make beauty visible under the looming presence of death and bodily decay. Only now can we fully appreciate how artists continue to harness beauty as a source of meaning and joy. Dave Hickey (1938-2021) was one of the preeminent arts and cultural writers of the turn of the 21st century. A MacArthur "Genius" Fellow known as the "beauty guy" in the popular press, Hickey opened A Clean, Well-Lighted Place gallery in Austin, Texas, in the 1960s, before becoming executive editor at Art in America magazine. In the 1970s, he was a songwriter in Nashville, Tennessee, where he coined and helped create the "Outlaw country" music movement. By the 1990s, Hickey had made a home in Las Vegas, from where he regularly traveled to speak with audiences worldwide. (shrink)

My paper focuses on the theme of visibility by teasing out some paradoxes of invisibility. In the ordinary social world, what is said to be invisible is generally what is here, right before our eyes, but to which we pay no attention. Care is invisible because it goes on without us seeing it. By suddenly making visible what is ordinarily invisible, the COVID pandemic has been a strange pedagogical moment, making visible the people (...) who take care of “us”, and revealing our entire society’s ignorance of what allows it to live—whether in the context of everyday life or in the urgency of the risk of death. The grammar of care has thus imposed itself on everyone, because care is never so visible as in those situations where a form of life is shaken. Care work has been revealed as invisible work that keeps everyone going. “Invisible” does not refer to a difficulty in perceiving but rather a refusal to see. A refusal to see something that is not hidden, but which we do not see precisely because it is right before our eyes. Invisibility is thus denial, in both the social and the theoretical realms, especially when care work is envisioned in the terms of the further invisibilization of care work when it is done for the benefit of women as in the “care drain” from poor to rich countries. The asymmetry in the relations between North and South is part of the invisibility of what sustains societies. The invisible chains of care reveal the extent to which the question of service is the fundamental question of social invisibility. (shrink)

This article discusses a Leverhulme residency undertaken by the author Julie Brixey-Williams in 2003–4 at the Association of Anaesthetists of Great Britain and Ireland. Notions of medical visibility were explored through practice-led investigations under the umbrella title, Traces of the Invisible, that concentrated on making concrete, visible responses to the hidden or intangible elements of the anesthetist’s working life in areas such as sleep, breath, pain and genetic markers. Rosebud is a unique nine-foot concertina bookwork created after (...) reading the entire story of The Sleeping Beauty into an anesthetic machine. This essay expands upon the concepts and material responses that led to the making of the book with particular reference to how the book’s structure forms a relationship to language and the body-as-site, whilst operating as a sculptural object that raises the visibility of the anesthetic profession. Fairy tales and their telling, including stories of enchanted sleep, transformational qualities, magical languages and shaman healers, will be examined alongside. (shrink)

The ArgumentThe vine lousePhylloxera vastatrixbecame a “pest” as it was transferred from North America and from France to Germany during the 1870s. Embodying the “invading alien,” it assumed a cultural position that increasingly gained importance in Imperial Germany. In this process, the minute insect, living invisibly underground, was made visible and became constitutive of the scientific-technological object, “pest,” pertaining to a scientific discipline, modern economic entomology. The “pest” phylloxera emerged by being made visible in a way that enabled (...) control measures against it. Thus, visibility functioned as a prerequisite for control measures. I differentiate between social visibility and physical visibility, as well as between social control and physical control of the “introduced pest.” The object phylloxera emerged at the intersection of techniques of social control such as surveillance, techniques of physical control such as disinfection, and representational practices of the sciences such as mathematics and graphics. The space of its visibility was not the vineyard as property of a vintner but the vineyard as national territory, where German (viti-) culture was defended against foreign infiltration and destruction. Many vintners had alternate visions of the grapevine disease, they resented the invasion and destruction of their vineyards by government officers, and thus they did not participate in the social and epistemic constitution of the “pest.” By 1914, the “introduced pest” had not yet become an effective “machinery.” However, the “pest” as an object of scientific knowledge emerged together with economic entomology. The field became organized as a discipline in Germany in 1913, forty years after the phylloxera had first aroused the minds of some worried Wilhelmians, and, together with its nationalistic images, the field of “pest” control became organized towards a redefinition of German society and its perceived dangers. (shrink)

Adam Smith rejected Mandeville's invisible-hand doctrine of 'private vices, publick benefits'. In The Theory of Moral Sentiments his model of the 'impartial spectator' is driven not by sympathy for other people, but by their approbation. The innate capacity for sympathy makes approbation credible. Approbation needs to be authenticated, and in Smith's model authentication relies on innate virtue, which is not realistic. An alternative model of 'regard' makes use of signalling and is more pragmatic. Modern versions of the (...) class='Hi'>invisible hand in rational choice theory and neo- liberalism are shown to be radical departures from the ethical legacy of Enlightenment and utilitarian economics, and are not consistent with Adam Smith's own position. (shrink)

This article examines the processes of investigation and gathering evidence about victims of the September 11 attacks to better understand the inability of state and nonstate institutions to effectively deal with the invisibility of undocumented migrants in terms of providing assistance and recognition at a moment of tragedy. The failure to make the invisible visible or to address the very question of visibility publicly is explained by three major reasons: 1) A general fear of coming forward on the (...) part of undocumented migrants or their families, partly as a result of their legal status and their lack of trust in government agencies, which was compounded by ineffective communication about available relief services; 2) different procedural requirements and logics of evidence used by government and nongovernmental relief agencies, which, in some cases, made it impossible for undocumented migrants or their families to provide proof of their presence at the site or employment in the businesses affected; 3) the context of 9/11 as a disruptive event that influenced the overall climate in which issues of victimhood and immigration status could be addressed. (shrink)

When Adam Smith published his celebrated writings on economics and moral philosophy he famously referred to the operation of an invisible hand. Adam Smith's Political Philosophy makes visible the invisible hand by examining its significance in Smith's political philosophy and relating it to similar concepts used by other philosophers, revealing a distinctive approach to social theory that stresses the significance of the unintended consequences of human action. This book introduces greater conceptual clarity to the discussion of the (...) invisible hand and the related concept of unintended order in the work of Smith and in political theory more generally. By examining the application of spontaneous order ideas in the work of Smith, Hume, Hayek and Popper, Adam Smith's Political Philosophy traces similarities in approach and from these builds a conceptual, composite model of an invisible hand argument. While setting out a clear model of the idea of spontaneous order the book also builds the case for using the idea of spontaneous order as an explanatory social theory, with chapters on its application in the fields of science, moral philosophy, law and government. (shrink)

Breath is invisible and yet ever present and vital for living beings. The concept of invisibility in relation to breath operates in concrete and metaphorical ways to extend ideas about breath and breathlessness across disciplines, in clinical spaces and in life experience. Using a critical medical humanities approach, I demonstrate that the poverty of narrative accounts and language for breath outside the health context have had a crucial influence enabling clinically mediated interpretations and accounts to dominate. These third-person accounts (...) are important in the articulation of the ‘lived body’, but I balance this with a consideration of the subjective sensation of interoception, which has important implications for the visibility of breathlessness in both clinical and lay contexts. This article illustrates the rich potential of the subjects of breath and breathlessness within body studies and this special issue is a key step in making breath such an emergent topic. (shrink)

Experts in all fields are able to see what is invisible to others. Experts are also able to see what is visible to all—and this is explored by Bilalić and Gobet. We question the method of normalizing all subjects in an experimental condition, and asking experts to behave as if they were novices. We claim that method leads Bilalić and Gobet to a nonsequitur.

Varela's enactive approach to cognitive science has been elaborated into a theoretical framework of agency, sense-making, and sociality, while his key methodological innovation — neurophenomenology (NP) — continues to inspire empirical work. We argue that the enactive approach was originally expressed in NP as three core tenets: (1) phenomenological pragmatics, (2) embodied cognition, and (3) conscious efficacy. However, most efforts in NP have focused on applying tenet 1, while tenet 2 has received notably less attention, and there is even (...) explicit distancing from tenet 3. By way of a critical review of four case studies, we show how NP thereby falls short of its full potential. Crucially, it needs to demonstrate that the first-person perspective matters, not only as a source of correlations with third-person data, but because lived experience, as such, makes a difference in its own right to the living body's dynamics. Given that methods for improving subjective reports have become accepted in human neuroscience (tenet 1), and given the increasing availability for recording multi-scalar organismic activity during embodied action (tenet 2), we propose it is time to integrate these research strands by using this issue of conscious efficacy as a pivot point (tenet 3). The development of genuinely experience-involving accounts of neurophysiological activity during embodied action holds promise for rebooting neurophenomenology in stronger form. (shrink)

Alone among surviving Athenian homicide orations, Antiphon'sOn the Murder of Herodesresembles a modern murder mystery. Antiphon's client, a Mytilenean named Euxitheus, tells a story of a stormy night, an isolated harbour, a drunken murder victim, a missing corpse, misleading bloodstains, forged documents and hints of political intrigue. And, like in any good whodunnit, Euxitheus insists that no one knows who the killer is. Although all the clues seem to point to him, he maintains that Herodes' relatives have manipulated the evidence (...) to make him seem guilty. We do not know whether Euxitheus succeeded in convincing his jurors, but the author of theLife of Antiphonattributed to Plutarch, who says that Antiphon was ‘adept in situations with no way out’ (ἐν τοῖς ἀπόροις τεχνικός), considersOn the Murder of Herodesone of Antiphon's finest compositions (832E, 833D). (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Linguistic studies of evidentiality, the coding of source of knowledge, have often appeared divided into two camps: those whose focus is the semantic, morphological and typological characteristics of grammaticalized morphological evidential systems, and those whose focus is on the social functions of non-grammaticalized evidential constructions as markers of epistemic authority and responsibility. While interest in the discourse functions of all evidential systems has been growing as seen in the recent special issue of the journal Pragmatics and Society on ‘Evidentiality in (...) Interaction’, there has been little direct attention on whether the deployment of evidential strategies in discourse varies according to the grammatical status of the grammatical resources available to the speaker. This article examines the nature of both grammaticalized and non-grammaticalized evidential systems in a number of languages to show that while the underlying pragmatics of evidentiality is the same regardless of grammatical system, nonetheless grammaticalized evidential systems provide important evidence of the particular features of knowledge sources that are used in routine ways in discourse sufficiently to motivate their development into grammatical systems. (shrink)

LIMITS OF HUMAN SENSES, Consciousness and Awareness -/- ULRICH DE BALBIAN -/- Meta-Philosophy Research Center My art makes the invisible visible, limits of human awareness -/- 1 Human consciousness and awareness is restricted by stereotypes and notions that cause philosophers and artists to exist in the dark ages as far as their perception and understanding of human inner and outer senses are concerned. Humans perceive 7 colors of rainbows with 16 to 37 or more colors, that are perceived (...) by other organisms, for example certain sea creatures. (shrink)

[[[ (Here only the chapters 3 – 8, see *** ) First I argue that the prohibition of linguistic self-reference as a solution to the antinomy problem contains a pragmatic contradiction and is thus not only too restrictive, but just inconsistent (chap.1). Furthermore, the possibilities of non-restrictive strategies for antinomy avoidance are discussed, whereby the explicit inclusion of the – pragmatically presuposed – consistency requirement proves to be the optimal strategy (chap.2). ]]] The central question here is that about (...) the actual reason for antinomic structures. It turns out to be a form of negative self-conditioning (chap.3). This makes it necessary to clarify the status of negative concepts (chap.4). The generalization of these considerations (chap.5) leads to the actual analysis of the antinomic basic structure (chap.6): Decisively for the pragmatics of the concept is that it positively owns a meaning, so that positivity is always constituted by the concept qua concept. Thus a negative concept is characterized by a fundamental ambivalence: From a semantic point of view it has negative character, in its pragmatic status as a concept, however, it has positive character. If the meaning is especially that of a negative self-reference, the ambivalence leads to the antinomic constellation of a negative self-condition – that is the crux of the matter here! The concept thus possesses the property defined by it exactly when it does not possess it and vice versa. A closer analysis shows that the function of reflective structures for the occurrence of antinomies has to be judged much more differentiated than previous opinions suggest. Not only are four forms of reflectivity to be distinguished in this context – ontic, semantic, pragmatic reflectivity, and especially the form of negative self-condition; but it is also apparent that these are intertwined with each other in a way that is difficult to be understood. The astonishing variety of relationships associated with this makes the irritation that has always emanated from the antinomy problem appear more comprehensible. In the developed pragmatic perspective furtheron parallels to the structure of self-consciousness become visible (chap.7). I conclude with considerations about the significance of the antinomic structure for the problem of dialectics, especially for the synthesis formation of mutually exclusive terms (chap.8). (shrink)

This article is concerned with Klee’s belief that ‘intuition’ is indispensable to the artistic and scientific understanding of natural processes and laws of nature. Examples of his pictorial practice are discussed which derive from the as yet for the most part unpublished and little studied writings from the period at the Bauhaus. Taking the methodologically diverse literature about Klee into account, this paper tries to understand Klee’s ‘scientism’ in the cultural and theoretical context of his time.Keywords: Intuition; Genius; E. T. (...) A. Hoffmann; Wilhelm Worringer. (shrink)

Science, engineering and technology are still male-dominated fields, and thus all over Europe much effort is expended on activities which, it is hoped, will lead to a sustainable gender balance. Scholarly work has frequently focused on the topic of how to motivate women to enter SET fields or to choose a corresponding education. In contrast to this one-sided approach, recent scholarly contributions have begun to emphasize the vital role of gendered structures and indirect exclusion mechanisms of technological institutions and their (...) professional self-understandings which discourage women from entering or staying in SET organizations. In particular, taken-for-granted knowledge as a mechanism for maintaining specific norms and values is considered a primary hindrance towards more inclusive and less oppressive organizational cultures. Since this taken-for-granted knowledge is often implicit, a primary goal of research can be said to make the invisible visible. Thus this article presents selected empirical results of a research project which makes use of an investigative tool called mind-scripting. Here the aim is to identify the main barriers, in terms of unquestioned taken-for granted knowledge, currently hindering an open and critical review of gendered structures and gender codes in the SET field, or in organizations in general, particularly with respect to professional norms. (shrink)

Since the introduction of ultrasound technology in the 1960s as a tool to visibly articulate the interiors of the pregnant body, feminist scholars across disciplines have provided extensive critique regarding the visual culture of fetal imagery. Central to this discourse is the position that fetal images occupy- as products of a visualizing technology that at once penetrates and severs pregnant and fetal bodies. This visual excision, feminist scholars describe, has led not only to an erasure of the female body from (...) fetal images but also to an erasure of the pregnant body in social, political, and biomedical discourses. Vital to feminist scholarship is, thereby, an engagement with fetal images in ways that reinscribe the pregnant body onto fetal images and into political discourses pertaining to reproductive rights. In this paper, similar to the feminist aim, I am interested in engaging with fetal images as way to gain agency for pregnant women and their bodies. The critical question that I ask is: Can we conceive of medical technology in an embodied way -one that interacts organically, dynamically, and through multisensory dimensions with pregnant bodies? In attempting to answer this question, I turn to Bruno Latour and Gilles Deleuze’s articulations of how bodies and machines interact to produce visual fact. (shrink)

In the essay possible thematic connections between Copernicus and Lyotard are elaborated. In his late opus Lyotard elaborates the problematic of making the invisible visible, presenting the unpresentable, the emergence of something new. This theme not only throws new light on the very emergence of the Copernican revolution, if there ever was one, but also presents something which is at the very heart of the dispositive of modern science as such: a link between contingency, necessity and impossibility, (...) elaborated by Lyotard through his new yet unfinished conceptions of time, cause and subject. Finally, some paradoxes of Lyotard’s project carried out in the name of the second Copernican turn are shown. (shrink)

This article investigates the work of processors who curate and “clean” the data sets that researchers submit to data archives for archiving and further dissemination. Based on ethnographic fieldwork conducted at the data processing unit of a major US social science data archive, I investigate how these data processors work, under which status, and how they contribute to data sharing. This article presents two main results. First, it contributes to the study of invisible technicians in science by showing that (...) the same procedures can make technical work invisible outside and visible inside the archive, to allow peer review and quality control. Second, this article contributes to the social study of scientific data sharing, by showing that the organization of data processing directly stems from the conception that the archive promotes of a valid data set—that is, a data set that must look “pristine” at the end of its processing. After critically interrogating this notion of pristineness, I show how it perpetuates a misleading conception of data as “raw” instead of acknowledging the important contribution of data processors to data sharing and social science. (shrink)

Alison Bailey’s The Weight of Whiteness: A Feminist Engagement with Privilege, Race, and Ignorance examines how whiteness misshapes our humanity, measuring the weight of whiteness in terms of its costs and losses to collective humanity. People of color feel the weight of whiteness daily. The resistant habits of whiteness and its attendant privileges, however, make it difficult for white people to feel the damage. White people are more comfortable thinking about white supremacy in terms of what privilege does for them, (...) rather than feeling what it does to them. The first half of the book focuses on the overexposed side of white privilege, the side that works to make the invisible and intangible structures of power more visible and tangible. Bailey discusses the importance of understanding privileges intersectionally, the ignorance-preserving habits of “white talk,” and how privilege and ignorance circulate in educational settings. The second part invites white readers to explore the underexposed side of white dominance, the weightless side that they would rather not feel. The final chapters are powerfully autobiographical. Bailey engages readers with a deeply personal account of what it means to hold space with the painful weight of whiteness in her own life. She also offers a moving account of medicinal genealogies, which helps to engage the weight she inherits from her settler colonial ancestors. The book illustrates how the gravitational pull of white ignorance and comfort are stronger than the clean pain required for collective liberation. The stakes are high: Failure to hold the weight of whiteness ensures that white people will continue to blow the weight of historical trauma through communities of color. -/- All rights reserved. No portion of this publication may be reproduced, stored in a retrieval system, or transmitted in any form by any means, electronic, mechanical, photocopying, recording or otherwise without the prior written permission of the publisher. -/- -/- . (shrink)

Intuition in medical and moral reasoning -- Moral intuitionism -- The place of Aristotelian phronesis in clinical reasoning -- Aristotle's practical syllogism: accounting for the individual through a theory of action and cognition -- Individual and statistical physiognomy: the art and science of making the invisible visible -- Clinical intuition versus statistical reasoning -- Contingency and correlation: the significance of modeling clinical reasoning on statistics -- Abduction: the intuitive support of clinical induction -- Conclusion: medical ethics beyond (...) ontology. (shrink)

Jeffrey Bishop’s The Anticipatory Corpse exposes a functional metaphysics at the root of contemporary medical practice that gives rise to inhumane medicine, especially at the end of life. His critique of medicine argues for alternative spaces and practices in which the communal significance of the body, its telos, can be restored and the meaning of a “good death” enriched. This essay develops an alternative epistemology of the body, drawing from Christian theological accounts of the communal or Eucharistic body and linking (...) liturgical practices to the cultivation of solidarity. It argues for an epistemology of the body that makes visible the invisible bodies at medicine’s margins and illumines the disparate worlds of health care globally. (shrink)

As data-intensive and computational science become increasingly established as the dominant mode of conducting scientific research, visualisations of data and of the outcomes of science become increasingly prominent in mediating knowledge in the scientific arena. This position piece advocates that more attention should be paid to the epistemological role of visualisations beyond their being a cognitive aid to understanding, but as playing a crucial role in the formation of evidence for scientific claims. The new generation of computational and informational visualisations (...) and imaging techniques challenges the philosophy of science to re-think its position on three key distinctions: the qualitative/quantitative distinction, the subjective/objective distinction, and the causal/non-causal distinction. (shrink)

The specific arrangements of power/knowledge that characterize nurse interactions with the electronic health record form a panopticon. As health care moves into the 21st century, sophisticated technologies like the electronic health record shape the terrain of professional possibilities. The longer it is in use, the more it is possible to excavate the inherent disciplinary function of electronic health record. A panopticon is a generalizable, replicable apparatus of power that cultivates discipline when similar behaviours are desired from a group of people. (...) This paper traces the arrangements of power/knowledge that characterize nurse interactions with the electronic health record rooted in a trauma critical care setting. Examining the apparatuses of power/knowledge enforced through panopticism in nursing makes the invisible visible. This in turn enables nurses to address the intended and unintended consequences of the electronic health record. If nurses are to effectively shape the direction of their own futures and the future of health care, nurses will need to unpack the invisible techniques of power such as the electronic health record as a panopticon. In the process of building a visible identity, contextualizing nursing knowledge to better care for patients on the one hand and understand the relationships of power that limit us on the other, nurses are neither apolitical nor powerless. Considering the dialectic of power/knowledge in the healthcare setting helps to illuminate spaces to recharacterize nursing, reveal the contributions and knowledge of nurses, and consolidate the professional power of nurses to affect meaningful change and self‐governance in the healthcare setting. (shrink)

The brief life of the Accademia del Cimento (1657–1667), the first known society with a purely experimental programme,1 is entangled with the most surprising advancements in the history of scientific instruments of that century, from the telescope to the microscope, the thermometer to the barometer, the hygrometer to the pendulum as a time-regulator, and more. The making of instruments at the Florentine court shows the interaction of princely, scholarly and artisanal actors. This paper explores this collaboration and shows how (...) the supposed “invisibility’ of artisans depended on their proximity to the academicians and princes, who mainly communicated verbally with them, directly or through middlemen. The visibility of artisans increases proportionally to their physical distance from the Court. In this essay I unveil the identity of the artisans of the Cimento and, finally, attempt to attribute five instruments (some lost and others still extant) to specific makers, shedding light also on relations between the artisan and his patron. (shrink)

Focused on manifestation, semiotics has nevertheless constantly considered its surroundings, the imaginary that makes the image and gives it meaning. The article tries to problematize this relationship. It separates the picture from its imaginary share, the image, and seeks to support its general propositions on plastic analyzes, a painting by Francis Bacon, an installation by Abdelkader Benchamma and another installation by Adrien M and Claire B. It focuses on reductions and the tipping points of the picture, where the “opening” occurs, (...) striving for a structuring of its proposals. It thus instructs both sides of the enunciation, an enunciation centered on the visible and an invisible enunciation still premeditated by the enunciation. (shrink)

In this paper, I explore the experiences of women who found refuge in Serbia during the war in the former Yugoslavia. I look at the women's experiences of both leaving home and coping with everyday life in refuge. The exploration of refugee women's experiences is mainly based on analyses of their own stories, which I collected while researching women and war. In spite of all the hardship of their lives, refugee women who fled to Serbia have been treated by Western (...) media, the public and aid organizations as ‘UNPEOPLE’ or as non-existent. Making their experiences visible as women, refugees and citizens is the main purpose of this article. (shrink)

El propósito del presente estudio es clarificar el modo en el que los últimos desarrollos de la fenomenología de Merleau-Ponty tratan de abordar el problema de la escisión entre conciencia y objetividad que aún se hallaba presente en las primeras obras de este pensador francés. A este respecto, la noción de "carne del mundo" desempeña un papel decisivo, dado que en torno a ella Merleau-Ponty construye -en su obra póstuma e inconclusa Lo visible y lo invisible- una teoría (...) narcisista de la percepción que puede interpretarse a la vez como una ontología especular en la cual el Ser, "la carne de las cosas", se capta a sí mismo a través de la percepción humana del mundo. Se trataría, pues, de una ontología de la reconciliación entre lo objetivo y lo subjetivo. The aim of the present study is to clarify the way in which the last developments of Merleau-Pontys phenomenology try to approach the problem of the split between conscience and objectivity that had remained unsolved in the French thinker's first works. In this discussion the notion of "flesh of the world" plays a decisive role since Merleau-Ponty builds around it -in his posthumous and unfinished work Le Visible et l'invisible- a narcissistic theory of perception that can be interpreted at the same time as a specular ontology in which Being, "the flesh of things", grasps itself through the human perception of the world -which makes it an ontology of reconciliation between the objective and the subjective. (shrink)

Anti-introduction: Paint it Black -- PART I: MESSAGES IN A BOTTLE: AESTHETIC THEORY CONTRA CRITICAL THEORY -- 1. Introduction -- 2. Critical Messages in a Bottle and Restoration -- 3. Excursus I: The Prevalence of a View: Being Uncompromisingly Critical at the Grand Hotel Abyss -- 4. Excursus II: The Prevalence of a View: 'Don't participate:' The Politics of Social Praxis -- 5. Aesthetic Messages in a Bottle and Progress -- 6. Messages in a Bottle as the Work of Art (...) -- PART II: ART ITSELF THINKS: THE POLITICS OF AESTHETIC (MIS-)EDUCATION -- 7. Introduction -- 8. The Politics of Artistic Practice: 'What artist isn't socially engaged?' -- 9. The Politics of Spectatorship: Shocking Spectators -- 10. The Politics of Aesthetic (Mis-)Education -- 11. Contemporary Art Itself Thinking: Making the Invisible Visible? -- Anti-conclusion: The Russian Ending. (shrink)