In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 125 to such a future contingent event, not only does such an event not exist now, it does not even exist in its causes now, and this for the reason that no sufficient causes of the event exist now. Accordingly, if someone were merely to make a guess to the effect that the sea-fight will occur tomorrow, and the fight actually does occur, it still could not (...) be maintained that the original guess at the time it was made was therefore true. It simply could not have been true, because at the time of its assertion there literally was no evidence of any kind that could have rendered it true. Nevertheless, modern logicians have generally been so dead set against the notion that the truth or falsity of a proposition could ever be relative to the time when the proposition was uttered that they seem scarcely to have taken account of a consideration such as the foregoing. Nor is it likely that with the publication of this excellent translation of St. Thomas's commentary, such critics will begin to take account of this Thomistic argument even now. Somehow, one is reminded of Dr. Johnson's purported remark, "Sir, I can only give a man a reason, not an intelligence!" HENRY VEATCtt Northwestern University Pascal e Nietzsche. Scritti di E. Castelli, H. Gouhier, A. del Noce, H. Birault, K. Takeno, K. LSwith, J. D~lhomme, G. Vattimo, R. Boehm, G. Morra. (Padova: Cedam; Casa Editrice Dott. Antonio Milani, 1962. Pp. 218. = Archivio di Filosofia. Organo dell'Istituto di Studi Filosofici. Anno 1962. No 3. L. 2000.) This issue of the Archivio di Filosofia offers essays by the various authors indicated in the title above. Pascal and Nietzsche are here brought together because of what they have in common, that is, suffering, restlessness, dissatisfaction with the human condition, the historical sorrow of post-Copernican man, a paradoxical and chaotic thought. Both Pascal and Nietzsche urge man to measure the real by the possible and not the possible by the real and to risk the present certainties for the uncertainty of the future. They dislodge man from his ordinary seat and launch him on the risky adventure and great experiment of real existence. PA~L T. FUHRMANN Columbia Theological Seminary Pierre Bayle and Voltaire. By H. T. Mason. (Cambridge: Oxford University Press, 1963. Pp. xv -k 163.) Pierre Bayle and Voltaire confronts the ideas of the two philosophers and formulates some prudent conclusions about their relationship. Since Bayle's works run to nine long folio volumes and Voltaire's come to fifty quartos in the Moland edition, one cannot help but be impressed by the magnitude of Professor Mason's undertaking and by his ability to reduce his findings to a book of just over one hundred and fifty pages. In the case of Bayle and Voltaire, the basic facts concerning influence are readily available. We know what works of Bayle's were in the library at Ferney; we can see the pages the Enlightenment philosopher marked as he read; we have almost two hundred references to Bayle in Voltaire's works and letters (listed chronologically by Mason in an appendix); and critical editions, such as Morize's Candide and Lanson's Lettres philosophiques, have disclosed how consistently Voltaire turned to the Dictionnaire historique et critique or other works from Bayle's pen for information. Yet, when dealing with passages that seem to rely on Bayle for factual content, a scholar runs into many hazards. Voltaire may draw his data from Bayle, from Bayle's source, from an intermediary, or from an outside source. We know that he consulted Richard Simon, Spinoza, Dora Calmet, and Dr. Astruc as well as Bayle for his Biblical criticism. Therefore, it is very frequently impossible to be sure just how much Bayle's thinking 126 HISTORY OF PHILOSOPHY contributed to the philosophe'~. Professor Mason, while continually aware of this Uncertainty, lists the numerous cases he has found where Voltaire's source may be Bayle. More significant, of course, are Bayle's seminal ideas and their role in the formation of Voltaire's intellect. The bulk of this book is devoted to chapters on "the... (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Intelligence analysts, like other professionals, form norms that define standards of tradecraft excellence. These norms, however, have evolved in an idiosyncratic manner that reflects the influence of prominent insiders who had keen psychological insights but little appreciation for how to translate those insights into testable hypotheses. The net result is that the prevailing tradecraft norms of best practice are only loosely grounded in the science of judgment and decision-making. The “common sense” of prestigious opinion leaders inside the intelligence community has (...) pre-empted systematic validity testing of the training techniques and judgment aids endorsed by those opinion leaders. Drawing on the scientific literature, we advance hypotheses about how current best practices could well be reducing rather than increasing the quality of analytic products. One set of hypotheses pertain to the failure of tradecraft training to recognize the most basic threat to accuracy: measurement error in the interpretation of the same data and in the communication of interpretations. Another set of hypotheses focuses on the insensitivity of tradecraft training to the risk that issuing broad-brush, one-directional warnings against bias (e.g., over-confidence) will be less likely to encourage self-critical, deliberative cognition than simple response-threshold shifting that yields the mirror-image bias (e.g., under-confidence). Given the magnitude of the consequences of better and worse intelligence analysis flowing to policy-makers, we see a compelling case for greater funding of efforts to test what actually works. (shrink)

Technical change and evolving product complexity lead to a separation of practical and theoretical processes in design and to an increased use of drawings, in particular, scale drawings.1 In contrast to handicraft evolution, the use of drawings in "design-by-drawing,"2 in particular, scaled and dimensioned drawings, separates experiences from production. Design and manufacturing follow different paths. This separation in the case of manual drawing needs to be examined. I am well aware that informal drawings differ from scale or construction (...) drawings. If they contain unambiguous symbols, manual drawings can be regarded as a form of notation. Design-by-drawing can mean planning a notation, for... (shrink)

ArgumentBiological drawings of newly described or revised species are expected to represent the type specimen with greatest possible accuracy. In taxonomic practice, illustrations assume the function of mobile representatives of relatively immobile specimens. In other words, such illustrations serve as “immutable mobiles” in the Latourian sense. However, the significance of drawing in the context of first descriptions goes far beyond that of illustration in the conventional sense. Not only does it synthesize the verbal catalogue of the type's morphological characteristics: (...) it also enables the examination of these traits. The efficacy of drawing is thus closely related to its power to direct and redirect observation; it is inextricably bound up with the act of making a drawing. Although the invariance of the “immutable mobiles” is a key virtue of the logistics of “paperwork,” the recovery of graphic knowledge requires a much stronger dynamic activity – a process of sequential processing that brings out differences by translating the phenomenon under examination into various modes of graphic representation. (shrink)

ArgumentDrawing and writing number among the most widespread scientific practices of representation. Neither photography, graphic recording apparatuses, typewriters, nor digital word- and image-processing ever completely replaced drawing and writing by hand. The interaction of hand, paper, and pen indeed involves much more than simply recording or visualizing what was previously thought, observed, or imagined. Both writing and drawing have the power to translate concepts and observations into two-dimensional, manageable, reproducible objects. They help to develop research questions and they (...) open up an interaction between the gathering of phenomena and the formation of theses. Related to the manifold studies of representational activities in the sciences and the humanities, this topical issue tries to refine our understanding of the capacities of drawing and writing as research techniques; i.e. as productive epistemic practices. In particular the contributions address three aspects: the material conditions and configurations of the “scene of drawing and writing,” the involved procedures of production, and the languages of inscription. (shrink)

This article reevaluates the mystical techniques and experiences peculiar to Abraham Abulafia’s Kabbalah and attempts to offer an alternative approach to their dominant understanding, which largely depends on Moshe Idel’s work. Current scholars of Jewish mysticism have a habit of highlighting the “unique character” of Abulafia’s mystical practices while asserting that they cannot be compared with the induction techniques and the psychophysical phenomena typical of hypnosis. While generally agreeing with the scholars discussed that the hyperactivation of the mind found in (...) Abulafian Kabbalah contrasts sharply with the mental relaxation attained through the mystical practices of other religious traditions, the present study takes issue with the current view of Abulafian Kabbalah’s relation to hypnotic procedures, processes, and states. This work addresses the issues present with the current view and offers a more inclusive model for interpreting Abulafia’s Kabbalah, drawing from psychiatrist Roland Fischer. (shrink)

The concept of the future is re-emerging as an urgent topic on the academic agenda. In this article, we focus on the ‘politics of the future’: the social processes and practices that allow particular imagined futures to become socially performative. Acknowledging that the performativity of such imagined futures is well-understood, we argue that how particular visions come about and why they become performative is underexplained. Drawing on constructivist sociological theory, this article aims to fill this gap by exploring the (...) question ‘how do imagined futures become socially performative’? In doing so, the article has three aims to identify the leading social–theoretical work on the future; conceptualize the relationship of the imagination of the future with social practices and the performance of reality; provide a theoretical framework explaining how images of the future become performative, using the concepts ‘techniques of futuring’ and ‘dramaturgical regime’. (shrink)

Since mitochondrial replacement techniques were developed and clinically introduced in the United Kingdom, there has been much discussion of whether these lead to children borne of three parents. In the UK, the regulation of MRT has dealt with this by stipulating that egg donors for the purposes of MRT are not genetic parents even though they contribute mitochondrial DNA to offspring. In this paper, I examine the way that the Human Fertilisation and Embryology Act in the UK manages the question (...) of parentage. I argue that the Act breaks the link typically made between genetic causation and genetic parenthood by redefining genetic causation solely in terms of nuclear genetics. Along with this, mtDNA is construed as a kind of supplement to the nuclear family. Drawing on the account of the supplement developed by Jacques Derrida, I argue that mtDNA and the women who donate it are seen as both essential to establishing the nuclear family but also exterior to and insignificant for it. (shrink)

In accordance with societal norms and values, consumers readily indicate their positive attitudes toward sustainability. However, they hardly take sustainability into account when engaging in exchange relationships with companies. To shed light on this paradox, this paper investigates whether defense mechanisms and the more specific concept of neutralization techniques can explain the discrepancy between societal norms and actual behavior. A multi-method qualitative research design provides rich insights into consumers’ underlying cognitive processes and how they make sense of their attitude–behavior divergences. (...) Drawing on the Ways Model of account-taking, which is advanced to a Cycle Model, the findings illustrate how neutralization strategies are used to legitimize inconsistencies between norm-conforming attitudes and actual behavior. Furthermore, the paper discusses how the repetitive reinforcement of neutralizing patterns and feedback loops between individuals and society are linked to the rise of anomic consumer behavior. (shrink)

There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers. If these intrinsic meanings are explained and further developed, (...) then the philosophy of art practice is significantly enhanced. The present work, accordingly, is a phenomenology of how the gestural and digital creation of visual imagery generates self-transformation through aesthetic space. (shrink)

This paper proposes an account of accurate scientific representation in terms of techniques that produce data from a target phenomenon. I consider an approach to accurate representation that abstracts from such epistemic factors, justified by a thesis I call Ontic Priority. This holds that criteria for representational accuracy depend on a pre-established account of the nature of the relation between a model and its target phenomenon. I challenge Ontic Priority, drawing on the observation that many working scientists do not (...) have access to information allowing them to describe this relation between model and target or compare them accordingly. I critique the ability of an ontic-first approach to provide accuracy criteria in such cases and present historical support for an alternative according to which a model is accurate if and only if integrating the model into a theory of the data acquisition process yields well-fitting predictions of patterns in the data. (shrink)

The article presents an analysis of a mystical practice of letter permutation conceived as part of the practice of “kavannah” in prayer. This practice was articulated by a 13th century anonymous ecstatic kabbalist writing in Catalonia. The anonymous author draws on earlier sources in the kabbalah and Ashkenazi spirituality. The article explores the wider connection between ecstasy and ritual, particularly prayer in the earlier stages of Judaism and its development in medieval theology and kabbalah. The anonymous author describes a unique (...) permutation technique capable of inducing ecstatic experiences as part of the liturgical ritual. (shrink)

For Ricœur any study of Freud, or of psychoanalysis more generally, needs to take into account the crucial dimension of the analytic experience itself. Psychoanalysis, as a “mixed discourse,” aims to anticipate questions of meaning and explication alongside technical questions of energies, repression, displacement, and so on. The analytic experience is one which is practical and intersubjective, but which is also guided by various techniques or methods. These techniques, I will argue, should be understood as a type of techne, one (...) which is less concerned with hermeneutic questions of meaning than with quasi-scientific questions of force, feedback, struggle, and process. The practice of psychoanalysis, on the other hand, deals with the ways in which these forces or drives become meaningful for a particular subject, and within a singular context or history. This article will aim to draw out both the interrelationship between techniques and practical understanding, and also the productive incommensurability between the two. (shrink)

Responding to Michael Luntley's article, ‘Learning, Empowerment and Judgement’, the author shows he cannot successfully make the following three moves: (1) dissolve the analytic distinction between learning by training and learning by reasoning, while advocating the latter; (2) diminish the role of training in Wittgenstein's philosophy, nor attribute to him a rationalist model of learning; and (3) turn to empirical research as a way of solving the philosophical problems he addresses through Wittgenstein. Drawing on José Medina's analysis of the (...) fundamental role of training in Wittgenstein's later philosophy, the paper offers a tour of key passages in the Investigations and other works to develop an understanding of what Wittgenstein meant by ‘mastery of techniques’. In opposition to Luntley's liberal‐individual, or his subject as rational agent, the author explores Wittgenstein's non‐foundationalist, forms of life approach to how we act with agreement. More effort must be given to differentiating Wittgenstein's view from that of the analytic school, which Luntley appears to echo despite his criticism of the analytic divide. (shrink)

In this article, I draw on research carried out in Europe, primarily in Germany, on patients’ and scientists’ perspectives on mitochondrial replacement techniques in order to explore some of the complexities related to collective representation in health governance, which includes the translation of emerging technologies into clinical use. Focusing on observations, document analyses, and interviews with eight mitochondrial disease patient organization leaders, this contribution extends our understanding of the logic and meanings behind the ways in which patient participation and collective (...) representation in health governance initiatives take shape. My findings highlight the ways in which a commitment to a global mitochondrial disease patient community and a sense of patient solidarity influence expressions of support with regard to legalizing mitochondrial replacement techniques. My analyses illustrate how normative practices and expectations of participatory governance potentially foreclose opportunities for sustained collective patient engagement with the complex ethical, social, and political dimensions of emerging technologies and may silence diverse and potentially dissenting embodied and lived responses to the prospects of particular technological developments. (shrink)

This article is an analysis of the recognition of the Missionary Church of Kopimism as a faith community by the Swedish state. The analysis draws on post-Foucaultian writings on governmentality and seeks to understand what kind of normative and proscriptive understandings of “religion” guide the process. The authors argue that the recognition reveals fundamental aspects of the Swedish state’s performative role in the recognition of faith communities which challenges any unreflective classification of it as “secular.”.

In this essay, I muse upon aporia’s value as a pedagogical technique in the philosophy classroom using as a guide examples of aporia that are found in Plato’s Socratic dialogues. The word aporia, translated as “without passage” or “without a way,” is used metaphorically to describe the unsettling state of confusion many find themselves in after engaging in philosophical discourse. Following a brief introduction in which I situate aporia as a pedagogy amicable to experiential learning, I examine various ways (...) in which aporia appears in certain Platonic dialogues, which enables us to draw out some paradigmatic features of aporia. I then discuss how I apply aporia as a pedagogical technique in the contemporary philosophy classroom, taking up three specific concerns in detail: aporetic discomfort, right use, and potential misuse. (shrink)

This is the first book on diving to progress beyond the beginner's stage. although open to the beginner, it will come into full use in the hands of the advanced performer and his coach. A careful balance is maintained between encouraging the instinctive response and encouraging the diver to act in accordance with basic physical principles that are instilled so deeply they become second nature to him.The author abjures the folklore of traditional diving instruction in favor of an approach solidly (...) based on the science of mechanics. Such concepts as the moment of inertia and the conservation of angular momentum are simply and graphically explained. This is by no means empty scientific bravado -- in giving the diver a genuine knowledge of why certain motions produce certain results, the book will impart more confidence than a mere set of precepts telling him what to do.All the main groups of dives are covered in separate chapters. The "saving of dives," an essential development of modern diving, is treated, and there is a chapter on the judging of diving. The book is profusely illustrated with drawings and photographs, including for the first time stroboscopic movie action shots of current National and Olympic champions. (shrink)

In February 2015 the UK became the first country to legalise high-profile mitochondrial replacement techniques, which involve the creation of offspring using genetic material from three individuals. The aim of these new cell reconstruction techniques is to prevent the transmission of maternally inherited mitochondrial disorders to biological offspring. During the UK debates, MRTs were often positioned as a straightforward and unique solution for the ‘eradication’ of mitochondrial disorders, enabling hundreds of women to have a healthy, biologically-related child. However, many questions (...) regarding future applications and potential users remain. Drawing on a current qualitative study on reproductive choices in the context of mitochondrial disorders, this article illustrates how the potential limitations of MRTs have been obscured in public debates by contrasting the claims made about the future beneficiaries with insights from families affected by mitochondrial disorders and medical experts. The analysis illuminates the complex choices with which families and individuals affected by mitochondrial disorders are faced, which have thus far remained invisible. An argument is presented for improved information for the public as well as an intensification of critical empirical research around the complex and specific needs of future beneficiaries of new reproductive biotechnologies. (shrink)

Machine generated contents note: Chapter One: Wrong Question, Right Answer -- Exercise 1: Getting right into it -- Exercise 2: Watching your hand -- Exercise 3: Marking practice -- Chapter Two: Realistic Drawing -- Exercise 4: Picking an object to draw -- Exercise 5: Attentive looking -- Exercise 6: Noticing awareness -- Exercise 7: Marking from the sense of sight -- Exercise 8: Simple rendering -- Exercise 9: Try perspective -- Exercise 10: Working inward -- Chapter Three: Systematic (...) class='Hi'>Drawing -- Exercise 11: The circular arrow - a visual mantra -- Exercise 12: Improvising between two points and finding the world in between -- Exercise 13: Thought as art -- Exercise 14: All four pixel images -- Exercise 15: Book of compositions -- Chapter Four: Improvisational Drawing -- Exercise 16: Going outside the box -- Exercise 17: Not-breath awareness -- Exercise 18: Growing improvisation -- Exercise 19: Chasing the Coltrane Effect -- Exercise 20: Drawing to reveal inner conditions -- Exercise 21: Noticing Intuition -- Exercise 22: You are the universe drawing -- Chapter Five: Reading the Drawings -- Exercise 23: An exact physical description -- Exercise 24: Feeling the meaning -- Exercise 25: The story we tell ourselves -- Exercise 26: Connecting our story to a larger story -- Chapter Six: The Search for the Source of Creativity -- Exercise 27: Priming the source -- Exercise 28: Sitting still at the origin -- Exercise 29: Embedded sources -- Exercise 30: Mindful of the path -- Chapter Seven: Meta-Drawing -- Exercise 31: Sharing with yourself -- Exercise 32: Sharing with a trusted friend -- Exercise 33: Sharing with the world. (shrink)

This article concerns the curriculum of computer literacy (CL). A strong sense of technical necessity informs the design of the CL curriculum, and as a result, instruction is inadequate at best and dehumanizing at worst. CL curriculum and instruction are informed by a sense of technical determinism and a particular form of masculinity. This article draws mainly from the sociology of education, supplemented by personal observation. The article has two implications. First, to reduce the failure and frustration that many feel (...) as they attempt to become computer literate, greater attention ought to be given in CL curriculum design to the concept of learning as enculturation and to cognitive context. Second, to counter the sense of necessity that leads designers and others to ignore culture and context, the formal CL curriculum must give serious attention to the social construction of educational technology/technique, especially the in fluence of gender. (shrink)

Horace begins his second book of satires by picturing himself caught between the extremes of two sets of critics, one group claiming that his poetry is too aggressive , the other that it is insipid and lacklustre . The charges are extreme and contradictory, so there is no way he can adjust his work to please one group without further antagonizing the other: the more straightforward he becomes in his criticisms, the more bitter and ‘lawless ’ he will seem to (...) group A. Further subtlety and indirectness will only draw further criticism from group B. He takes his problem to Trebatius, Rome's leading legal expert, expecting an easy solution, only to be told what his question made clear from the start: that the safest way to write satire in Rome is ‘not at all’: quiescas . His question, as far as Trebatius is concerned, is irresolvable and best left unexplored. (shrink)

This article discusses the epistemology of design as a process, arguing specifically that sketching and drawing are essential modes of thinking and reasoning. It demonstrates that the commonly accepted notion of a spontaneous and intuitive vision in the mind’s eye—encapsulated in the cliché of the napkin sketch—obscures the exploratory inferences that are made while scribbling with a pencil on a sheet of paper. The draughtsperson, along with their work tools, modes of notation, specific techniques, and epistemic strategies as well (...) as the resulting design artefacts form milieus of reflection that facilitate complex processes of exploration. Case studies, including the genesis of the Mini by Alec Issigonis, samples of work by Alvar Aalto, and a reinterpretation of student sketches from a classical design study by Gabriela Goldschmidt, serve to illustrate how drawing inferences with pencil and paper occurs. (shrink)

This article discusses the epistemology of design as a process, arguing specifically that sketching and drawing are essential modes of thinking and reasoning. It demonstrates that the commonly accepted notion of a spontaneous and intuitive vision in the mind’s eye—encapsulated in the cliché of the napkin sketch—obscures the exploratory inferences that are made while scribbling with a pencil on a sheet of paper. The draughtsperson, along with their work tools, modes of notation, specific techniques, and epistemic strategies as well (...) as the resulting design artefacts form milieus of reflection that facilitate complex processes of exploration. Case studies, including the genesis of the Mini by Alec Issigonis, samples of work by Alvar Aalto, and a reinterpretation of student sketches from a classical design study by Gabriela Goldschmidt, serve to illustrate how drawing inferences with pencil and paper occurs. (shrink)

Horace begins his second book of satires by picturing himself caught between the extremes of two sets of critics, one group claiming that his poetry is too aggressive, the other that it is insipid and lacklustre. The charges are extreme and contradictory, so there is no way he can adjust his work to please one group without further antagonizing the other: the more straightforward he becomes in his criticisms, the more bitter and ‘lawless ’ he will seem to group A. (...) Further subtlety and indirectness will only draw further criticism from group B. He takes his problem to Trebatius, Rome's leading legal expert, expecting an easy solution, only to be told what his question made clear from the start: that the safest way to write satire in Rome is ‘not at all’: quiescas. His question, as far as Trebatius is concerned, is irresolvable and best left unexplored. (shrink)

The aim of this paper is to demonstrate the applicability of multivariate mapping techniques to the exploration of the rhetorical semiotic brand image structure of ad films. By drawing on correspondence analysis and multidimensional scaling, two techniques that are amply used in corpus linguistics and in marketing research, but also on the data reduction technique of factor analysis, it will be displayed how a set of nuclear semes and classemes or an intended semic structure that underlies ad filmic (...) discursive structures may be projected alongside rhetorical figures by its internal stakeholders (i.e., a brand management team, an account planning team or a marketing research team) with view to attaining differential brand associations. The illustration of the exploratory analytical methods takes place by recourse to a corpus of 62 ad filmic texts from 13 sub-brands of the 3 major brands in the UK cereals market and 321 ad filmic segments that resulted from the segmentation procedure. This paper seeks to contribute to advancements in the brand image and advertising rhetoric research streams by addressing distinctive modes of advertising rhetorical configuration at the level of the ad filmic text (as against print ads where the bulk of research on advertising rhetoric has concentrated), and moreover on a segment-by-segment level, rather than treating the ad film as a standalone unit of analysis, by adopting a multimodal outlook to advertising configurations that takes into account not only the verbal or the visual mode, but also interactions among modes, by adopting a product category-specific approach to advertising/brand textuality that draws on rhetorical semiotics and by employing exploratory statistical methods against the background of content analytic output. (shrink)

Both new and seasoned psychotherapists wrestle with the relationship between psychological distress and inequality across race, class, gender, and sexuality. How does one address this organically in psychotherapy? What role does it play in therapeutic action? Who brings it up, the therapist or the patient? Daniel José Gaztambide addresses these questions by offering a rigorous decolonial approach that rethinks theory and technique from the ground up, providing an accessible, evidence-informed reintroduction to psychoanalytic practice. He re-examines foundational thinkers from three (...) traditions—Freudian, relational-interpersonal, and Lacanian—through the lens of revolutionary psychiatrist Frantz Fanon, and offers a detailed analysis of Fanon’s psychoanalytic practice. Drawing on rich yet grounded discussions of theory and research, Gaztambide presents a clinical model that facilitates exploration of the social in the clinical space in a manner intimately related to the patient’s presenting problem. In doing so, this book demonstrates that clinicians no longer have to choose between attending to the personal, interpersonal, or sociopolitical. It is a guide to therapeutic action “on the couch,” which envisions political action “off the couch” and in the streets. Decolonizing Psychoanalytic Technique provides a comprehensive, practice-oriented and compelling guide for students, practitioners, and scholars of critical, multicultural and decolonial approaches to psychotherapy. (shrink)

The article seeks to purvey a moral philosophical foundation to the apostolic letter. The apostolic letter speaks pointedly of the fatherhood crisis as an issue that needs moral philosophical atrention. The research will use two methods: the philosophical (content) analysis and applied ethical theories. Philosophical analysis is a general term for techniques typically used by philosophers in the analytic tradition that involve breaking down philosophical issues in order to bring clarity, consistence, and coherence. The method is used to analyse concepts (...) like parenthood, fatherhood and shepherdship. Applied ethics is a philosophical examination, from a moral point of view, of particular issues in private and public life which are matters of judgement. However, the punch line, ‘Children today often seem orphans, lacking fathers’, is a direct moral challenge that calls for the application of the ethical theory of hunhu/ubuntu because love is hunhu/ubuntu’s character, nature and responsibility. From hunhu/ubuntu’s view point, I argue that one must acquire personhood primarily first in order to be a father. In hunhu/ubuntu, personhood and fatherhood are dynamic concepts; morally achieved and acquired. Hunhu/ubuntu is not asking that we replace God as the author of our being, but rather that our being as persons in the world is substantially of our own making. As such, we have a victory to win, and the path to that victory lies in the part of our lived morality (hunhu/ubuntu). God created us, but we must mould ourselves into the persons that God wants us to be.Contribution: The intention of this article is to encourage the 21st century generation to be good persons and hence be responsible fathers through drawing moral support and inspiration from hunhu/ubuntu and Saint Joseph. (shrink)

Hands are notoriously hard to draw. To compellingly capture their detail, proportion, and movement is generally considered a mark of an artist’s mastery of tech.

Ethical decision support procedures have an underlying difficulty in that they do not clearly distinguish the varying impacts of the constituent features of the examined ethical situation. The failure to recognize these features and their varying impacts leads to two critical problems; the risk of removing positive ethical elements as well as negative ones when mitigating the ethical problem, and missing some viable alternative actions. A modified version of line drawing is presented as a way to address these two (...) problems when it is used as an adjunct to already established decision techniques. (shrink)

This paper is a talk that the late Richard Wollheim gave at Loughborough University in September 1998. It is published here with the permission of Loughborough University and Wollheim's literary executors. The paper begins by reflecting on modes of artistic evaluation, distinguishing evaluations of interest from evaluations of quality. The former, the subject of the paper, are relativized to works of art within particular art forms, and concern ‘the extent to which the methods and the resources of the particular art (...) to which the work belongs have been fruitfully exploited’. The essentialist view of art implicit in this account is recognized and defended, the view that there are necessary truths about each art form explained in terms of the medium used. An examination of drawing is offered, its techniques and achievements explored, with the principal focus on the ways that the media of drawing are utilized in the service of representing an object. The methods of delineation and form-drawing are highlighted: ‘form-drawing, like delineation, has to be understood through the co-operation between artist and spectator, and, in both cases, it is ultimately the hand of the artist that has to respond to the eye of the spectator’. (shrink)

Effective ethics teaching and training must cultivate both the critical thinking skills and the character traits needed to deliberate effectively about ethical issues in personal and professional life. After highlighting some cognitive and motivational obstacles that stand in the way of this task, the article draws on educational research and the author's experience to demonstrate how cooperative learning techniques can be used to overcome them.

_A groundbreaking study of the development of form in eighteenth-century aesthetics_ In this original work, Abigail Zitin proposes a new history of the development of form as a concept in and for aesthetics. Her account substitutes women and artisans for the proverbial man of taste, asserting them as central figures in the rise of aesthetics as a field of philosophical inquiry in eighteenth-century Europe. She shows how the idea of formal abstraction so central to conceptions of beauty in this period (...) emerges from the way practitioners think about craft and skill across the domestic, industrial, and so-called high arts. Zitin elegantly maps the complex connections among aesthetics, form, and formalism, drawing out the understated presence of practice in the writings of major eighteenth-century thinkers including Locke, Addison, Burke, and Kant. This new take on an old story ultimately challenges readers to reconsider form and why it matters. (shrink)

"My aim in this paper is to develop an ontology of media operations that is rooted in Gilbert Simondon’s theory of individuation. I position this media operative ontology in contrast to Bernhard Siegert’s understanding of operative ontology as a cultural technique. Drawing on Wolfgang Ernst, Henri Atlan, and Michel Serres, I argue that Siegert’s position compromises the extra-cultural operationality of technical media, and of techniques more generally, in its bid to redirect media theory from its Kittlerian trajectory. With (...) his theory of information as reception of environmental singularity by a metastable receiver, Simondon provides a mechanism for theorizing how extra-cultural operationality of technical media informs the production of culture and the distinctions upon which it rests, without compromising the alterity of technics. Mein Ziel in diesem Beitrag ist es, eine Ontologie von Medienoperationen zu entwickeln, die auf Gilbert Simondons Theorie der Individuation fußt. Auf der Grundlage von Wolfgang Ernst, Henri Atlan und Michel Serres behaupte ich, dass Siegerts Versuch, die Medientheorie von ihrer Kittlerschen Linie abzulenken, den Stellenwert der außerkulturellen Operationalität technischer Medien und der Techniken im Allgemeinen herabspielt. Mit seiner Theorie der Information als Empfang von umweltlicher Singularität durch einen metastabilen Empfänger bietet Simondon dagegen einen Mechanismus, dank dem theoretisch durchdacht werden kann, wie die außerkulturelle Operationalität der technischen Medien die Kulturproduktion und die Unterscheidungen, auf denen sie beruht, prägt, ohne die Andersheit der Technik zu reduzieren. ". (shrink)

In this article, I analyse line-rendering techniques in drawing and choreography, based on a Deleuzian framework. This pragmatic approach for understanding affect emerges in three distinct formulations. The first engages the coincidence of drawing and choreography at the limit of reach; the second investigates how trace and movement generate different yet mutually resonant versions of semblance. The third framework considers the potential for improvisation in the irreconcilability of contour and surface in the weighted line. These three framings generate (...) an experimental milieu in which I articulate the co-emergence of thought and feeling in relation to relevant concepts of the body and affect. In activating affective intensity in different line-rendering operations, this analysis traces the way that affects help to modulate tendencies of moving, feeling and thinking over a series of operations. (shrink)

“Pick a card, any card. This has to be a completely free choice.” the magician tells you. But is it really? Although we like to think that we are using our free will to make our decisions, research in psychology has shown that many of our behaviours are automatic and unconsciously influenced by external stimuli (Ariely, 2008; Bargh & Chartrand, 1999; Newell & Shanks, 2014; Nisbett & Wilson, 1977), and that we are often oblivious to the cognitive mechanisms that underpin (...) our decision (Wegner, 2002, 2003). Magicians have exploited this illusory sense of agency for a long time, and have developed a wide range of techniques to influence and control spectators’ choices of such things as card, word, or number (Annemann, 1933; Banachek, 2002a; Jones, 1994; Turner, 2015). These techniques are instances of what is called forcing. -/- Many forces are extremely effective, illustrating various weaknesses in our sense of control over decisions and their outcomes. Researchers have started to investigate them in various ways (Kuhn, Pailh s, & Lan, 2020; Olson, Amlani, Raz, & Rensink, 2015; Pailhes & Kuhn, 2020b, 2020c; Shalom et al., 2013) and are beginning to obtain valuable insights into decision-making processes as well as a better understanding of the cognitive mechanisms that lead people to experience an illusory sense of free will and of agency. -/- Although magicians have acquired large amounts of knowledge in covertly controlling people’s choices, much of this knowledge is only discussed in the context of individual magic tricks, or in books that are not readily accessible to non-magicans. As we and others have argued elsewhere (Ekroll, Sayim, & Wagemans, 2017; Kuhn, 2019; Kuhn, Amlani, & Rensink, 2008; Kuhn, Caffaratti, Teszka, & Rensink, 2014; Macknik et al., 2008; Olson et al., 2015; Olson, Landry, Appourchaux, & Raz, 2016; Shalom et al., 2013; Thomas, Didierjean, Maquestiaux, & Gygax, 2015), a particularly effective way of making this knowledge more available is via the creation of taxonomies centered around psychological mechanisms (Rensink & Kuhn, 2015). For example, the psychologically based taxonomy of misdirection (Kuhn et al., 2014) helps draw links between misdirection and formal theories of perception and cognition. -/- Our aim here is to apply a similar process to the knowledge magicians have about forcing. The present paper develops a psychologically based taxonomy of forcing techniques with two goals in mind. Firstly, it should help uncover the various psychological mechanisms that underlie forcing techniques. Secondly, it should facilitate knowledge transfer between magicians and psychologists. Among other things, this knowledge will allow researchers to gain new insights into the mechanisms underlying decision-making, and the feeling of free will and of agency over choice. We start by defining the magician’s force and then look at some of the past classifications of forcing. (shrink)

I examine some aspects of Mach’s concern for photographs and phonographs. I start with the phonographs, and I examine in particular Mach’s reference to this device in his account of the development of written language. My second point is a comparison between Mach's reference to phonographs and hieroglyphs and some very similar insights in Wittgenstein’s Tractatus. Lastly, I address some aspects of Mach’s interest in photographical techniques, and I try to draw a parallel between Mach’s conception of mental economical pictures (...) and the method of composite portraiture developed by Galton. (shrink)

Child abuse is an underreported phenomenon despite its high global prevalence. This study investigated how child abuse is perceived by children and adolescents as manifested in their drawings and narratives, based on the well-established notion that drawings serve as a window into children’s mental states. A sample of 97 Israeli children and adolescents aged 6–17 were asked to draw and narrate what child abuse meant to them. The drawings and narratives were coded quantitatively. The results indicated that participants did not (...) perceive a distinction between abuse and violence and referred to them interchangeably. Almost half of the participants focused on emotional abuse. The most frequent type of abuse within the family was between parents and children, and the most frequent abuse outside the family was peer victimization. Most of the drawings were figurative and realistic and half of the drawings included words suggestive of the participants’ attempts to be heard and fully understood. The vast majority of drawings did not include the figure of the artist, about a third of the drawings employed dissociative techniques, and almost half of the narratives were dissociative or characterized by negative resolution, describing feelings such as sadness, humiliation, and loneliness. These findings suggest the emotional pain associated with the abuse or violence and the use of dissociative mechanisms to bypass the pain. The findings are discussed in light of the literature on children’s disclosure. (shrink)

The essay examines solitude not as fate, sacrifice or passion, but as an experience that is actively initiated, that is perceived ambivalently, sometimes painfully, but also sensually, and that functions as context as well as occasion for the practice of cultural techniques – talking (to oneself), reading, writing, drawing or painting. Solitude techniques are analysed as “technologies of the self” (Michel Foucault) and “techniques of the body” (Marcel Mauss), as strategies for self-perception and “internal policy” (Paul Valéry). The history (...) of these self-techniques as solitude techniques is unfolded using examples from Stoic philosophy and early Christian theology. An emphasis is placed on self-doubling or splitting techniques: those who are alone with themselves also see themselves as more or less resilient objects that can be strengthened against the influences of other voices and people. Among the techniques of solitude is, above all, the quest for suitable places that are often – desert, sea, mountain peak, etc. – characterised not only by being devoid of humans, but also by a kind of uniformity. In this way, they resemble writing or drawing surfaces on which meanings can be brought to light through sketches or graphic characters. (shrink)

End of April 2021, the European Commission published its study on New Genomic Techniques (NGTs). The study involved a consultation of Member States and stakeholders. This study reveals a split on whether current legislation should be maintained or adapted to take account of scientific progress and the risk level of NGT products. This split was predictable. New technological developments challenge both ethical viewpoints and regulatory institutions; and contribute to the growing divide between science and society that value ‘technological innovations’ differently. (...) Such controversies are often characterized as ‘unstructured’ because of nearly unbridgeable positions on entangled scientific and value-laden issues. Initiatives for stakeholder involvement, such as consultation or participation, often focus on reaching a ‘shared vision’ without exploring the diverse societal concerns and values behind these positions. To resolve the EU stalemate in NGT regulation, we advocate to bring back politics in the EU decision-making process instead of hiding it under the veil of science, the need for regulatory change and public support. A more productive and justified use of genuine stakeholder participation is possible, if participants and deliberation design meet the criteria of what we call _participation ethics_. Drawing from our applied experience exploring the ethics of genetic modification, we believe that this approach can lead to more robust political decision-making and restore societal confidence in the governance of contested issues such as NGTs. (shrink)

Chez les Ankave-Anga, des agriculteurs forestiers de Papouasie Nouvelle-Guinée, les initiations masculines et les cérémonies de secondes funérailles restent des temps forts de la vie collective. L'étude ethnographique de tels rites contemporains d'une société «non-moderne» conduit à nuancer certaines propositions théoriques des abondants travaux récents - cognitivistes ou non - qui tentent de dégager la spécificité des actions rituelles, souvent en marginalisant la signification de ces actions. En particulier, l'opposition entre rite et technique mérite réexamen car elle est fondée (...) sur une vision obsolète des rapports entre techniques, culture et organisation sociale. Chez les Ankave, l'impossibilité de tracer une limite entre mythe, rite et technique souligne au contraire la part des objets et les gestes qui les fabriquent ou les mettent en oeuvre dans la convergence et la redondance de pratiques et de représentations qui donnent leur spécificité aux rituels.In Ankave-Anga, farmers forest of Papua New Guinea, male initiations and ceremonies, funerals remain second moments of collective life. The ethnographic study of such rites contemporary society "non-modern" qualified leads to some theoretical propositions of abundant recent work - cognitive or not - that try to identify the specific ritual actions, often marginalizing the significance of these actions. In particular, the opposition between ritual and technical merit review because it is based on an obsolete vision of the relationship between technology, culture and social organization. In Ankave, unable to draw a line between myth, ritual and draws attention to the technical part of the objects and actions that make or implement the convergence and redundancy practices and representations that give specificity rituals. (shrink)

People in a freezer. Self-perception as an explanatory mechanism for the effectiveness of the foot-in-the-door technique According to the foot-in-the-door technique of social influence, everyone who wants to increase the likelihood of having their request fulfilled by another person should first present that person with an easier request. Granting the easier request will make that person more inclined to fulfill the subsequent escalated request. The results of numerous studies confirm this rule. In the psychological literature it is usually (...) assumed that this is possible thanks to the self-perception mechanism. People who comply with an easy request cannot find any external explanation for doing so and therefore draw the auxiliary conclusion that they are "people for whom it is normal to grant such requests". The author of this article, however, points out that the self-perception thesis implicitly assumes no impact of any other types of requests on the individual between the times they hear the two requests posed by the psychologists-researchers. Two simple studies presented here demonstrate that people are normally faced with several requests every day, of which some they fulfill and some reject. This constitutes a serious challenge for the self-perception interpretation of the foot-in-the-door technique. (shrink)

This paper argues for continuity in purpose and specific results between some hand drawn nebulae, especially those ‘descriptive maps’ by John F. W. Herschel and E. P. Mason in the late 1830s, and the first photographs made of the nebulae in the 1880s. Using H. H. Turners’ explication in 1904 of the three great advantages of astrophotography, the paper concludes that to some extent Herschel’s and Mason’s hand-drawings of the nebulae were meant to achieve the same kinds of results. This (...) is surprising not only because such drawings were conceived and achieved over forty-years earlier, but also because the procedures used in the production of these pictorially and metrically rich images were those directly inspired by cartography, geodesy, and land-surveying. Such drawings provided the standard for what was depicted, expected and aimed at by way of successful representations of the nebulae; standards that seemed to have been used to judge the success of nebular photographs. Being conditions of expectation and possibility for later photography, these drawings were themselves made possible by such techniques of representation and measurement as isolines and triangulation, so fundamental to Imperial and ‘Humboltian science.’Keywords: Ebenezer Porter Mason; Cartography; Draughtsmanship; Observation; Scientific Representation; Philosophy of Scientific Practice. (shrink)

In this article I discuss some of the findings of an on-going ethnographic study of two once-weekly circuit training classes held in one of the growing number of private health and fitness clubs. The article has four aims. First, to demonstrate and explore the active role of the body in a central practice of body modification/maintenance: i.e. circuit training. Second, to demonstrate that circuit training is a social structure which both shapes the activity of the agent and is shaped by (...) that (shaped) agent. I aim also to explore this structuration process. Third, to draw out a number of aspects of the sociality of body maintenance/modification. Training, I argue, is a form of symbolic interaction, localized within specific and durable social networks. The final aim of the article is to weave these various claims together into a coherent overall account of circuit training as a form of body modification. As an investigation of the embodied nature of practices of body maintenance and the active role of social agents in relation to these practices the article rejoins an important strand of sociological investigations of ‘the body’. At the same time, however, the article seeks to challenge those approaches, often rooted in Foucauldian analysis, which portray the body as ‘docile’ in relation to body maintenance. Foucauldian inspired studies often reify practices of modification as ‘technologies’ or ‘apparatuses’, ignoring the active role of embodied agents in these practices and eliding the difference between texts which prescribe ways of acting and the more messy and complex reality of those ways of acting. (shrink)

_Secret Passages_ provides a theoretical and clinical exploration of the field of psychoanalysis. It looks at the pivotal relationship between analyst and client and its importance to the psychoanalytic process. Offering a uniquely global perspective, Bolognini considers the different trends in contemporary psychoanalysis, charting a course between the innovative and traditional. Divided into three parts, areas of discussion include: plurality and complexity in the internal world the complex nature of psychoanalytic empathy from the transpsychic to the interpsychic. Drawing on (...) vivid clinical examples throughout, _Secret Passages_ will be of great interest to all psychoanalysts, in particular those with an interest in gaining a more global theoretical perspective. (shrink)

Anthropological scholarship after Marilyn Strathern does something that might surprise lawyers schooled in the tradition of ‘law and society’, or ‘law in context’. Instead of construing law as an instrument of social forces, or as an expression of processes by which society maintains and reproduces itself, a new mode of anthropological enquiry focuses sharply on ‘law itself’, on what Annelise Riles calls the ‘technicalities’ of law. How might the legal scholar be inspired by this approach? In this article, I explore (...) one possible way of approaching law after anthropology, which is to find within law’s own archive a set of resources for an analogous representation of law itself. Drawing on the historical scholarship of Yan Thomas, I suggest that the Roman conception of law as object offers an engaging counterpart to the anthropological take on law as a specific set of tools or, technicalities, or as a particular art of making relations. (shrink)

In his later years, Leo Tolstoy wrote numerous books, essays and pamphlets expounding his newly-articulated denunciations of all political violence, whether by dissidents or ostensibly legitimate states. If these writings have inspired many later pacifists and anarchists, it is partly thanks to his masterful deployment of the literary technique of ‘defamiliarisation’ – or looking at the familiar as if new – to shake readers into recognising the absurdity of common justifications of violence, admitting their implicit complicity in it, and (...) noticing the process which numbed them into accepting such complicity. This paper discusses Tolstoy’s use of the imagination to defamiliarise and denounce violence, first by citing several typical examples, then by reflecting on four of its subversive characteristics: its disruption of automated perception, its implicit concession of some recognition, its corrosion of conventional respect for traditional hierarchies, and its encouragement of empathy. (shrink)

The Táin Bó Cuailnge, centre-piece of the eighth-century Ulster cycle of heroic tales, is Ireland's greatest epic. It tells the story of a great cattle-raid, the invasion of Ulster by the armies of Medb and Ailill, queen and king of Connacht, and their allies, seeking to carry off the great Brown Bull of Cuailnge. The hero of the tale is Cuchulainn, the Hound of Ulster, who resists the invaders single-handed while Ulster's warriors lie sick. Thomas Kinsella presents a complete and (...) living version of the story. His translation is based on the partial texts in two medieval manuscripts, with elements from other versions, and adds a group of related stories which prepare for the action of the Táin. Illustrated with brush drawings by Louis le Brocquy, this edition provides a combination of medieval epic and modern art. (shrink)