Concerns related to the future of work has precipitated various studies aimed at ensuring that the labour market is a place where people can earn a living, work in dignity, and flourish as human beings. Studies on labour market inequalities and how macroeconomic policies can be used to address such inequalities are also plentiful. What macroeconomic studies have often failed to do, however, is highlight the differences _between_ individuals in the labour market. This is important, especially in an (...) economy with large inequalities, such as South Africa. These inequalities are further entrenched given that wage employment is the primary mode of income generation for the majority of households in South Africa. The purpose of this study was to investigate changes in quality of work at the microeconomic level in relation to changes in the macroeconomy, using a decent work index built from secondary labour force survey data. The data show that changes in the macroeconomic policy environment coincide with differential outcomes for different groups of workers in the labour market, with women benefitting in terms of quality of work during times in which the government undertakes an expansionary fiscal approach, although only in occupation groups which are male-dominated. The study also finds, however, that in some occupation groups, quality of work does not change in relation to shifts in the macroeconomy. The study highlights the need for microeconomic analyses to inform macroeconomic policies to ensure that expected outcomes are distributed in the intended way. (shrink)

Drawing from the psychology of working theory, this study aims to understand how decent work is related to employee well-being. Specifically, it explored the role of need satisfaction in the relationship between decent work and employee well-being, and compared the mediating effects of the three types of need satisfaction. After collecting a sample of 421 millennial employees in China through online questionnaires, the study conducted the analysis of the data and found that decent work (...) positively predicted well-being of millennial employees. While social contribution need satisfaction and self-determination need satisfaction partially mediated the effect of decent work on well-being of millennial employees, the mediating effect of survival need satisfaction was not significant. Compared with social contribution need satisfaction, self-determination need satisfaction had a more significant mediating effect on well-being of millennial employees. The study does extend the literature on the antecedents of employee well-being and the results can offer some implications for managers to enhance well-being of millennial employees. (shrink)

The decent work notion has sparkled a keen academic interest in studying the psychological influence of decent work on workers in organizational contexts. Duffy’s decent work notion has left a window for addressing the interpersonal barriers on or factors for enhancing people’s equal access to decent work, which may enhance the capacity of the decent work notion and the psychology of working theory to promote inclusiveness within the organizational context through (...) leveraging the interpersonal mechanisms. Against this backdrop, a across-sectional study was conducted to validate a decent work scale incorporated with a social recognition component among young adult social workers aged 21–29 in Hong Kong. The results of confirmatory factor analyses supported the six-factor-higher-order model of the decent work scale incorporated with a social recognition component. Decent work incorporated with social recognition correlated with job demands, job resources, and work engagement in the expected directions, and the results of average variance extracted analyses supported the discriminant validity of the decent work scale incorporated with social recognition. The value added by decent work in enhancing work engagement after controlling the effects of job resources justifies the concurrent validity of the concept. The expanded notion of decent work incorporated with the social recognition component is deemed applicable to informing further research and practice. (shrink)

A broad range of scholars contend that the rule of law is indifferent to human rights. I call this view the "no-rights thesis," and attempt to unsettle it. My argument draws on the work of Lon L. Fuller and begins with the idea that the fundamental justification of the rule of law rests on a juridical conception of human agency, one that finds expression in the legal and moral claims that can arise from human agency within the context of (...) legal relationships. I argue that the state and its legal subjects are in a particular kind of legal relationship with one another, a fiduciary relationship, and that the content of the state's ensuing fiduciary obligation is the rule of law. Because the rule of law is intelligible in terms of the right, and independently of the good, it follows that compliance with the rule of law necessarily makes a moral difference regardless of how poorly the state lives up to the demands of the good. This is a conceptual rather than an empirical claim, and it leads to the conclusion that respect for human agency in the context of the state-subject fiduciary relationship necessarily entails respect for human dignity, respect for human dignity entails respect for human rights, and therefore a commitment to the rule of law entails a commitment to human rights. (shrink)

In recent years, the decent work agenda has called upon vocational psychologists to advance psychological research and intervention to promote work as a human right. Furthermore, the COVID-19 pandemic is having disproportionate consequences on vulnerable workers, such as unemployment and underemployment, highlighting the need to enhance access to decent work for these workers. As a response, the present perspective article advances job crafting as a promising way to shape decent work for marginalized workers. (...) To this end, the article deals with decent work and job crafting, starting with the definition of decent work according to the psychology of working theory and examining the evolution of the construct of job crafting. Subsequently, the literature on job crafting is discussed, focusing on variables related to the PWT model of decent work and their effect on vulnerable workers. Finally, possibilities for further research and intervention aimed at promoting decent work through job crafting are discussed. (shrink)

This paper uses a sample of 1243 international firms for the period 2013–2017 to analyse the effect that a greater presence of women in management teams has on business behaviour in relation to labour and human rights, and the mediating role of improved performance in these rights on corporate transparency. The results show that gender diversity in management teams is positively associated with performance in relation to labour and human rights, and that such a performance acts as a mediating factor (...) by fostering a higher disclosure of information regarding these issues. The findings therefore seem to indicate that the presence of women in management teams acts as a driving force for enhanced social responsibility. (shrink)

The way people make career choices is often influenced by their idea of work. Alongside this concept, there is the idea of decent work, which takes the form of the opportunity, for men and women, to have productive, equal, safe, and rights-based work. We have conducted a study on these two concepts with a group of Italian adolescents, using both quantitative and qualitative methods. We found that most of the participants consider work as a means (...) to obtain economic benefits and satisfy certain values, and decent work as characterized by the respect for rights and duties and economic benefits; a part of the participants fails in giving a definition of decent work or gives a negative definition of it. We deepened the study through quantitative analyses that revealed that those who have a more complex view of work and decent work also have higher levels of self-efficacy and career adaptability. These findings are discussed in the light of previous research and from a perspective that intends to give a contribution to career counseling practices. (shrink)

Clinical psychologists describe decentering as the mental operation in which a subject “moves out” of immersion in a mental state. Such decentering is philosophically puzzling. It involves that a subject attends to her mental state to distance herself from it. That is, she attends to the state to make it less determining of her processing. This paper provides a philosophical explanation of the nature of decentering. It analyses decentering as a complex mental operation composed of two sub-operations: introspection and detachment. (...) Drawing on this analysis, the paper argues that decentering involves certain dynamics of attention and attention control that pose an important challenge to a selection for action theory of attention. This challenge concerns adequately describing the workings of detachment in decentering. The paper discusses how a selection for action theory might reply, yet it argues that all the available replies involve unattractive aspects. The paper closes with broader perspectives, suggesting that decentering might also pose a puzzle for other theories of attention. (shrink)

Philosophers working in bioethics often hope to identify abstract principles and universal values to guide professional practice, relying on ideals of objectivity and impartiality, and on the power of rational (individual, autonomous) deliberation. Such a focus has made it difficult to address issues arising from group‐based, sociohistorical differences like race and ethnicity. This essay offers a survey of some of the major issues concerning race in the field of bioethics. These issues include a long history of racialized abuse in medical (...) and scientific research, reproductive injustice and abuse against women of color, and persistent racial and ethnic disparities in U.S. health and health care. The essay also argues that the field of bioethics as a whole would be improved by taking the experience of racial minorities into account in all its theorizing. Philosophers can aid in this task by expanding their theoretical focus beyond questions of individual rights to questions of social justice, beyond informed consent to community collaboration, and beyond cultural competency to both structural competency and cultural humility. (shrink)

Decentering Rushdie argues that postcolonial studies has consistently underestimated the investment of the English-language Indian novel in the nation by focusing on a handful of texts that conform to Western assumptions about the bankruptcy of the postcolonial nation-state. Taking Salman Rushdie’s work as the sign of a presumed homology between postcolonialism and a postmodern distrust of totality, Jani demonstrates that his novels are hardly representative of the range of Indian writing in English. Instead, in a series of expert readings (...) of less well-known texts, he demonstrates the commitment to the decolonising project that exists even within the inevitably cosmopolitan worldview of Indians writing in a colonial language. Situating his work within foundational debates in postcolonial studies, this review demonstrates the fresh light he sheds on the vexed relations among historical location, political ideology and literary form. (shrink)

: This essay addresses the difficulties that sociology as a discipline continues to experience in grasping the relations between technology, science and the social. I argue that these difficulties stem from a resolute centering of sociology on the social, which follows a generically Durkheimian blueprint. I elaborate a response to these difficulties which derives from recent lines of work in science and technology studies, and which entails a decentering of the social relative to the material and the conceptual, in (...) terms of both objects of analysis and explanatory formats. In order to display the direct sociological relevance of this approach, I move to the macro level, developing the conceptual apparatus of a decentered social theory via the discussion of a historical example of major sociological significance—the systematic gearing together of scientific research, technological innovation and industrial production that originated in the synthetic dye industry in the second half of the nineteenth century. Besides the interest of the topic itself, the aim is thus to exemplify in some detail what a decentered sociology might look like, both empirically and conceptually. (shrink)

Natalie Zemon Davis’s work has decentered the identities of her subjects as part of seeing their complexity. This essay, inspired by Davis’s rich thought and scholarship, looks at the ways in which the Romantics in the arts decentered their thought and practices away from the West. Their decentering involved serious study of non-Western thought and its incorporation into their art, and the regular use of opium to shape their creative works. One borrowed theme was transcendence to a higher mode (...) of existence, often through sexual union with a woman. So influential did Romantic tropes, themes, and images derived from outside the West become that they persisted in Western culture long after the Romantics themselves had lost interest in the body of non-Western culture from which they drew. Examples include the work of Samuel Coleridge, Walter Scott, Hector Berlioz, the Schlegel brothers, Caroline Günderode, Sidney Owenson, and others. (shrink)

Context: Challenges by embodied, enactive, extended and ecological approaches to cognition have provided good reasons to shift away from neurocentric theories. Problem: Classic cognitivist accounts tend towards internalism, representationalism and methodological individualism. Such accounts not only picture the brain as the central and almost exclusive mechanism of cognition, they also conceive of brain function in terms that ignore the dynamical relations among brain, body and environment. Method: I review four areas of research where enactivist accounts have shown alternative ways of (...) thinking about the brain. Results: Taken together, such analyses form a comprehensive alternative to the classic conceptions of cognitivist, computational neuroscience. Implications: Such considerations motivate the need to re-think our understanding of how the brain itself works. They suggest that the best explanation of brain function may be found in the mixed vocabularies of embodied and situated cognition, developmental psychology, ecological psychology, dynamic systems theory, applied linguistics, the theory of affordances and material engagement, rather than the narrow vocabulary of computational neuroscience. Constructivist content: This account is consistent with an enactivist-constructivist approach to cognition. (shrink)

You’re probably never going to be a saint. Even so, let’s face it: you could be a better person. We all could. But what does that mean for you? In a world full of suffering and deprivation, it’s easy to despair—and it’s also easy to judge ourselves for not doing more. Even if we gave away everything we own and devoted ourselves to good works, it wouldn’t solve all the world’s problems. It would make them better, though. So is that (...) what we have to do? Is anything less a moral failure? Can we lead a fundamentally decent life without taking such drastic steps? Todd May has answers. He’s not the sort of philosopher who tells us we have to be model citizens who display perfect ethics in every decision we make. He’s realistic: he understands that living up to ideals is a constant struggle. In A Decent Life, May leads readers through the traditional philosophical bases of a number of arguments about what ethics asks of us, then he develops a more reasonable and achievable way of thinking about them, one that shows us how we can use philosophical insights to participate in the complicated world around us. He explores how we should approach the many relationships in our lives—with friends, family, animals, people in need—through the use of a more forgiving, if no less fundamentally serious, moral compass. With humor, insight, and a lively and accessible style, May opens a discussion about how we can, realistically, lead the good life that we aspire to. A philosophy of goodness that leaves it all but unattainable is ultimately self-defeating. Instead, Todd May stands at the forefront of a new wave of philosophy that sensibly reframes our morals and redefines what it means to live a decent life. (shrink)

This article describes the use of idealised women's bodies as avatars of national identity and morality in early twentieth century Venezuela, as evidenced in works of classic literature from the period 1929–1949. Referencing two of Venezuela's most prominent authors, Teresa de la Parra and Antonia Palacios, the article describes how young girls in Venezuela in the first half of the twentieth century were enculturated to pursue ‘white’ ideals of beauty perceived as morally superior. Using the examples of Parra's semi-autobiographical novel (...) Memorias de Mamá Blanca and Palacios’ similarly autobiographical Ana Isabel, una niña decente, this study investigates the topic of identity formation and the state, especially in regards to the control of women's sexuality and women's bodies in state ideologies, while exploring the specific racial overtones of beauty practices and education. (shrink)

This essay was first presented at the 2010 Ludwig Holberg Prize Symposium in Bergen, Norway, where I, as the prize recipient, was asked to describe my work and its import for our period of globalization. The essay first traces the interconnected processes of “decentering” history in Western historiography in the half century after World War II: the move to working people and “subaltern classes”; to women and gender; to communities defined by ethnicity and race; to the study of non-Western (...) histories and world or global history, in which the European trajectory is only one of several models. Can the historian hold onto the subjects of “decentered” social and cultural history, often local and full of concrete detail, and still address the perspectives of global history? To suggest an answer to this question, I describe my own decentering path from work on sixteenth-century artisans in the 1950s to recent research on non-European figures such as the Muslim “Leo Africanus” . I then offer two examples in which concrete cases can serve a global perspective. One is a comparison of the literary careers of Ibn Khaldun and Christine de Pizan in the scribal cultures on either side of the Mediterranean in the late fourteenth and early fifteenth centuries. The other is the transmission and transformation of practices of divination, healing, and detection from Africa to the slave communities of Suriname in the seventeenth and eighteenth centuries. (shrink)

The World Wide Web is often touted as a way to distribute expertise, thus decentering knowledge creation and dissemination. However, conceptualizing ex pertise as multiple does not sufficiently problematize the unitary expertise model that considers expertise as something held by someone (the "expert") and trans ferred to someone else (the "novice "). The author makes the claim that expertise has been primarily theorized by various psychologicalframeworks; these ways of conceptualizing expertise are largely ignorant of the ways that they position the (...) student as a passive receptor of knowledge and do not fully allow for the problematization of the nature of knowledge. Recon ceptualizing expertise then would require movingfrom a narrowly construed psychological conception of ex pertise to a notion of expertise more sociological in character. This article explores conceptualizations of expertise within some dominant psychological frame works. The author explores how the new information technologies compel a reexamination of these notions of expertise. (shrink)

Foucault’s conceptualization of “pastoral power” is important in the development and application of the notion of “governmentality” or the regulation of mass populations. However, Foucault’s exploration of pastoral power, especially in the form of confessional practice, owes a good deal to his Roman Catholic heritage. Hints in his work, which were never developed, suggest some aspects of Protestant forms of pastoral power. These hints are taken up to explore one Protestant tradition, that of Scottish Presbyterianism, in detail. Based on (...) the history of the church in the eighteenth century, four aspects of Protestant pastoral power are outlined: examination, accountability, ecclesiology, and organizing as a good in its own right. (shrink)

What economic conditions are necessary for us to arrive at a post-work future, and what should a post-work future look like? This chapter argues that only through the democratization of core economic institutions can we properly experiment with post-work imaginaries. I argue, based on principles of participatory autonomy and relational equality, for the democratization of workplaces, finance and investment, and the knowledge commons. Given these necessary structural changes, the possibility of a post-work future becomes a democratic (...) choice by placing democratic decision-making power in the hands of those who are directly affected by workplace decisions, investment decisions, and the collective production of knowledge. Through this democratization process, the potential to reduce working hours, the possibility of building meaningful work, and the chance to decenter work as the mechanism for economic security and meaning-making, all become subject to democratic deliberation and decision-making. (shrink)

This compelling new book engages leading theorists to consider how cultivating emotions can impact on social justice. Although the presence of political emotions can appear counterproductive to stability and peace, there is an increasing recognition that emotions can be harnessed to empower community cohesion and social justice. Covering such key issues as adaptive preferences, capabilities, civil religion, compassion, conscience, dignity, feminism, imagination, multicultural citizenship, perfectionism, political liberalism, public sentiments, sympathy, Political Emotions challenges readers to explore the role emotions can and (...) should play in our modern society – and at a time when new ideas about how to foster a decent public sphere and overcome intolerance are urgently needed. Drawing particularly on the work of Martha C. Nussbaum, and including a chapter giving her personal response to the issues raised in the individual essays, this is a fascinating read for all of those interested in social and political philosophy today. (shrink)

This paper offers a justification of labor rights based on an interpretation of the idea of human dignity. According to the dignitarian approach, we have reason to organize social life in such a way that we respond appropriately to the valuable capacities of human beings that give rise to their dignity. That dignity is a deontic status in virtue of which people are owed certain forms of respect and concern. Dignity at work involves the treatment of people in accordance (...) to the ideal of solidaristic empowerment as it pertains to their life as workers. This requires that we generate feasible and reasonable social schemes to support each other as we pursue the development and exercise of our valuable capacities to produce in personally and socially beneficial ways. The spectrum of dignitarian justice goes from basic rights to decent working conditions to maximal rights to flourish in working practices that are free from domination, alienation, and exploitation. (shrink)

The globalization of and technological challenge to the world's workers generate profound ethical problems. Suitable solutions will require governments and civil societies to move beyond the modern tendencies to divinize property rights and base people's income eligibility almost exclusively on their work. Some attention is being paid to the issues involved therein so as to achieve better work/life balance. In some places, in fact, resource-based wealth has been distributed to all citizens, even to those not directly involved in (...) generating the wealth. To maintain and grow such arrangements will be difficult so long as traditional capitalist values like property rights and the work ethic remain dominant. Until this worldview is modified, only the independently wealthy will be able to live decent lives without engaging in wage work. But wageworkers' ability to find such work indefinitely is not assured. (shrink)

One of the most interesting features of Jürgen Habermas’s latest work on democracy is his attempt to acknowledge the problem of social complexity while remaining faithful to the core idea of the Rousseauian conception of democratic legitimacy: the idea that legitimacy is grounded on citizens’ participation in processes of opinion- and will-formation which ensure the reasonableness of collectivedecisions. The challenge for Habermas is to show how it is possible to conciliate the consequences of social complexity with this understanding of (...) legitimacy and popular sovereignty. Does Habermas’s attempt succeed? This is the question examined in the present article.L’un des aspects les plus intéressants du dernier ouvrage de Jürgen Habermas est sa tentative de reconnaître le problème de la complexité sociale tout en demeurant fidèle a I’idée centrale de la conception rousseauiste de légitimité démocratique. Cette dernière est fondée sur la participation du citoyen aux processus de formation de I’opinion publique et de la volonté populaire, qui seule peut assurer le caractère raisonnable des décisions collectives. Le défi que doit relever Habermas consiste à démontrer la possibilité de concilier les conséquences de la complexité sociale avec cette compréhension de la légitimité et de la souveraineté populaire. Peut-on considérer la tentative de Habermas comme un succès? Voilà la question qui sera abordée dans le présent article. (shrink)

ABSTRACT Jeremy Waldron has argued that Berlin ignored the importance of institutions and constitutions and worked with an impoverished conception of social and political design. Political structures, legal and political institutions, constitutional design, mechanisms of representation and the rule of law: all this remained untouched by Berlin, who seemed, in Waldron’s opinion, largely uninterested in the actual political institutions of liberal society. In this essay, I argue that what may be missing in Berlin—close and sustained attention to, and interest in, (...) institutions and social context—can be found in the works of his prominent contemporary, Raymond Aron, who also wrote about liberty during the Cold War. As such, Aron’s An Essay on Liberty can and should be read as a complement to Berlin’s essay “Two Concepts of Liberty.”. (shrink)

One of the most interesting features of Jürgen Habermas’s latest work on democracy is his attempt to acknowledge the problem of social complexity while remaining faithful to the core idea of the Rousseauian conception of democratic legitimacy: the idea that legitimacy is grounded on citizens’ participation in processes of opinion- and will-formation which ensure the reasonableness of collectivedecisions. The challenge for Habermas is to show how it is possible to conciliate the consequences of social complexity with this understanding of (...) legitimacy and popular sovereignty. Does Habermas’s attempt succeed? This is the question examined in the present article.L’un des aspects les plus intéressants du dernier ouvrage de Jürgen Habermas est sa tentative de reconnaître le problème de la complexité sociale tout en demeurant fidèle a I’idée centrale de la conception rousseauiste de légitimité démocratique. Cette dernière est fondée sur la participation du citoyen aux processus de formation de I’opinion publique et de la volonté populaire, qui seule peut assurer le caractère raisonnable des décisions collectives. Le défi que doit relever Habermas consiste à démontrer la possibilité de concilier les conséquences de la complexité sociale avec cette compréhension de la légitimité et de la souveraineté populaire. Peut-on considérer la tentative de Habermas comme un succès? Voilà la question qui sera abordée dans le présent article. (shrink)

Much recent work on moral responsibility has focused on responsibility as accountability—a type of responsibility associated with the blame-oriented reactive attitudes of resentment, indignation, and guilt. The preoccupation with this admittedly important form of responsibility fosters a truncated portrait of our moral lives by largely ignoring responsibility for actions that merit praise and emulation. Through an examination of what is presupposed in the attitudes of gratitude and esteem, this essay argues that praiseworthiness is not best understood as the mirror (...) image of blameworthiness in the accountability sense. To make sense of praiseworthiness one must raise the profile of another type of responsibility —what Gary Watson has identified as its attributability, or aretaic face. Doing so also helps reveal some important features of virtuous agency, including a sense in which such agency may exhibit oft-overlooked and distinctive enhancements of an agent’s freedom. (shrink)

Artificial intelligence-driven technology increasingly shapes work practices and, accordingly, employees’ opportunities for meaningful work (MW). In our paper, we identify five dimensions of MW: pursuing a purpose, social relationships, exercising skills and self-development, autonomy, self-esteem and recognition. Because MW is an important good, lacking opportunities for MW is a serious disadvantage. Therefore, we need to know to what extent employers have a duty to provide this good to their employees. We hold that employers have a duty of beneficence (...) to design for opportunities for MW when implementing AI-technology in the workplace. We argue that this duty of beneficence is supported by the three major ethical theories, namely, Kantian ethics, consequentialism, and virtue ethics. We defend this duty against two objections, including the view that it is incompatible with the shareholder theory of the firm. We then employ the five dimensions of MW as our analytical lens to investigate how AI-based technological innovation in logistic warehouses has an impact, both positively and negatively, on MW, and illustrate that design for MW is feasible. We further support this practical feasibility with the help of insights from organizational psychology. We end by discussing how AI-based technology has an impact both on meaningful work (often seen as an aspirational goal) and decent work (generally seen as a matter of justice). Accordingly, ethical reflection on meaningful and decent work should become more integrated to do justice to how AI-technology inevitably shapes both simultaneously. (shrink)

How might good work – skilled, autonomous work which affords workers opportunities for meaningful social cooperation in decent conditions – be made available to all? I evaluate five commonly advanced strategies: an unregulated labor market, egalitarian redistribution of resources, state regulation, collective bargaining, and workplace democracy. Each, I argue, has significant limitations. An unregulated labor market ignores workers' unduly weak bargaining power vis-à-vis employers. Egalitarian redistribution alone fails to solve this problem due to distinctive and endemic imperfections (...) of labor markets. Direct state regulation is insufficiently context-sensitive and insufficiently dynamic in the face of technological and other developments. Collective bargaining gives workers only indirect and sometimes costly influence over their working conditions. And workplace democracy leaves workers vulnerable to collective action problems induced by competition between firms. I argue, however, that these strategies can be complemented in a promising way by ‘syndicalist economic democracy’: direct worker participation in the government of the economy, largely specific to particular occupations or economic sectors but above the level of the individual workplace. (shrink)

Automated vehicles promise much in the way of both economic boons and increased personal safety. For better or worse, the effects of automating personal vehicles will not be felt for some time. In contrast, the effects of automated work vehicles, like semi-trucks, will be felt much sooner—within the next decade. The costs and benefits of automation will not be distributed evenly; while most of us will be positively affected by the lower prices overall, those losing their livelihoods to the (...) automated semi-trucks and other similar work vehicles will be much worse off. This sets up a classic distributive justice problem: how do we balance the harms and benefits of automation? In this paper, the authors recommend work alternatives: policies that the government would enact in order to ensure that each person could live a decent life even if one could not work, especially for reasons like having one’s job automated. After arguing for this position, we propose some policy guidelines. (shrink)

The Economy for the Common Good proposes a more ethical and sustainable society and organizations based on the common good concept. The study investigates entrepreneurs' reasons for joining the ECG movement and organizational changes introduced following the implementation of the ECG managerial system. Semistructured interviews were held with managers of nine Italian organizations belonging to the movement. Interviews were transcribed, and qualitative content analysis was performed using NVivo 12. Eleven nodes integrating 279 answer units were coded, addressing reasons for adhering, (...) actions introduced, difficulties, overcoming strategies and enablers. The results suggest that ECG values and particularly Environmental Sustainability and Human Dignity are two main reasons to join the movement, that a Common Good Report is a valuable tool for the organizational analysis, that such analysis can be replicated with other ECG organizations, and that pursuing decent work conditions strengthens the adhesion to the ECG movement. The seven conceptual propositions highlight the congruence between the value structure of the organization and the values of the ECG, the congruence between the values held by proximal organizational stakeholders and the changes encouraged by ECG approach, and that rewards and recognition by the organizational stakeholders and society reinforce and maintain the adhesion path. (shrink)

I understand the claim that there is a right to work as the claim that involuntary unemployment is an injustice that requires of justice enforcement institutions to stop it. I argue that in present conditions of high productivity it is more consistent with the liberal tradition to proclaim a right to develop one’s capabilities than a right to work. The steps of my argument are: (1) An important though not the only reason for considering unemployment unjust has been (...) what I call the Promethean idea of society. (2) The Promethean idea is implied by the liberal idea of rights. (3) There are two conceptions of the Promethean idea, the centralist and the autonomous one. (4) Only the latter is acceptable. (5) Involuntary unemployment is unjust even if the dole is decently high. (6) The injustice of unemployment can be stopped only by institutions that enable everyone to use their capabilities in realizing the Promethean idea. (7) One such institution is basic income. (8) As employment is not necessary for survival, we should replace the right to work with a right to develop one’s capabilities. (shrink)

Based on an ethnographic study in a Danish residential care center, this article shows how the interplay of a sensor-floor technology and currently influential values of person-centeredness, privacy, and security in care transforms care work and care interactions between residents and care workers. Based on an understanding of care as realized in a heterogeneous collective of human and nonhuman actors, this article illustrates how new modes of monitoring and interpreting residents’ care needs at a distance arise, and how a (...) new organization of work focusing on quick and responsive care is established. These new care practices lead to conflicts between the values of privacy and security, to ambivalent experiences among care workers of simultaneously increased security and insecurity in work, and, paradoxically, also often to a decentering rather than person-centering of care. Instead of accommodating simultaneous compliance to the values of privacy, security, and person-centeredness, the use of the sensor-floors makes the tensions between these values continuously and loudly present in daily care practices. (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)

In lieu of an abstract, here is a brief excerpt of the content:Recent Works on Confucius and the AnalectsRonnie LittlejohnConfucius and the Analects: New Essays. Edited by Bryan W. Van Norden. New York: Oxford University Press, 2002. Pp. x + 342. Hardcover $65.00. Paper $24.95.Confucius: Analects with Selections from Traditional Commentaries. Translated by Edward Slingerland. Indianapolis: Hackett Publishing, 2003. Pp. xxix + 279. Hardcover $18.00. Paper $10.95.I do not think I can remember reading a professional review of any scholarly (...) class='Hi'>work beginning with the imperative "Rush out and buy these books!" But I am not embarrassed to open my comments about these two new volumes on the work of Confucius with just such advice. I think that these works should be included in the personal and institutional libraries of any public interested in classical Confucianism and the Analects. I will review them in the order of their publication. Accordingly, Professor Slingerland's work, although a translation and commentary on the Lun yu, will follow the set of essays compiled and edited by Professor Van Norden. Although this seems to be a rather straightforward procedure, the reader may well wonder whether Slingerland's translation and its extensive use of the commentarial tradition on the Analects in any way displaces one or more of the essays in Van Norden's collection. Remarkably, I did not find this to be true at all. I think this is a tribute largely to the Van Norden anthology and the quality of the scholarship represented by its contributors.The Van Norden collection contains ten essays. In part 1 there are four grouped under the heading "Keeping Warm the Old," and in part 2 there are six under the topic "Appreciating the New." This is a grouping inspired by Analects 2.11: "One who can keep warm the old, yet appreciate the new, is fit to be a teacher." The editor's principal reason for this division in the material is that the authors of the essays in the first section accept the canonical integrity of the Analects and its worldview (or at least they do not explicitly call this into question or depend on a text or form a critical analysis in any of their arguments). In contrast, the authors in the second section explore issues that have not been a part of the commentarial and interpretive tradition on Confucius or the Analects, and many of them employ a textual critical apparatus to buttress their arguments and hermeneutical constructions.Before I provide an overview of the component essays, I want to make a few observations about the "Introduction" written by Van Norden. While it is often the purpose of the editor of an anthology to preview the component essays in the collection, [End Page 99] this is not Van Norden's intention. Looking at the result, I must say that I am very grateful he did not follow the usual pattern. What Van Norden has provided is a readily accessible overview of China in the period before and after Confucius, and a very tight and up-to-date summary of the life of Confucius. It is the best five-page introduction I have found to the current literary and textual debate about the Analects arising from the work of Bruce and Taeko Brooks, and a very decent survey of key concepts in the Confucian philosophical lexicon taken from the Analects.The first essay in part 1 is "Naturalness Revisited: Why Western Philosophers Should Study Confucius" by Joel Kupperman of the University of Connecticut, who was a student of H. G. Creel at the University of Chicago in the mid-1950s. Kupperman holds that there are gaps in Western ethical philosophy that correspond to interesting and important lines of thought to be found in Confucius. What he has in mind specifically is an interest he finds in Confucius on matters of style and decorum in life. He thinks that Western thought has neglected the style of interpersonal interaction because of its preoccupation with moral choice and decision. Although he takes up two possible counterexamples (Nietzsche and Aristotle), I do not believe most readers will find his way of setting them aside to be very satisfying. His work in this part of the essay... (shrink)

The author examines the fanatical type of mentality in its secular and religious forms based on the analysis of the works of Gabriel Marcel and Karen Armstrong. The origins of the phenomenon of fanaticism are found in the basic foundations of Modern culture as the time of the replacement of myth by logos (Armstrong) and the domination of the abstract spirit (Marcel). The understanding of the foundations of fanaticism as a broad phenomenon undertaken by the French philosopher and the British (...) religious scholar is associated with interpretations of the concept of the transcendent. Although the socio-spiritual situation in which Marcel and Armstrong work is different, their conclusions generally coincide and become especially relevant today, when the world is on the verge of a new world war. The author briefly formulates definitions of some basic categories of G. Marcel's philosophy - "philosophical experience", "first reflection", "second reflection", "fanaticized consciousness", "disparity", "abstraction", "abstract spirit", "collective violence", "property", "being", "ideologue", "intersubjectivity", "identity", etc. Gabriel Marcel's reflection on the fundamental difference between a true believer and a religious fanatic is discussed, despite the fact that both are spoken on behalf of absolute values. The will to refuse to "question" the object of one's faith presupposes immunity to the arguments of critical thinking, which by definition would be intended to act as a kind of antidote to fanaticism as a special type of radical consciousness. The basis of fanaticism turns out to be insensitivity to what is the fanatic's idefix, while modern fanatics, in contrast to the ordinary idea of them, are often well-educated people. This is a decentered consciousness dominated by "carnal thought". Such an idea may be called the idea of equality or justice, but it is not actually a thought born from experience and sympathy for people. (shrink)

ABSTRACT To date, over forty-seven studies have examined the antecedents and outcomes of Moral Disengagement mechanisms used to rationalize unethical behavior. However, none have examined its relationship with mindful awareness, either as a trait or set of everyday applications. Our study demonstrates that trait mindfulness is negatively correlated with all MD mechanisms. The tendency to apply decentering and relaxation is positively correlated with all MD mechanisms while stopping and reappraisal trend toward positive relationships and savoring shows no correlation. We discuss (...) potential reasons for these disparate relationships and implications for mindfulness-based interventions in the workplace. (shrink)

Women entrepreneurs innovate, initiate, engage, and run business enterprises to contribute the domestic development. Women entrepreneurs think and start taking risks of operating enterprises and combine various factors involved in production to deal with the uncertain business environment. Entrepreneurship and technological innovation play a crucial role in developing the economy by creating job opportunities, improving skills, and executing new ideas. It has a significant impact on the income of the household. The study focused on investigating the role of women’s entrepreneurship (...) and innovation technologies in contributing to household income in the challenging situation of the pandemic COVID-19. The paper emphasized identifying the determinants of female entrepreneurial contribution toward household income. This study collected data from selected rural and urban areas of district Faisalabad through a self-administered questionnaire. Investigators interviewed female entrepreneurs and chose them through the snowball sampling technique from a population of purposively selected female-run businesses. Interviews were conducted with women entrepreneurs to gather relevant information for the survey investigation at their workplaces and home. The effects of various factors, including age, education, family size, income from other sources, time allocated to entrepreneurial activity, firm size, and location were estimated empirically using an ordered logit model. The study findings exhibited a positive and significant role of respondents’ education, family size, time allocated to entrepreneurial activities, and firm size. The survey outcomes also indicated that the contribution of entrepreneurial income to household income in the rural areas is significantly higher than that in urban areas. This study signifies that regulations against gender discrimination in public and private institutions are helpful. Besides, encouraging an environment for entrepreneurial culture among women in the country would increase family income. The study’s findings and policy implications directly link to Sustainable Development Goal 5 of Gender Equality and SDG 8 related to decent work and economic growth. (shrink)

The current legal and political practice of human rights invokes entitlements to freely chosen work, to decent working conditions, and to form and join labor unions. Despite the importance of these rights, they remain under-explored in the philosophical literature on human rights. This article offers a systematic and constructive discussion of them. First, it surveys the content and current relevance of the labor rights stated in the most important documents of the human rights practice. Second, it gives a (...) moral defense of these rights arguing that their support involves an appropriate response to important human interests and to the human dignity of workers. Finally, it explores central normative issues about the relation between labor rights and human dignity. It responds to some objections about the importance of work, explains why labor human rights may not exhaust the demands of dignity regarding labor and arbitrates a common tension between independence and solidarity within our practical affirmation of human dignity. (shrink)

Certification programs seek to promote decent work in global agriculture, yet little is known about their gender standards and implications for female workers, who are often the most disadvantaged. This study outlines the gender standard domains of major agricultural certifications, showing how some programs (Fair Trade USA, Rainforest) prioritize addressing gender equality in employment and others (Fairtrade International, UTZ) incorporate wider gender rights. To illuminate the implications of gender standards in practice, I analyze Fairtrade certification and worker experience (...) on certified flower plantations in Ecuador, drawing on a qualitative and quantitative field research study. (1) I show how Fairtrade seeks to bolster the wellbeing of female workers, addressing their workplace needs via equal employment, treatment, and remuneration standards and their reproductive needs via maternity leave and childcare services. My research demonstrates that for female workers, addressing family responsibilities is critical, since they shape women’s ability to take paid jobs, their employment needs, and their overall wellbeing. (2) I show how Fairtrade seeks to bolster the rights of women workers through individual and collective capacity building standards. My findings reveal how promoting women’s individual empowerment serves as a precondition for collective empowerment, and how targeting traditional labor rights is insufficient for empowering female workers, since their strategic choices are curtailed largely outside the workplace. While Fairtrade certification bolsters the wellbeing and rights of female workers in and beyond the workplace, much still needs to be done before women can claim their rights as workers and citizens. (shrink)

Views of the self may be plotted on a set of coordinates. On the axis that runs from fragmentation to unity, Rorty and Rorty's Freud champion the decentered self while Wallwork, Taylor, and Ricoeur argue for a sovereign, unified self. On the other axis, which runs from the disengaged, inward-turning self to the engaged and "sedimented" self, Wallwork, would be positioned near Rorty, defending self-creation against the narrative identity affirmed by Taylor and Ricoeur. Despite his skepticism concerning the communitarian agenda (...) of the narrativists, Flanagan grants that the self is social and relational--a position further explored by Oliver, Stendahl, Deutsch, and Mack in "Selves, People, and Persons". (shrink)

Eager to change the world? Learn how you can have a greater social impact through your everyday purchases. The money we routinely spend on food, clothes, gifts, and even indulgences is an untapped superpower. What would happen if we slowed down to make more thoughtful decisions about what we buy? For "mom and pop" stores across the country, and artisan and agricultural communities around the world, every purchase matters. Consumers--whether individuals, small businesses, or corporations--are paying more attention than ever to (...) how their goods are made; and retailers--large and small--are responding by investing in ethical and eco-friendly production. Yet figuring out which brands to support can feel overwhelming. Jane Mosbacher Morris has devoted her career to creating economic opportunities for vulnerable communities around the world, and in this valuable book, she shares her passion and insights on how we, as consumers, can create positive change too. Covering topics that range from why not all factories are evil, to how our morning coffee can be the easiest way for us to use our purchasing power for good, Buy the Change You Want to See makes us better informed consumers. Morris tells inspiring stories about how victims of human trafficking and natural disasters have been empowered by economic opportunity, and she offers practical ideas about how we can support these communities through our purchases--whether it comes to jewelry made from recycled materials in Haiti, sustainably grown and ethically sourced coffee and chocolate from farmers in some of the poorest regions of the world, or mass-produced jeans and shoes made in factories where workers are guaranteed decent working conditions and a fair wage. (shrink)

This Research Topic addresses the eleventh Sustainable Development Goal (SDG), which is to “make cities and human settlements inclusive, safe, resilient and sustainable.” Several individual targets and indicators measure progress toward this goal. Researchers study, among others, urban inclusion, the influence of urban policy on socioeconomic disparities, and gentrification. This Research Topic primarily addresses the challenges and complexities of sustainable urban planning and development concerning decent work, economic growth, and associated crises due to their significant impact on urban (...) living. (shrink)