ABSTRACT:A wide range of research uses patterns of genetic variation to infer genetic similarity between individuals, typically referred to as genetic ancestry. This research includes inference of human demographic history, understanding the genetic architecture of traits, and predicting disease risk. Researchers are not just structuring an intellectual inquiry when using genetic ancestry, they are also creating analytical frameworks with broader societal ramifications. This essay presents an ethics framework in the spirit of virtue ethics for these researchers: rather than focus on (...) rule following, the framework is designed to build researchers’ capacities to react to the ethical dimensions of their work. The authors identify one overarching principle of intellectual freedom and responsibility, noting that freedom in all its guises comes with responsibility, and they identify and define four principles that collectively uphold researchers’ intellectual responsibility: truthfulness, justice and fairness, anti-racism, and public beneficence. Researchers should bring their practices into alignment with these principles, and to aid this, the authors name three common ways research practices infringe these principles, suggest a step-by-step process for aligning research choices with the principles, provide rules of thumb for achieving alignment, and give a worked case. The essay concludes by identifying support needed by researchers to act in accord with the proposed framework. (shrink)

L’article discute les conceptions respectives que le philosophe Ernst Cassirer et l’historien de l’art Erwin Panofsky se font de l’espace artistique. L’occasion en est donnée par une discussion lors du Kongress für Ästhetitk und Allgemeine Kunstwissenschaft (Congrès d’esthétique et de science de l’art) organisé à Hambourg en 1933 sur la question de l’espace et du temps artistiques. La perspective, considérée par Panofsky comme une forme symbolique, constitue un bon cas pour saisir les proximités et différences entre l’historien de (...) l’art et le philosophe des formes symboliques. L’espace de la perspective correspond-il à cet espace de l’art que le philosophe définit comme espace de la représentation (Darstellung)? À cet exemple de la perspective, exemple classique quoique souvent évoqué sans grande précision pour comparer les deux théoriciens, l’article en ajoute un autre, inédit, à savoir celui de la théorie des proportions. Peut-on dire que la théorie des proportions qui structure elle aussi la surface de l’image est, comme la perspective, une forme symbolique? La réponse permet de préciser la façon dont Cassirer et Panofsky construisent un lien entre art, représentation et subjectivité. À travers cette recherche des affinités et différences dans la conception de l’art, ce qui se joue en toile de fond, c’est, d’une part, la possibilité et les limites de l’interdisciplinarité et du dialogue fécond entre philosophie et histoire de l’art et, d’autre part, la question de savoir si une commune théorie de l’art était partagée à Hambourg dans ces années, autour de l’Institut Warburg. (shrink)

This paper focuses on the theme of perspective representation starting from Panofsky and Florenskij’s works. Aim of this study is to approach this topic not only from an historical, scientific or artistic development, but also including these profiles into a wider framework offered by the philosophical concept of perspective as a symbolic form. I will try to argue that Florenskij’s _Reverse perspective _“reverses” Panofsky’s _The perspective as symbolic form_, without neglecting assumptions but rather delving in deeper analyses and (...) integrating it with a phenomenological point of view. (shrink)

ABSTRACT This introduction argues for competing diachronic and synchronic accounts of melancholy in European and American culture. Taking the pioneering and yet belated work Saturn and Melancholy (1964) of Erwin Panofsky, Fritz Saxl, and Raymond Klibansky as its starting point, this article situates melancholy as at once its own, often local and non-specialist discourse as well as a conceptual web binding together medical, artistic, and social innovations, competitions, and turmoil. As a subject, melancholy demands interdisciplinary study, as Dürer’s print (...) Melencolia I continues to prove. As a locus of methodological innovation, melancholy in the wake of Panofsky, Saxl, and Klibansky continues to yield the alternative genealogies, conceptual histories, and formal artistic vocabularies of this volume’s contributions whether moving backwards from Dürer to Homer or forward to the present day with Lars von Trier and major European novelists. (shrink)

Starting from Erwin Panofsky’s well-known polemical exchange of letters with Barnett Newman, and taking into account some few hints to contemporary artists which can be found into the Princeton Professor’s private correspondence, this essay deals with the theoretical reasons why one of the most original and influent art historians of the whole 20th Century has never really come to terms with even the notion of “abstract” art. It then focuses on the seemingly paradoxical concept of “abstract sublime” as proposed (...) by Robert Rosenblum and further developed by Jean-François Lyotard in order to show how iconographic-iconological analysis could be fruitfully applied to non-figurative works of art. (shrink)

Erwin Panofsky’s essay “Perspective as Symbolic Form” from 1924 is among the most widely commented essays in twentieth-century aesthetics and was discussed with regard to art theory, Renaissance painting, Western codes of depiction, history of optical devices, psychology of perception, or even ophthalmology. Strangely enough, however, almost nothing has been written about the philosophical claim implicit in the title, i.e. that perspective is a symbolic form among others. The article situates the essay within the intellectual constellation at Aby Warburg’s (...) Kulturwissenschaftliche Bibliothek in Hamburg, and analyzes the role of Ernst Cassirer’s philosophy of symbolic forms for the members of the Warburg circle. Does perspective meet the requirements for becoming a further “symbolic form,” beyond those outlined by Cassirer? The article argues that, ultimately, perspective cannot possibly be a symbolic form; not because it does not meet Cassirer’s philosophical requirements, but rather, because that would uproot Cassirer’s overall project. While revisiting Panofsky with Cassirer unearths the wide-raging philosophical implication of the essay, revisiting Cassirer with Panofsky means to highlight the fundamentally perspectival nature of all symbolic forms. (shrink)

O presente ensaio procura determinar quais foram as idéias que influenciaram o abade Suger na reforma da igreja de Saint-Denis – origem do gótico. Erwin Panofsky dá os traços essenciais desta investigação e abre novas posibilidades de aprofundamento. Em seu fascinante estudo, Panofsky teve o mérito de ter sido o pioneiro em descobrir uma influencia das obras do Pseudo-Dionísio sobre a reforma de Saint-Denis. Desde então, a polêmica não cessou mais. Destacase o papel de Hugo de S. Vítor (...) como transmissor da influência mística sobre Suger. (shrink)

O artigo apresenta e interpreta a gravura De smalle en de brede Weg de Hieronymus Wierix, criada no ano de 1619 na cidade de Antuérpia, já sob domínio espanhol. O objetivo é analisar uma expressão da cultura visual religiosa católica que influenciou as Américas e o Brasil colônia e que inspirou a cultura visual evangélica brasileira, no caso, mediante a xilogravura de Charlotte Reihlen no século 19. Como método aplicam-se os três passos de interpretação de arte religiosa renascentista propostos por (...) Ernst Panofsky, a descrição pré-iconográfica, a análise iconográfica e a interpretação iconológica. Espera-se enriquecer a compreensão da cultura visual religiosa na América Latina e no Brasil, inclusive em sua transconfessionalidade, investigando seu rico fundo imaginário. (shrink)

Pierre Bourdieu, inspirado pelos estudos de Panofsky, delineou o conceito de habitus para tratar da relação entre indivíduo e sociedade. Para ele, habitus tem um papel mediador: é criado a partir da internalização das estruturas sociais em que um sujeito se encontra e prepara a ação futura desse indivíduo na sociedade. O objetivo deste artigo é apresentar habitus como um signo, sob a ótica da filosofia de Charles Sanders Peirce, e a relação entre indivíduo e sociedade como um processo (...) semiótico e pragmático de fixação de crenças. Para isso, será apresentada a base escolástica comum aos conceitos de habitus em Bourdieu e de hábito em Peirce, para então serem apresentados os conceitos peircianos. Assim, se tornará mais evidente como o habitus participa de um processo de evolução contínuo que pode manter os modelos de uma sociedade ou transformá-los por meio das ações inventivas dos agentes. (shrink)

In his lifelong effort to overcome the limits of Panofsky’s iconological method, Max Imdahl tried to sketch out an «iconic understanding» which is pre-reflexive, performed below the level of conceptual and verbal explication. Under the auspices of Konrad Fiedler’s theoretical position, Imdahl opposed the Panofskian «recognizing view» with a more formalistic «seeing view», in order to gain access to a third form of vision which he called «knowing view». After outlining Imdahl’s critic of the reduced and unilateral significance of (...) «form» and «formal composition» in Panofsky’s approach, I will clarify how far Imdahl has gone in the analysis of what should be properly defined as an authentic logic of images . Then, focusing on a paradigmatic case study, I will show the importance of the syntax of an image (i.e. the positioning of its elements on the left or on the right, underneath or above, in the back or in the front) for its semantic meaning. (shrink)

Erwin Panofsky explicitly states that the first half of the opening chapter of Studies in Iconology—his landmark American publication of 1939—contains ‘the revised content of a methodological article published by the writer in 1932’, which is now translated for the first time in this issue of Critical Inquiry.1 That article, published in the philosophical journal Logos, is among his most important works. First, it marks the apogee of his series of philosophically reflective essays on how to do art history,2 (...) that reach back, via a couple of major pieces on Alois Riegl, to the 1915 essay on Heinrich Wölfflin.3 Under the influence of his colleague at Hamburg Ernst Cassirer, the principal interpreter of Kant in the 1920s, Panofsky from 1915 on exhibits in his work ever more Kantian thinking and language.4 But Logos was not an art-historical review or one dedicated to aesthetics but a principal mainstream journal of the philosophy of culture. So ‘On the Problem of Describing and Interpreting Works of the Visual Arts’ has a good claim to be the culmination of Panofsky's philosophical thinking in his German period under the Weimar Republic. · 1. Erwin Panofsky, Studies in Iconology: Humanistic Themes in the Art of the Renaissance , p. xv; hereafter abbreviated SI. See Panofsky, ‘Zum Problem der Beschreibung und Inhaltsdeutung von Werken der bildenden Kunst’, Logos 21 : 103–19; trans. Jaś Elsner and Katharina Lorenz under the title ‘On the Problem of Describing and Interpreting Works of the Visual Arts’, Critical Inquiry 38 : 467–82; hereafter abbreviated ‘P’.· 2. See the discussion in Carlo Ginzburg, ‘From Aby Warburg to E. H. Gombrich: A Problem of Method’, Myths, Emblems, Clues, trans. John and Anne C. Tedeschi , pp. 17–59, esp. pp. 36–41.· 3. See Panofsky, ‘Das Problem des Stils in der bildenden Kunst’, Deutschsprachige Aufsätze, ed. Karen Michels and Martin Warnke, 2 vols. , 2:1009–18; ‘Der Begriff des Kunstwollens’,Deutschsprachige Aufsätze, 2:1019–34, trans. Kenneth J. Northcott and Joel Snyder under the title ‘The Concept of Artistic Volition’, Critical Inquiry 8 : 17–33; and ‘Über das Verhältnis der Kunstgeschichte zur Kunsttheorie: Ein Beitrag zu der Erörterung über die Möglichkeit kunstwissenschaftlicher Grundbegriffe’, Deutschsprachige Aufsätze, 2: 1035–63, trans. Lorenz and Elsner under the title ‘On the Relationship of Art History and Art Theory: Towards the Possibility of a Fundamental System of Concepts for a Science of Art’, Critical Inquiry 35 : 43–71.· 4. On neo-Kantianism in pre-Nazi Germany, see Michael Friedman, A Parting of the Ways: Carnap, Cassirer, and Heidegger , pp. 25–37; Éric Dufour and T. Z. R. Créteil, ‘Le Statue du singulier: Kant et le néokantisme de l’École de Marbourg', Kantstudien 93 : 324–50; Edward Skidelsky, Ernst Cassirer: The Last Philosopher of Culture , pp. 22–51; and Peter E. Gordon, Continental Divide: Heidegger, Cassirer, Davos , pp. 52–86. Specifically on the Cassirerian Kantianism of Panofsky, see Michael Podro, The Critical Historians of Art , pp. 181–82; Michael Ann Holly, Panofsky and the Foundations of Art History , pp. 91–92, 147–52; Silvia Ferretti, Cassirer, Panofsky, and Warburg: Symbol, Art, and History, trans. Richard Pierce , pp. 174–77, 182–84; David Summers, ‘Meaning in the Visual Arts as a Humanistic Discipline’, in Meaning in the Visual Arts: Views from the Outside, ed. Irving Lavin , pp. 9–24; Mark A. Cheetham, Kant, Art, and Art History: Moments of Discipline , pp. 68–77; Paul Crowther, The Transhistorical Image: Philosophizing Art and Its History , pp. 70–73; Allister Neher, ‘“The Concept of Kunstwollen”, Neo-Kantianism, and Erwin Panofsky's Early Art Theoretical Essays', Word and Image 20 : 41–51; Georges Didi-Huberman,Confronting Images: Questioning the Ends of a Certain History of Art, trans. John Goodman , pp. 4–6, 90–138; and Lorenz and Elsner, ‘Translators’ Introduction', Critical Inquiry35 : 33–42, esp. pp. 38, 40–42. (shrink)

Focusing on the faculty of intuition, my essay considers different ways that Aby Warburg and Erwin Panofsky interpret the late Renaissance cosmographer, Giordano Bruno. It argues that Warburg, in the last year of his life and with the help of Ernst Cassirer, appropriates the concept of synderesis from Bruno not only to rethink the Nachleben der Antike but also to inscribe himself in the history of word and image, a history that admits the irrational and the mystical as much (...) as the rational. By contrast, Panofsky's Bruno is ultimately a more dialectical, prudential figure. Over the course of several decades, Bruno for Panofsky becomes symbolic of the possibility of "synthesis," the aim of his iconological method. This, however, diminishes the dynamism of Bruno's imagery, even as it gives intuition a more systematic role. (shrink)

Os mitos antigos não estão mortos. A partir desta afirmação fundamentada nas obras de autores como Warburg, Jean Seznec, Erwin Panofsky e Fritz Saxl, este trabalho pretende apontar os caminhos históricos que legitimaram a sobrevivência do mito das sibilas no mundo cristão, em sua estreita relação com a astrologia. O paganismo não renasceu após o medievo, mas esteve sempre presente no cristianismo, não só como símbolos, mas como efetiva influência essencial sobre os homens e as suas vidas. Alguns momentos (...) históricos em particular são privilegiados neste caminho, desde os padres apologistas do cristianismo primitivo até o nascimento da ciência moderna. Sibilas e astrologia, como testemunhos “de fora” são presença constante seja na teologia cristã, seja na literatura e na música, ou nas representações plásticas do mundo cristão, que aqui privilegiamos. A sua sobrevivência ou pós-vida é ora afirmada também pela legitimação de grandes nomes da patrística e da escolástica, e ainda por meio da influência de Albumasar, teólogo muçulmano nascido no século VIII e que faz o elo entre sibilas, astrologia e a Virgem Maria. O que fazem as sibilas nos tetos das igrejas católicas? É esta a pergunta que o presente trabalho pretende, em grande medida, responder. (shrink)

Is it possible to compose a history of images? It is obvious that history can be composed only from that which is intrinsically historical; history has an order of its own because it interprets and clarifies an order which already exists in the facts. But is there an order in the birth, multiplication, combination, dissolution and re-synthesis of images? Mannerism had discredited or demystified form with its pretense of reproducing an order which does not exist in reality. But is the (...) world of existence, like the world of images, chaos or cosmos? Erwin Panofsky's1 great merit consists in having understood that, in spite of its confused appearance, the world of images is an ordered world and that it is possible to do the history of art as the history of images. In order to do this, he had to begin, as indeed he did, with the demonstration that classical art, in spite of the deep-rooted theoretical certitude, is also an art of the image; its forms are nothing if not images to which one tries to attribute the consistency of concepts, with the sole result of the demonstrating that even concepts are images and that the intellect is still another sector or segment of the image. · 1. See, e.g., Erwin Panofsky, Meaning in the Visual Art: Papers in and on Art History ; Studies in Iconology: Humanistic Themes in the Art of the Renaissance ; Problems in Titian, Mostly Iconographic ; Idea: Ein Beitrag zur Begriffsgeshicte der älteren Kunsttheorie [Idea: a concept in art theory, trans. Joseph J. S. Peake ]. Giulio Carlo Argan, who has seriously influenced the course of art history and criticism in postwar Italy, is professor of modern art at the University of Rome. He has written on Fra Angelico, Botticelli, Borromini, Brunelleschi, and Gropius and three volumes of critical essays on modern art. His Skira volume on Baroque art, Europe of the Capitals, is his only major work published in English. "Ideology and Iconology" originally appeared in Italian in the journal Storia dell'arte, which he edits, and in Psicon. Rebecca West, translator of this article and assistant professor of Romance Languages and Literatures at the University of Chicago, presently is collaborating on a translation of Dario Fo's theater. She has translated "Narrative Structures and Literary History" by Cesare Segre, for the Winter 1976 issue of Critical Inquiry. (shrink)

Da quando Spengler, nel secondo volume del Tramonto dell’Occidente (1922), ha preso a prestito dalla terminologia mineralogica la nozione di «pseudomorfosi» per applicarla alla morfologia delle culture e all’interpretazione dei rapporti fra differenti tradizioni culturali, questo concetto si è ampiamente diffuso nel vocabolario della filosofia e delle scienze umane. Il presente articolo si ripropone di ricostruire alcune tappe fondamentali della storia degli effetti di tale prestito, indagandone al contempo le oscillazioni dello spettro semantico e le implicazioni metodologiche ed epistemologiche. In (...) Spengler il concetto viene assunto in accezione fondamentalmente negativa, per descrivere un fenomeno di costrizione morfologica: una cultura nuova è costretta dalla forza d’inerzia di una cultura precedente ad assumere forme estranee per manifestare i propri contenuti. Diversi lettori del Tramonto mutuano tale termine adattandolo alle proprie ricerche: Jonas per esplorare la relazione fra la gnosi e le tradizioni greca, orientale e cristiana; Mumford per analizzare le connessioni fra i recenti progressi tecnologici e le vecchie forme del potere e dell’economia; Adorno per condannare perniciose mimesi (la filosofia che imita le scienze; l’arte che imita il linguaggio concettuale; la musica che imita la pittura). Tutti condividono l’idea che la pseudomorfosi consista in una falsa manifestazione formale, che finisce per mascherare l’espressione di un contenuto autentico e originario; inoltre, l’adozione di forme vecchie per comunicare contenuti nuovi favorisce analogie e somiglianze meramente superficiali e sostanzialmente infondate. Anche Panofsky accoglie la nozione nella sua iconologia, imprimendo tuttavia al concetto curvature differenti in diversi momenti della sua opera: in Studies of Iconology (1939) si riconosce alla pseudomorfosi una positiva valenza euristica, capace di portare ad espressione, nel Rinascimento, contenuti rimasti inespressi nell’antichità grazie alla sopravvivenza di elementi della mediazione medievale. Una complessa relazione a tre tempi, dunque, che mette in luce un poietico movimento retroattivo del presente sul passato remoto grazie alla metabolizzazione del presente prossimo: una significativa riqualificazione della funzione pseudomorfica (già adombrata dalle ricerche di Warburg sul Nachleben der Antike), che tuttavia si perde nella successiva riflessione panofskyana, dal momento che in Tomb Sculpture (1964) torna a riaffermarsi l’accezione negativa e semplificatoria di pseudomorfosi come apparente ma infondata analogia formale. Assunto in questo senso peggiorativo, il termine trapassa nella successiva storiografia artistica (ad esempio in Rosenblum e Bois). Ma l’affermarsi, in tempi recenti, di una rivalutazione dei fenomeni di anacronismo (Didi-Huberman, Nagel, Wood, Powell) sta comportando, in parallelo, una riqualificazione delle potenzialità euristiche della retroazione pseudomorfica. Per potersi realizzare compiutamente, tale riqualificazione deve accompagnarsi con una coerente teoria delle somiglianze. (shrink)

Der vorliegende Beitrag setzt die Überlegungen eines Forschungsentwurfs fort, dessen erster Teil im Band 63/2 dieser Zeitschrift erschien. Die historische Formel des sog. ›Disjunktionsprinzps‹ entwickelt Panofsky u.a. in dem 1944 im Kenyon Review erschienenen Artikel Renaissance and Renascences. Die grundsätzliche Mobilität antiker Kulturelemente, die er seiner Formel zuschreibt, impliziert einen bei ihm bisher unbenannten kulturtheoretischen Zugang mit deutlicher Nähe zum ethnologischen Modell der Diffusion. Ausgehend davon entwirft Panofsky mittels einer kulturmorphologischen Vorgehensweise ein transepochales Modell kultureller Tradierung. Dies ermöglicht (...) es ihm, seine Vorstellung einer hierarchischen Gliederung menschlicher (Kultur‑)Epochen am Beispiel der Antikenrezeption zu festigen. Um sich den kulturtheoretischen Implikationen in Panofskys Ausführungen zu nähern, sollen hier jene Stationen beleuchtet werden, die Panofskys intellektuellen Horizont möglicherweise mitgeformt haben – so z.B. die Prägung durch Aby Warburg, der seine Ausbildung in Bonn u.a. unter der Lehre Karl Lamprechts absolvierte. Zum anderen wird Panofskys Argumentation mit den Ideen deutscher Diffusionisten verglichen. Die vergleichende Methode offenbart nicht nur erstmalig deutliche Analogien, sondern zeigt, wie Panofsky mittels Antikenrezeption eine spezifische Vorstellung von der menschlichen Kulturgeschichte vorgibt. The article continues the considerations of a research draft, the first part of which was published in volume 63/2 of this journal. Panofsky develops the historical formula of the socalled ›principle of disjunction‹ in the article ›Renaissance and Renascences‹ published in the Kenyon Review in 1944. The fundamental mobility of ancient cultural elements, which he ascribes to his formula, implies a previously unnamed cultural-theoretical approach with a clear proximity to the ethnological model of diffusion. On this basis, Panofsky uses a cultural morphological approach to design a transepochal model of cultural transmission. This enables him to consolidate the idea of a hierarchical structure of human (cultural) epochs using the example of the reception of antiquity. In order to approach the cultural-theoretical implications in Panofsky’s remarks, those stations that may have shaped Panofsky’s intellectual horizon will be examined – e.g. the influence of Aby Warburg, who completed his education in Bonn under the teachings of Karl Lamprecht, among others. On the other hand, Panofsky’s argumentation is compared with the ideas of German diffusionists. The comparative method not only reveals clear analogies for the first time, but also shows how Panofsky uses the reception of antiquity to provide a specific idea of human cultural history. (shrink)

O artigo aqui apresentado faz parte de uma elaboração sistemática de estilos iconográficos e suas respectivas mensagens iconológicas da cultura visual cristã, com foco na arte religiosa devocional. A obra em questão é um interessante exemplo flamengo da linguagem visual católica em uso cem anos depois da reforma protestante e criada, provavelmente, entre a Trégua dos Doze Anos e o início da[s] Guerra[s] dos Trinta Anos. É estudo a gravura Homo moriens de Hieronymus Wierix do ano [1609/1619]. Formalmente, trata-se de (...) um emblema clássico composto por uma Inscriptio, Pictura e Subscriptio. A obra é lida por meio do método iconológico de Erwin Panofsky. Conclua-se que se o tom da narrativa visual não é polêmico ou controverso, mas, pastoral e especialmente sensíveis à necessidade religiosa de pessoas que se encontram no leito da morte. Trata-se de um discurso visual “interno” da igreja, que dá jus às ênfases soteriológicas estabelecidas pelo Concílio de Trento em uma perspectiva de cuidado, construindo certezas, para poder enfrentar a inevitável agonia. (shrink)

El presente trabajo desea abordar el problema de los límites de la interpretación de la imagen. La pregunta que está de fondo es si es posible o no orientarnos ante ella y, de ser así, de qué manera podemos hacerlo. Por un lado, el análisis de esta pregunta tiene como tema central la concepción de la historia del arte como un saber concreto sobre las imágenes, y, por otro lado, la idea de que la historia del arte debe ser repensada, (...) pues las imágenes artísticas no pueden ser abarcadas en su totalidad mediante un presunto saber, pues en ellas habitan también la irracionalidad, e incluso, lagunas temporales que permiten concluir que es pretensioso generar un tono histórico que afirme una epistemología exacta del arte. Así pues, este problema estético será abordado a través de la iconología de Panofsky, la ontología de Heidegger, y la arqueología discursiva de la imagen de Didi-Huberman. (shrink)

The archive produces a linear time that reaches towards ‘what could be’ by asserting ‘what has been’, providing us reassurance of our existence through the assertion of a reliably past past. But the Anthropocene is an era of uncontained material ramifications, where the past juts into the future and temporality warps as change accelerates unexpectedly. As an ecological and geologic epoch, documentation of the Anthropocene inherently has a relationship to natural history museums and archives. These institutions, however, troublingly rest on (...) what Elaine Graham calls ‘ontological hygiene’ – the separateness of the human subject from ‘nature’. The Anthropocene however, challenges the western post-Enlightenment binary of man vs. nature, as it (supposedly) naturalizes humans into an earth systems force. As such, documentation of this epoch might resist ontological sanitation. This article outlines an artistic research practice to create artefacts of the Anthropocene – one that invites material idiosyncrasies, objects-in-becoming, ephemerality, and decay. I suggest that artistic ‘anarchices’ prioritize process over objects, and resist linear and static representation in lieu of material, embodied and sensory artefacts. These include relational encounters with waste materials, reworked forms of ‘geology’, edible artefacts and multimedia works at landfills and feral sites. The anarchives are interpolated by a rejection of hegemonic logic, positivism and ‘objective’ truths about environmental phenomena; Situated, ambiguous and material knowledges are inwrought into the so-called Anthropocene (and any alternatives to this term). By focusing on waste as an analytical category, I explore some of the ontological breakdowns present in the Anthropocene and question how to unorder systems and disturb materiality. (shrink)

Presentación del Dossier 'Perspectivas aristotélicas contemporáneas'.

God’s regular causal activity is traditionally held to include his creation of the world, his conserving all created things in being and his concurrence with the causal activities of finite causes. Divine causation requires that God is an agent. In this paper, I apply E. J. Lowe’s view of human agency to God. This application requires certain adjustments. Lowe takes it that when a person acts for reasons, these reasons are lacks of some kind. I argue that his account can (...) apply to God if we think of the reasons for God’s action as connected to purposes rather than to needs. (shrink)

O presente estudo se propõe a discutir a relação entre a identidade política coletiva (populista) e a crise de representatividade das instituições de poder que consiste no paradoxo do poder constituinte, em sua estrutura conceitual, inspirada nas leituras de Jacques Rancière (1940) e Chantal Mouffe (1943).

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:WisCon 46Laurie Fuller, Jenna N. Hanchey, and E. OrnelasExistence as Resistance, WisCon 46, May 26–29, 2023, Madison, Wisconsin, United StatesIn a world that seems structured to kill most of its occupants, there is a utopian impulse in the act of existence itself. WisCon 46 represented a prefigurative utopian impulse through centering continued marginalized existence as resistance.1 Leah Lakshmi Piepzna-Samarasinha calls “prefigurative politics” the “fancy term for the idea (...) of imagining and building the world we want to see now,” particularly in terms of access needs.2 The structure as well as the content of the convention itself created a space in which to set the groundwork for utopia: the ways that we live and act to resist structures of oppression in order to prefigure a better world.Since WisCon’s founding in 1977, its intended audience has been fans, authors, and academics interested in the intersection between feminism and “science fiction, fantasy, and speculative literature of all sorts.”3 While neither feminism nor speculative fiction could be solely defined as utopian, both do explore utopian impulses that inspire change for the better. Therein lies the hope of Alessa Johns’s proposal that “the utopian imagination has been crucial for feminists.”4 Lisa Yaszek agrees: “for nearly 200 years writers have used speculative fiction consciously and collectively to dramatize the political issues most central to women living in a technocultural world and to create a sense of wonder about the interrelated possibilities of social and scientific change.”5 Envisioning a liberatory world is a feminist imperative, and speculative fiction offers a unique venue to do so. This imperative informed WisCon this year, as participants collectively worked to imagine and enact a better future for marginalized folks, in and beyond the space of the conference. [End Page 618]Enabling Existence through Con StructuresWisCon is unique in attuning its organizational structure to the creation of liberatory futures in the here and now. WisCon is strongly attentive to disability access of all kinds, COVID safety, antiracist/anti-oppression principles, and safety and anti-abuse support for all these areas. In the contemporary US context—where COVID-19 remains a major barrier to disabled people wishing to participate in conventions, where racist violence continues to threaten BIPOC (Black, Indigenous, and People of Color) life, where queer and trans folks are under exacerbated legal attacks—creating a convention space that protects and enables marginalized participation becomes a means of prefiguring utopian potential through embodied praxis. As mask, capacity, and vaccination mandates disappear (despite these ongoing pandemic times), and as bigotry of all forms continues relatively unabated, WisCon 46 remains steadfast in its commitment to safety. In short, the conference itself aims to become a utopian space.WisCon organizers are also keenly aware of the challenges that many different bodyminds might encounter in large group settings.6 Trained monitors oversee in-person and online programming in an effort to discourage harmful words and actions as well as ensure the fullest participation for those most impacted. Hence, disability justice lies at the center of the Con’s policies and practices. The event is made as accessible as possible through careful attention to venue selection, including the availability of gender-neutral bathrooms, scent-free spaces, and quiet rooms, as well as the use of color communication badges.This year’s event followed strict masking and testing protocols: individually packaged rapid COVID-19 tests were available without cost at registration, as were KN95 masks. The Con kept an anonymized record of self-reported positive COVID-19 tests, in case of possible exposure. This mutual responsibility reflects the kind of utopianism inherent to disability politics; that is, disability “allows for reformulation of in/dependence and community,” a way of rethinking how we share space and produce knowledge together.7The conference’s decidedly feminist approach “to creating a space for feminism and its consideration within the science fiction community” is applied at every level. The Con’s general organization and procedures are structured as nonhierarchically as possible. There is a board of directors as well as co-chairs, but these are rotating positions. This “commitment to feminism” is [End Page 619] reflected... (shrink)

In Markets with Limits: How Commodification of Academia Derails Debate, James Stacey Taylor presents a well-written book that is, in great part, a response to Peter Jaworski and Jason Brennan’s work Markets Without Limits: Moral Virtues and Commercial Interests. In the first part of Taylor’s book, he effectively illustrates the misguided nature of many of Jaworski and Brennan’s arguments. Taylor maintains that Brennan and Jaworski misinterpret the work of their “anti-commodification” opponents. After this critique, the book takes a dramatic turn (...) as Taylor critiques the market incentives involved in academia and attempts to explain the structures that allow for inferior work, like that of Brennan and Jaworski, to be incentivized. By directly linking the two parts of the work and holding up Markets Without Limits: Moral Virtues and Commercial Interests as an example of inferior academic work, there is sometimes an undercurrent of an academic spat at play. Also, given the shift in the book and scope of both projects undertaken by Taylor, I believe this work could have been developed into several manuscripts, or a series of articles. In its current form, chapters 8–10 seem more rushed than the rest of the work and could have benefitted from additional space to be flushed out in the detail they deserve. It is this later section that I believe could benefit the most from revision and expansion. (shrink)

This commentary argues against the indictment of current experimental practices such as piecemeal testing, and the proposed integrated experiment design (IED) approach, which we see as yet another attempt at automating scientific thinking. We identify a number of undesirable features of IED that lead us to believe that its broad application will hinder scientific progress.

Between 1873 and 1876, Felix Klein published a series of papers that he later placed under the rubric anschauliche Geometrie in the second volume of his collected works (1922). The present study attempts not only to follow the course of this work, but also to place it in a larger historical context. Methodologically, Klein’s approach had roots in Poncelet’s principle of continuity, though the more immediate influences on him came from his teachers, Plücker and Clebsch. In the 1860s, Clebsch reworked (...) some of the central ideas in Riemann’s theory of Abelian functions to obtain complicated results for systems of algebraic curves, most published earlier by Hesse and Steiner. These findings played a major role in enumerative geometry, whereas Plücker’s work had a strongly qualitative character that imbued Klein’s early studies. A leitmotif in these works can be seen in the interplay between real curves and surfaces as reflected by their transformational properties. During the early 1870s, Klein and Zeuthen began to explore the possibility of deriving all possible forms for real cubic surfaces as well as quartic curves. They did so using continuity methods reminiscent of Poncelet’s earlier approach. Both authors also relied on visual arguments, which Klein would later advance under the banner of intuitive geometry (anschauliche Geometrie). (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Background Integrating artificial intelligence (AI) into healthcare has raised significant ethical concerns. In pharmacy practice, AI offers promising advances but also poses ethical challenges. Methods A cross-sectional study was conducted in countries from the Middle East and North Africa (MENA) region on 501 pharmacy professionals. A 12-item online questionnaire assessed ethical concerns related to the adoption of AI in pharmacy practice. Demographic factors associated with ethical concerns were analyzed via SPSS v.27 software using appropriate statistical tests. Results Participants expressed concerns (...) about patient data privacy (58.9%), cybersecurity threats (58.9%), potential job displacement (62.9%), and lack of legal regulation (67.0%). Tech-savviness and basic AI understanding were correlated with higher concern scores (p < 0.001). Ethical implications include the need for informed consent, beneficence, justice, and transparency in the use of AI. Conclusion The findings emphasize the importance of ethical guidelines, education, and patient autonomy in adopting AI. Collaboration, data privacy, and equitable access are crucial to the responsible use of AI in pharmacy practice. (shrink)

Hume’s Dialogues Concerning Natural Religion, Dialogues 1–11 discuss religion’s foundation in human reason. Dialogue 12, in which Philo. the relentless opponent of pro-theistic arguments, makes his “confession” that he embraces natural religion; namely, the view that the cause or causes of order in nature bear some remote analogy to human intelligence. Hume’s Natural History of Religion, although published earlier than the posthumous Dialogues, is, in effect, a second volume to them. It presents a complex naturalistic explanation of religion’s origin in (...) human nature, providing a sophisticated account of religion’s origin that is also a critique of religious belief. The core of this critique is an argument that theistic belief cannot be rendered so as to significantly differ from an atheism that grants that natural order has some cause or other. (shrink)

New foreword written by HeritageMom, Amber O'Neal Johnston. "During a time when the United States needed to be reminded of the contributions Black people have made to its democracy, freedom, music, literature, and more, W.E.B. Du Bois took on the task of enumerating the gifts that we've provided to our country. "When I began reading The Gift of Black Folk...the story that unfolded was one that I had never anticipated. We the People of the United States, all of us, have (...) left our indelible mark on America the Beautiful." -Amber O'Neal Johnston In 1924, William Edward Burghardt (W.E.B.) Du Bois (1868-1963) penned The Gift of Black Folk in response to systemic racism in the United States, showing that "...the American spirit is a new and interesting result of diverse threads of thought and feeling coming not only from America but from Europe and Asia and indeed from Africa." Du Bois was the first African American to earn a Ph.D. from Harvard University, and later became a professor of history, sociology, and economics at Atlanta University. In 1909 he co-founded the NAACP. Du Bois was a lifelong leader and proponent of civil rights. Amber O'Neal Johnston is a writer, speaker, and home educator who blends life-giving books with a culturally-rich environment for her four children and others. She's the author of A Place to Belong, a guide for families of all backgrounds to celebrate cultural heritage and embrace inclusivity in the home and beyond, and she's known for sharing literary "mirrors and windows" on HeritageMom.com. (shrink)

Online research offers advantages including recruitment cost, diminished equity-related participation barriers, and convenience; however, there are growing concerns regarding fraudulent participation. Guidance to navigate these challenges exists for online research generally (e.g. surveys), but remains sparse for the specific challenge of fraudulent participation within virtual synchronous interviews. No work has explored this topic within an explicit, detailed ethical framework. Reflecting on our experiences navigating fraudulent participation in virtual synchronous research, we address this gap using the Canadian Code of Ethics for (...) Psychologists as a guiding framework to describe challenges, explore ethical considerations, and identify potential solutions and research directions. (shrink)

In this commentary, we set out the specifics of how Glowacki's game theoretical framework for the evolution of peace could be incorporated within broader cultural evolutionary approaches. We outline a formal proposal for prisoner's dilemma games investigating raid-based conflict. We also centre an ethnographic lens to understand the norms surrounding war and peace in intergroup interactions in small-scale communities.