This article begins with a summary phenomenological analysis of movement in conjunction with the question of “quality” in movement. It then specifies the particular kind of memory involved in a dancer’s memorization of a dance. On the basis of the phenomenological analysis and specification of memory, it proceeds to a clarification of meaning in dance. Taking its clue from the preceding sections, the concluding section of the article sets forth reasons why present-day cognitive science is unable to provide (...) insights into dance, notably because being largely tethered to happenings in the brain, it lacks foundational grounding in experience, specifically, the actual experience of movement, which is to say in kinesthesia. (shrink)

This expanded second edition carries forward the initial insights into the biological and existential significances of animation by taking contemporary research findings in cognitive science and philosophy and in neuroscience into critical and constructive account. It first takes affectivity as its focal point, elucidating it within both an enactive and qualitative affective-kinetic dynamic. It follows through with a thoroughgoing interdisciplinary inquiry into movement from three perspectives: mind, brain, and the conceptually reciprocal realities of receptivity and responsivity as set (...) forth in phenomenology and evolutionary biology, respectively. It ends with a substantive afterword on kinesthesia, pointing up the incontrovertible significance of the faculty to cognition and affectivity. Series A. (shrink)

Phenomenology is a well‐founded qualitative methodology that is frequently used by nurse researchers and considered of value when addressing research questions in nursing practice and nurse education. However, at present, nurse researchers using phenomenology tend to divide phenomenological methodology into the descriptive and interpretive formats. The nursing literature suggests that there is a deep divide between researchers following the methodological underpinnings and basic precepts pertaining to these two camps. If we are to reach a clearer understanding of the theory (...) underlying phenomenological methods it would be more helpful if we started to recognise that there are also important associations between transcendental and interpretive phenomenology. One such association is that a paradigm of movement exists that is not unique to transcendental and interpretive phenomenology but is common to them, as well as being inherent within a variety of fields of study. If we consider the universality of such imagery, looking to examples through parallel texts, we can obtain insights into phenomenology and its transposition into a workable scientific method that can be of use to the nurse researcher. (shrink)

In his recent works on daily face-to-face encounters, Zahavi claims that the phenomenon of sharing involves reciprocity. Following Zahavi’s line of thought, we wonder what exactly reciprocity amounts to and how the shared experience emerges from the dynamic process of interaction. By turning to the highly specialized field of elite sports dance, we aim at exploring the way in which reciprocity unfolds in intensive deliberate practices of movement. In our analysis, we specifically argue that the ongoing dynamics of (...) two separate flows of movement constitute a shared experience of dancing together. In this sense, moving together, in sports dance, is a practical way of understanding each other. In agreement with Zahavi, our analysis emphasizes the bi-directed nature of sharing. However, at the same time, we contribute to Zahavi’s ongoing endeavour as the special case of sports dance reveals how reciprocity can be deliberately shaped through the mutual coordination and affective bound dynamics of movement. Our article thus both pursues the methodological point that qualitative research of expert competences can constructively enrich phenomenological analysis and indicates how movement can be fundamental to the reciprocity of shared experience. (shrink)

Qualitative description of movements can be very important for representation and reasoning about dynamic systems which are complex in structure or whenever numerical data are incomplete or inaccessible. For this reason, we present a hybrid approach based on the combination of qualitative reasoning, quantitative data and logical methods. In this article, we introduce a new propositional dynamic logic QM for representation and reasoning with relative movements of objects. In this way, we can infer additional information about movements by (...) using axioms and the logic apparatus. We present a sound and complete deduction system in dual tableaux style for the logic QM. The system can be used for verification of validity of formulas of the logic in question. (shrink)

Three methodologically distinctive empirical studies of the emotions carry forward Darwin's work on the emotions, vindicate Sperry's finding that the brain is an organ of and for movement, and implicitly affirm that affectivity is tied to the tactile-kinesthetic body. A phenomenological analysis of movement deepens these empirical findings by showing how the dynamic character of movement gives rise to kinetic qualia. Analysis of the qualitative structure of movement shows in turn how motion and emotion are (...) dynamically congruent. Three experiences of fear are presented--phenomenological, ethological, and literary--to demonstrate the dynamic congruency. Five implications follow from the analysis, including the implications that movement is not equivalent to behavior, experience is not physiological activity, and a brain is not a body. (shrink)

Qualitative description of the movement of objects can be very important when there are large quantity of data or incomplete information, such as in positioning technologies and movement of robots. We present a first step in the combination of fuzzy qualitative reasoning and quantitative data obtained by human interaction and external devices as GPS, in order to update and correct the qualitative information. We consider a Propositional Dynamic Logic which deals with qualitative velocity and (...) enables us to represent some reasoning tasks about qualitative properties. The use of logic provides a general framework which improves the capacity of reasoning. In this way, we can infer additional information by using axioms and the logic apparatus. In this paper we present sound and complete relational dual tableau that can be used for verification of validity of formulas of the logic in question. (shrink)

The dynamics of the superior judiciary in Pakistan have undergone a drastic transformation in its approach and working in post 2007 emergency followed by a landmark movement of civil and legal fraternity for restoration of constitutional supremacy. The neo-jurisprudence is being applauded and criticized at the same time. The excessive use of Suo-motto and public interest litigation at one hand and frequent judicial review of executive and legislative action on other have been the main source of contention between (...) judiciary and other two pillars of state, legislature and executive. The Superior Court is being recognized as the ultimate savior of fundamental rights and guardian of the constitution as well as rights of the people. At the other extreme, the criticism like activist judiciary; disrespect for popular will and making rather interpreting law are most commonly attributed to Superior Judiciary. The study is qualitative in nature and presents a comparative analysis of trends in Superior Court before and after Lawyers’ movement. The study also aims in justifying the proactive approach especially in providing social justice on failure of state organs to respond to the exigency of time. (shrink)

Braitenberg et al.'s target article presents the best current integration of anatomical and physiological data, and provides a qualitative description of cerebellar function in terms of the dynamics of processes based on the geometry of the cerebellar cortex. We compare the proposed model to our own quantitative model based on the concept of Purkinjeunit.

In this article, I view the dynamic capabilities of a social venture by examining organizational spaces through the means of qualitative engagement. Through the explication of one such organizational space, the WCB Bank, dynamic capability is understood as inhering in the purpose, the constructed memory and selves of human actors in the organization, and the collective endeavours that make the organization through deliberative processes. Such a view of organizations, while transcending the nuance of resources, provides an idea of capability (...) as emerging from the varied meanings that human actors make in organizations. An understanding of these meanings leads to comprehending dynamic capabilities as epistemological elements which lead to accessing the knowledge of the organization for the moment. (shrink)

This article examines the topic of protest mapping during the rise of Occupy Wall Street in the United States in 2011–2012. It focuses on various practices of protest mapping, including a con­sideration of how space (public, urban, or of the protest camp) is represented in the visual sources discussed. It also addresses the qualitative difference between protest mapping and other mapping practices, as well as the categorization of protest mapping terms. Using the method of source analysis and online research, (...) the article adopts, as its key concept for studying protest as a multi-threaded phenomenon, the notion of détournement. This concept was first described in 1957 by Gil Wolman and Guy Debord, and from the early 1960s was used as a creative method and also a revolutionary strategy by the avant-garde artistic group, the Situationist International. The categories of stasis, dynamism, and spatiality will also be important points of reference. (shrink)

Internationally, governments, health and exercise practitioners are struggling with the threat posed by physical inactivity leading to worsening outcomes in health and life expectancy and the associated high economic costs. To meet this challenge it is important to enhance the quality, and quantity, of participation in sports and physical activity throughout the life course to sustain healthy and active lifestyles. This paper supports the need to develop a physically literate population, who meaningfully engage in play and physical activity through the (...) development of functional movement skills in enriched environments. This is a shift away from reductionist approaches to physical activity engagement and maintenance to an ecological dynamics approach that focuses on enrichment to support functional movement skill learning and development. This is an embedded approach to physical literacy that allows learners the space and time to “explore–discover” within environments that will lead to a concomitant self-organization of highly intricate network of co-dependent sub-systems resulting in functional movement solutions for the performance task and enduring positive adaptations to subsystems supporting the physical literacy journey across the life course. “Explore-discover adapt” is at the heart of two contemporary learner-centered pedagogies: Non-linear Pedagogy and the Athletic Skills Model. Both emphasize the importance of enrichment experiences from an early age, and throughout life course, and both appreciate the inherent complexity involved in the learning process and the importance of designing a rich and varied range of athletic, participatory experiences that will support the embedded development of physical literacy leading to ongoing physical activity for all. The final part of this paper will demonstrate the potential of an ecological dynamics approach for supporting the concept of physical literacy by providing a roadmap for a reliable and valid measurement of physical literacy when considered from both an ecological dynamics perspective and the phenomenology understanding of physical literacy. (shrink)

This chapter examines phenomena of aesthetic experience and aesthetic creativity in terms of a qualitative dynamics of movement. It notes the lack of consideration of the foundational role of movement in human and other activity, and the need for thorough description of kinetic-tactile and kinaesthetic experience. It recommends the importance of phenomenological methods to achieve this task and outlines an application of such methods to phenomena of aesthetic creativity.

This article analyzes and compares the dynamically changing outcomes of anti-sweatshop campaigns in France and Switzerland through a qualitative comparative case study using interviews and analysis of firsthand and secondary data. In both countries, some targeted firms made early concessions and later withdrew from those concessions. To explain these changing outcomes over time, the article develops a perspective that puts emphasis on interaction phases and highlights corporate strategic responses to anti-sweatshop movement demands. Analyzing those responses as driven by (...) legitimacy contests between companies and activists, the study explains why anti-sweatshop movements had significant outcomes early on and shows the mechanisms that allowed firms to withdraw from initial concessions at a later stage. In the course of changing interaction dynamics and contexts, companies developed strategies building on competing sources of legitimacy to circumvent movement demands. The companies thereby compensated for the legitimacy losses inflicted by their withdrawal from earlier concessions and the legitimacy deficits of other solutions. The analysis reveals three strategies firms used to achieve and compensate legitimacy and discusses their contextual combination comparing the two cases: inter-firm cooperation, ethical product labels originating in collaborations with competing social movement actors, and publicly fighting back against campaign makers. (shrink)

This article surveys the history of labor- and middle-class-sponsored efforts to mobilize shopping on behalf of working people from the late nineteenth century through the present. It analyzes the class dynamics of these movements to, first, underscore workers' own ability to mount consumer campaigns and, second, critique middle-class campaigns in the present that can treat workers as unorganized, passive victims. It underscores the potential hierarchical dynamics inherent in consumer-labor campaigns, both between classes and within the labor (...) class='Hi'>movement, including dynamics of race, gender, and space. (shrink)

The current assessment of behaviors in the inventories to diagnose autism spectrum disorders (ASD) focus on observation and discrete categorizations. Behaviors require movements, yet measurements of physical movements are seldom included. Their inclusion however, could provide an objective characterization of behavior to help unveil interactions between the peripheral and the central nervous systems. Such interactions are critical for the development and maintenance of spontaneous autonomy, self-regulation and voluntary control. At present, current approaches cannot deal with the heterogeneous, dynamic and stochastic (...) nature of development. Accordingly, they leave no avenues for real-time or longitudinal assessments of change in a coping system continuously adapting and developing compensatory mechanisms. We offer a new unifying statistical framework to reveal re-afferent kinesthetic features of the individual with ASD. The new methodology is based on the non-stationary stochastic patterns of minute fluctuations (micro-movements) inherent to our natural actions. Such patterns of behavioral variability provide re-entrant sensory feedback contributing to the autonomous regulation and coordination of the motor output. From an early age, this feedback supports centrally driven volitional control and fluid, flexible transitions between intentional and spontaneous behaviors. We show that in ASD there is a disruption in the maturation of this form of proprioception. Despite this disturbance, each individual has unique adaptive compensatory capabilities that we can unveil and exploit to evoke faster and more accurate decisions. Measuring the kinesthetic re-afference in tandem with stimuli variations we can detect changes in their micro-movements indicative of a more predictive and reliable kinesthetic percept. Our methods address the heterogeneity of ASD with a personalized approach grounded in the inherent sensory-motor abilities that the individual has already developed. (shrink)

This review of Manning’s article wonders at the wonder that Manning describes. It does so first in broad terms that question the experience of wonder that Manning describes and goes on to wonder specifically about her understanding of the experienced realities of thinking in movement. In the course of doing so, the review questions her sweeping away ‘the subject’; questions her hard-and-fast distinctions between phenomenology and Whitehead’s metaphysics and voices wonder about her neglecting complementarities between phenomenology and Whitehead’s metaphysics; (...) questions the validity of her claims about ‘where phenomenology goes wrong’; wonders about the absence of kinesthesia and its qualitative dynamics in what she writes of human movement; and finally wonders about her non-substantiated claims about ontogeny. (shrink)

The paper gives an account of Rāmakaṇṭha’s (950–1000) contribution to the Buddhist–Brāhmaṇical debate about the existence or non-existence of a self, by demonstrating how he carves out middle ground between the two protagonists in that debate. First three points of divergence between the Brāhmaṇical (specifically Naiyāyika) and the Buddhist conceptions of subjectivity are identified. These take the form of Buddhist denials of, or re-explanations of (1) the self as the unitary essence of the individual, (2) the self as the substance (...) to which mental properties belong, (3) the self as the agent of both physical actions and cognitions. The difference of Rāmakaṇṭha’s position from both Nyāya and Buddhism is then elaborated. He posits a self, but not one that is an eternally unchanging substance, nor one that is anything other than consciousness. Hence his difference from Nyāya. He falls with Buddhism in holding that consciousness does not require anything other than itself to inhere in, but departs from Buddhism in holding that consciousness is not momentary but enduring. The guiding metaphor here is light, but light considered as a dynamic, qualitatively unchanging repetition of the action of illumination. (shrink)

This article draws on the results of an inductive qualitative study on the microdynamics of framing corporate community involvement. Insight is provided into these dynamics by using the metaphor of a social movement and drawing on that literature’s framing perspective. Based on accounts of diverse organizational members, we identify several double edges in framing CCI as a strategic issue, and we develop a model that helps to understand why and how strategizing CCI may be controversial.

Arousal is one of the dimensions of core affect and frequently used to describe experienced or observed emotional states. While arousal ratings of facial expressions are collected in many studies it is not well understood how arousal is displayed in or interpreted from facial expressions. In the context of socioemotional disorders such as Autism Spectrum Disorder, this poses the question of a differential use of facial information for arousal perception. In this study, we demonstrate how automated face-tracking tools can be (...) used to extract predictors of arousal judgments. We find moderate to strong correlations among all measures of static information on one hand and all measures of dynamic information on the other. Based on these results, we tested two measures, average distance to the neutral face and average facial movement speed, within and between neurotypical individuals and individuals with autism. Distance to the neutral face was predictive of arousal in both groups. Lower mean arousal ratings were found for the autistic group, but no difference in correlation of the measures and arousal ratings could be found between groups. Results were replicated in an high autistic traits group. The findings suggest a qualitatively similar perception of arousal for individuals with and without autism. No correlations between valence ratings and any of the measures could be found, emphasizing the specificity of our tested measures. Distance and speed predictors share variability and thus speed should not be discarded as a predictor of arousal ratings. (shrink)

The suppression of trade barriers and liberalization of financial flows inherent to the expansive dynamic of globalization have not extended to international flows of workers. To impede the free movement of workers, restrictive migratory policies have been implemented, and borders have been fortified with walls and fences. In the face of this widespread phenomenon, this chapter presents an alternative consisting of three steps. First, it is noted that in the current migratory context, borders play a key role in (...) reproducing inequalities between countries. Next, it is argued that given the incompatibility of this function with global justice, it is necessary to seek some remedy to put an end to the suffering caused by this structural injustice, a suffering that is endured by an immense number of people unlucky enough to have been born on the wrong side of a border. After presenting a conception of borders that, unlike walls, would enable the movements of people, finally, a scenario is proposed in which the rights of political membership would be reassigned in a cosmopolitan manner and in which borders would usually remain open. Although this does not entail a radical suppression of the aforementioned injustice, its implementation would contribute to not only its reduction but also to the compensation of victims. (shrink)

The squatting movement is a social movement that seeks to use unoccupied land or temporarily or permanently abandoned buildings as farmland, housing, meeting places, or centers for social and cultural purposes. Its main motivation is to denounce and at the same time respond to the economic difficulties that activists believe exist to realize the right to housing. Much of what we know about this movement comes from the informational and journalistic literature generated by actors that are close (...) or even belong to the movement. However, there is also a significant diversity of knowledge and scientific evidence on the squatters’ movement that is being produced by academia and that is worth knowing and grouping together. With the aim of defining and understanding how the squatters’ movement is constituted and organized, and how it acts, this research analyzes what the scientific literature affirms about it. Through qualitative research based on the systematic literature review method, information was sought in the Web of Science and Scopus databases. The initial universe of 262 articles was finally reduced to a sample of 32 articles. These have been analyzed by means of a categorized classification content analysis. The results obtained allow us to establish the state of the art on the squatting movement, placing special emphasis on its dynamics of resistance, its process of political subjectivation and its mechanisms of action and self-management. The study suggests that the movement is understood based on collective actions with a political role of resistance to neoliberalism and the inequalities it generates, and of response to the basic and social needs of the communities through self-management.Systematic review registration[doi: 10.5281/zenodo.7179670], identifier [7179670]. (shrink)

This monograph investigates the collaborative creation of scientific knowledge in research groups. To do so, I combine philosophical analysis with a first-hand comparative case study of two research groups in experimental science. Qualitative data are gained through observation and interviews, and I combine empirical insights with existing approaches to knowledge creation in philosophy of science and social epistemology. -/- On the basis of my empirically-grounded analysis I make several conceptual contributions. I study scientific collaboration as the interaction of scientists (...) within research groups. Thereby, I argue that research groups and their role in scientific practice deserve more philosophical attention than they have hitherto received. In contemporary natural science, research groups are key to the formulation and corroboration of scientific knowledge claims prior to their publication. Specifically, I suggest epistemic difference and the porosity of social structure as two conceptual leitmotifs in the study of group collaboration. With epistemic difference, I emphasize the value of socio-cognitive heterogeneity in group collaboration. With porosity, I underline the fact that a research group as social structure does not entirely contain the inter-individual efforts necessary to formulate and corroborate knowledge claims. -/- In my analysis of research groups, I focus on the division of epistemic labor among group members. Through their complementary collaborative efforts single scientists engage in relations of mutual epistemic dependence. To deepen philosophy’s understanding of scientific practice in its diversity, a distinction should be made between opaque and translucent epistemic dependence. While opaque epistemic dependence involves asymmetries in expertise, translucent epistemic dependence does not. As epistemic dependence is facilitated by trust, I investigate the dynamics of epistemic trust in group collaboration. Trust among collaborating scientists is inherently incomplete, and I show that scientists make use of diverse strategies to increase and to supplement personal trust. Based on my reflections on trust and dependence, I give an account of the relation between individual knowing and collaboratively created knowledge in research groups. Together these investigations contribute to the discussion of philosophical methodology in the study of scientific practice and promote the use of empirical methods. (shrink)

This essay argues that it is a matter of vital concern to develop a theoretical apparatus that is adequate to the inherent spatiotemporal dynamics of capital accumulation and the changing practices developed to manage the crisis tendencies of those dynamics. This requires integrating the a-spatial theory of capital accumulation and its internal contradictions with the spatial/geographical theory of imperialism that invokes geopolitical and geo-economic struggles between nation-states. I argue that the two are linked by the way capital (...) deals with the problem of absorbing capital surpluses, namely through geographical fixes. The geographical fix requires imperialist expansionism and the battering down of all barriers to the spatial movement of capital. Such a conception provides the necessary clarity in formulating the relations between capital and state that are sometimes missing from Ellen M. Wood's arguments in Empire of Capital. (shrink)

This essay argues that it is a matter of vital concern to develop a theoretical apparatus that is adequate to the inherent spatiotemporal dynamics of capital accumulation and the changing practices developed to manage the crisis tendencies of those dynamics. This requires integrating the a-spatial theory of capital accumulation and its internal contradictions with the spatial/geographical theory of imperialism that invokes geopolitical and geo-economic struggles between nation-states. I argue that the two are linked by the way capital (...) deals with the problem of absorbing capital surpluses, namely through geographical fixes. The geographical fix requires imperialist expansionism and the battering down of all barriers to the spatial movement of capital. Such a conception provides the necessary clarity in formulating the relations between capital and state that are sometimes missing from Ellen M. Wood's arguments in Empire of Capital. (shrink)

The overall goal of this target article is to demonstrate a mechanism for an embodied cognition. The particular vehicle is a much-studied, but still widely debated phenomenon seen in 7–12 month-old-infants. In Piaget's classic “A-not-B error,” infants who have successfully uncovered a toy at location “A” continue to reach to that location even after they watch the toy hidden in a nearby location “B.” Here, we question the traditional explanations of the error as an indicator of infants' concepts of objects (...) or other static mental structures. Instead, we demonstrate that the A-not-B error and its previously puzzling contextual variations can be understood by the coupled dynamics of the ordinary processes of goal-directed actions: looking, planning, reaching, and remembering. We offer a formal dynamic theory and model based on cognitive embodiment that both simulates the known A-not-B effects and offers novel predictions that match new experimental results. The demonstration supports an embodied view by casting the mental events involved in perception, planning, deciding, and remembering in the same analogic dynamic language as that used to describe bodily movement, so that they may be continuously meshed. We maintain that this mesh is a pre-eminently cognitive act of “knowing” not only in infancy but also in everyday activities throughout the life span. Key Words: cognitive development; dynamical systems theory; embodied cognition; infant development; motor control; motor planning; perception and action. (shrink)

Author of "Kubla Khan" and the epic "The Rime of the Ancient Mariner," Samuel Taylor Coleridge is remembered principally for his contributions as a romantic poet. This innovative reconsideration of Coleridge's thought and career not only demonstrates his importance as a philosopher but also recovers romanticism as both an aesthetic and a political movement. Pamela Edwards radically departs from classic theories of Coleridge's development and reads his writing within the framework of a constantly shifting political and social landscape. Drawing (...) on the ideology, rhetoric, and institutional theory at the turn of the late British Enlightenment, Edwards unearths the fundamental continuities in Coleridge's writing during the revolutionary period of 1794 to 1834, paying particular attention to the rhetoric of Coleridge's pamphlet and miscellaneous writings, the journalism of the Napoleonic years, his philosophical and ultimately political treatises within the contexts of his notebooks and letters, and his readings and intellectual friendships. What emerges is a clearer understanding of Coleridge's political philosophy and his contributions to the origins and ideology of British Liberalism. Coleridge's interest in history, nature, and law as inherently interconnected projects producing an ideal or scientific reading of society reveals a developed progressive social and cultural state theory anchored in individual conscience, moral autonomy, and a civic and participatory human agency. If the Statesman could understand and finally master this scientific view of the world, he would be able not only to adjust political and social institutions to comprehend the historical contingencies of the moment but to see through the problem of the moment to the dynamic of change itself. (shrink)

Intuitive conceptions guide practice, but practice reciprocally reshapes intuition. The intuitive conception of intelligence in AI was originally highly anthropocentric. However, the internal dynamics of AI research have resulted in a divergence from anthropocentric concerns. In particular, the increasing emphasis on commonsense knowledge and peripheral intelligence (perception and movement) in effect constitutes an incipient reorientation of intuitions about the nature of intelligence in a non-anthropocentric direction. I argue that this conceptual shift undermines Joseph Weizenbaum's claim that the project (...) of artificial intelligence is inherently dehumanizing. (shrink)

In a chronically migrant world, the academy is no exception. Academic migrants, who shift to another space and another world view, feature in the educational landscape of every continent. However, a global lens may not be useful in understanding their experiences, nor in seeking to support them in their endeavours. This dispatch discusses ways of understanding the intersections of space, movement and world view derived from Pacific thinking of various sources. The discussion is grounded in the activities of Leadership (...) Pacific (LP). This is not a program but a cause-based movement. It provides a safe space for storying as learning and leadership. LP has grown from a single group to become a fluid, welcoming and ever-morphing network of inter-locking clusters across the region. Responding to the need for a village-like web of caring and reciprocal relationships, LP fills the gap experienced by many Pacific-origin academic migrants when faced with academic practices and relationships. Through its people-centred storying pedagogy, LP provides an alternative space in which indigenous ways of knowing and being can be at home and the racism inherent in a mono-cultural understanding of academia is challenged. It welcomes both Pacific-origin academic migrants and those academics who seek alignment with a village-like people-centred approach to relationships. The LP experience, which now includes an international conference, provides a model of contextualised action that may be helpful in supporting academic migrants from other regions. Long-term, the influence of movements such as LP has the potential to shift deep-seated universal assumptions of what movement and space might mean for the academy, and of ethical forms of response to the needs and potentials of the academically migrant. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 67.1 (2006) 149-179 [Access article in PDF] The Problem of "Misplaced Ideas" Revisited: Beyond the "History of Ideas" in Latin America Elías José Palti Universidad Nacional de Quilmes—CONICET The change that has come over this branch of historiography in the past two decades may be characterized as a movement away from emphasizing history of thought (and even more sharply, "of ideas") toward (...) emphasizing something rather different, for which "history of speech" or "history of discourse," if not unproblematic or irreproachable, may be the best terminology so far found J.G.A. Pocock, Virtue, Commerce, and History1In 1973, Roberto Schwarz published a paper that profoundly marked a generation of thinkers in Latin America: "As idéias fora do lugar" ("Misplaced Ideas").2 It was originally intended to provide a theoretical framework for "progressivist" authors to counter the influence of nationalistic tendencies that, in the 1960s and 1970s, were particularly noticeable among the leftist political organizations.3 Yet, the concept of "misplaced [End Page 149] ideas" soon proved especially productive for theorizing the problematic development of ideas in Latin American history. Schwarz's text thus became the fundamental point of reference for those in the field who intended to question the hitherto predominant paradigms in cultural and literary critique, which were mostly inspired by the Romantic-nationalistic tradition. Notwithstanding, a quarter of a century later, Schwarz's original contribution in this regard needs to be reassessed. In the course of the last twenty-five years, the apparent loss of the national states' centrality helped to reveal the inherent complexity of the processes of cultural exchange hidden behind a perspective that still tended to conceive of them exclusively in terms of inter-national relationships. Furthermore, a series of new developments in the disciplines specifically dedicated to analyzing those kinds of exchange processes compels us to reconsider some of the implicit assumptions in Schwarz's concept and reformulate it.The object of this paper is to explore, in the light of the new realities of the last fin-de-siècle, new perspectives regarding the dynamic of ideas and cultural exchange in peripheral areas (of which Latin American is only a particular case), utilizing the new conceptual tools provided by the recently developed disciplines and theories in the field. Ultimately, the present work intends to raise a broader, epistemological, issue, whose relevance exceeds the local context. As it shows, the shortcomings in Schwarz's theory spring from a crude linguistic view, which is inherent in the "history of ideas," that reduces language exclusively to its referential function. A more precise distinction of the different levels of language will thus help to reveal aspects and problems that Schwarz's perspective obliterates. Yet, as this paper also intends to demonstrate, Schwarz's original intellectual project may be disentangled from its linguistic premises and recovered for cultural critique. Applied in a new way, it can still provide a theoretical framework to comprehend the intricacies of the processes of cultural exchange, and, more specifically, the problematic dynamics of ideas in Latin America that Schwarz intended to analyze. On Places and Non-Places of Ideas In order to understand the sense of Schwarz's notion of "misplaced ideas" we must place it within the conceptual framework in which it emerged. With it, Schwarz aimed to translate into a cultural key the postulates of the so-called "dependency theory," the core of which took shape in the "Seminar [End Page 150] on Marx," organized in São Paulo in the early 1960s (and in which Schwarz participated). As is well known, that theory intended to refute the "dualistic" approaches that viewed the peripheral areas as vestiges of a precapitalistic world that tends historically to disappear. The nations in this area would thus replicate the same pattern of linear development of central countries. On the contrary, dependency theory postulated the existence of a complex dynamic between the center and the periphery, the two representing instances inherent in capitalist development, thus forming a single, interconnected system. According to... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 67.1 (2006) 149-179 [Access article in PDF] The Problem of "Misplaced Ideas" Revisited: Beyond the "History of Ideas" in Latin America Elías José Palti Universidad Nacional de Quilmes—CONICET The change that has come over this branch of historiography in the past two decades may be characterized as a movement away from emphasizing history of thought (and even more sharply, "of ideas") toward (...) emphasizing something rather different, for which "history of speech" or "history of discourse," if not unproblematic or irreproachable, may be the best terminology so far found J.G.A. Pocock, Virtue, Commerce, and History1In 1973, Roberto Schwarz published a paper that profoundly marked a generation of thinkers in Latin America: "As idéias fora do lugar" ("Misplaced Ideas").2 It was originally intended to provide a theoretical framework for "progressivist" authors to counter the influence of nationalistic tendencies that, in the 1960s and 1970s, were particularly noticeable among the leftist political organizations.3 Yet, the concept of "misplaced [End Page 149] ideas" soon proved especially productive for theorizing the problematic development of ideas in Latin American history. Schwarz's text thus became the fundamental point of reference for those in the field who intended to question the hitherto predominant paradigms in cultural and literary critique, which were mostly inspired by the Romantic-nationalistic tradition. Notwithstanding, a quarter of a century later, Schwarz's original contribution in this regard needs to be reassessed. In the course of the last twenty-five years, the apparent loss of the national states' centrality helped to reveal the inherent complexity of the processes of cultural exchange hidden behind a perspective that still tended to conceive of them exclusively in terms of inter-national relationships. Furthermore, a series of new developments in the disciplines specifically dedicated to analyzing those kinds of exchange processes compels us to reconsider some of the implicit assumptions in Schwarz's concept and reformulate it.The object of this paper is to explore, in the light of the new realities of the last fin-de-siècle, new perspectives regarding the dynamic of ideas and cultural exchange in peripheral areas (of which Latin American is only a particular case), utilizing the new conceptual tools provided by the recently developed disciplines and theories in the field. Ultimately, the present work intends to raise a broader, epistemological, issue, whose relevance exceeds the local context. As it shows, the shortcomings in Schwarz's theory spring from a crude linguistic view, which is inherent in the "history of ideas," that reduces language exclusively to its referential function. A more precise distinction of the different levels of language will thus help to reveal aspects and problems that Schwarz's perspective obliterates. Yet, as this paper also intends to demonstrate, Schwarz's original intellectual project may be disentangled from its linguistic premises and recovered for cultural critique. Applied in a new way, it can still provide a theoretical framework to comprehend the intricacies of the processes of cultural exchange, and, more specifically, the problematic dynamics of ideas in Latin America that Schwarz intended to analyze. On Places and Non-Places of Ideas In order to understand the sense of Schwarz's notion of "misplaced ideas" we must place it within the conceptual framework in which it emerged. With it, Schwarz aimed to translate into a cultural key the postulates of the so-called "dependency theory," the core of which took shape in the "Seminar [End Page 150] on Marx," organized in São Paulo in the early 1960s (and in which Schwarz participated). As is well known, that theory intended to refute the "dualistic" approaches that viewed the peripheral areas as vestiges of a precapitalistic world that tends historically to disappear. The nations in this area would thus replicate the same pattern of linear development of central countries. On the contrary, dependency theory postulated the existence of a complex dynamic between the center and the periphery, the two representing instances inherent in capitalist development, thus forming a single, interconnected system. According to... (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:Karen J. Warren:Her Work in The Making of EcofeminismTricia Glazebrook (bio)Karen J. Warren was born on Long Island, New York, on September 10, 1947. She received a Bachelor of Arts degree from the University of Minnesota in 1970, and a Master's degree (1974) and Doctorate (1978) from the University of Massachusetts—Amherst. Her dissertation was one of the first on environmental ethics. In the early years of her career, she (...) taught at St. Olaf College in Northfield Minnesota, until 1985 when she joined the Philosophy department at Macalester College in St. Paul, Minnesota. In 1995, she was the second Ecofeminist Scholar-in-Residence at Murdoch University in Australia. In 2002, she was a Round Table Scholar at Oxford University. In 2004, she held the Women's Chair in Humanistic Studies at Marquette.Throughout these achievements, Warren was a dynamic thinker committed to 'real world' issues and strongly committed to public engagement. She took philosophy to be a democratic practice and was committed to the social impacts of philosophy. In her outreach, she taught prison inmates and developed award-winning environmental curricula for schoolchildren, for which she received awards. She was an international scholar who faced issues in peace studies, feminism, and environmental ethics, and is known for bringing those areas of research together. In feminism, her Unconventional History of Philosophy: Conversations Between Men and Women Philosophers (2009), a fifteen-chapter book that pairs female and male philosophers throughout the centuries, is a fascinating book that breaks down the gender bias in philosophy that has rarely recognized women's contributions to the discipline, and seems to be continuing that practice. She is most known for her work as an ecofeminist, that is the focal topic of this paper. [End Page 1]The first time I met Karen was in 1995 when I invited her to Colgate University in upstate New York to celebrate its twenty-fifth year since it began accepting female students. She changed everything—epistemology, ontology, ethics … I learned from her what, beyond contemporary science-based definitions of knowledge, is another kind of knowing from generations of experience built in long-standing cultures. For quite some time, ethics was not considered in philosophy really to be philosophy that, like science, was expected to be grounded on logic. Contemporary 'science,' a generalization that actually covers a wide range of disciplines—e.g., biology, physics, actuarial science, computer science, etc.—is logical in so far as it is more or less based on quantitative assessment using numerical data and mathematics. Ethics, that is inherently qualitative, is not taken to carry the neutrality of mathematics and science. Warren rejected that view and instead, as I will show in more detail below, argued for a different logic based on care. She also argued that understanding what knowledge is is unique to culture, and on this basis, she has advocated for listening to indigenous voices and voices in the global South that are outside Eurocentric knowledge systems despite the impacts of colonialism. Before taking on these issues, however, Warren's role in ecofeminism, that emerged during her higher education in philosophy, and her development in consequence of her ecofeminist thinking, must first be addressed.Practically speaking, the crucially impactful thing that Warren did for ecofeminism was to sustain it. In the 1970s, ecofeminism was emerging with a vision of women's power that was challenged by the women's connection to nature as her reproductive capacity, hence re-awakening an essentialist inscription of biologism for women that once again implied mothers' natural confinement to domesticity. Ecofeminists responded to this challenge. Ortner (1974) argued that women are not closer to nature than men, just constructed to appear so, thereby making change possible only if achieved in both cultural assumptions and social institutions. Amongst such debates, new medical technologies were appropriating the birthing process. Ecofeminist writers, such as Mary Daly in Gyn/Ecology (Daly 1978) and Susan Griffin in Woman and Nature: The Roaring Inside Her (Griffin 1978), both published in 1978, wanted to take that power back from patriarchy through the "Great Goddess" as a "symbol of life and death powers and waxing and waning energies in the universe and in... (shrink)

A theory of the structure and cognitive function of the human imagination that attempts to do justice to traditional intuitions about its psychological centrality is developed, largely through a detailed critique of the theory propounded by Colin McGinn. Like McGinn, I eschew the highly deflationary views of imagination, common amongst analytical philosophers, that treat it either as a conceptually incoherent notion, or as psychologically trivial. However, McGinn fails to develop his alternative account satisfactorily because (following Reid, Wittgenstein and Sartre) he (...) draws an excessively sharp, qualitative distinction between imagination and perception, and because of his flawed, empirically ungrounded conception of hallucination. His arguments in defense of these views are rebutted in detail, and the traditional, passive, Cartesian view of visual perception, upon which several of them implicitly rely, is criticized in the light of findings from recent cognitive science and neuroscience. It is also argued that the apparent intuitiveness of the passive view of visual perception is a result of mere historical contingency. An understanding of perception (informed by modern visual science) as an inherently active process enables us to unify our accounts of perception, mental imagery, dreaming, hallucination, creativity, and other aspects of imagination within a single coherent theoretical framework. (shrink)

As a sort of intellectual provocation and as a lateral thinking strategy for creativity, this chapter seeks to determine what the study of the dynamics of biodiversity can offer linguists. In recent years, the analogical equation "language = biological species" has become more widespread as a metaphorical source for conceptual renovation, and, at the same time, as a justification for the defense of language diversity. Language diversity would be protected in a way similar to the mobilization that has taken (...) place to protect endangered species. Nevertheless, one must be careful when uncritically transferring conceptualizations and theoretical frameworks from one field to another, since obviously, these two phenomena are quite different in the real world. The dialogue with bioecologists starts by asking about the formation of diversity, i.e., about specialization. Here, one can observe the similarity between the processes of linguistic and genetic fragmentation, in the sense that both phenomena have a (socio)geographical basis for dispersion and consequently, for the loss of their original compact nature and their intercommunication. The self-organizing and creative properties of human beings favor the development of specific varieties for each subset, varieties that continue to evolve constantly, through the unceasing "languaging" of humanity. Regarding the continuity of species or languages, one can also observe the decisive role of intragroup relations. The staying power of linguistic varieties will increase in direct proportion to the intensity of the relationship among the components of the subset. On the other hand, if exotic elements are introduced, especially if these elements are aggressive in nature, the alteration of the ecological niche may turn out to be fatal for the continuity of the previously existing forms. This suggests to us the need to make an in-depth study of what the minimal contextual conditions would be so that a set linguistic group could be assured a sustainable continuity within a framework of linguistic contact. What type of minimum (socio-)ecological niche would a language have to have if we wished to ensure its habitual reproduction? A proposal is made here to explore the ideas of "exclusive functions" and "non-hierarchical functional distribution" for codes in situations where there is high contact and a danger of disuse. As regards change, this phenomenon is seen as an inherent element in the tendency of life to create new developments, which may or not be accompanied by an adaptation to changing environmental conditions. It is pointed out that, similar to what happens in biology, much of linguistic innovation stems from a systemically reorganized mixture of solutions from different codes. An important research question would be, however, to determine why some of these innovations disappear and others survive and extend throughout the community. The big question mark, as Mufwene points out, is, then how to manage to understand how "the evolution of language proceeds by naturally selecting from among the competing alternatives available through the idiolects of individual speakers". Extinction, whether it be of languages or of species, is caused in most cases "by a combination of demographic processes and environmental changes", as Brown points out. Thus, the environment plays a fundamental role in the direction of evolution, since the "the survival of the fittest is, in actuality, the survival of those who fit into the context (Allen and Hoekstra)". This allows us to see the great degree of importance of political-economic contexts in the case of languages. In the same way, migratory movements are also one of the major variables determining the extinction of biodiversity and language diversity. Species and habitat form the basic unit of existence, and this is the major point of departure for understanding the problem of the preservation and recovery of species or languages. Given the increase in the degree of linguistic contact, the continuity of language diversity depends on determining, as exactly as possible, as Prigogine, the physicist, would say, what precise conditions of imbalance may prove to be stable. The great challenge is not so much avoiding contact but managing it. And "restorative ecology" can also be of help to us here. Being able to reach sustainable solutions for language diversity implies a profound knowledge of the dynamics for determining the ways in which language is used in contact situations. The general conclusion is that linguistics is still terminologically and conceptually ill prepared to deal with the dynamic character of human languages. The world and our objects must be conceived of as elements in a state of flux, as changing systems in an unstable equilibrium. With respect to language policy, it would be necessary to make an effort to manage to establish some general principles regarding the linguistic organization of the human species that would make it possible for local linguistic diversity and communication on a planetary scale, which must necessarily take place, to be compatible with each other. To succeed, it will be necessary to continue promoting an autonomous socio-ecological perspective devoted to the comprehension of language phenomena. Such a perspective would be based on a paradigm of complexity, and would, at the same time, place human beings at the center of its theoretical underpinnings. (shrink)

The proliferation of multistakeholder initiatives (MSIs) over the past years has sparked an intense debate on the political role of corporations in the governance of global business conduct. To gain a better understanding of corporate political behavior in multistakeholder governance, this article investigates how firms construct a political identity when participating in MSIs. Based on an in-depth case study of the Accord on Fire and Building Safety in Bangladesh—an MSI established after the collapse of the Rana Plaza garment factory complex (...) in 2013 to improve working conditions in the Bangladeshi garment industry—we introduce the construct of a political CSR (corporate social responsibility) identity (PCSRI) and explore how firms construct their PCSRIs in MSIs. Employing a qualitative, inductive theory-building method, we analyze interviews and archival data to develop a framework that elucidates how companies construct their PCSRIs within a continuum ranging from conservative to progressive. We show that constructing a PCSRI involves enacting specific, yet interrelated, political strategies that are themselves shaped by several forces over time. This article contributes to the literature by providing a political perspective on organizational identity construction that extends the emerging integrative perspective in political corporate social responsibility (PCSR) research. We suggest that MSIs should be conceptualized as inherently political governance mechanisms that are driven by multidirectional and dynamic political processes of identity construction. Our study shows that corporate political engagement in MSIs is a more nuanced and complex phenomenon than presently theorized. (shrink)

Objective: To examine students’ attitudes and potential behaviour to a competent patient’s request for withdrawal of treatment as they pass through a modern medical curriculum.Design: Cohort design.Setting: University of Glasgow Medical School, United Kingdom.Subjects: A cohort of students entering Glasgow University’s new learner centred, integrated medical curriculum in October 1996.Methods: Students’ responses before and after year 1, after year 3, and after year 5 to the assisted suicide vignette of the Ethics in Health Care Survey instrument, were examined quantitatively and (...) qualitatively. Analysis of students’ multichoice answers enabled measurement of the movement towards professional consensus opinion. Analysis of written justifications helped determine whether their reasoning was consistent with professional consensus and enabled measurement of change in knowledge content and recognition of the values inherent in the vignette. Themes on students’ reasoning behind their decision to withdraw treatment or not were also identified.Results: Students’ answers were found to be consistent with professional consensus opinion precurriculum and remained so throughout the curriculum. There was an improvement in the knowledge content of the written responses following the first year of the curriculum, which was sustained postcurriculum. However, students were found to analyse the section mainly in terms of autonomy, with few responses considering the other main ethical principles or the wider ethical perspective. Students were unclear on their legal responsibilities.Conclusions: Students should be encouraged to consider all relevant ethical principles and the wider ethical perspective when deliberating ethical dilemmas. Students should have a clear understanding of their legal responsibilities. (shrink)

The repercussions of unconscious priming on the neural correlates subsequent cognition have been explored previously. However, the neural dynamics during the unconscious processing remains largely uncharted. To assess both the complexity and temporal dynamics of unconscious cognition the present study contrasts the evoked response from classes of masked stimuli with three different levels of complexity; words, consonant strings, and blanks. The evoked response to masked word stimuli differed from both consonant strings and blanks, which did not differ from (...) each other. This response was qualitatively different to any evoked potential observed when stimuli were consciously visible and peaked at 140 ms, earlier than is usually associated with differences between words and strings and 100 ms earlier than word-consonant string differences in the visible condition. The evoked response demonstrates a qualitatively distinct signature of unconscious cognition and directly demonstrates the extraction of abstract information under subliminal conditions. (shrink)

Objective: To examine students’ attitudes and potential behaviour towards informing a 12-year-old patient of her terminal prognosis in a situation in which her parents do not wish her to be told, as they pass through a modern medical curriculum.Design: A cohort study of students entering Glasgow University’s new medical curriculum in October 1996.Methods: Students’ responses obtained before year 1 and at the end of years 1, 3, and 5 to the “childhood leukaemia” vignette of the Ethics in Health Care Survey (...) Instrument were examined quantitatively and qualitatively. Analysis of the students’ multichoice answers enabled measurement of the movement towards professional consensus opinion. An analysis of their written justifications for their answers helped to determine whether their reasoning was consistent with professional consensus and enabled measurement of changes in knowledge content and recognition of the values inherent in the vignette. Themes on the students’ reasoning behind their decision to tell the patient or not were also identified.Results: Unlike other vignettes of the EHCI in which autonomy was a main theme, few students chose the consensus answer before year 1 and there was no significant movement towards consensus at any point during the course. In defence of their decision to withhold information, the students expressed strong paternalistic opinions. The patient’s age was seen as a barrier to respecting her autonomy.Conclusions: It is important to identify students’ perceptions on entry to medical school. Transformative learning theory may provide the basis for an approach to foster doctors who consider the rights of young people. Small-group teaching is most conducive to this approach. The importance of positive role modelling is also emphasised. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The End of This World: Climate Justice in So-Called Canada by Angele Alook et al.Evangeline KroonAngele Alook, Emily Eaton, David Gray-Donald, Joël Laforest, Crystal Lameman, and Bronwen Tucker. The End of This World: Climate Justice in So-Called Canada. Toronto: Between the Lines, 2023. 240 pp., paperback, $25.95. ISBN 9781771136129.[End Page 280]The End of This World: Climate Justice in So-Called Canada by Angele Alook, Emily Eaton, David Gray-Donald, Joël (...) Laforest, Crystal Lameman, and Bronwen Tucker is both an imagining of a utopic, fossil-fuel-free world and a spirited call to action. Written in plain language and aimed at a wide audience, the book examines contemporary so-called Canada through an indigenous-centered,1 decolonial lens and frames the current climate crisis that we are in as one of relationship failure. The authors state: "We believe it is important for a just transition discussions to be accessible to all audiences because, fundamentally, what we're talking about in this book is repairing relationships. Repairing relationships with each other and with the land" (13). Key to repairing this relationship is putting indigenous rights and sovereignty at the center of any proposal or policy, instead of appearing as an add-on or afterthought. As the authors lead us through their plan for a just energy transition, they assert that any change, any movement, and any economic strategy that does not assert indigenous rights is not only "greening theft," it is also doomed to fail (7).The book is organized into two parts. The first part consists of the introduction and the first two chapters, where the authors outline broken promises and political and private decisions that have led to the current climate crisis in so-called Canada. The second half then outlines indigenous-informed solutions and possible paths forward, with the most concrete and "winnable" strategies in the last two chapters (153). The End of This World is a collaborative piece, written in one voice, while the individual authors' voices can be heard through various examples and anecdotes given throughout the book.In the first half of the volume, they lay out the rise and reliance on fossil fuels, the ongoing empowerment of the industry, and the swaths of broken promises the Canadian government has made since public concern for climate has been on the rise. The authors focus on two dynamics that they believe are the worst contributors to this crisis in so-called Canada: "the violation of indigenous people's inherent rights and sovereignty, and the fossil fuel economy that relies on this violation" (11). This is done by tracing the sordid history of indigenous-settler relations through official documents such as the [End Page 281] Indian Act and the residential school system, which systematically destroyed traditional indigenous relationships with each other and the land and replaced them with patriarchal capitalist colonial hierarchies. The authors argue that this destruction, along with the forced removal of indigenous people from their lands, effectively brought about an apocalypse, the aftereffects of which indigenous people across all of so-called Canada are still dealing with. This is an incredibly effective rhetorical strategy, pulling on the popular cultural imagination of the apocalypse and reframing the settlers' view of this world as an indigenous dystopia.The authors then lay out how the official policies and privatization of the industry by the Canadian state laid the groundwork for weakening resistance against fossil fuel projects on traditional indigenous territories, and for stripping the lands of resources and further alienating all people from their relationships with the land. They point out that when indigenous mobilization was finally recognized in the 1970s and 1980s, a swell of popular support from unions, labor activists, and environmentalists pushed back against rampant development and extraction. However, instead of strict regulation and limitation, the authors make it clear how the government and industry simply switched from climate denialism to "climate delayism," using terms like "sustainable development," "net zero goals," and "carbon neutrality" to push responsibility to the future and make no real changes, all while actually increasing development and projects in the industry.The greatest strength of this section is how... (shrink)

Design: Qualitative interview study. Participants: Fifty-nine patients with a family history of cancer who attend a regional cancer genetics clinic in the UK were interviewed about their current and previous research experiences. Findings: Interviewees gave a range of explanations for research participation. These were categorised as social—research participation benefits the wider society by progressing science and improving treatment for everyone; familial—research participation may improve healthcare and benefit current or future generations of the participant’s family; and personal—research participation provides therapeutic (...) or non-therapeutic benefits for oneself. Conclusions: We discuss the distinction drawn between motives for research participation focused upon self and others, and observe that personal, social and familial motives can be seen as interdependent. For example, research participation that is undertaken to benefit others, particularly relatives, may also offer a number of personal benefits for self, such as enabling participants to feel that they have discharged their social or familial obligations. We argue for the need to move away from simple, static, individualised notions of research participation to a more complex, dynamic and inherently social account. (shrink)

In the act of self-observation, an individual becomes simultaneously observer and observed, subject and object. While some philosophical psychologists have dismissed thisreflexivity, the present author proposes that it isthe essential feature of the self, making it the basis of a new, conceptually simple, structural and dynamic theory of the self. Drawing from psychopathology, poetry and literature, the author portrays normal and disordered psychological states as disturbances in reflexivity. Qualitative and quantitative variations in this core function are proposed to define (...) discreet spectra of psychological situations. The author briefly examines the theories and practices of psychoanalytic and existential psychology, and proposes clinical applications of the new views here depicted. He attempts to show that inherent limits to our simultaneous knowledge of both aspects of the reflexive duality limit the precision and validity of all psychological theorization. (shrink)

A central issue in the ethical debate on psychopharmacological enhancers concerns the distinction between therapy and enhancement. Although from a theoretical point of view it is difficult to make a clear-cut distinction between treatment on the one hand, and enhancement on the other, in medical practice and policy debates the counter-positioning of therapy to enhancement is clearly at work. Especially pharmaceutical companies have an interest in occupying the "grey" area between normal and abnormal, treatment and enhancement. This article discusses the (...) dynamics of the treatment-enhancement distinction, and argues that practices that could be labelled "enhancement" can also be understood in terms of medicalisation and "disease mongering". The argument is supported by results from a qualitative empirical study into the experiences and opinions of adults diagnosed with Attention Deficit Hyperactivity Disorder. Patients are ambivalent about how to understand ADHD: as a disease, a disorder or a normal variation. Intervention with psychopharmacological means can also be understood in different ways. From an insider perspective it is conceived of as a "normalising" of functioning, whereas from an outsider perspective it can be understood as medicalisation of underperformance, or indeed as performance enhancement. This draws attention to new moral issues which are important but under-recognised in the enhancement debate, and which are related to medicalisation. (shrink)