This study presents the results of an empirical analysis of the relationship between managerial thinking style and ethical decision-making. Data from 200 managers across multiple organizations and industries demonstrated that managers predominantly adopt a utilitarian perspective when forming ethical intent across a series of business ethics vignettes. Consistent with expectations, managers utilizing a balanced linear/nonlinear thinking style demonstrated a greater overall willingness to provide ethical decisions across ethics vignettes compared to managers with a predominantly linear thinking style. However, results comparing (...) the ethical decision-making of balanced thinking managers and nonlinear thinking managers were generally inconsistent across the ethics vignettes. Unexpectedly, managers utilizing a balanced linear/nonlinear thinking style were least likely to adopt an act utilitarian rationale for ethical decision-making across the vignettes, suggesting that balanced thinkers may be more likely to produce ethical decisions by considering a wider range of alternatives and ruling out those that are justified solely on the basis of their outcomes. Implications are discussed for future research and practice related to management education and development, and ethical decision-making theory. (shrink)

1) Gaukroger estimates that there exist two irreconcilable theses in the Cartesian method in the Rules. The first thesis concerns the problem of the cognitive grasp of inference, the other the problem of the method of discovery. Descartes, by integrating deduction as a simple object of intuition, rejects the psychologicalinterpretation of inference, and elevates deduction to the status of a necessary condition of knowledge. On the other hand, the problem of the method of discovery requires that inference produces a new (...) truth as its conclusion. Descartes takes the algebraic solution of equations as the model of this method. But this orientation leads Descartes to deny all cognitive function operating in the inference of synthetic form. Thus, according to Gaukroger, these two theses tendto be opposed, calling into question the unity of the method. 2) We admit the cognitive analysis of Gaukroger on the Cartesian inference. However, Gaukroger does not see the importance of “the natural power of the mind” in the Rules. Indeed, the cognitive role of inference is always understood by Descartes, in light of this natural power. Thus, the main role of the method is to teach ways of increasing this power. Descartes tries to pose, by the algebraic treatment of questions, an analogy between the mathematical order and the order of the operations of the mind, enabling him to discover pure schemes of these operations. And, It is by theses schemes that the mind exercise itself in order to increase its natural power. For this reason, we must reconsider Gaukroger’s thesis that Descartesassimilates literally the method of discovery and algebraic solution, as well as his thesis of the inconsistency of the Cartesian method. (shrink)

This analysis examines initiatorsof specific issues within one large and encompassingpolicy domain in Congress, agriculture. The data arefrom an extensive survey of congressional members andstaff from stratified random samples of 113 individualoffices. One purpose is to determine differences betweenmembers with an agenda of new issues and those whobehave as maintainers of existing policy. The analysisalso finds that the circumstances of a postreformCongress enhance the importance of district effects onissue selection. These effects create substantiallymore congressional players within the domain thanwould be (...) expected in much of the literature. Moreover,the behavior of these issue initiators seems largelydetermined by identifiable characteristics of theirhome-district populations. Those and other findings,especially the high rate of initiator success, callinto serious question many existing assumptions aboutexclusivity and specialization in committeedeliberations. It suggests instead that home-stylebehavior comes to Washington politics in ways thatexpand significantly the range of policy players. (shrink)

Extending new verbs is important in becoming a productive speaker of a language. Prior results show children have difficulty extending verbs when they have seen events with varied agents. This study further examines the impact of variability on verb learning and asks whether variability interacts with event complexity or differs by language. Children in the United States, China, Korea, and Singapore learned verbs linked to simple and complex events. Sets of events included one or three agents, and children were asked (...) to extend the verb at test. Children learning verbs linked to simple movements performed similarly across conditions. However, children learning verbs linked to events with multiple objects were less successful if those events were enacted by multiple agents. A follow-up study rules out an influence of event order. Overall, similar patterns of results emerged across languages, suggesting common cognitive processes support children's verb learning. (shrink)

Animals routinely adapt to changes in the environment in order to survive. Though reinforcement learning may play a role in such adaptation, it is not clear that it is the only mechanism involved, as it is not well suited to producing rapid, relatively immediate changes in strategies in response to environmental changes. This research proposes that counterfactual reasoning might be an additional mechanism that facilitates change detection. An experiment is conducted in which a task state changes over time and the (...) participants had to detect the changes in order to perform well and gain monetary rewards. A cognitive model is constructed that incorporates reinforcement learning with counterfactual reasoning to help quickly adjust the utility of task strategies in response to changes. The results show that the model can accurately explain human data and that counterfactual reasoning is key to reproducing the various effects observed in this change detection paradigm. (shrink)

Background: Empirical ethics inquiry works from the notion that stakeholder perspectives are necessary for gauging the ethical acceptability of human studies and assuring that research aligns with societal expectations. Although common, studies involving different populations often entail comparisons of trends that problematize the interpretation of results. Using graphical model selection—a technique aimed at transcending limitations of conventional methods—this report presents data on the ethics of clinical research with two objectives: (1) to display the patterns of views held by ill and (...) healthy individuals in clinical research as a test of the study's original hypothesis and (2) to introduce graphical model selection as a key analytic tool for ethics research. Methods: In this institutional review board (IRB)-approved, National Institutes of Health-funded project, data were collected from 60 mentally ill and 43 physically ill clinical research protocol volunteers, 47 healthy protocol-consented participants, and 29 healthy individuals without research protocol experience. Respondents were queried on the ethical acceptability of research involving people with mental and physical illness (i.e., cancer, HIV, depression, schizophrenia, and posttraumatic stress disorder) and non-illness-related sources of vulnerability (e.g., age, class, gender, ethnicity). Using a statistical algorithm, we selected graphical models to display interrelationships among responses to questions. Results: Both mentally and physically ill protocol volunteers revealed a high degree of connectivity among ethically salient perspectives. Healthy participants, irrespective of research protocol experience, revealed patterns of views that were not highly connected. Conclusions: Between ill and healthy protocol participants, the pattern of views was vastly different. Experience with illness was tied to dense connectivity, whereas healthy individuals expressed views with sparse connections. In offering a nuanced perspective on the interrelation of ethically relevant responses, graphical model selection has the potential to bring new insights to the field of ethics. (shrink)

Little is known about how individuals with and without mood disorders perceive the inherent risks and helpfulness of participating in innovative psychiatric research, or about the factors that influence their willingness to participate. We conducted an online survey with 80 individuals (self-reported mood disorder [n = 25], self-reported good health [n = 55]) recruited via MTurk. We assessed respondents’ perceptions of risk and helpfulness in study vignettes associated with two innovative research projects (intravenous ketamine therapy and wearable devices), as well (...) as their willingness to participate in these projects. Respondents with and without mood disorders perceived risk similarly across projects. Respondents with no mood disorders viewed both projects as more helpful to society than to research volunteers, while respondents with mood disorders viewed the projects as equally helpful to volunteers and society. Individuals with mood disorders perceived ketamine research, and the two projects on average, as more helpful to research volunteers than did individuals without mood disorders. Our findings add to a limited empirical literature on the perspectives of volunteers in innovative psychiatric research. (shrink)

This study provides a comparison of thinking style and ethical decision-making patterns between 386 U.S. students and 506 students from the People’s Republic of China enrolled in undergraduate business education in their respective countries. Contrary to our expectations, the Chinese students demonstrated a significantly greater linear thinking style compared to American students. As hypothesized, both Chinese and U.S. students possessing a balanced linear and nonlinear thinking style profile demonstrated greater ethical intent across a series of ethics vignettes. Chinese students also (...) were more likely to adopt an act utilitarian rationale, an ethical philosophy that in practice may violate government regulations or social rules to benefit one’s family instead of society for explaining their decisions across the vignettes. We conclude with a discussion of important theoretical as well as practical and potential future implications based on this comparative study. (shrink)

An increased focus on fake news and misinformation is currently emerging. But what does it mean when information is designated as “fake?” Research on deception has focused on lies of commission, in which people disclose something false as true. However, people can also lie by omission, by withholding important yet true information. In this research, we investigate when people are more likely to tell a lie of omission. In three studies, with tests among undergraduates, online sample respondents, and candidates for (...) U.S. Senate, we found that people in a gain frame were more likely to lie by omission (vs. commission), and vice versa for a loss frame. Moreover, participants rated lies of commission in a gain frame as the least acceptable type of deception, suggesting why people may avoid telling this kind of lie. Overall, our results emphasize that from frame-to-frame, lying is not only different in degree but different in kind. (shrink)

This study investigates the relationship among ethical philosophy, thinking style, and managerial ethical decision-making. Based on the premise that business ethics is a function of culture and time, we attempt to explore two important questions as to whether the national differences in managerial ethical philosophies remain over time and whether the relationship between thinking style and ethical decision-making is consistent across different national contexts. We conducted a survey on Korean managers’ ethical decision-making and thinking style and made a cross-cultural, cross-temporal (...) comparison with the results presented by previous studies that surveyed Korean and US managers with the same questionnaire at different points in time. Our analysis revealed that Korean managers have become more reliant on rule utilitarianism for ethical decision-making over the last two decades, which is dominantly used by US managers, corroborating our convergence hypothesis built on social contracts theory. However, as opposed to previous research, we found that managers with a balanced linear and nonlinear thinking style do not necessarily make more ethical decisions compared to those with a predominantly linear or nonlinear thinking style. This study contributes to international business ethics literature by presenting a theoretical framework that may explain the convergence of ethical philosophies employed by managers in different national contexts over time, and that the relationship between thinking style and managerial ethical decision-making may not be universal, but contingent on contextual factors. (shrink)

The aesthetic spirit in Paik Nam June’s video art, TV Buddha, originated in the aesthetics of Zen Buddhism, and the parameters that established Paik’s aesthetic comprised the indigenous Eastern aesthetic idea of dongjing 動靜. Yi 逸 is the paramount aesthetic in Zen Buddhism, suggesting the transcendence of preexisting tracks and conventions. Paik’s behavioral music, to which he was dedicated before pioneering video art in earnest, was related to yi in terms of the complete aspects of forms, themes, (...) and so on, evidently under the influence of avant-garde musical composer John Cage. The Zen Buddhist aesthetic—and Paik’s artistic motto—is to capture the essence of the self and the world through the destruction of stereotypes. Paik’s artistic uniqueness lies in his attempts to combine his traditional culture and spirit—the culture and ideas of Korea and Eastern Asia—with cutting-edge technology. The hallmark of Paik’s video art can be understood as a suggestion of philosophical subjects guided by the interrelation between a graphical presentation on a TV screen and the whole installation setup. The philosophical subject in TV Buddha is Zen Buddhist meditation symbolized in the structure of dongjing. (shrink)

We gratefully thank Filipa Matos Wunderlich for the permission to republish this text, which was first published in a shorter version in KOHT ja PAIK/PLACE and LOCATION Studies in Environmental Aesthetics and Semiotics VI, 2008.: Temporality is a fundamental characteristic of urban places. An attribute of nature, people and space, place-temporality consolidates and emerges out of their dynamic relationship in urban space. Temporality is place-specific and a result of compounds - Urbanisme – Nouvel article.

In the 1960s, there were efforts to move broadcast television in the direction of the experimental video art by altering television's conventional format. Fred Barzyk, in his role as a producer and director at WGBH-TV in Boston, was uniquely positioned to act as a link between television and experimental video artists who normally would not have had access to the technology available at a major broadcast facility. As the leading innovator in the beginnings of video art, the Korean American Nam (...) June Paik (1932-2006) deserves special mention. His work bridges the worlds of art, video technology, and television. The video works of Nan June Paik, Amy Greenfield, Peter Campus, Feng Meng Bo, Elizabeth Sussman and other video artists are considered in this essay as key contributors to the development of video art. The selection is based on my experience with the artists cited. Despite video art's growing popularity among contemporary artists in the 1970s and beyond, the museums were slow to acknowledge this development. One of the problems was deciding where, among the existing museum collections, to locate video art. In its 50 some years of history, video art has enjoyed a remarkable success in its artistic innovations while undergoing changes in formats virtually at the speed of rapid advances in electronic visual technology. Ironically, the legacy of creative television set in motion by Barzyk and his generation has been largely coopted by the television broadcasting industry, which mainly serves as a platform for mass media advertising. (shrink)

The media are now redundant. In an overview of developments spanning the past seventy years, Siegfried Zielinski’s _[... After the Media]_ discusses how the means of technology-based communication assumed a systemic character and how theory, art, and criticism were operative in this process. Media-explicit thinking is contrasted with media-implicit thought. Points of contact with an arts perspective include a reinterpretation of the artist Nam June Paik and an introduction to the work of Jake and Dinos Chapman. The essay ends (...) with two appeals. In an outline of a precise philology of exact things, Zielinski suggests possibilities of how things could proceed after the media. With a vade mecum against psychopathia medialis in the form of a manifesto, the book advocates for a distinction to be made between online existence and offline being. (shrink)

Introduction: on not giving interviews -- Interview with Leonard Green, Jonathan Culler, and Richard Klein -- Interview with Anders Stephanson -- Interview with Paik Nak-Chung -- Interview with Sabry Hafez, Abbas Al-Tonsi, and Mona Abousenna -- Interview with Stuart Hall -- Interview with Michael Speaks -- Interview with Horacio Machín -- Interview with Sara Danius and Stefan Jonsson -- Interview with Xudong Zhang -- Interview with Srinivas Aravamudan and Ranjana Khanna.

continent. 1.2 (2011): 92-93. A collection of Images produced by intentionally corrupting the circuitry of a Kodak DC280 2 MP digitalcamera. By rewiring the electronics of a digital camera, glitched images are produced in a manner that parallels chemically processing unexposed film or photographic paper to produce photographic images without exposure to light. The DCP Series of Digital Images are direct visualizations of data generated by a digital camera as it takes a picture. Electronic processes associated with the normal operations (...) of the camera, which are usually taken for granted, are revealed through an act of intervention. The camera is turned inside­out through complexes of short­circuits, selected by the artist, transforming the camera from a picture taking device to a data capturing device that renders raw data (electronic signals) as images. In essence, these images are snap­shots of electronic signals dancing through the camera's circuits, manually rerouted, written directly to the on­board memory device. Rather than seeing images of the world through a lens, we catch a glimpse of what the camera sees when it is forced to peer inside its own mind. With the digital photo, this light, from out of the night, no longer comes entirely from the day, it doesn't come from a past day that would simply have become night (like the photons emenating from Baudelaire's face.) It comes from Hades, from the realm of the dead, from underground: it is an electric light, set free by materials from deep within the belly of the earth. And electronic, that is to say, a decomposed light. Digitization breaks the chain, it introduces manipulation even into the spectrum, and by the same token, it makes phantoms and phantasms indistinct. Photons become pixels that are in turn reduced zeroes and ones on which discrete calculations can be performed. Essentially indubitable when it was analog (whatever its accidental manipulability), the this was has become essentially doubtful when it is digital (it is nonmanipulation that becomes accidental). —Bernard Steigler, The Discrete Image There are so many ways to take something apart. Deconstruction, differentiation, dissection, dissolution. A whole slew of concepts and processes towards atomization which aim, eventually, to evoke or locate an essence of some kind, in material science as in philosophy. In picking things apart, what is it we attempt to do? To simplify? To comprehend? To confront? To disprove? With Stearns’ DCP Series we see that destructive scrutiny can sometimes bring about new forms. To create this series of images, Stearns applies circuit bending techniques to modern photography—his fingers and stray wires cutting across the camera’s circuitry at the moment of registration. As with Moholy­Nagy’s vinyl records and Nam June Paik’s cathode ray TVs, Stearns deconstructs the technological inscription of his era. In so doing, the function of the digital camera is revealed, but its transduction inverted: A recorder becomes a synthesizer, the scientist an artist. In a single, simple gesture, these works example a media archeology of the present. We resist the urge to call these photographs. —Jamie Allen. (shrink)

An engaging argument about what experimental music can tell us about being human. -/- In Experimenting the Human, G Douglas Barrett argues that experimental music speaks to the contemporary posthuman, a condition in which science and technology decenter human agency amid the uneven temporality of postwar global capitalism. Time moves forward for some during this period, while it seems to stand still or even move backward for others. Some say we’re already posthuman, while others endure the extended consequences of never (...) having been considered fully human in the first place. Experimental music reflects on this state, Barrett contends, through its interdisciplinary involvements in postwar science, technology, and art movements. -/- Rather than pursuing the human’s beyond, experimental music addresses the social and technological conditions that support such a pursuit. Barrett locates this tendency of experimentalism throughout its historical entanglements with cybernetics, and in his intimate analysis of Alvin Lucier’s neurofeedback music, Pamela Z’s BodySynth performances, Nam June Paik’s musical robotics, Pauline Oliveros’s experiments with radio astronomy, and work by Laetitia Sonami, Yasunao Tone, and Jerry Hunt. Through a unique meeting of music studies, media theory, and art history, Experimenting the Human provides fresh insights into what it means to be human. (shrink)

This article investigates the concept of sound, in relation to the new means and sciences from different perspectives, ultimately providing an analysis of the newborn artistic movement of bioart. It is divided into two parts. The first part of the study is based upon reference, investigating the interconnection between art and science. This mechanism is characterized by transformation processes in the interdisciplinary practices that are applied mainly by various artists and movements of the post-Second World War period. The expressive element (...) seeks an unworldly explanation through audio and visual conjunctions. This nature is obvious in Paul Klee’s reflections of musical elements in his paintings, and Rimmington’s attempts to marry audio-visual influences in his ‘colour organs’. The experimentations of composers such as Xenakis and Stockhausen at various locations with light and colour illustrate the continuous quest to render sound by the use of new means. Technology is a vital component of transformation as it enhances syncretic creativity for various art domains such as those that Fluxus deployed. Nam Jun Paik and Dick Higgins introduce radical techniques in their performances as they detach their selves from the parameters that define composition, and use the mind and power of sentiment in order to identify reality aurally and optically. Towards the end of the twentieth century, we witnessed the appearance of new art forms such as bioart. The human body, host of material and immaterial functions, comes to the forefront of art prac¬tice. Its relation to elements such as oscillations and vibrations that express the energy flow is analysed through the model of spiritualism that came from eastern thought. The notion of digital embodiment is presented as a reminder, highlight¬ing the importance of technology in biotechnology and genetics. The second part of the article involves an experiment. This describes how the concept of biomusic is applied with the use of electrocardiography (ECG) data from the MIT PhysioNet database. As sound penetrates the entire human body, it can be analysed in all of its phasma. Using this information, we attempt to translate/transform these biological sound phenomena into music. The sound produced by the elaboration of data that result from biological functions can be described as biomusic. It can be transformed into frequencies related to time and can be expressed in musical themes. Sonification plays an important role in this research as it constitutes a rapid and precise rendering of polymorphic information (in this case the ECG) in musical notes. This modelling and musical attribution leads to two distinguishable results, each concerning different clinical cases (all data belong to a normal heart function and a pathological one). The invention of this novel system is suggested for scientific as well as musical disciplines. It has the ability to be implemented in an experimental form and obtain an educational character. The transformation process avoids compensation throughout the matching process between ECG functions and music, while focusing on the aesthetic factor at the same time. Sound meets art in the world of biomusic as it takes shape through technology, constituting a new medium to further evolve the model of ‘biology into art’ transformation. (shrink)

Introduction -- Media and representation. On the one medium / Eric Gans -- The scapegoat mechanism and the media: beyond the folk devil paradigm / John O'Carroll -- The apocalypse will not be televised / Chris Fleming -- Film. Mirrors of nature: artificial agents in real life and virtual worlds / Paul Dumouchel -- Superheroes, scapegoats, and saviors: the problem of evil and the need for redemption / Joel Hodge -- Sanctified victimage on page and screen: The hunger games as (...) prophetic media / Debra E. Macdonald -- The mimetic e-motion: from The matrix to Avatar / Nidesh Lawtoo -- Apocalypse of the therapeutic: The cabin in the woods and the death of mimetic desire / Peter Y. Paik -- Eyes wide shut: mimesis and historical memory in Stanley Kubrick's The shining / David Humbert -- Against romantic love: mimeticism and satire in Woody Allen's Vicky, Cristina, Barcelona; you will meet a tall dark stranger; and To Rome with love / Scott Cowdell -- A beautiful crisis: Ang Lee's film adaptation of The ice storm / Carly Osborn -- Cowboy metaphysics, the virtuous-enough cowboy, and mimetic desire in Stephen Fears' The hi-lo country / Thomas Ryba -- Television. The self in crisis: watching Mad men and Homeland with Girard and Hegel / Paolo Diego Bubbio -- Media, murder, and memoir: Girardian baroque in Robert Drewe's The shark net / Rosamund Dalziell -- Conversion in Dexter / Matthew John Paul Tan and Joel Hodge. (shrink)

The paper leans on a movie cult from the 1960s, Blow-Up (1966) by Michelangelo Antonioni, of which a famous sequence is often mentioned, the one in which the protagonist, the photographer Thomas (considered here as a "conceptual character"), repeatedly enlarged the photographs he made in a park, in order to find an answer to the mystery surrounding the murder of a man: magnification which leads, on the one hand, to a gradual loss of definition of images, with the grain of (...) the picture becoming more and more evident, but also, on the other, in the emergence, from the very material of the print, of a fundamental detail that will help solve the mystery. What interests is the link between indicative referentiality and evidence documentary, between degrees of definition and authentication powers. The paper also analyzes the links that intertwine, in the film, between the photographs of Thomas (by Don McCullin) and paintings painted by another character of the movie, Bill (directed by Ian Stephenson), but also, outside the film, with all a series of examples from artistic production and visual culture of the time: very low definition images of the Kennedy assassination in Dallas (the famous Zapruder Film), the portrait of Lee Harvey Oswald directed by Sigmar Polke by simulating the halftone technique, the war photographs of Don McCullin and David Bailey's Fashion Photographs, Random Earths Studies by Mark Boyle and Joan Hills, Materialologies and Texturologies by Jean Dubuffet, as well as Zen for Film by Nam June Paik. Fimiani's text addresses also two contemporary installations which have tried to return to the issues from the photographic sequence of Antonioni's film: Blow-Up Blow-Up (2010) by Joan Fontcuberta and Portrait Landscape (from the Object Classifier series) (2015) by John Houck, an installation in which photograms of Blow-Up are analyzed through facial recognition software. (shrink)