In this article we explore the conceptual relationship between corporate social responsibility (CSR) orientation and real option reasoning. We argue that the firm's attitude, communication, and behavior toward CSR will act as significant determinants to the firm's sensemaking approach to real options; that is, if and how it (the firm) acknowledges, receives, and manages strategic real options. Integrating the previous work of Basu and Palazzo with Barnett, we propose a new model that extends the influence of CSR orientation/character to general (...) strategic decision making while simultaneously developing the attention‐based view to real options. (shrink)

The University of Warsaw has a splendid modern library with 60,000 m 2 of floor space. It resembles a shopping centre. The long and elegant modern building on ulica Dobra, on the low ground between the old University and the Vistula, was opened in 1998 replacing the previous hopelessly inadequate facilities. It has an imposing sequence of copper-green “great texts” on its front side in Greek, Arabic, Sanskrit, Hebrew, Latin, Polish, music, and mathematics. These are international symbols, posting Warsaw’s claim (...) to international status. But inside, once one has passed the mall -like coffee-shop. (shrink)

Wittgenstein’s remarks on Frazer’s The Golden Bough were first edited and published in 1967 by Rush Rhees as Wittgenstein’s Bemerkungen über Frazers ‘The Golden Bough’. However, there is another edition, called Ludwig Wittgenstein: Remarks on Frazer’s Anthropology, edited and translated by Kenneth Laine Ketner and James Leroy Eigsti. In this paper I outline at least part of the history of this edition. At the same time, I shall describe some of the characteristic features of the Ketner and Eigsti (...) edition. This presentation takes as its point of departure the correspondence contained in the box “Wittgenstein 143” at the von Wright and Wittgenstein Archives, consisting of twelve letters that passed between Ketner and Eigsti, G.E.M. Anscombe, Rhees, and G.H. von Wright in 1972 and 1973. The presentation will also indirectly throw light on a number of issues concerning the editorial principles applied in publishing Wittgenstein’s remarks. (shrink)

‘Altruistic punishment’ (i.e., costly punishment that serves no instrumental goal for the punisher) could serve, as suggested by the pertinent experimental literature, as a powerful enforcer of social norms. This paper discusses foundations, extensions, and, in particular, limits and open questions of this concept-and it does so mostly based on experimental evidence provided by the author. Inter alia, the paper relates the (standard) literature on negative emotions as a trigger of second party punishment to more recent experimental findings on the (...) phenomenon of ‘spontaneous cooperation’ and ‘spontaneous punishment’ and demonstrates its (tight) emotional basis. Furthermore, the paper discusses the potential for free riding on altruistic punishment. While providing valuable insights into the understanding of social order, ‘altruistic punishment’ is thus not the golden keystone of social stability. (shrink)

In the first part of this lecture I aim to characterize the moral dimensions of Henry James's novel The Golden Bowl ; in the second part, and for the purposes of comparison with my interpretation as well as for their intrinsic interest, I outline some of James's theoretical reflections about novels and the nature of experience, supplementing them with quotations from the work of William James.

In the first part of this lecture I aim to characterize the moral dimensions of Henry James's novel The Golden Bowl; in the second part, and for the purposes of comparison with my interpretation as well as for their intrinsic interest, I outline some of James's theoretical reflections about novels and the nature of experience, supplementing them with quotations from the work of William James.

J. H. van 't Hoff's 1874 Dutch pamphlet, in which he proposed the spatial arrangement of atoms in a molecule, is one of the most significant documents in the history of chemistry. This essay presents a new narrative of Van 't Hoff's early life and places the appearance of the pamphlet within the context of the 'second golden age' of Dutch science. We argue that the combination of the reformed educational system in The Netherlands, the emergence of graphical molecular (...) modelling within the theoretical and practical culture of chemistry during the 1860s and 1870s, as well as Van 't Hoff's own personal research trajectory, formed the background to his unprecedented attribution of spatial meaning to the traditional concept of atomic 'arrangement'. We also present a new English translation of the pamphlet, for we have found that the existing translation, published by G. M. Richardson in 1901, contains many errors, changes and omissions. The new version offers a more accurate rendition in English of Van 't Hoff's style and argument. (shrink)

Divided into two parts this book examines the train of social theory from the 19th century, through to the `organization of modernity', in relation to ideas of social planning, and as contributors to the `rationalistic revolution' of the `golden age' of capitalism in the 1950s and 60s. Part two examines key concepts in the social sciences. It begins with some of the broadest concepts used by social scientists: choice, decision, action and institution and moves on to examine the `collectivist (...) alternative': the concepts of society, culture and polity, which are often dismissed as untenable by postmodernists today. This is a major contribution to contemporary social theory and provides a host of essential insights into the task of social science today. (shrink)

Wittgenstein: Connections and Controversies consists of thirteen thematically linked essays on different aspects of the philosophy of Wittgenstein, by one of the leading commentators on his work. After an opening overview of Wittgenstein's philosophy the following essays fall into two classes: those that investigate connections between the philosophy of Wittgenstein and other philosophers and philosophical trends, and those which enter into some of the controversies that, over the last two decades, have raged over the interpretation of one aspect or another (...) of Wittgenstein's writings. The connections that are explored include the relationship between Wittgenstein's philosophy and the humanistic and hermeneutic traditions in European philosophy, Wittgenstein's response to Frazer's Golden Bough and the interpretation of ritual actions, his attitude towards and criticisms of Frege, the relationship between his ideas and those of members of the Vienna Circle on the matter of ostensive definition, and a comparison of Carnap's conception of the elimination of metaphysics and of Strawson's rehabilitation of metaphysics with Wittgenstein's later criticisms of metaphysics. The controversies into which Hacker enters include the Diamond-Conant interpretation of the Tractatus, Winch's interpretation of the Tractatus conception of names, Kripke's interpretation of Wittgenstein's discussion of following a rule, and Malcolm's defence of the idea that Wittgenstein claimed that mastery of a language logically requires that the language be shared with other speakers. These far-ranging essays, several of them previously unpublished or difficult to find, shed much light upon different aspects of Wittgenstein's thought, and upon the controversies which it has stimulated. (shrink)

This book explores ancient 'foundational' texts relating to property and their reception by later thinkers in their various contexts up to the early nineteenth century. The texts include Plato's vision of an ideal polity in the Republic, Jesus' teachings on renunciation and poverty, and Golden Age narratives and other evolutionary accounts of the transition of mankind from primeval communality to regimes of ownership. The issue of the legitimacy of private ownership exercises the minds of the major political thinkers as (...) well as theologians and jurists throughout the ages. The book gives full consideration to the historical development of Rights Theory, with special reference to the right to property. It ends with a comparative study of the Declarations of Rights in the American and French Revolutions and seeks to explain, with reference to contemporary documents, why the French recognised an inalienable, human right to property whereas the Americans did not. (shrink)

One universal anonymous sage : the Rta/Tao/Logos -- Four sages from the East. The Hindu tradition : the four wants of man -- Buddha : Nirvana -- Confucius : social harmony -- Lao Tzu : nature's way -- Three sages from the West. Moses : divine law -- Jesus : agape love -- Muhammad : "Islam" -- Three classic Greek founders of philosophy. Socrates : the primacy of wisdom ("Virtue is knowledge") -- Plato: No double standard : ethics and politics (...) ; Platonic Ideas : the objective reality of goodness ; Justice as health of soul and therefore always profitable -- Aristotle: Happiness as the end, the greatest good ; Virtue as the road to happiness ; The good as teleological ; The golden mean as the key to virtue ; Ethics as dependent on metaphysics ; The (later) idea of "natural law" -- Three lesser but more popular ancient philosophers. Protagoras -- Epicurus: Hedonism -- Epicurus: Stoicism -- Three medieval Christian saints. St. Augustine: Love as gravity ; Only two kinds of people ; The restless heart -- St. Anselm : the good greater than which nothing can be thought -- Thomas Aquinas: The role of faith and reason ; Four kinds of law ; The four cardinal virtues and the three theological virtues ; Eight candidates for happiness -- Three modern political philosophers. Machiavelli : the good as the practical -- Hobbes : the good as power -- Rousseau : the good as feeling -- Three classic modern ethical alternatives. Hume : the good as subjective -- Kant: The good as goodwill ; Goodwill as duty ; Duty as the "categorical imperative" -- Mill : utilitarianism : the good as maximally happy consequences -- Three Existentialists. Kierkegaard : aesthetics, ethics, and religion -- Nietzsche: The genealogy of morals as resentment ; The Superman : "beyond good and evil" ; "The will to power" -- Sartre: God vs. freedom ; Love vs. freedom -- Two Personalists. Marcel: Being as value ; Mysteries vs. problems ; "Creative fidelity" -- Von Hildebrand: Three kinds of value ; The ethics of the heart -- Three analytic philosophers. Ayer : the good as meaningless -- Moore : the good as indefinable -- Wittgenstein : the good as "mystical" -- Is ethics dead? MacIntyre "After Virtue" vs. Aquinas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"Spirituality":"Weasel-Word" or Gateway to New Understanding?Peter Gilbert (bio)Keywordsspirituality, faith communities, NIMHEVisiting the Samuel Palmer Exhibition at the British Museum, I was struck, not only by the spiritual power of the paintings, especially in the late Shoreham period such as, my favorite: The Magic Apple Tree (circa 1830)—but how Palmer appeared to bring both Christian and Pantheistic themes into his work. The museum's exhibition collator remarks that Palmer saw (...) the fruitfulness of the earth as an intimation of Divine creativity. The artist sought to capture "The essential vivifying spirit, vital spark" (Palmer's words) of the physical world in which we live.I was reminded as I moved from The Magic Apple Tree, to In a Shoreham Garden, and The Golden Valley, how these paintings had been used by a record company when they had issued all of Ralph Vaughan Williams' orchestral and choral works in the 1970s, to mark his anniversary. Vaughan Williams was not a signed up Christian, but many of his choral works express a strong yearning for the transcendent using Christian imagery. The day before I visited the Palmer exhibition, I listened to Professor Robert Winston on Start the Week (28th November, 2005), in which he spoke of his BBC series The Story of God (Winston, 2005). As a scientist, Winston is intrigued as to why humans seek the transcendent. He continually refers to this desired other as "God," although I think it would be more accurate to call it a search for the transcendent. Winston puzzles over why there appears to be "a God-shaped hole" within humanity (Start the Week, November, 28, 2005), and again, as a scientist, postulates that: "the more we understand about science, the less we understand about the Universe."In the light of the most popular films and books at present, the search for something beyond ourselves appears to be very much at the center, rather than at the periphery of humanity's consciousness at the present time. Reading Philip Pullman's His Dark Materials trilogy, and reading his various essays, we are struck by his articulation of the human search:We need a story, a myth that does what the traditional religious stories did. It must explain. It must satisfy our hunger for a Why... There are two kinds of Why, and our story must deal with both. There's the one that asks What brought us here? and the other that asks What are we here for?(Pullman, 2001)The author's article is very helpful in its practical approach to psychotherapy and spirituality. I particularly liked her reference to the work of Charles Corr (1991) and his work with people [End Page 197] who are dying and considering the physical, psychological, social, and spiritual aspects of the last days. The spiritual aspects being around identifying, developing, or reaffirming spiritual sources of energy and hope. This is the kind of approach that the National Institute for Mental Health in England (NIMHE) national Project on Spirituality and Mental Health has been engaged in since 2001, the approach being to stress the spiritual dimension as an integral part of a whole person and whole systems approach to mental health; work with mental health services and their partners to engage with this agenda; and work toward a better understanding between faith communities and mental health services (see Gilbert and Nicholls, 2003). Service users and their carers are increasingly stating strongly to services that they wish to have their spiritual dimension and spiritual needs addressed properly—and certainly not in a "tick-box" method! The author quotes Samson and Zerter (2003) as saying that the person's spiritual dimension "draws a thread of identity, relationship, meaning and purpose, which weave through each of these aspects" (i.e. the life events and other aspects of their being).I welcome the author's stress on a "relational approach," and her breadth of reference, for example, the diary of Marcus Aurelius, the Roman emperor and philosopher, but I had some concerns about her use of the term personal theology, and talk of the personal aspect of religion and "the Divine," in that I think that this could... (shrink)

A major preoccupation of that novel [Zola’s Nana] is the undressing of the courtesan Nana. One could even say that a major dynamic of the novel is stripping Nana, and stripping away at her, making per progressively expose the secrets of this golden body that has Paris in thrall. The first chapter of the novel provides, quite literally, a mise-en-scène for Nana’s body, in the operetta La Blonde Vénus. When she comes on stage in the third act, a shiver (...) passes over the audience, for, we are told, she is nude. Yet, we quickly discover, not quite nude: she is covered by a filmy shift under which her splendid body lets itself be glimpsed: se devinait. “It was Venus born from the waves, having only her hair as a veil.”2 The denuding of nana progresses in chapter 5 when Comte Muffat and the Prince make their way backstage to her dressing room . They surprise her naked to the waist, and she then covers herself with a bodice, which only half hides her breasts. Despite the repeated references to nana as nude, it is only in chapter 7, at the very midpoint of the novel, that Nana is finally completely naked. In this scene, she undresses before her mirror while Comte Muffat watches, especially looking at her looking at herself. Thus she is fully unveiled, frontally in the mirror, and from the backside in Muffat’s direct view. And yet, as we shall see in a moment, even the completely naked woman’s body bears a troubling veil. 2. Émile Zola, Nana , p. 47; hereafter abbreviated N. I wish to thank Helen Chillman, Librarian of the Slides and Photography Collection, Art and Architecture Library, Yale University, for her help in assembling the illustrations accompanying this essay.Peter Brooks is Tripp Professor of Humanities and Director of the Whitney Humanities Center at Yale University. The author of The Melodramatic Imagination and Reading for the Plot , he is currently working on a study of narrative and the body, tentatively called “Storied Bodies.”. (shrink)

Ours is an age of offense, a time of reactionary shock—always received, never given. Ours is an age that has forgone cultural narratives, a time of individualism—wherein personal identities trump the collective spirit. Ours is an age of failing earth, a time of ecological collapse—yet the consumption of global capitalism continues to run amok. But don't fear. You have the correct worldview, the best solutions. It’s not your fault these things are happening. It’s the president’s, the immigrant’s, and the Islamicist’s. (...) Or perhaps It’s the socialist’s, the tree hugger’s, and the baby killer’s. But it’s not your fault. Never yours. For the world exists as you see it—in an echo chamber lined with golden pixels. Do I still have your attention? Then join me. Within the covers of Narrativizing Theories, I dive into ambiguity and aesthetics to depict how clashing worldviews exist side by side yet remain mutually incompatible. I examine how cultures distinguish between acceptable and unacceptable beliefs, embodiments, and identities. And I outline an aesthetic theory of ambiguity that highlights—through the twists and turns of literature—the provisionality of knowledge and the narrativization of reality. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

This interview – conducted by Peter Beilharz and Trevor Hogan with Clinton Walker over the course of three months between Melbourne and Sydney via email and Skype – explores the questions of Australian popular culture writing with, against, and of the culture industries themselves. Walker is a leading freelance Australian cultural historian and rock music journalist. He is the author of seven books, five about Australian music. He has been a radio DJ and TV presenter. He compiled and produced (...) four double CD album collections of Australian music – Inner City Sound, Buried Country, Long Way to the Top, and Studio 22. He has been a key writer in several multi-media projects, including the Powerhouse Museum Real Wild Child exhibition and CD-Rom and ABC TV’s hit documentary series/CD/DVD Long Way to the Top. In 2006, a new US edition of his first book Inner City Sound was published. His Golden Miles: Sex, Speed and the Australian Muscle Car has been published in a revised edition in 2009. In 2012, his eighth book, The Wizard of Oz, will be published. Walker is currently writing with Beilharz and Hogan a book called The Vinyl Age: The History of Australian Rock Music, 1945–1995. The interviewers invited Walker to reflect critically on his 35-year ‘career’ as pop avatar, independent writer and critic in the post-war to post-modern Australian popular culture industries. Going from journalism to his path-finding books and television documentaries, the article traces this work’s development both in personal terms and as a symptom of the broader cultural evolution, from the suburbs to pop to art and rock and back again; between London and the provincial cultures of Oz; from one-way American consumerism to local DIY egalitarianism, analogue to digital to global dialogue, youth culture to multi-culturalism, and from the putative low brow to the legimitization process itself of popular culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 115 analytical surveys of important Rousseau themes (though their connection with the main theme is sometimes weak) : Rousseau's attitude to love, his philosophy of language, his notion of a Golden Age and Terrestrial Paradise, and his views of personal immortality. Chapter 4 ("L'amour et le pays des chim~res") shows Rousseau recoiling from love fulfillment, "rejet6 dans I'imaginaire par l'~chec de sa passion," finding satisfaction only (...) in the imagination (hence his fear of "soiling the purity" of the beloved, with some strange consequences for his concept of personality). The chapter on Rousseau's philosophy of language is detailed and richly documented, as all these chapters are; it shows him struggling to free the theory from the grip of sensualism, and anticipating in intuitive flashes some very modern notions. Chapter 5 goes to the roots of Rousseau's almost delirious happiness when he finds Paradise in an isle that is both symbol and incarnation of attunement with vegetative nature (Freudians may see a good deal more in this). The last chapter brings together the texts on personal immortality, the certainty of which Rousseau derived from his personal need for compensatory justice, while admitting that there was no objective proof of it. Eigeldinger works strictly from the sources. Some naive expressions, an occasional lack of technique in handling the texts, a tendency towards poetic language and enthusiastic overstatement are easily compensated by his sensitivity, intellectual curiosity, and conscientiousness. His results are not unfamiliar, but it is good to have such rich material brought together and so well presented in these compact chapters. This is not an academic exercise but a work of love, and it is none the worse for it. GR~con SEBBA Emory University Kants These iiber das Sein. By Martin Heidegger. (Frankfurt a. M.: Vittorio Klostermann, 1962. Pp. 36. Paper, DM 3.80.) This little essay continues the "destruction of the history of ontology" which Heidegger originally projected as the second part of Sein und Zeit but never published under that title. The "destruction," as Heidegger readers are aware, is by no means an attempt to repudiate the metaphysical tradition of the West. Its aim instead is to re-think the question of being on a more fundamental level--to focus on the ground of being, being as such (Das Sein), rather than on this or that mode of being or on the totality of what is (Das Seiende). Hence Heidegger's claim that he is laying the groundwork for something that has never really been undertaken previously in Western thought, namely, "fundamental ontology." In Kant und alas Problem der Metaphysik (1929), Heidegger repudiated the NeoKantian interpretation of the Critique of Pure Reason by insisting that the thrust of that work is primarily ontological, not epistemological. Focusing his analysis on Kant's transcendental deduction of the categories and the doctrine of schematism in the first edition of the Critique, Heidegger argued that the transcendental imagination must stand at the center of ontological knowledge and that its subordination to the understanding in the second edition constitutes a "recoil" on Kant's part from his earlier and deeper insights. Moreover, Heidegger found in Kant the seeds of his own doctrine of temporality as the basis of human being, knowing, and acting--a doctrine from which once again Kant "recoiled." 116 HISTORY OF PHILOSOPHY These themes are echoed in the present essay, but a different portion of the Critique comes under scrutiny. In his discussion of the ontological proof for the existence of God, Kant writes: 'Being' is evidently not a real predicate, i.e., it is not a concept of something which could be added to the concept of a thing. It is simply [bloss] the placing [Position] of a thing, or of certain determinations in it. (A598,B626) Heidegger, armed with an impressive correlation of texts, finds in this passage a negative and an affirmative thesis. The negative thesis denies to being the character of a "real" predicate, but does not deny that it is a predicate in some sense. By "real" we are to understand, not actual, but having a reference to things. Thus interpreted, the negative thesis asserts that being is not... (shrink)

IntroductionGeneralized Anxiety Disorder is a prevalent emotional disorder associated with increased dysfunctionality, which has a lasting impact on the individual’s quality of life. Besides medication, Cognitive-Behavioral Therapy represents the golden standard psychotherapeutic approach for GAD, integrating multilevel techniques and various delivery formats that enable the development of tailored treatment protocols. The objective of this study was to compare the efficiency of a standard CBT protocol targeting worries, dysfunctional beliefs, and intolerance of uncertainty with an integrative and multimodal CBT intervention (...) augmented with Virtual Reality.Materials and methodsThis study included 66 participants with moderate GAD symptoms that were randomized to the standard CBT group and the Integrative and Multimodal CBT augmented with VR group. The interventions comprised 10 weekly sessions conducted by trained CBT therapists, including cognitive restructuring, problem-solving, behavioral exposure, and relaxation techniques. Baseline and post-assessments were conducted with both groups. Primary outcome measures included the Hamilton Anxiety Rating Scale and Penn-State Worry Questionnaire to evaluate the severity of GAD symptoms and worries, respectively. Secondary outcomes involved the administration of Automatic Thoughts Questionnaire, Dysfunctional Attitudes Scale and Unconditional Self-Acceptance Questionnaire.ResultsBoth interventions determined statistically significant effects on both primary and secondary outcomes in the expected direction. However, CBTs was associated with higher effect sizes for anxiety and worries, in contrast to IM-VRCBT. Also, secondary analyses revealed positive correlations between changes in anxiety and worries level and the reduction of dysfunctional cognitive processes.ConclusionThis research emphasized the effectiveness of CBT interventions for treating adults with moderate GAD symptomatology. Specifically, both interventions were efficient for reducing anxiety symptomatology present at individuals with GAD. However, regarding cognitive dysfunctions like worries, the standard CBT protocol performed better, as compared to the IM-VRCBT. In addition, we conclude that VR could be integrated within CBT interventions in a single protocol for GAD treatment. (shrink)

: Peter Galison has recently claimed that twentieth-century microphysics has been pursued by two distinct experimental traditions--the image tradition and the logic tradition--that have only recently merged into a hybrid tradition. According to Galison, the two traditions employ fundamentally different forms of experimental argument, with the logic tradition using statistical arguments, while the image tradition strives for non-statistical demonstrations based on compelling ("golden") single events. I show that discoveries in both traditions have employed the same statistical form of (...) argument, even when basing discovery claims on single, golden events. Where Galison sees an epistemic divide between two communities that can only be bridged by a creole- or pidgin-like "interlanguage," there is in fact a shared commitment to a statistical form of experimental argument. (shrink)

Peter Vaudreuil Lamarque is one of the most prominent members of the golden generation of analytic aestheticians born immediately after the Second World War. If, to follow Archilochus via Isaiah Berlin (via Peter Kivy), “a fox knows many things, but a hedgehog one important thing,” Lamarque is perhaps the biggest hedgehog of his generation. Lamarque’s “important thing” is not a single idea but, as he would put it, the practice that we call “literature.” His distinctive achievement has (...) been to integrate a number of different ideas into a systematic philosophical account of literature, which also sheds light on art more generally. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter McGehee and the Erotics of Gay Self-RepresentationRaymond-Jean Frontain (bio)Novelist Peter McGehee was a beautiful man who—at the height of what Brad Gooch terms “the Golden Age of Promiscuity”—knew he was a beautiful man.1 Coming of age in the early 1970s when American gay men consciously set about refashioning their image, Peter’s dress was always striking, whether he was playing the slut or the dandy. (...) Members of his close circle of friends, dubbed “the Quinlan Family,” regularly twitted him for preening in the mirror, and one close friend reports that Peter could not pass a reflective surface without stopping to examine his image.2 Peter’s narcissism was further empowered by his talent as a photographer. He began taking pictures while in high school when his mother, an English teacher who advised both the school newspaper and yearbook, recruited him to serve as the staff photographer for both publications. And he continued taking photos—in particular, making self-portraits—until at least his early thirties (see Illustration 1).3 Click for larger view View full resolution1.Self-portrait by Peter McGehee. The hairstyle is identical to the one in the portrait that appears on the cover of the Stubblejumper Press edition of Beyond Happiness, suggesting that this photo was taken around 1985 when Peter was twenty-nine or thirty years old. Courtesy of the Estate of Peter McGehee.[End Page 115] Click for larger view View full resolution2.Self-portrait by Peter McGehee in mascara and woman’s top, circa 1981. Courtesy of Fiji Robinson.It should not come as a surprise that McGehee’s life and career are characterized by an ongoing and extraordinarily rich experimentation with modes of self-presentation. Peter was adept at making wacky collages that employ photographs and images culled from newspapers or magazines to serve as invitations, announcements to friends, and handbills for his performance activities. Under carefully controlled circumstances, Peter and his male friends donned female drag with Peter fashioning for himself a persona, “Princess Marie,” and signing himself as the same in letters to friends written in the royal first-person plural (see Illustration 2). When performing as the only male with two female partners in the Quinlan Sisters, a musical revue that he founded and for which he wrote the songs, he was generally identified in the program as “Marie Quinlan, the Sister with the Difference” (see Illustration 3).Peter experimented with personae even in his journals, where one might expect to find a less theatricalized self. Beginning in 1986, however, numerous entries are composed as letters that begin “Dear Winsome” (a word defined by the American Heritage College Dictionary as “charming, often in a childlike or naive way”—a manner that Peter liked to adopt), “Dear Winnie” (which is most likely a familiarization of the former), “Dear Timmy” (a name synonymous with naive wholesomeness for American baby boomers who were raised watching the television drama Lassie on Sunday evenings), and the matronly and delightfully dowdy “Dear Mrs. Hackensack.”4 Like Joe Orton, McGehee apparently even wrote letters to the local newspaper under a matronly female pseudonym in which he commented wryly on public matters that concerned him.5 [End Page 116] Click for larger view View full resolution3.Publicity photograph of Peter with Wendy Coad and Fiji Robinson as the Quinlan Sisters, circa 1982. Courtesy of Fiji Robinson.But clearly it was his fiction that offered McGehee the most satisfying opportunity for creative self-fashioning. It is the first rule of the creative writing class that a writer must write from, and of, what he knows if his writing is to have authority. But in his blurring of the line between fiction and autobiography Peter followed the lead established by Christopher Isherwood in The Berlin Stories (1935–39) and, more importantly, Christopher and His Kind (1976)—and pursued by Peter’s senior contemporaries Edmund White and Felice Picano—in which the autobiographer writes of himself in the third person in order to study himself with an almost brutal detachment, or in which the fictional protagonist is a barely disguised version of the writer’s self to the point of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:An American Scholar Recalls Karl Barth’s Golden Years as a Teacher (1958–1964) by Raymond Kemp Anderson, and: The Westminster Handbook to Karl Barth ed. by Richard E. BurnettMatthew R. JantzenAn American Scholar Recalls Karl Barth’s Golden Years as a Teacher (1958–1964) Raymond Kemp Anderson lewiston, ny: edwin mellen press, 2013. 438 pp. $159.95The Westminster Handbook to Karl Barth Edited by Richard E. Burnett louisville, ky: westminster (...) john knox press, 2013. 242 pp. $35.00On April 2, 1966, Karl Barth received a letter from Peter Vogelsanger, informing him that Emil Brunner—the recipient of Barth’s thunderous “Nein!” on the subject of natural theology in 1934—was on his deathbed. Two days later, Barth responded and asked Vogelsanger to tell Brunner that “the time when I thought I should say No to him is long since past, and we all live only by the fact that a great and merciful God speaks his gracious Yes to all of us.” The irenic, compassionate, and affirming tone of this letter is typical of the “mature” Barth, whom Raymond Anderson studied under from 1958 to 1964 as a ThD student at the University of Basel. This period of doctoral study is the subject of Anderson’s interesting and eminently readable new book. Anderson enjoyably weaves together several different genres in his reflections on his experience with Barth, smoothly transitioning back and forth between personal memoir, constructive theological argument, and thoughtful interpretation of Barth’s life and writings.Structurally, the book offers a series of recollections and reflections gathered loosely around common themes rather than a tightly knit argument pursued rigorously from beginning to end. In other words, the work is a series of sketches from the artist’s notebook, as opposed to one intricate and detailed portrait focusing on a single subject. [End Page 207]In the first five chapters of the book, Anderson sketches a picture of the elderly Karl Barth who served as his “doktorvater,” drawing material from his student notes and personal memories of the years he spent with Barth in Basel. While Anderson finds continuity between the earlier and later writings of Barth, he suggests that the older Barth began to increasingly unfold the “fuller, grace-centered and human-shaped positive implications” of the earlier writings (viii). In Anderson’s experience, Barth’s early appeal to “Let God be God!” had in those later years “mellowed to an even deeper appeal to let God be himself, human as well, in the most unexpected ways” (11). This mellowing extended beyond Barth’s writing to his personality and demeanor as a teacher and theologian. The Barth whom Anderson knew was humble, understated, and compassionate, a sympathetic listener and a generous interpreter—in short, an “un-dogmatic” dogmatician (139).In the sixth chapter, Anderson shifts gears and reproduces extensive transcriptions of his own notes from several of Barth’s biweekly English-language colloquia on the topics of natural theology, the Old Testament promise, Paul Tillich, and existentialism. Anderson suggests that these notes are particularly valuable because in them one witnesses Barth explaining the bare essentials of his thinking in clear and simple English terms. This is true for large portions of the transcriptions. However, it must be said that there are also portions of these transcriptions that suffer from the lack of clarity that one might expect to find in student notes of discussions conducted in a language with which Barth was not completely comfortable. Nevertheless, these transcriptions provide previously unpublished primary source material from Barth that is worth examining.From chapter 7 until the end of the book, Anderson takes up the task of “sketching key insights and special teachings from the mature Barth that in the years since Barth’s death have shown themselves to carry special significance for our American college classroom, church school, and pulpit” (205). These include, but are not limited to, Barth’s attitude toward America, his emphasis on the priority of grace, his theology of nature (not his natural theology), and his positions on theories of religion, satisfaction theories of the atonement, election, universalism, and even the possibility of extraterrestrial life. This section also includes... (shrink)

In many ways, the figure of Wilfrid Sellars personifies the second half of xxth century American philosophy. He lied at the crossroad of three powerful traditions: German rationalistic phenomenology, as Marvin Farber’s scholar; logical empiricism, as a philosopher grown up in the golden age of neo-positivism; and classical pragmatism, as an intellectual deeply inspired by the need of keeping a synoptic vision and finding practical and behavioral solutions for conceptual oppositions. In his la...

As in other European countries, in Denmark philosophy was an important factor in the cultural life of the nineteenth century. Kierkegaard lived and wrote in Copenhagen, where Hegelianism both flourished and met with serious criticism, and both of these elements can be found in his authorship. This chapter explores possible sources of inspiration for Kierkegaard's rejection of Danish Hegelianism and its follower, speculative theology, and discusses his influence on the fashionable Danish philosopher of the day, Rasmus Nielsen. By way of (...) conclusion, it is emphasized that Kierkegaard's understanding of Christianity and his struggle over it were decisive for a shift in Danish intellectual life around 1870. (shrink)

Legal humanism has become deeply entrenched in most modern works on European legal history from the 17th century onwards and has been accepted with such blind faith by many modern scholars that few have challenged it. As a result, it has been used to substantiate larger claims about the deathof Roman law, the separation between the golden age of a pan-European medieval ius commune and the fragmented reception of Roman law into the nation states of Europe, and the relevance (...) of 'dogmatic' Roman law as opposed to 'antiquarian' Roman law.Now, the traditional grand narratives of European legal history have begun to be questioned, to the extend that the nature and legacy of legal humanism now deserve closer scrutiny. Building on the groundbreaking work by Douglas Osler, who has been critical of the traditional narratives, this volumeinterrogates the orthodox views regarding legal humanism and its legacy. Fundamentally reassessing the nature and impact of legal humanism on the narratives of European legal history, this volume brings together the foremost international experts in related fields of legal and intellectual history to debate the central issues. (shrink)

This second collection of studies by Peter Golden continues his explorations of the Türk Empire (mid-sixth to mid-eighth centuries), the stateless polities that appeared after its collapse, and of the Khazar Qaghanate (mid-seventh century to ca. 965-969), its imperial successor state in the western Eurasian steppes. Building on earlier traditions, the Türks created a paradigm for state building in the Eurasian steppes that persisted into the early modern era. Examined here are issues relating to the rise of the (...) Türks and their systems of governance, the institution of slavery and its role in Turkic nomadic societies, and the cultural interactions between the Turkic nomads of Pre-Chinggisid Eurasia and neighbouring settled societies such as the Kievan Rus', Georgia and the Islamic world. Particular studies deal with the hitherto neglected role of Khazars in the Islamic ghulâm (slave soldier) system, the unique traditions of sacral rulership among the Khazars, and their conversion to Judaism set within a larger Eurasian context. (shrink)

Margaret Macdonald was at the institutional heart of analytic philosophy in Britain in the mid-twentieth century. Yet, her views on the nature of philosophical theories diverge quite considerably from those of many of her contemporaries. In this paper, I focus on her 1953 article ‘Linguistic Philosophy and Perception’, a provocative paper in which Macdonald argues that the value of philosophical theories is more akin to that of poetry or art than science or mathematics. I do so for two reasons. First, (...) because it reveals just how far Macdonald’s meta- philosophical views diverged from those of many of her contemporaries. Second, because the discussion in LPP pre-empts recent literature on the nature of philosophical inquiry and the efficacy of philosophical arguments. Indeed, Macdonald’s paper is just as likely to provoke discussion today as it was in the 1950s. (shrink)

In September 2008, the European Organization for Nuclear Research (CERN) scientists successfully switched on the historic biggest physics device, the Large ...

This paper provides a philosophical evaluation of the concept of handedness prevalent but largely unspoken in the scientific literature. This literature defines handedness as the preference or ability to use one hand rather than the other across a range of common activities. Using the philosophical discipline of phenomenology, I articulate and critique this conceptualization of handedness. Phenomenology shows defining a concept of handedness by focusing on hand use leads to a right hand biased concept. I argue further that a phenomenological (...) model based in spatial orientation rather than hand use provides a more inclusive concept of handedness. (shrink)

When do two sentences say the same thing, that is, express the same content? We defend two-component (2C) semantics: the view that propositional contents comprise (at least) two irreducibly distinct constituents, (1) truth-conditions, and (2) subject-matter. We contrast 2C with one-component (1C) semantics, focusing on the view that subject-matter is reducible to truth- conditions. We identify exponents of this view and argue in favor of 2C. An appendix proposes a general formal template for propositional 2C semantics.

"This book is an augmented and updated translation by the author of Theorie des Subjekts: Subjectiviteat und Identiteat zwischen Moderne und Postmoderne, Teubingen, Francke-UTB, 2010 (3rd ed.)"--Title page verso.

P.F. Strawson's essay traces some formal characteristics of logic and grammar to their roots in general features of thought and experience.

David Lewis insists that restrictivist composition must be motivated by and occur due to some intuitive desiderata for a relation R among parts that compose wholes, and insists that a restrictivist’s relation R must be vague. Peter van Inwagen agrees. In this paper, I argue that restrictivists need not use such examples of relation R as a criterion for composition, and any restrictivist should reject a number of related mereological theses. This paper critiques Lewis and van Inwagen (and others) (...) on their respective mereological metaphysics, and offers a Golden Mean between their two opposite extremes. I argue for a novel account of mereology I call Modal Mereology that is an alternative to Classical Mereology. A modal mereologist can be a universalist about the possible composition of wholes from parts and a restrictivist about the actual composition of wholes from parts. I argue that puzzles facing Modal Mereology (e.g., puzzles concerning Cambridge changes and the Problem of the Many, and how to demarcate the actual from the possible) are also faced in similar forms by classical universalists. On my account, restricted composition is rather motivated by and occurs due to a possible whole’s instantiating an actual type. Universalists commonly believe in such types and defend their existence from objections and puzzles. The Modal Mereological restrictivist can similarly defend the existence of such types (adding that such types are the only wholes) from similar objections and puzzles. (shrink)

In this article I intend to justify six theses: (1) Temporal becoming is founded in an intuition-form of self-intuition, whereas physical space-time is independent of any form of intuition; (2) communicable thoughts are, as Kant says, products of self-consciousness; (3) both roots of idealism are connected by the tensed form of predication; (4) the thinking subject is, as Kant says, an appearance for itself; (5) the subject has, in virtue of this nature, the capacity of mental causality; and (6) mental (...) causality is a sufficient basis for a Kantian “causality from freedom”. (shrink)

In this book we present a collection of papers on the topic of applying paraconsistent logic to solve inconsistency related problems in science, mathematics and computer science. The goal is to develop, compare, and evaluate different ways of applying paraconsistent logic. After more than 60 years of mainly theoretical developments in many independent systems of paraconsistent logic, we believe the time has come to compare and apply the developed systems in order to increase our philosophical understanding of reasoning when faced (...) with inconsistencies. This book wants to be a first step toward an application based, constructive debate to tackle the question which systems are best applied for which kind of problems and which philosophical conclusions can be drawn from such applications. (shrink)

What is the relation between monetary policy and inequalities in income and wealth? This question has received insufficient attention, especially in light of the unconventional policies introduced since the 2008 financial crisis. The article analyzes three ways in which the concern central banks show for inequalities in their official statements remains incomplete and underdeveloped. First, central banks tend to care about inequality for instrumental reasons only. When they do assign intrinsic value to containing inequalities, they shy away from trade-offs with (...) the standard objectives of monetary policy that such a position entails. Second, central banks play down the causal impact monetary policy has on inequalities. When they do acknowledge it, they defend their actions by claiming that it is an unintended side effect, that it is temporary, and/or that any alternative policy would fare even worse. The article appeals to the doctrine of double effect to criticize these arguments. Third, even if one accepts that inequalities should be contained and that today’s monetary policies exacerbate them, is it both desirable and feasible to make containing inequalities part of the mandate of central banks? The article analyzes and rejects three attempts on the part of central banks to answer this question negatively. (shrink)