There is a gap of knowledge about the extent to which gratitude is indeed the working mechanism of change in gratitude interventions aiming to promote mental well-being. This study explores the mediational role of gratitude as mood in the context of a recently conducted randomized controlled trial on the effects of a 6-week gratitude intervention on mental well-being in comparison with a waitlist control group. Gratitude as mood was measured at 2, 4, and 6 weeks. Both simple and multiple mediation (...) models were conducted as well as various sensitivity analyses. Results showed a gradual increase of gratitude as mood during the intervention. The effects of the 6-week gratitude intervention on mental well-being were mediated by increases of gratitude as mood at 4 weeks but not at 2 weeks. These findings suggest a dose-response relationship for gratitude interventions, but more research is warranted. (shrink)

Moral transformation is the process by which a person grows in holiness. The grace of the Holy Spirit enables this growth. This article explores how the notion of ‘prudence of the Spirit’ in Aquinas’s commentary on Romans can help to further elaborate the concept of moral transformation. It does so by first presenting this transformation as a human process. Second, the article presents an in-depth interpretation of Aquinas’s commentary on Romans 8:14: ‘those who are led by the Spirit of God (...) are children of God’. Here, special attention will be given to the proper character of the prudence the Holy Spirit forms in believers. The concluding discussion draws lessons from our reading of the commentary and related texts. This reinforces the conviction that grace enables freedom and will help us to find proper metaphors for speaking of the transformative work of the Holy Spirit. (shrink)

In this study, we investigate whether firms recognised as superior sustainability performers respond differently to climate change regulatory, physical and other risks/opportunities and examine whether such differences predict sustainability performance in subsequent years. Further, we seek to gain insights from climate change programs and strategies of both superior and inferior sustainability performers. Adopting mixed methods, we use a merged sample from the Top500 world’s largest firms and the Global 100 Most Sustainable Corporations. Our quantitative analyses show that greater awareness of (...) physical and other climate change opportunities is what sets superior performers apart, and that superior future sustainability performance is related to a firm’s stated awareness of these two types of opportunities. Qualitative content analysis of narrative disclosures confirm that superior performers provide more detailed description of climate change strategies that go beyond managing climate change risks. Our study contributes to the limited amount of research highlighting the value of proactively seeking opportunities rather than merely focussing on risk management. (shrink)

About one third of patients with epilepsy have seizures refractory to the medical treatment. Electrical stimulation mapping is the gold standard for the identification of “eloquent” areas prior to resection of epileptogenic tissue. However, it is time-consuming and may cause undesired side effects. Broadband gamma activity recorded with extraoperative electrocorticography during cognitive tasks may be an alternative to ESM but until now has not proven of definitive clinical value. Considering their role in cognition, the alpha and beta bands could further (...) improve the identification of eloquent cortex. We compared gamma, alpha and beta activity, and their combinations for the identification of eloquent cortical areas defined by ESM. Ten patients with intractable focal epilepsy participated in a delayed-match-to-sample task, where syllable sounds were compared to visually presented letters. We used a generalized linear model approach to find the optimal weighting of each band for predicting ESM-defined categories and estimated the diagnostic ability by calculating the area under the receiver operating characteristic curve. Gamma activity increased more in eloquent than in non-eloquent areas, whereas alpha and beta power decreased more in eloquent areas. Diagnostic ability of each band was close to 0.7 for all bands but depended on multiple factors including the time period of the cognitive task, the location of the electrodes and the patient’s degree of attention to the stimulus. We show that diagnostic ability can be increased by 3–5% by combining gamma and alpha and by 7.5–11% when gamma and beta were combined. We then show how ECoG power modulation from cognitive testing can be used to map the probability of eloquence in individual patients and how this probability map can be used in clinical settings to optimize ESM planning. We conclude that the combination of gamma and beta power modulation during cognitive testing can contribute to the identification of eloquent areas prior to ESM in patients with refractory focal epilepsy. (shrink)

Carmen4.2 is one of the most commented upon of the odes of Horace. It is indeed a complex poem. To summarize roughly: addressing the young poet Iullus Antonius, Horace presents the dangers of emulating Pindar, offering what seems like a lengthy description as well as an approximation of Pindar's own poetic style. Not as a doomed Icarus imitating the grand Pindaric swan, but in his own preferred mode, like a bee on the banks of Tibur, Horace will continue to produce (...) his own highly refined poems on a small scale. Iullus Antonius, on the other hand, will sing of Augustus’ triumphmaiore plectro. Modestly, Horace himself will be content to join in with the popular chants for Augustus’ triumphal return as one happy civilian among the crowd. Iullus Antonius will moreover offer a grand sacrifice of ten bulls and as many cows on that occasion, whereas Horace promises a single bull-calf that he is saving especially for the purpose. I will try to offer a new interpretation of these last two strophes by pointing out an unnoticed allusion to a Hellenistic subtext. (shrink)

Carmen4.2 is one of the most commented upon of the odes of Horace. It is indeed a complex poem. To summarize roughly: addressing the young poet Iullus Antonius, Horace presents the dangers of emulating Pindar, offering what seems like a lengthy description as well as an approximation of Pindar's own poetic style. Not as a doomed Icarus imitating the grand Pindaric swan, but in his own preferred mode, like a bee on the banks of Tibur, Horace will continue to produce (...) his own highly refined poems on a small scale. Iullus Antonius, on the other hand, will sing of Augustus’ triumphmaiore plectro. Modestly, Horace himself will be content to join in with the popular chants for Augustus’ triumphal return as one happy civilian among the crowd. Iullus Antonius will moreover offer a grand sacrifice of ten bulls and as many cows on that occasion, whereas Horace promises a single bull-calf that he is saving especially for the purpose. I will try to offer a new interpretation of these last two strophes by pointing out an unnoticed allusion to a Hellenistic subtext. (shrink)

As an alternative to universalism and particularism, Intermedialities: Philosophy, Arts, Politics proposes "intermedialities" as a new model of social relations and intercultural dialogue. The concept of "intermedialities" stresses the necessity of situating debates concerning social relations in the divergent contexts of new media and avant-garde artistic practices as well as feminist, political, and philosophical analyses.

In surveying the field of history and philosophy of science , it may be more useful just now to pose some key questions than it would be to lay out the sundry competing attempts to unify H and P. The ten problems this essay presents are grounded in a range of work of enormous interest—historical and philosophical work that has made use of productive categories of analysis: context, historicism, purity, and microhistory, to name but a few. What kind of account (...) are we after—historically and philosophically—when we attempt to address science not as a vacuous generality but in its specific, local formation? (shrink)

This collection presents the first sustained examination of the nature and status of the idea of principles in early modern thought. Principles are almost ubiquitous in the seventeenth and eighteenth centuries: the term appears in famous book titles, such as Newton’s _Principia_; the notion plays a central role in the thought of many leading philosophers, such as Leibniz’s Principle of Sufficient Reason; and many of the great discoveries of the period, such as the Law of Gravitational Attraction, were described as (...) principles. Ranging from mathematics and law to chemistry, from natural and moral philosophy to natural theology, and covering some of the leading thinkers of the period, this volume presents ten compelling new essays that illustrate the centrality and importance of the idea of principles in early modern thought. It contains chapters by leading scholars in the field, including the Leibniz scholar Daniel Garber and the historian of chemistry William R. Newman, as well as exciting, emerging scholars, such as the Newton scholar Kirsten Walsh and a leading expert on experimental philosophy, Alberto Vanzo. _The Idea of Principles in Early Modern Thought_ charts the terrain of one of the period’s central concepts for the first time, and opens up new lines for further research. (shrink)

Bringing together new essays by philosophers and activists, _In Defense of Animals: The Second Wave_ highlights the new challenges facing the animal rights movement. Exciting new collection edited by controversial philosopher Peter Singer, who made animal rights into an international concern when he first published _In Defence of Animals_ and _Animal Liberation_ over thirty years ago Essays explore new ways of measuring animal suffering, reassess the question of personhood, and draw highlight tales of effective advocacy Lays out “Ten Tips (...) for Activists”, taking the reader beyond ethical theory and into the day-to-day campaigns for animal rights. (shrink)

PurposeThe purpose of this paper is to explore a particular philosophical underpinning for Information Systems (IS) research – critical systemic thinking (CST). Drawing upon previous work, the authors highlight the principal features of CST within the tradition of critical research and attempt to relate it to trends in the Italian school of IS research in recent years, as exemplified by the work of Claudio Ciborra but also evident in work by, e.g. Resca, Jacucci and D'Atri.Design/methodology/approachThis is a conceptual paper which (...) explores CST, characterised by a focus on individual uniqueness, and socially‐constructed, individual worldviews as generators of human knowing.FindingsThe paper draws on work by Heinz Klein in which he elaborated three constitutive stages in critical research: interpretive, genealogical and constructive. The authors introduce a fourth, reflective stage and discuss five categories of critical research, reflecting different perspectives on emancipation, culminating in emergent expressionism, associated with Ciborra and the Italian school more generally.Research limitations/implicationsThis paper discusses approaches to CST and how they might have practical implications in IS development. The distinction between approaches founded in logical empiricism and those founded in hermeneutic dialectics are considered and the development of critical and systems strands are discussed.Practical implicationsThe paper addresses CST as an approach to development of information systems. Such approaches enable users to explore their individually unique understandings and create a constructive dialogue with one another, which emancipates and empowers users to own and control their own development processes and hence build more productive and usable systems.Social implicationsA focus on research which is oriented towards emancipation in the tradition of critical social theory.Originality/valueThe paper draws on extensive theoretical research carried out by the authors over a period of more than ten years in CST and synthesises the practical implications. (shrink)

Introduction These essays have been written over a period of about ten years and have already been published separately in various places. ...

The increased popularity of the label "cultural" within science studies, especially in relation to "cultural studies, " invites consideration of how it is and can be used in historical work. A lot more seems now to be invested in the notion of "cultural history. " This article examines some recent historiography of science as a means of considering what counts as cultural history in that domain and attempts to coordinate it with the sociologically informed studies of the past ten orfifteen (...) years. The label "sociocultural" seems a more useful term by which to capture recent developments. (shrink)

It was a little over ten years ago, 1967–8, that H. D. Lewis delivered the first series of Gifford lectures, The Elusive Mind, in the University of Edinburgh. It was my privilege that year to be an auditor in the Seminar at King's College that Professor Lewis was conducting with his students in the area of this topic. I had already read the works in which, in the midst of neo-orthodox and existentialist religious movements, he had devoted himself to critical (...) valuation of those doctrines - witness his Morals and the New Theology, and Morals and Revelation. This earlier work prepared for a comprehensive interpretation of religious experience in his book in 1960: Our Experience of God. (shrink)

The quality of political reporting in the news media is a focal point of communication research. Politics, however, is not only conveyed via traditional sources of information, but via fictional sources. In particular, political dramas (e. g., The West Wing, Borgen) enjoy great popularity and are often acknowledged for their realistic depiction of politics. Still, little is known about the democratic quality of such fictional depictions. This paper aims to fill the gap by contrasting the depiction of politics in the (...) fictional TV series Borgen with political reporting in a traditional TV magazine (Berlin direkt). The comparative content analysis is based on ten issues that are covered in both formats and focuses on the quality criteria of relevance, pluralism, and democratic discourse norms. Findings show no significant differences between Borgen and Berlin direkt for any of the three criteria, clearly indicating that fictional TV series can offer the same content quality as political reporting. (shrink)

This study, unique of its kind, asks how slavery was viewed by the leading spokesmen of Greece and Rome. There was no movement for abolition in these societies, nor a vigorous debate, such as occurred in antebellum America, but this does not imply that slavery was accepted without question. Dr Garnsey draws on a wide range of sources, pagan, Jewish and Christian, over ten centuries, to challenge the common assumption of passive acquiescence in slavery, and the associated view that, Aristotle (...) apart, there was no systematic thought on slavery. The work contains both a typology of attitudes to slavery ranging from critiques to justifications, and paired case-studies of leading theorists of slavery, Aristotle and the Stoics, Philo and Paul, Ambrose and Augustine. A final chapter considers the use of slavery as a metaphor in the Church Fathers. (shrink)

In dieser zwischen 1135 und 1139 verfaßten Schrift, der er zwei Titel gab: Ethica oder Scito te ipsum (Erkenne dich selbst), erörtert Abaelard die Frage nach dem Guten und dem Bösen, vor allem aber erstmals die Bedeutung des Gewissens für die Selbstbestimmung des Menschen. Er unterscheidet zwischen der Schwäche des Menschen, die durch Selbstbeherrschung überwunden werden kann, und der Sünde, die darin besteht, sich den eigenen Schwächen zu unterwerfen. Seine These, das Gewissen sei die oberste Instanz der Moral und die (...) Moralität oder Verwerflichkeit einer Handlung bestimme sich daher aus der Gesinnung des Handelnden, führte ihn zu der Folgerung, daß derjenige, der böse handelt, ohne es doch selbst zu wissen, dadurch noch nicht schuldig wird - sondern erst dann, wenn er entgegen besserer Einsicht, die ihm aufgegeben und möglich ist, das Böse wählt. Diese Behauptung stieß bei den Zeitgenossen und der Kirche auf Kritik und führte (neben anderen Punkten seiner theologischen Lehre) zur Verurteilung Abaelards auf dem Konzil von Sens (1141); wirkungsgeschichtlich gewann sie gleichwohl große Kraft und Bedeutung, da durch diesen Gedanken die überkommene Doxa, allein der Verstoß gegen moralisch geltende Regeln gebe den Maßstab dafür ab, ein Individuum der Sünde zu bezichtigen, dahingehend zu relativieren, daß nur der sich schuldig macht, der auch wußte, daß er eine Verfehlung begeht. Aus diesem Grund zählt die Schrift zu den bedeutendsten Werken der Weltliteratur. Die Ausgabe präsentiert sie erstmalig in einer vollständigen deutschen Übersetzung. Beigegeben sind der lateinische Text und eine kompetente Einleitung, die die besondere Stellung dieser Schrift im Gesamtwerk Abaelards prägnant vor Augen führt. (shrink)

In dieser zwischen 1135 und 1139 verfaßten Schrift, der er zwei Titel gab: Ethica oder Scito te ipsum, erörtert Abaelard die Frage nach dem Guten und dem Bösen, vor allem aber erstmals die Bedeutung des Gewissens für die Selbstbestimmung des Menschen. Er unterscheidet zwischen der Schwäche des Menschen, die durch Selbstbeherrschung überwunden werden kann, und der Sünde, die darin besteht, sich den eigenen Schwächen zu unterwerfen. Seine These, das Gewissen sei die oberste Instanz der Moral und die Moralität oder Verwerflichkeit (...) einer Handlung bestimme sich daher aus der Gesinnung des Handelnden, führte ihn zu der Folgerung, daß derjenige, der böse handelt, ohne es doch selbst zu wissen, dadurch noch nicht schuldig wird - sondern erst dann, wenn er entgegen besserer Einsicht, die ihm aufgegeben und möglich ist, das Böse wählt. Diese Behauptung stieß bei den Zeitgenossen und der Kirche auf Kritik und führte zur Verurteilung Abaelards auf dem Konzil von Sens ; wirkungsgeschichtlich gewann sie gleichwohl große Kraft und Bedeutung, da durch diesen Gedanken die überkommene Doxa, allein der Verstoß gegen moralisch geltende Regeln gebe den Maßstab dafür ab, ein Individuum der Sünde zu bezichtigen, dahingehend zu relativieren, daß nur der sich schuldig macht, der auch wußte, daß er eine Verfehlung begeht. Aus diesem Grund zählt die Schrift zu den bedeutendsten Werken der Weltliteratur. Die Ausgabe präsentiert sie erstmalig in einer vollständigen deutschen Übersetzung. Beigegeben sind der lateinische Text und eine kompetente Einleitung, die die besondere Stellung dieser Schrift im Gesamtwerk Abaelards prägnant vor Augen führt. (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)

One of the major intellectual debates at the beginning of the new century concerns the status of accounts of the past. Do historians discover or invent, construct or reconstruct the objects they study? The discussion has been particularly lively in France and in the USA, and it is therefore appropriate that a group of distinguished historians from Britain should now engage with this subject. These ten essays present a historical and critical overview of British historical thought and writing since 1900, (...) focusing on selected periods, regions, disciplines, and themes. This challenging volume will intrigue anyone interested in the process of history writing. (shrink)

Jones (1990) described ten workplace behaviors of a dubious ethical nature and determined that the hierarchical position adopted by respondents influenced the perceived acceptability of these behaviors. This measure seems promising, and therefore the purpose of this investigation is two-fold: (1) to explore further the psychometric properties of these ten items; and (2) to examine the role of individual difference variables as correlates of perceived acceptability. In two samples of working people, the Jones items were found to be internally consistent, (...) not obviously subject to range restriction, modestly related to social desirability, largely orthogonal to age and managerial status, but clearly linked with Machiavellianism. The nature of the linkage between perceived acceptability and both sex and the Protestant work ethic differed across the two studies, which underscores the need for future research. Two additional variables worth investigating in such research may be locus of control and equity sensitivity. (shrink)

Too many activists mix only with other activists and imagine that everyone else thinks as they do. They start to believe in their own propaganda and lose their feel for what the average person in the street might think. They no longer know what is achievable and what is a fantasy that has grown out of their own intense conviction of the need for change. Henry saw this in the Socialist Workers Party, where members were so used to the Marxist- (...) Trotskyist framework that they all accepted that they lost contact with the real world in which they were trying to make a revolution. As Henry put it: "You need to have a crap detector rotating all the time.". (shrink)

James Stacey Taylor offers three interpretations of our thesis, and argues that only one of them goes through. His point is to clarify our view rather than critique our position. In this brief response, we argue that, upon further clarification, we could endorse at least one of the other interpretations, though as Taylor notes, we don’t need to for our book’s thesis to go through.

James Stacey Taylor offers three interpretations of our thesis, and argues that only one of them goes through. His point is to clarify our view rather than critique our position. In this brief response, we argue that, upon further clarification, we could endorse at least one of the other interpretations, though as Taylor notes, we don’t need to for our book’s thesis to go through.

D. W. Winnicott is increasingly recognized as one of the most important psychoanalysts since Freud, but the relevance of his Independent version of object relations theory to psychoanalytic literary criticism has not been sufficiently appreciated. As Peter L. Rudnytsky notes, "There must be ten literary critics conversant with Lacan's ecrits for every one who has read Winnicott's Playing and Reality." Transitional Objects and Potential Spaces begins to redress this imbalance. The title and subtitle of this collection highlight three of (...) Winnicott's key concepts: transitional objects, potential space, and the use of an object. Because Winnicott is unique in respecting the integrity of art as an autonomous human activity while continuing to insist on its infantile origins, he may be said to offer the first adequate psychoanalytic account of aesthetics. This volume is organized into three sections: The Analytic Frame, Literary Objects, and Cultural Fields. Beginning with Winnicott's "The Location of Cultural Experience," it features essays by a distinguished group of contributors, including Marion Milner and two current leading members of the British Psycho-Analytical Society, Christopher Bollas and Patrick J. Casement, as well as such eminent critics as Richard Poirier, Murray M. Schwartz, Ellen Handler Spitz, and Madelon Sprengnether. Transitional Objects and Potential Spaces makes a timely and persuasive case for the power of Winnicott's ideas. In defining for the first time an independent tradition of psychoanalytic criticism, it will reorient future work in literary and cultural studies. (shrink)

D. W. Winnicott is increasingly recognized as one of the most important psychoanalysts since Freud, but the relevance of his Independent version of object relations theory to psychoanalytic literary criticism has not been sufficiently appreciated. As Peter L. Rudnytsky notes, "There must be ten literary critics conversant with Lacan's ecrits for every one who has read Winnicott's Playing and Reality." Transitional Objects and Potential Spaces begins to redress this imbalance. The title and subtitle of this collection highlight three of (...) Winnicott's key concepts: transitional objects, potential space, and the use of an object. Because Winnicott is unique in respecting the integrity of art as an autonomous human activity while continuing to insist on its infantile origins, he may be said to offer the first adequate psychoanalytic account of aesthetics. This volume is organized into three sections: The Analytic Frame, Literary Objects, and Cultural Fields. Beginning with Winnicott's "The Location of Cultural Experience," it features essays by a distinguished group of contributors, including Marion Milner and two current leading members of the British Psycho-Analytical Society, Christopher Bollas and Patrick J. Casement, as well as such eminent critics as Richard Poirier, Murray M. Schwartz, Ellen Handler Spitz, and Madelon Sprengnether. Transitional Objects and Potential Spaces makes a timely and persuasive case for the power of Winnicott's ideas. In defining for the first time an independent tradition of psychoanalytic criticism, it will reorient future work in literary and cultural studies. (shrink)

Recent history makes clear that the quantum leaps being made in technology are the leading edge of a groundswell of paradigm shifts taking place in science, politics, economics, social institutions, and the expression of cultural values. Indeed it is the simultaneity and interdependence of these changes occurring in every dimension of human experience and endeavor that makes the present so historically distinctive. The essays gathered here give voice to perspectives on the always improvised relationship between technology and cultural values from (...) Africa, the Americas, Asia, Australia, Europe, and the Pacific. Contributors: Syed Muhammad Naquib Al-Attas, Roger T. Ames,Yoko Arisaka, Carl Becker, Francesca Bray, James Buchanan, Arindam Chakrabarti, Frank W. Derringh, Rolf Elberfeld, Charles Ess, Andrew Feenberg, Susantha Goonatilake, H. Jiuan Heng, Peter Hershock, Thomas P. Kasulis, George Khushf, David Farrell Krell, Joel J. Kupperman, William R. LaFleur, Lois Ann Lorentzen, David Loy, Joseph Margolis, Hans-Georg Möller, Robert Cummings Neville, Peimin Ni, Monica Atieno Opole, Kuruvilla Pandikattu SJ, Helen Petrovsky, Ramon Sentmartí, Kristin Shrader-Frechette, Vasanthi Srinivasan, Marietta Stepaniants, Vyacheslav S. Stiopin, Henk ten Have, Paul B.Thompson, Mary Tiles, David B.Wong. (shrink)

Based on an analysis of ten popular introductions to social psychology, we will show that Karl Popper's philosophy of ‘critical rationalism’ so far has had little to no traceable influence on the epistemology and practice of social psychology. If Popper is quoted or mentioned in the textbooks at all, the guiding principle of ‘falsificationism’ is reduced to a mere ‘falsifiability’ and some central elements of critical rationalism are left out – those that are incompatible with positivism and inductivism. Echoing earlier (...) attempts to introduce Popper to social psychology by Paul Meehl and Tom Pettigrew, we will argue that a discussing Popper's ideas in more depth could help social psychology to move forward in view of the ‘crisis of confidence’ that has emerged recently in view of the ‘Stapel affair’ and the reports of failures to replicate social psychological experiments in high-powered replication attempts. (shrink)

T. W. Adorno deals with Kierkegaard intellectual legacy in tens of his works, which were being published in the course of more than three decades. One of his main concerns is rather ambiguous: depicting Kierkegaard as a critique of the society of that time. Adorno examines Kierkegaard’s social and political sensibility, as well as his theory of inwardness, and his idea of non-purpose, inter-subjective relationships. He points out to the devastating effects of conforming Kierkegaard’s legacy to the principles of existentialist (...) philosophy. Kierkegaard’s views are also evaluated on the background of contemporary deficiencies of Western society, such as ethnocentrism or anti-Semitism. (shrink)

Research on video game violence has focused on the impact of aggression, but has so far neglected the processes and mechanisms underlying the enjoyment of video game violence. The present contribution examines a specific process in this context, namely players' strategies to cope with moral concern that would arise from violent actions. Based on Bandura's theory of moral disengagement, we argue that in order to maintain their enjoyment of game violence, players find effective strategies to avoid or cope with the (...) moral conflict related to their violent behaviors in the game world. Exploratory interviews with ten players of violent video games revealed some relevance of moral reasoning to their game enjoyment, and several strategies that help players to ‘manage’ moral concern. Most importantly, respondents referred to the game-reality distinction and their focus on winning the game when explaining how violent action is a by-product of good performance. Findings are discussed in light of further theorizing on ‘moral management’ and potential links to the media violence debate. (shrink)

Bringing together new essays by philosophers and activists, _In Defense of Animals: The Second Wave_ highlights the new challenges facing the animal rights movement. Exciting new collection edited by controversial philosopher Peter Singer, who made animal rights into an international concern when he first published _In Defence of Animals_ and _Animal Liberation_ over thirty years ago Essays explore new ways of measuring animal suffering, reassess the question of personhood, and draw highlight tales of effective advocacy Lays out “Ten Tips (...) for Activists”, taking the reader beyond ethical theory and into the day-to-day campaigns for animal rights. (shrink)

In 1985 Cleymans showed in this journal that politica! participation in Belgium did not differ much from what was found in international research in other European countries. In this article some pieces of "conventional wisdom" in the international literature about structure and selectivity of political participation are questioned with Dutch data. Furthermore, information about participation in the Netherlands is important in itself. As neighbouring countries with close connections and interrelated histories, Belgium and Holland certainly deserve more attention as objects for (...) comparative study. In a range of ten activities from trying to contact politicians to joining a demonstration it seems to make less and less sense to look for a polarity of conventional and unconventional participation in the Netherlands. The overall political participation since 1973 appears to remain at the same level. This finding questions popular beliefs about shifts from a rebellious beginning of the seventies to a quiet period in the second half of that decade to spectacular outbursts of unconventional political behaviour at the beginning of the eighties and resulting in political apathy at the moment. On a macro-level the stability of participation seems to be combined with a constant or slowly rising passive political involvement. Political involvement and participation in the 1980'sare still related with individual and social background characteristics as education, sex, age, involvement in the Labour force and religion. However, relationships are not very strong in the 1980's. Following political participation of some social categories in the 1973-1986 period, it appeared that education and leftright-selfrating are of most and possibly still growing importance. Besides the higher educated and leftisht people, public employees are the "big participators" during all the years. Students evidently lose position. The gap between the sexes seems to disappear. Whereas in Belgium working outside the home does not seem to be a factor that stimulates the participation of wamen, in the Netherlands it seems to be of an utmost importance.It turns out that there are similarities and differences in political involvement and participation between Belgium and the Netherlands. Same differences may result from the fact that Cleymans used data of 1975, whereas we used data until 1986. It is clear, however, that there have been developments in the structure andselectivity of participation in the Netherlands and it would be interesting to have more recent comparative information about Belgium. (shrink)

Ten essays by noted scholars address the subjects of educational policy, methods, ideology, and more, with stress upon the rhetoric of contemporary teaching and learning.

Over the last ten years, „Theory U″, written by C.O. Scharmer in 2007, has earned broad international recognition. However, critical reviews of its grounding in social sciences and philosophy have been rare. After a brief introduction to Theory U this article examines its methodic approach in the context of its references to the universal history of Toynbee, and epistemological sources in the works of Nietzsche, Capra, Varela, Husserl, and Steiner. The investigation of Theory U’s historical and philosophical grounding comes to (...) the conclusion that it is evidently falling short of adequately capturing real world complexity and does not match widely accepted academic standards. Despite its evident deficiencies, Theory U deserves the merit of uniquely embracing non conventional schools of thought beyond the mainstream literature on leadership theories. (shrink)

The volume presents the views of ten authors from four PostCommunist Central and East European countries (Czech Republic, Slovakia, Poland and Latvia) on the impact of emerging technologies on human condition. They analyse the topic from anthropological, ethical, philosophical, ontological, empirical and legal perspectives.

The aim was to verify the potential of holistic approaches towards the evaluation of human figure drawing. Groht-Marnat, Tharinger, Stark favour this approach, and findings seem to legitimize considerations about its diagnostic productivity. Yama, Dans-Lopez and Tarroja have identified bizarre and artistic quality criteria for drawing that have a relevant interpretative meaning. Within the study involving 525 normal adult subjects, the hypothesis of differences in personality traits and performance level produced by authors of selected types of drawings, was verified. The (...) criterium of bizarre drawing proved to be an important indicator of intellectual abilities monitored by subtests of the ISA-S test, the non-verbal CF 2A test, Decision-making test. They achieved the lowest scores in all parameters, with significance in relation to more detailed drawings. Results from IHAVEZ and DOPEN questionnaires suggest that bizarre character producers are more emotionally instable, less emotionally resilient, less anticipating, and less self-controlling, less rational, responding more intensely to problems and are less orientated towards their solution. They are more neurotic and present more psychotic experience. The main limitation is the chosen approach. Holistically evaluated drawing is rare in terms of its occurrence in a normal population. Even within the files involving several hundred participiants, it is possible to clearly classify drawing in the maximum number of tens. Diversity of the terminology and methodological ambiguity constitutes another limitation. The bizarreness itself is not interpreted clearly, rather the contrary. (shrink)