Statt von einem Guattari-Effekt auf Deleuze muss man von einem Guattari-Deleuze-Effekt sprechen, um ein wechselseitiges Einwirken in einem gemeinsamen Projekt zu beschreiben, das mit dem Herausgehen aus der klassischen Psychoanalyse beginnt und in den Umbau der Philosophie in der Öffnung auf ihr Außen mündet. Dieser Umbau lässt das Paradigma der Interpretation ebenso hinter sich wie jenes der Struktur. In der Kritik an Lacan vollziehen Deleuze und Guattari die Abkehr vom Postulat des Primats der Sprache als Struktur und eines durch sie (...) immer schon konstituierten und vom Realen ebenso wie von kollektiven Individuationsprozessen abgeschnittenen Subjekts. Die heterogenen Ausdrucksmaterien Hjelmslevs, die das Aufbrechen der Opposition von Sprachzeichen und Materie ermöglichen sowie die Konzepte der Wunschmaschine und mehr noch des Gefüges eröffnen den Weg hin zu einem Politisch-Werden der Philosophie als Wiederaneignung der Produktionsmittel kollektiver Subjektivität. In order to understand the collaborators' mutual impact in a joint project that began with Deleuze and Guattari's transgression of classical psychoanalysis and advanced to their complete remodeling of philosophy, the notion of a »Guattari-Deleuze-effect« is more adequate than the presumption an unilateral »Guattari-effect« upon Deleuze. Furthermore, Deleuze's and Guattari's concerted efforts leave the paradigms of »interpretation« and »structure« behind; in their critique of Lacan, Deleuze and Guattari turn away from the primate of language as structure and the postulate of an always already constituted subject that is cut off both from the real and from collective processes of individuation. Finally, the concept of a heterogeneous »matter of expression,« which, borrowed from Hjelmslev, allows opening up the opposition between linguistic sign and matter, as well as the concepts of »desiring-machine« and »assemblage«, clear the way towards a becoming-political of philosophy, understood as reappropriation of collective subjectivity's means of production. (shrink)

En 1941, deux ans après la fin de la guerre civile, le gouvernement espagnol a signé un accord avec le St-Siège par lequel le Chef de l’État, le Général Francisco Franco, intervenait directement dans la nomination des évêques et des archevêques diocésains. L’accord a été inclus dans le Concordat de 1953, qui a scellé les relations de coopération entre les deux États. Après le Concile Vatican II, le pape Paul VI a personnellement demandé au Général de renoncer à ce privilège, (...) mais Franco refusa, subordonnant son renoncement à une révision totale du Concordat. Le Roi Juan Carlos Ier a renoncé à ce privilège quelques mois après son couronnement ; ainsi les relations Église-État, compliquées pendant les dernières années du franquisme, se sont normalisées.In 1941, two years after the end of the civil war, the Spanish government signed an accord with the Holy See under which the Head of State, General Francisco Franco, intervened directly in the nomination of diocesan Bishops and Archbishops. The accord was included in the Concordat of 1953, which cemented cooperative relations between the two States. After Vatican Council II, Pope Paul VI personally asked the General to renounce the privilege, but Franco refused, linking his renouncement to a total revision of the Concordat. King Juan Carlos I renounced the privilege a few months after his coronation, thus normalizing Church-State relations, complicated during the last years of Francoism.1941, zwei Jahre nach dem Ende des Bürgerkrieges, unterzeichnete die spanische Regierung ein Abkommen mit dem Heiligen Stuhl, durch das der Staatschef, General Francisco Franco, direkt an der Ernennung der Diözesanbischöfe und -erzbischöfe beteiligt wurde. Die Übereinkunft wurde in das Konkordat von 1953 eingefügt, das die Kooperationsbeziehungen zwischen den beiden Staaten besiegelte. Nach dem Zweiten Vatikanischen Konzil hat Papst Paul VI. den General persönlich gebeten, auf dieses Privileg zu verzichten, doch Franco lehnte ab und ordnete seinen Verzicht einer umfassenden Revision des Konkordats unter. König Juan Carlos I. hat schon wenige Monate nach seiner Krönung auf dieses Privileg verzichtet, so dass sich die in den letzten Jahren des Francoregimes schwierig gewordenen Beziehungen zwischen Kirche und Staat normalisierten. (shrink)

Der exponierte erste Aphorismus des lezten Teils von Ecce Homo ist einer der herausforderndsten und erschreckendsten in Nietzsches Werk. Er handelt im Kern von der "Umwerthung aller Werthe" alst einem "Akt höchster Selbstbesinnung der Menschheit", der Nietzche zum Schicksal geworden sei und durch den er nun zum Schicksal für die Philosophie und die Menschheit werde. Der Aphorismus galt vielen als Belag dafür, dass Nietzsches Wahnsinn bereits ausgebrochen sei: als Größenwahnsinn. Doch Ecce Homo lässt in seiner klaren und konsequenten Anlage so (...) wenig wie Der Antichrist, den es vorbereiten sollte, Zeichen der Verwirrung erkennen, und Nietzsche had auch früher schon herausfordernd von seiner Aufgabe gesprochen: als Einzelner die Menschheit und die Kultur auf eine neue Stufe zu heen. man wird Nietzsches Werk nur angemessen verstehen können, wenn man auch diesem Aphorismus seinen Ort in ihm geben kann. Die folgende Abhandlung versucht ein kontextuelle Interpretation des Aphorismus: eine Interpretation aus seinem eigenen Kontext, dem Kontext von Ecce Homo und Der Antichrist und dem Kontext von Nietzches Werk im ganzen.The first aphorism of the last chapter of Ecce Homo is oen of the most challenging and terrifying in Nietzsche's work. It essentially deals with the "reevaluation of all values" as an "act of the highest self-assessment of humanity" for which Nietzsche was fated and through which he would become a destiny for philosophy and humanity. The aphorism has served as evidence to some that Nietzsche's madness had already broken out - as megalomania. Yet the clear and careful construction of Ecce Homo, like The Antichrist for which it was supposed to pave the way, do not show any signs of confusion. And Nietzshe had already spoken of his task in a challenging manner: to raise humanity and culture to a new level as a single individual. Correctly understanding Nietzsche requires being able to integrate this aphorism into this work, too. The following essay provides an interpretation of this aphorism based on the context of Ecce Homo and The Antichrist as well as against the background of Nietzsche's work as a whole. (shrink)

Résumé — S’il fallait résumer les thèses défendues par Lessing dans le Laocoon, on arriverait à un résultat finalement malingre. L’idée que la peinture représente au moyen de « signes naturels » des corps coexistant dans l’espace, tandis que la poésie représente au moyen de « signes arbitraires » des actions se succédant dans le temps a été en effet maintes fois développée par d’autres auteurs avant l’essai de 1766. Ce constat n’ôte pourtant rien à l’intérêt du Laocoon. Car cet (...) intérêt réside ailleurs. Il se situe non pas dans l’exposé définitif de la thèse, mais dans la méthode qui y mène, une méthode que Lessing veut d’abord inductive, c’est-à-dire fondée sur l’exemple. Le présent article entend analyser la conception de la critique qui se dégage de l’essai : refus de la méthode déductive, rôle central dévolu à l’imagination, intronisation du public comme instance légitime de jugement – le tout sur fond de polémique antiwinckelmannienne.Zusammenfassung — Wollte man die in Lessings Laokoon verteidigten Thesen zusammenfassen, so würde man zu einem eher spärlichen Ergebnis kommen. Da die Malerei anhand « natürlicher Zeichen » nur koexistierende Körper im Raum und die Poesie anhand « willkürlicher Zeichen » nur sukzessive Handlungen in der Zeit darstellt, wurde in der Tat schon vor der Erscheinung dieses Traktats von anderen Autoren dargelegt. Dies gereicht aber dem Essay keineswegs zum Nachteil, denn seine Bedeutung liegt anderswo. Sie liegt weniger in dem Inhalt der Thesen selbst, als in der Methode, die zur Aufstellung dieser Thesen führt. Lessing sucht nach einer induktiven Methode, die auf der präzisen Analyse von zahlreichen Beispielen beruht. Ziel des vorliegenden Artikels ist es, den Lessingschen Kritik-Begriff zu untersuchen, der sich aus der Methodologie dieses Essays ergibt : Ablehnung der deduktiven Verfahrensweise, Erhebung der Einbildungskraft zum entscheidenden Vermögen sowohl für die Produktion als auch für die Rezeption der Kunstwerke, Inthronisation des Publikums als vollberechtigter Kunstrichter – lauter Aspekte, die vor dem Hintergrund einer scharfen Polemik gegen Winckelmann entwickelt werden. (shrink)

Nietzsche hat Herder bekanntlich nur geringe und vor allem polemische Aufmerksamkeit gewidmet. Wie Nietzsche verstand jedoch schon Herder den Menschen und seine Kultur betont aus Analogien mit natürlichen Prozessen; beiden ging es - mit Nietzsches Begriff - um eine 'Vernatürlichung' des Menschen. Dabei nimmt der ursprung der Sprache eine Schlüsselstellung ein, und hier untersteichen widerum beide die Rolle unbewusster Instinkte und Triebe, die zur Produktion von Analogien und Metaphern führen. Da sie sich aber dessen bewusst sind, dass auch ihre Ursprungsdiskurse (...) an die Sprach gebunden bleiben und keine wissenschaftlichen Theorien sein können, werden diese Instinkte und Triebe, jenseits jeden biologistischen Reduktionismus, nur als heuristische Zeichen kenntlich. Während Herder jedoch an der Rolle des Bewusstseins bei der Sprachgenesis festhält, macht Nietzsche, auch hier noch konsequent pragmatisch ansetzend, die Entstehung des Bewussteins selbst von der Kommunikation abhängig.As is well known, Nietzsche gave Herder's thought only cursory attention, and the few remarks he did make were usually polemical and often dismissive. Nevertheless, both Herder and Nietzsche understood humans and their culture on the analogy with natural processes. Both thinkers are concerned with the, to use Nietzsche's phrase, "Vernatürlichung" (naturalization", of human beings. Moreover, both emphasize the importance of understanding the origin of language, especially the way in which instincts and drives lead to the production of analogies and metaphors. Because they are aware that their own discussion of the origin of language remains bound to language and cannot hope to attain the status of scientific theories, since these instincts and drives can only be knowable as heuristic signs. While Herder held that consciousness plays a role in the origin of language, Nietzsche rather sees the origin of consciousness itself dependent on communication. (shrink)

Résumé — S’il fallait résumer les thèses défendues par Lessing dans le Laocoon, on arriverait à un résultat finalement malingre. L’idée que la peinture représente au moyen de « signes naturels » des corps coexistant dans l’espace, tandis que la poésie représente au moyen de « signes arbitraires » des actions se succédant dans le temps a été en effet maintes fois développée par d’autres auteurs avant l’essai de 1766. Ce constat n’ôte pourtant rien à l’intérêt du Laocoon. Car cet (...) intérêt réside ailleurs. Il se situe non pas dans l’exposé définitif de la thèse, mais dans la méthode qui y mène, une méthode que Lessing veut d’abord inductive, c’est-à-dire fondée sur l’exemple. Le présent article entend analyser la conception de la critique qui se dégage de l’essai : refus de la méthode déductive, rôle central dévolu à l’imagination, intronisation du public comme instance légitime de jugement – le tout sur fond de polémique antiwinckelmannienne.Zusammenfassung — Wollte man die in Lessings Laokoon verteidigten Thesen zusammenfassen, so würde man zu einem eher spärlichen Ergebnis kommen. Da die Malerei anhand « natürlicher Zeichen » nur koexistierende Körper im Raum und die Poesie anhand « willkürlicher Zeichen » nur sukzessive Handlungen in der Zeit darstellt, wurde in der Tat schon vor der Erscheinung dieses Traktats von anderen Autoren dargelegt. Dies gereicht aber dem Essay keineswegs zum Nachteil, denn seine Bedeutung liegt anderswo. Sie liegt weniger in dem Inhalt der Thesen selbst, als in der Methode, die zur Aufstellung dieser Thesen führt. Lessing sucht nach einer induktiven Methode, die auf der präzisen Analyse von zahlreichen Beispielen beruht. Ziel des vorliegenden Artikels ist es, den Lessingschen Kritik-Begriff zu untersuchen, der sich aus der Methodologie dieses Essays ergibt : Ablehnung der deduktiven Verfahrensweise, Erhebung der Einbildungskraft zum entscheidenden Vermögen sowohl für die Produktion als auch für die Rezeption der Kunstwerke, Inthronisation des Publikums als vollberechtigter Kunstrichter – lauter Aspekte, die vor dem Hintergrund einer scharfen Polemik gegen Winckelmann entwickelt werden. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Nietzsche hat Herder bekanntlich nur geringe und vor allem polemische Aufmerksamkeit gewidmet. Wie Nietzsche verstand jedoch schon Herder den Menschen und seine Kultur betont aus Analogien mit natürlichen Prozessen; beiden ging es - mit Nietzsches Begriff - um eine 'Vernatürlichung' des Menschen. Dabei nimmt der ursprung der Sprache eine Schlüsselstellung ein, und hier untersteichen widerum beide die Rolle unbewusster Instinkte und Triebe, die zur Produktion von Analogien und Metaphern führen. Da sie sich aber dessen bewusst sind, dass auch ihre Ursprungsdiskurse (...) an die Sprach gebunden bleiben und keine wissenschaftlichen Theorien sein können, werden diese Instinkte und Triebe, jenseits jeden biologistischen Reduktionismus, nur als heuristische Zeichen kenntlich. Während Herder jedoch an der Rolle des Bewusstseins bei der Sprachgenesis festhält, macht Nietzsche, auch hier noch konsequent pragmatisch ansetzend, die Entstehung des Bewussteins selbst von der Kommunikation abhängig.As is well known, Nietzsche gave Herder's thought only cursory attention, and the few remarks he did make were usually polemical and often dismissive. Nevertheless, both Herder and Nietzsche understood humans and their culture on the analogy with natural processes. Both thinkers are concerned with the, to use Nietzsche's phrase, "Vernatürlichung" (naturalization", of human beings. Moreover, both emphasize the importance of understanding the origin of language, especially the way in which instincts and drives lead to the production of analogies and metaphors. Because they are aware that their own discussion of the origin of language remains bound to language and cannot hope to attain the status of scientific theories, since these instincts and drives can only be knowable as heuristic signs. While Herder held that consciousness plays a role in the origin of language, Nietzsche rather sees the origin of consciousness itself dependent on communication. (shrink)

This is an engaging book on a subject which most people in our culture assume went out of fashion long ago. The book had its genesis in one of a series of symposia convened by the Church Society for College Work of Cambridge to explore certain themes and ideas which have great import for our time. The various authors of the essays eschew the habit of viewing Transcendence as the traditional content of metaphysical arguments or revelatory statements about the nature (...) of God outside or independent of the world and seek for signs of the possibility of achieving a renewed sense of Transcendence in the domains of inner experience, history, culture, language, science, technology, and the arts. Huston Smith suggests two options of human fulfillment: psychological and ontological, both providing a kind of transcendence of self and society. He refuses to accept one and reject the other but instead to convince us that both are legitimate. M. Murphy claims that the experience of psychological and social transcendence can be fostered by educational projects such as encounter groups, gestalt therapy workshops and sensitivity training programs. In his "Manifesto for a Dionysian Theology," Sam Keen analyzes the Apollonian way of reasoning and planning which has come to dominate in Western culture and makes a plea for a reassertion of the Dionysian principle in religion which might be expressive of life as dance, centrality of feelings and sensations, a pantheistic conception of God and a theology of play. Harvey Cox asserts that our society has lost its capacity for utopian fantasy resulting in the inability to conceive of any world which is not a mere modification or extension of our own world. He suggests that we consciously become "fools for Christ" again and give full rein to our powers of creative fantasizing even at the risk of contracting "religious madness." Donald Schon urges post-modern man to give up hope for achieving a stable political order and to develop an "ethic for change" appropriate to the demands of our society where change is all-pervasive. Essays by R. Bellah and H. Richardson explore myths of transcendence as ordering structures in society and plead for increased attention to correspondences among the disciplines of theology, sociology, and psychology. E. Fackenheim and W. Kaufman seek to clarify the notion of transcendence in Judaism and Christianity respectively and to "clear the way for a positive revelation." In keeping with the shared notion that transcendent reality is present and active within the human process, two eminent process philosophers, Wieman and Hartshorne discuss the "implications for a concept of transcendence that follows from affirming the creative freedom of man." The essays singly and together reject the notion that the existence and nature of transcendent reality can be arrived at by pursuing a single line of argumentation to its bitter end and instead they work together from various points of view to reinforce our sense of man's renewed thirst for the Divine and the subsequent rediscovery of God's uninterrupted presence within the world of "Immanent Possibility."--J. B. L. (shrink)

Reproduced here in facsimile, this volume was originally published in 1963 and is available individually. The collection is also available in a number of themed mini-sets of between 5 and 13 volumes, or as a complete collection.

As past research has identified frontline employees as the primary communicators of a company’s CSR, this paper reports on a large-scale quasi-field experiment aimed at gaining a deeper understanding of the levers of successful in-store, point-of-sale, CSR communication. In cooperation with a large international retailer, the authors analyzed the effects of varying in-store CSR communication strategies in 48 unique stores, combining data from a customer survey, company records of customers’ real visits and purchases, and interviews with store managers. Taking into (...) account the nested structure of the data, the authors reveal that CSR-related training of frontline employees bestows its favorable effect on customers and customer behavior only if it is accompanied by the store managers’ personal support for CSR. (shrink)

Recently, calls have grown louder for more stakeholder democracy that is, letting stakeholders participate in the process of organizing, decision‐making, and governance in corporations, especially in the area of Corporate Social Responsibility (CSR) activities. Despite the relevance of the subject, the impact of customer involvement in CSR on their company‐related attitudes and behaviors still represents a major research void. The paper at hand develops a conceptual framework of consumer involvement in CSR based on the existing literature, theories of stakeholder democracy, (...) and organizational boundaries as well as drawing from the qualitative focus group interviews (N = 24). The framework is tested on a large scale, two‐time point field‐experimental study (N = 3,397). More specifically, consumer reactions to three degrees of customer involvement (i.e., information, feedback, and dialogue) are tested in two different CSR domains (i.e., company‐internal business process vs. company‐external philanthropic CSR). Results indicate that the customer involvement in CSR has a more beneficial effect in terms of strengthening customer outcomes in CSR domains that directly affect external stakeholders of the company (i.e., philanthropic CSR) than in domains that mainly concern company‐internal stakeholders (i.e., business process CSR). (shrink)

In our globalized and interconnected world, companies are increasingly donating substantial amounts to good causes around the globe. Many companies choose to donate “at home” while others give to causes in faraway places where recipients are in dire need of support. Interestingly, past research on corporate donations has neglected the question of whether consumers differentially reward companies for geographically varying allocations of donation budgets. Through a mixed methods approach, this paper remedies this gap by developing and empirically testing a conceptual (...) framework of consumers’ preferences for geographically varying allocations of corporate donation budgets. In a first step, two preliminary field studies involving real donations explored customers’ preferences for donation allocations varying in geographical focus. A qualitative focus group study then investigated underlying rationales to inform the research and led to the development of hypotheses. Subsequently a large-scale between-subjects scenario experiment tested the predictions. Overall, results indicate that, in contrast with current managerial practice, customers prefer companies that split donations equally between domestic and foreign recipients or even donate only abroad. (shrink)

The twin paradox (i.e. the reasoning made by the traveling twin, reversing the reasoning made by the earthbound twin, by which it is he who should be older) can be resolved by taking into account the relativity of simultaneity. However, simultaneity depends on a convention about the one-way velocity of light provided that the Reichenbach-Grünbaum hypothesis, is time. So far the resolution has been presented only for the Einstein convention. We show that for all possible choices of the relevant synchronization (...) parameters the calculations performed by both twins yield the same final results when carefully taking into account the relativity of simultaneity according to the conventions they have chosen. Since the final results do not depend on any of the synchronization parameters, the Reichenbach-Grünbaum hypothesis is thereby supported. (shrink)

In comparison with Lucian, hardly any other author has achieved a similar mastery of the paradox formula of σπουδογέλοιον, the combination of serious moral exhortation with entertainment and delight. These antithetic features made him an appealing point of reference for Renaissance humanists, who not only translated parts of his oeuvre from Greek to Latin, thus casting a particular light on this versatile author and molding his literary identity according to their own tastes, but also inhaled the Lucianic esprit to such (...) an extent that it would frequently resurface in their own writings. This article focuses on Thomas More’s Latin translations of the Greek author and their multifaceted impact on his masterpiece Utopia, ranging from the shaping of the protagonist and the authorial persona to etymological puns, the stylistic devices of irony, parody, and paradox, as well as varying degrees of fictionality that are highly indebted to Lucian. (shrink)

Extant research provides compelling conceptual and empirical arguments that company-external as well as company-internal CSR efforts positively affect employees, but does so largely in studies assessing effects from the two CSR types independently of each other. In contrast, this paper investigates external–internal CSR jointly, examining the effects of consistent external–internal CSR strategies on employee attitudes, intentions, and behaviors. The research takes a social and moral identification theory view and advances the core hypothesis that inconsistent CSR strategies, defined as favoring external (...) over internal stakeholders, trigger employees’ perceptions of corporate hypocrisy which, in turn, lead to emotional exhaustion and turnover. In Study 1, a cross-industry employee survey indicates that inconsistent CSR strategies with larger external than internal efforts increase employees’ turnover intentions via perceived corporate hypocrisy and emotional exhaustion. In Study 2, a multi-source secondary dataset demonstrates that inconsistent CSR strategies increase firms’ actual employee turnover. Combined, the two studies demonstrate the importance of taking into account the interests of both external and internal stakeholders of the firm when researching and managing CSR. (shrink)

Some theorists hold that the human perceptual system has a component that receives input only from units lower in the perceptual hierarchy. This thesis, that we shall here refer to as the encapsulation thesis, has been at the center of a continuing debate for the past few decades. Those who deny the encapsulation thesis often rely on the large body of psychological findings that allegedly suggest that perception is influenced by factors such as the beliefs, desires, goals, and the expectations (...) of the perceiver. Proponents of the encapsulation thesis, however, often argue that, when correctly interpreted, these psychological findings are compatible with the thesis. In our view, the debate over the significance and the correct interpretation of these psychological findings has reached an impasse. We hold that this impasse is due to the methodological limitations over psychophysical experiments, and it is very unlikely that such experiments, on their own, could yield results that would settle the debate. After defending this claim, we argue that integrating data from cognitive neuroscience resolves the debate in favor of those who deny the encapsulation thesis. (shrink)

The aim of this paper is to contribute to the discussion of expertise and skilled movement in sport by analysing the bodily practice of learning a new movement at a high level of skill in parkour. Based on Sennett’s theory of craftsmanship and an ethnographic field study with experienced practitioners, the analysis offers insight into the skilful, contextual and unique practice of parkour, and contributes to the renewed discussion of consciousness in sport at a high level of skill. With Sennett’s (...) concept of craftsmanship, it is possible to describe and grasp important aspects of obstacles put up, repetitions and material consciousness in developing perceptual and physical skills in parkour. The parkour craftsmen conduct a constant dialogue between concrete, material practices and thinking. It is argued in the article that Sennett’s ideas about craftsmanship are, in many ways, similar to Dreyfus and Dreyfus’ concept of mastery, but are less elitist and exclusive than the theory of skill acquisition... (shrink)

Conducting research during or in the aftermath of disasters poses many specific practical and ethical challenges. This is particularly the case with research involving human subjects. The extraordinary circumstances of research conducted in disaster settings require appropriate regulations to ensure the protection of human participants. The goal of this study is to systematically and qualitatively review the existing ethical guidelines for disaster research by using the constant comparative method. We performed a systematic qualitative review of disaster research ethics guidelines to (...) collect and compare existing regulations. Guidelines were identified by a three-tiered search strategy: 1) searching databases, 2) an Internet search, and 3) a search of the references in the included documents from the first two searches. We used the constant comparative method for analysis of included guidelines. Fourteen full text guidelines were included for analysis. The included guidelines covered the period 2000-2014. Qualitative analysis of the included guidelines revealed two core themes: vulnerability and research ethics committee review. Within each of the two core themes, various categories and subcategories were identified. Some concepts and terms identified in analyzed guidelines are used in an inconsistent manner and applied in different contexts. Conceptual clarity is needed in this area as well as empirical evidence to support the statements and requirements included in analyzed guidelines. (shrink)

Corporations significantly influence the public and political spheres. In light of this corporate power in society, academics have criticized the lack of legitimization (i.e., the legitimacy gap) and highlighted a potential divergence between corporate resource allocation and the needs and preferences of the public (i.e., the social issues gap). To address these problems, democratizing organizations has been proposed as a potential solution. In line with this, the authors argue that an increase in corporate power outside the economic realm should be (...) counterbalanced by more democratic corporate governance (i.e., an internalization of democracy). While important groundwork exists, academic attention to these topics remains limited. The authors provide an overview of the literature linking corporate power and the claim for democratizing organizations, advocate for legitimization, identify research gaps, and develop a research agenda to inspire and guide future research efforts. The paper's findings suggest the importance of conceptual and empirical research on the micro-, meso-, and macro-levels and the cross-level effects, which is needed to advance this incipient research area. Future research must (1) clearly define corporate power and discuss how democratizing organizations can contribute to more legitimate organizational decisions, (2) unveil novel approaches for more democratic corporate governance, and (3) understand the organizational- and individual-level factors necessary for the successful realization of democratic organizations. (shrink)

Purpose This paper presents an ethnographic study of gamete donation in Latvia. The aim of the study is to describe and analyse the practice of applying responsibility in gamete donation cases from the perspective of anthropology and ethics. Methods We performed thirty semi-structured interviews with laypeople and five focus group discussions among adolescents. The third source of data was media analysis: 57 articles discussing assisted reproduction in Latvian electronic popular media as well as internet discussions among ART participants. The data (...) were processed using Atlas.ti. Results The data showed that the situation of ART responsibility is formulated through defining one’s relationship to the gametes, to the nation and the relationship between parent and child. Conclusions The practice of gamete donation does not create new responsibilities but uses already existing relations in a situation marked by new knowledge. Relationships among ART users, donors and physicians often result in an imbalance of responsibility sharing. The framework of relational ethics is one possible way to change the practice of balancing and sharing responsibility in ART applications. (shrink)

In this article, I argue that parkour can be understood as a way to recapture moments of non-alienated human experience in urban space. I draw on Hartmut Rosa’s theory of temporally caused alienati...

Background Genomic research on neurodevelopmental disorders (NDDs), particularly involving minors, combines and amplifies existing research ethics issues for biomedical research. We performed a review of the literature on the ethical issues associated with genomic research involving children affected by NDDs as an aid to researchers to better anticipate and address ethical concerns. Results Qualitative thematic analysis of the included articles revealed themes in three main areas: research design and ethics review, inclusion of research participants, and communication of research results. Ethical (...) issues known to be associated with genomic research in general, such as privacy risks and informed consent/assent, seem especially pressing for NDD participants because of their potentially decreased cognitive abilities, increased vulnerability, and stigma associated with mental health problems. Additionally, there are informational risks: learning genetic information about NDD may have psychological and social impact, not only for the research participant but also for family members. However, there are potential benefits associated with research participation, too: by enrolling in research, the participants may access genetic testing and thus increase their chances of receiving a (genetic) diagnosis for their neurodevelopmental symptoms, prognostic or predictive information about disease progression or the risk of concurrent future disorders. Based on the results of our review, we developed an ethics checklist for genomic research involving children affected by NDDs. Conclusions In setting up and designing genomic research efforts in NDD, researchers should partner with communities of persons with NDDs. Particular attention should be paid to preventing disproportional burdens of research participation of children with NDDs and their siblings, parents and other family members. Researchers should carefully tailor the information and informed consent procedures to avoid therapeutic and diagnostic misconception in NDD research. To better anticipate and address ethical issues in specific NDD studies, we suggest researchers to use the ethics checklist for genomic research involving children affected by NDDs presented in this paper. (shrink)

Teaching and learning mathematics through enactive metaphorizing necessarily rests on interactions of teachers and learners. In this commentary, I illustrate that supporting learners’ enactive ….

Nature & the seasons -- Outdoor pursuits -- The spirit of self-sufficiency -- The joy of fika -- The Nordic kitchen -- Healthy hedonism -- Design & home -- Kinship, conviviality & openness -- How to hygge-at a glance.

While the political aspects of the interwar dystopias have received much attention, less focus has been given to the specific correlation to the economic thinking and developments of the period, in particular the prominence of economic planning. This article suggests that such a connection is significant by examining a key Swedish novel from the period, Kallocain, in relation to the early economic theory of the Scandinavian welfare state. The article then relates these findings to links between Brave New World and (...) the thinking of John Maynard Keynes. Finally, the kinds of critique articulated in these fictional works are centered around the citizens’ emotional and interior lives in new planned societies, and around their views on bad, disloyal, or painful feelings. (shrink)