This paper aims to analyze the square beyond an architectural element in the city, but weaves this blank slate, with its contemporary socio political atmosphere as a new paradigm. As a result, this research investigates the historical, social and political concept of Meydan – a term which has mostly applied for the Iranian and Islamic public squares. This interpretation, suggested the idea of Meydan as the core of the projects in the city, which historically exposed in formalization of (...) power relations and religious ideologies. In this sense, studying the spatial transformation of Iranian public squares introduces the framework, which is adaptable to contemporary urban context. (shrink)

We support Uchiyama et al. in the value of genetics, sample diversification, and context measurement. Against the example of vitamins, we highlight the intransigence of many phenotypes. We caution that while culture can mask genetic differences, the dependence of behaviour on genetics is reinvented and unmasked by novel challenges across generations.

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is (...) that the blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

Chapter 9 of Aristotle's 'On Interpretation' deals with determinism, and here the two influential commentaries of Ammonius and Boethius have been published together.

This article discusses Du Châtelet’s challenging claim that entertaining illusions, especially illusions of being esteemed by posterity, is conducive to happiness. It does so by taking a contextualizing approach, contrasting her views with some Epicurean aspects of the views on illusions and happiness in Bernard de Fontenelle and Julien Offray de La Mettrie. I will argue for three claims: (1) Du Châtelet’s comparison between self-related illusions and illusions in the theater is vulnerable to objections deriving from some distinctions that Fontenelle’s (...) poetics draws between the role of illusions in the theater and the role of illusions in real life. (2) Examining Fontenelle’s analysis of the detrimental effects of self-related illusions indicates several respects in which Du Châtelet has underestimated the ambivalent nature of illusions. (3) Du Châtelet’s view that illusions are akin to sensations that are favorable to us problematically generalizes La Mettrie’s insight that some acts of the imagination have a quasi-perceptual nature. (shrink)

As Peter Niebyl has documented, one of the issues in which the Wittenberg-based physician and philosopher Daniel Sennert (1572–1637) departed from Paracelsus and his followers was the concept of disease. Paracelsus and some of his followers regarded diseases as real beings—so-called “disease-entities” (entia morbis) that can enter into the body of a living being and thereafter possess a clearly defined location in the affected organism. 1 For Sennert, such a view is a dangerous confusion between disease and its causes. According (...) to him, causes of disease can be present in an organism without actually causing a disease (Sennert 1629, p. 253). Moreover, he shares the traditional Christian doctrine .. (shrink)

This article analyzes the treatment of vegetative powers in Nicolaus Taurellus’s critical response to Andrea Cesalpino. Taurellus’s interest in this topic derives from larger metaphysical and theological concerns. His concern is that Cesalpino’s view that vegetative powers are due to a divine principle of activity inherent in natural particulars leads to a version of substance monism that is incompatible with the Christian doctrine of creation. Taurellus’s critique can best be understood within the context of his defense of an immaterialist account (...) of the basic constituents of reality, which is connected with an emergentist account of the origin of vegetative powers. (shrink)

Rapid advances in cognitive neuroscience and converging technologies have led to a vigorous debate over cognitive enhancement. This book outlines the ethical and social issues, but goes on to focus on the policy dimensions, which until now have received much less attention. As the economic, social and personal stakes involved with cognitive enhancement are so high, and the advances in knowledge so swift, we are likely to see increasing demands for government involvement in cognitive enhancement techniques. The book therefore places (...) these techniques in a political context and brings the subsequent considerations and divisions to the forefront of the debate, situating their resolution within the milieu of interest group politics. The book will provide a starting point from which readers can develop a balanced policy framework for addressing such concerns. (shrink)

This book advances a journalistic theory of empathy, challenging long-held notions about how best to do journalism. Because the institution of journalism has typically equated empathy and compassion with bias, it has been slow to give the intelligence of the emotions a legitimate place in the reporting and writing process. Blank-Libra's work locates the point at which the vast, multidisciplinary research on empathy intersects with the work of the journalist, revealing a reality that has always been so: journalists practice (...) empathy as a way to connect but also as a form of inquiry, as sincere and legitimate in its goals and aspirations as is objectivity. (shrink)

We discuss the implementation of Responsible Research and Innovation (RRI) within a project for the development of an AI-supported exergame for assisted movement training, outline outcomes and reflect on methodological opportunities and limitations. We adopted the responsibility-by-design (RbD) standard (CEN CWA 17796:2021) supplemented by methods for collaborative, ethical reflection to foster and support a shift towards a culture of trustworthiness inherent to the entire development process. An embedded ethicist organised the procedure to instantiate a collaborative learning effort and implement RRI (...) in a translational context. Within the interdisciplinary setting of the collaboration and with the support of a technoethicist, we successfully identified relevant, project-specific challenges and developed a roadmap with derived actions, thus meaningfully integrating RRI into the development process. We discuss the methodological procedure in terms of its effectiveness and efficiency, the allocation of responsibilities and roles, particularly regarding potential frictions in the interdisciplinary context with embedded ethics, and the challenges of the translational context. We conclude that the responsibility-by-design standard effectively established a productive workflow for collaborative investigation and work on ethical challenges. We reflect on methodological difficulties and propose possible avenues to our approach. (shrink)

Dieser Sammelband zeigt anhand von Problemen der Lexik und Grammatik romanischer Sprachen sowie der linguistischen Metasprache, daß die onomasiologische und die semasiologische Perspektive in ihrer Komplementarität unabdingbare Bezugspunkte einer sich als 'kognitiv' verstehenden Sprachwissenschaft sein sollten. Mit im Detail unterschiedlicher Perspektivierung werden Fragen der synchronischen und diachronischen Lexikologie und Grammatik diskutiert, ausgewählte Konzept- bzw. Funktionsbereiche im Detail analysiert und Probleme der Grammatikographie und der Konzeptualisierung von Sprache beleuchtet.

The 1990s “Decade of the Brain” stimulated research on many fronts and resulted in considerable advancement in neuroscience. Unfortunately, we have been slow to develop a policy dialogue to anticipate and deal with vast implications. Simply put, our political and social institutions have not kept pace with these advances. At the base, policy issues center on how we interpret the implications of these developments, especially given the complexity of the subject and the speculative nature of much of the evidence to (...) date. The issues discussed here go to the heart of the major problems facing the world today and challenge basic assumptions on both the right and the left of the political/ideological spectrum as well as the standard social science model of behavior. As a result, the findings of neuroscience are open to ideological maneuvering designed to put the most expedient spin on their meaning. (shrink)

People tend to grossly overestimate the size of their mirror-reflected face. Although this overestimation bias is robust, not much is known about its relationships to self-face perception. In two experiments, we investigated the overestimation bias as a function of the presentation of the own face , the identity of the seen face, and prior exposure to a real mirror. For this we developed a computerized task requiring size estimations of displayed faces. We replicated the observation that people overestimate the size (...) of their mirror-reflected face and showed that the overestimation can be reduced following a brief mirror exposure. We also found that left–right reversal modulates the overestimation bias, depending on the perceived face’s identity. These data underline the enhanced familiarity of left–right reversed self-faces and the importance of size perception for understanding mirror reflection processing. (shrink)

ABSTRACTEmotion differentiation, the ability to describe and label our own emotions in a differentiated and specific manner, has been repeatedly associated with well-being. However, it is unclear exactly what type of differentiation is most strongly related to well-being: the ability to make fine-grained distinctions between emotions that are relatively closely related, the ability to make larger distinctions between very distinct emotions, or the combination of both. To determine which type of differentiation is most predictive of well-being, we performed a comprehensive (...) meta-analysis across six datasets. We examined the correlations between these three types of differentiation and several indicators of well-being. Results showed that individuals differentiated most between very distinct emotions and least between more related emotions, and that an index computed across emotions from both the same and di... (shrink)

In this article we introduce the concept of implied optical perspective in deep learning computer vision systems. Taking the BBC's experimental television programme “Made by Machine: When AI met the Archive” as a case study, we trace a conceptual and material link between the system used to automatically “watch” the television archive and a specific type of photographic practice. From a computational aesthetics perspective, we show how deep learning machine vision relies on photography, its technical regimes and epistemic advantages, and (...) we propose a novel way to identify the latent camera through which the BBC archive was seen by machine. (shrink)

In 2020, the European Union announced the award of the contract for the biometric part of the new database for border control, the Entry Exit System, to two companies: IDEMIA and Sopra Steria. Both companies had been previously involved in the development of databases for border and migration management. While there has been a growing amount of publicly available documents that show what kind of technologies are being implemented, for how much money, and by whom, there has been limited engagement (...) with digital methods in this field. Moreover, critical border and security scholarship has largely focused on qualitative and ethnographic methods. Building on a data feminist approach, we propose a transdisciplinary methodology that goes beyond binaries of qualitative/quantitative and opacity/transparency, examines power asymmetries and makes the labour of coding visible. Empirically, we build and analyse a dataset of the contracts awarded by two European Union agencies key to its border management policies – the European Agency for Large-Scale Information Systems (eu-LISA) and the European Border and Coast Guard Agency (Frontex). We supplement the digital analysis and visualisation of networks of companies with close reading of tender documents. In so doing, we show how a transdisciplinary methodology can be a device for making datafication ‘intelligible’ at the European Union borders. (shrink)

In the history of ideas, innumerable attempts to explain life and to define living activities have invoked the notion of the soul. Yet this theoretical entity seems to be an unfathomable thing. Difficulties beset the mere definition of it, and controversies span from whether the soul is a material body or an immaterial form, an immortal or a mortal thing, a subject of experiential or of theoretical knowledge, to the question of whether it is the subject of a specific discipline (...) or rather of a scientia de anima that, in the Aristotelian tradition, was also regarded as a part of natural philosophy—the field of philosophy that deals with natural particulars. Not only was the soul thought, from a theological angle, to define the unity and unicity of living beings, but it was also seen as the source of several bodily activities such as nutrition and growth in living beings. And since some of the beings that grow and nourish themselves also sense and think, the relation of the origin of vegetative powers to the origin of perceptual and intellectual powers has always been an object of debate. In this sense, the soul has not just been a topic of one specific field, but has rather drawn upon many disciplines, combining the work of philosophers, religious thinkers, physicians, naturalists, chymists, and so on, thereby blurring the boundaries between different fields of knowledge. Botanical treatises of the Renaissance, for example, begin with the definition of the soul of plants and its primary role in bringing forth vegetal activities. Indeed, the presence of the soul was thought to be involved also in the life of animals, human beings, and, in some cases, it was even ascribed to minerals and stones, not to speak of the world-soul, the latent idea that the entire cosmos is animated with a soul. Furthermore, the theory of the materiality of the soul was developed since Antiquity and found new momentum in early modern times, in the reappraisal of Epicurean ideas by thinkers such as Guillaume Lamy, Pierre Gassendi, and Julian Offray de La Mettrie. Yet, with the Cartesian Henricus Regius, the understanding of vegetative, sensitive, and rational souls as material importantly surfaces as a peculiar attempt to mechanize the living functions of bodies. (shrink)

Artificial stimulation of the peripheral vestibular system has been shown to improve ownership of body parts in neurological patients, suggesting vestibular contributions to bodily self-consciousness. Here, we investigated whether galvanic vestibular stimulation interferes with the mechanisms underlying ownership, touch, and the localization of one’s own hand in healthy participants by using the “rubber hand illusion” paradigm. Our results show that left anodal GVS increases illusory ownership of the fake hand and illusory location of touch. We propose that these changes are (...) due to vestibular interference with spatial and/or temporal mechanisms of visual-tactile integration leading to an enhancement of visual capture. As only left anodal GVS lead to such changes, and based on neurological data on body part ownership, we suggest that this vestibular interference is mediated by the right temporo-parietal junction and the posterior insula. (shrink)

The volume analyzes the natural philosophical accounts and debates concerning the vegetative powers, namely nutrition, growth, and reproduction. While principally focusing on the early modern approaches to the lower functions of the soul, readers will discover the roots of these approaches back to the Ancient times, as the volume highlights the role of three strands that help shape the study of life in the Medieval and early modern natural philosophies. From late antiquity to the early modern period, the vegetative soul (...) and its cognate concepts have played a substantial role in specifying life, living functions, and living bodies, sometimes blurring the line between living and non-living nature, and, at other moments, resulting in a strong restriction of life to a mechanical system of operations and powers. Unearthing the history of the vegetative soul as a shrub of interconnected concepts, the 24 contributions of the volume fill a crucial gap in scholarship, ultimately outlining the importance of vegetal processes of incessant proliferation, generation, and organic growth as the roots of life in natural philosophical interpretations. (shrink)