The article starts by offering a definition of fake kindness focused on the dissociation between the behavioural components of kindness and the intent to sincerely pay some heed to the needs of others. Using the sociological theory of Pierre Bourdieu, this definition is then used to articulate how fake kindness can be conceptualized as a specific form of symbolic violence. Such a view allows explanations as to how and why the prevalence and effectiveness of (...) class='Hi'>fake kindness vary according to microsociological norms and values. The generic definition and conceptualization of fake kindness as a form of symbolic violence are then used to discuss how nursing’s enthrallment with the concept of caring and its operationalization as a moral compass likely fosters the growth of fake kindness within the profession. In this view, the institutional enforcement of propriety and well-behaved professionalism is more likely to lead to toxic environments than to healthy workplaces. We hope that being able to understand how professional norms and institutional rules are sometimes turned into social tools to enforce obedience and existing hierarchies can empower victims of those phenomena to resist them more effectively. It might also contribute to increasing the awareness of well-meaning nurses or people in position of authority who have been socialized in environments where fake kindness is normalized. (shrink)

Many languages allow for “fake” uses of their past tense marker: the marker: can occur in certain contexts without conveying temporal pastness. Instead it appears to bear a modal meaning. Iatridou :231–270, 2000) has dubbed this phenomenon Fake Tense. Fake Tense is particularly common to conditional constructions. This paper analyzes Fake Tense in English conditional sentences as a certain kind of ambiguity: the past tense morphology can mark the presence of a temporal operator, but it can (...) also signal a specific modal operator. The ambiguity is proposed to be the result of recategorization: the Simple Past develops a second, modal meaning because of structural similarities between the temporal and the modal/epistemic domain. The proposal is spelled out in the generative semantics framework, using the restrictor approach to conditionals Semantics from different points of view, 1979; in: A. von Stechow and D. Wunderlich Semantics: an international handbook of contemporary research, 1991), and building on von Stechows et al.’s recent work on the English tense system The expression of time in language, 2010; Romero and von Stechow, Tense: introduction, 2008). (shrink)

Knowledge, like other things of value, can be faked. According to Hawley (2011), know-how is harder to fake than knowledge-that, given that merely apparent propositional knowledge is in general more resilient to our attempts at successful detection than are corresponding attempts to fake know-how. While Hawley’s reasoning for a kind of detection resilience asymmetry between know-how and know-that looks initially plausible, it should ultimately be resisted. In showing why, we outline different ways in which know-how can be faked (...) even when a given performance is successful; and in doing so, we distinguish how know-how can be faked (no less than know-that) via upstream and downstream indicators of its presence, and within each of these categories, we’ll distinguish (in connection with detection resilience) both faking symptoms and (various kinds of) criteria. The unappreciated resilience of faked knowledge-how to successful detection highlights a largely overlooked dimension of social-epistemic risk – risk we face not just in our capacity as recipients of testimony, but in our capacity as both (would-be) apprentices and clients of knowledge-how. (shrink)

The term "fake news" ascended rapidly to prominence in 2016 and has become a fixture in academic and public discussions, as well as in political mud-slinging. In the flurry of discussion, the term has been applied so broadly as to threaten to render it meaningless. In an effort to rescue our ability to discuss—and combat—the underlying phenomenon that triggered the present use of the term, some philosophers have tried to characterize it more precisely. A common theme in this nascent (...) philosophical discussion is that contemporary fake news is not a new kind of phenomenon, but just the latest iteration of a broader kind of phenomenon that has played out in different ways across the history of human information-dissemination technologies. While we agree with this, we argue that newer sorts of fake news reveal substantial flaws in earlier understandings of this notion. In particular, we argue that no deceptive intentions are necessary for fake news to arise; rather, fake news arises when stories which were not produced via standard journalistic practice are treated as though they had been. Importantly, this revisionary understanding of fake news allows us to accommodate and understand the way that fake news is plausibly generated and spread in a contemporary setting, as much by non-human actors as by ordinary human beings. (shrink)

Some kinds of “fake news” bits on Saturday Night Live (SNL) become more meaningful when linked back to the work of media theorist Neil Postman. Postman's best‐known book, Amusing Ourselves to Death: Public Discourse in the Age of Show Business, argues that TV journalism will inevitably reflect the influences and biases of television itself. The result is an entertaining but incoherent stream of “disinformation” in a “peek‐a‐boo world” of unfocused and shallow discussion. Using Postman's arguments for structure and support (...) here, this chapter explores similar concerns reflected in the satirical news reporting of SNL. It shows that “Weekend Update” and other such pieces can ground key lessons that help us navigate our increasingly complex media environment, a point that Postman himself considers in his book's closing pages. As our media environment continues to change, it becomes helpful to see Postman's thesis as a valuable philosophical insight, and one that SNL's comedy can illustrate quite effectively. (shrink)

Fake research produces results that are invalid from the start. I take such research to be characterised by three jointly sufficient features. It is severely methodologically defective, and the relevant defects support certain nonepistemic (social, political, economic) interests and objectives, while the relevant objectives typically concern the interference with attempts at political regulation. I deal with two kinds of claimed fake research. One is agnotological ploys in which scientific dissent is created by interested parties from industry or politics (...) in order to support their own partisan goals. Another one is the populist antiscience movement that suspects fake research in the scientific mainstream. I suggest three remedies to reduce or eliminate the impact of fake research: disclosing fallacies, improving the understanding of scientific methods, and distinguishing more clearly between science and politics in political decision-making. (shrink)

The spread of fake news online has far reaching implications for the lives of people offline. There is increasing pressure for content sharing platforms to intervene and mitigate the spread of fake news, but intervention spawns accusations of biased censorship. The tension between fair moderation and censorship highlights two related problems that arise in flagging online content as fake or legitimate: firstly, what kind of content counts as a problem such that it should be flagged, and secondly, (...) is it practically and theoretically possible to gather and label instances of such content in an unbiased manner? In this paper, I argue that answering either question involves making value judgements that can generate user distrust toward fact checking efforts. (shrink)

Recently, the effort to counter Fake News faced a counter attack: academic »postmodernism « and »social constructivism« it was said—because they say that facts are soaked in prior interpretations—are either purveyors of Fake News or set the cultural context in which it flourishes. They do so by undermining confidence in inquiry governed by simple facts. That is erroneous, argues William E. Connolly, because postmodernism never said that facts or objectivity are ghostly, subjective or »fake«. However, that what (...) was objective at one time may become less so at a later date through the combination of a paradigm shift in theory, new powers of perception, new tests with refined instruments, and changes in natural processes such as species evolution. But the emergence of new theories and tests does not reduce objectivity to subjective opinion. Facts are real. Objectivity is important. But as you move up the scale of complexity with respect to facts and objectivity, it becomes clear that what was objective at one time may become subjective at another. Not because of Fake News or postmodernism. But because the complex relationships between theory, evidence and conduct periodically open up new thresholds. Colin Lang in turn rhetorically asks if »fake news« or »alternative facts« are a new carnival and Trump its dog and pony show? The idea of »fake news« and »alternative facts« as a carnival could not only help to see the constructedness of the media spectacle, but also provides a new perspective on Trump as an actor who is playing a particular role in this carnival, and that role is not one that any of us would describe as presidential. Many in the popular press have assumed it is just what it looks like, an infantilized narcissist, a parody of some Regan-era New York real estate tycoon straight out of a Bret Easton Ellis novel. The problem is that this description is all too obvious, and misses something fundamental about alternative facts, and the part that Trump is playing. A central assumption is, then, that the creation of alternative facts is one symptom of a more structural, paradigmatic shift in the persona of a president, one which has few correlates in the annals of political history. The closest analogy for his kind of performance is actually hinted at in the title of Trump’s greatest literary achievement: The Art of the Deal. Trump is playing the part of an artist, pilfering from the tactics of the avant-garde and putting them to very different ends. (shrink)

Recently, the effort to counter Fake News faced a counter attack: academic »postmodernism « and »social constructivism« it was said—because they say that facts are soaked in prior interpretations—are either purveyors of Fake News or set the cultural context in which it flourishes. They do so by undermining confidence in inquiry governed by simple facts. That is erroneous, argues William E. Connolly, because postmodernism never said that facts or objectivity are ghostly, subjective or »fake«. However, that what (...) was objective at one time may become less so at a later date through the combination of a paradigm shift in theory, new powers of perception, new tests with refined instruments, and changes in natural processes such as species evolution. But the emergence of new theories and tests does not reduce objectivity to subjective opinion. Facts are real. Objectivity is important. But as you move up the scale of complexity with respect to facts and objectivity, it becomes clear that what was objective at one time may become subjective at another. Not because of Fake News or postmodernism. But because the complex relationships between theory, evidence and conduct periodically open up new thresholds. Colin Lang in turn rhetorically asks if »fake news« or »alternative facts« are a new carnival and Trump its dog and pony show? The idea of »fake news« and »alternative facts« as a carnival could not only help to see the constructedness of the media spectacle, but also provides a new perspective on Trump as an actor who is playing a particular role in this carnival, and that role is not one that any of us would describe as presidential. Many in the popular press have assumed it is just what it looks like, an infantilized narcissist, a parody of some Regan-era New York real estate tycoon straight out of a Bret Easton Ellis novel. The problem is that this description is all too obvious, and misses something fundamental about alternative facts, and the part that Trump is playing. A central assumption is, then, that the creation of alternative facts is one symptom of a more structural, paradigmatic shift in the persona of a president, one which has few correlates in the annals of political history. The closest analogy for his kind of performance is actually hinted at in the title of Trump’s greatest literary achievement: The Art of the Deal. Trump is playing the part of an artist, pilfering from the tactics of the avant-garde and putting them to very different ends. (shrink)

It is very widely held that Frankfurt-style cases—in which a counterfactual intervener stands by to bring it about that an agent performs an action but never actually acts because the agent performs that action on her own—show that free will does not require alternative possibilities. This essay argues that that conclusion is unjustified, because merely counterfactual interveners may make a difference to normative properties. It presents a modified version of a fake barn case to show how a counterfactual intervener (...) can make the difference between an agent knowing a fact or merely truly believing that fact, by eliminating veretic epistemic luck. If counterfactual interveners can make this kind of difference to the epistemic status of agents, the essay argues, there is no reason why they can't make an analogous difference to agents' moral responsibility. It concludes that reflection on these cases reveals that despite the mountains of words spilled on the topic, we still don't fully understand what role access to alternative possibilities plays in whether or not agents are morally responsible for their actions. (shrink)

It is often thought that the boundaries and properties of art-kinds are determined by the things we say and think about them. More recently, this tendency has manifested itself as concept-descriptivism, the view that the reference of art-kind terms is fixed by the ontological properties explicitly or implicitly ascribed to art and art-kinds by competent users of those terms. Competent users are therefore immune from radical error in their ascriptions; the result is that the ontology of art must begin and (...) end with conceptual analysis. Against this tendency towards concept-driven ontology, I offer a trio of objections derived from: the cultural and temporal variability of concepts of art, the systematic tendency, on the part of would-be ontological assessors, to err on the side of familiar categories or, conversely, to exaggerate minor differences between familiar and unfamiliar practices, and the influence artworld precedents exert over expert and folk concepts alike. These considerations, I argue, mandate an epistemic humility that is simply unavailable to the concept-descriptivist. (shrink)

It is very widely held that Frankfurt‐style cases—in which a counterfactual intervener stands by to bring it about that an agent performs an action but never actually acts because the agent performs that action on her own—show that free will does not require alternative possibilities. This essay argues that that conclusion is unjustified, because merely counterfactual interven‐ers may make a difference to normative properties. It presents a modified version of a fake barn case to show how a counterfactual intervener (...) can make the difference between an agent knowing a fact or merely truly believing that fact, by eliminating veretic epistemic luck. If counterfactual interveners can make this kind of difference to the epistemic status of agents, the essay argues, there is no reason why they can't make an analogous difference to agents' moral responsibility. It concludes that reflection on these cases reveals that despite the mountains of words spilled on the topic, we still don't fully understand what role access to alternative possibilities plays in whether or not agents are morally responsible for their actions. (shrink)

This research study focuses on the problem of populistic propaganda online. In particular, this research study provides three case studies gathered in a Facebook Group of the Italian populistic movement Movimento 5 Stelle. On the one hand, the three case studies provide three powerful counterexamples to the thesis that online media are purposeful aggregator of people. In fact, this research study finds that online media are the perfect environment for populism to thrive. For online media seem to foster the aggregation (...) of people into groups whose main common denominator is the total refusal of anything that opposes the groups’ views. On this basis, this paper provides evidence that online media may impoverish democratic confrontation. On the other hand, this paper finds that the one of the causes of the rapid rise of populistic movements in Western countries might also be related to the problem of cognitive biases. Indeed, the case studies presented in the paper posit the existence of something that is addressed as the trigger effect, i.e. agents’ tendency to react impulsively to any kind of content that fits agent’s views about current events. Specifically, this research study finds that the activation of the trigger effect might be a direct consequence of the activation of the narrow framing bias and of the anchoring heuristic in presence of fake news. (shrink)

In the annals of Indian modernity, narratives of tricksters and counterfeiters have a long, popular, and cautionary history. The topographies of deception outlined by colonial and post-colonial police reports established both its history as an aspect of modern industrial life as well as the city as the ‘scene of the crime’. This article explores the meanings that attach to certain contemporary acts of deceiving and faking, and the ways in which they are both produced by being in the city as (...) well as producing certain kinds of relationships. The article focuses on the residents of a Delhi slum and their various acts of producing fake identity cards and a variety of other documents. It offers a discussion about simulation and dissimulation, feigning and duplicity, and passing and pretending as significant contexts for gaining security of livelihood and residence in the city as well as constituting specific senses of community. Faking and counterfeiting, the article suggests, are arenas where the state both constitutes itself and contributes to the making of imagined non-state sensibilities of community. (shrink)

Some have suggested that Jon Stewart of The Daily Show with Jon Stewart (TDS) and Stephen Colbert of The Colbert Report (TCR) represent a new kind of journalist. We propose, rather, that Stewart and Colbert are imitators who do not fully inhabit the role of journalist. They are interesting because sometimes they do a better job performing the functions of journalism than journalists themselves. However, Stewart and Colbert do not share journalists' moral commitments. Therefore, their performances are neither motivated nor (...) constrained by these commitments. Using a virtue theory framework, we suggest that this distinction between journalists and their imitators is morally significant because it implies differences in the kinds of excellence these moral agents are pursuing in their work. Rather than evaluating the work of Colbert and Stewart in the role of journalists, we propose analyzing their contributions to media ethics in the role of media critics. (shrink)

Although there has been little written to date that speaks directly to problems of religious luck, described in other terms these problems have a long history. Contemporary contributors to the literature have referred to “soteriological luck” (Anderson 2011) “salvific luck” (Davidson 1999) and “religious luck” (Zagzebski 1994). Using “religious” as the unifying term, Part I of this monograph begins with the need a more comprehensive taxonomy. Serious philosophic interest in moral and epistemic luck took hold only after comprehensive taxonomies for (...) those kinds of luck were introduced, but this has not yet been done for religious luck. Even if incomplete, the more comprehensive taxonomy, as introduced in Chapter One enables better diagnostic questions to be raised for researchers. Emerging questions about potentially ‘luck leaning’ attributions of good/bad religious luck, and of the possibility and desirability of “luck free theologies,” are questions which I hope to motivate as of central interest to researchers in philosophy of religion, both secular and religious. The taxonomy highlights why we should take two concerns — with the concept of religious luck and with asymmetric or sharply differential ascriptions of religious value — to be inextricably connected. The connection between attributing good/bad luck and violating inductive norms is easy to see upon reflection. One related distinction common in recent work on epistemic luck is that between benign evidential luck (‘benign’ because consistent with justified belief and knowledge), and malign (positive epistemic status undercutting) veritic luck. How, philosophically, this distinction should be understood is an especially acute problem when it comes to testimonial trust, and to intellectually virtuous or vicious ways of assessing testimonial claims, and sources of claims. So the chapter concludes with development of the case of Tess, as an example of testimonial environmental veritic luck. The Tess case is constructed to be formally analogous to the environmental veritic luck operating in fake barn cases (where visual perception rather than reception of testimony is the source of the agent’s belief). There does seem to be an intrinsic connection between epistemic assessment of the agent’s beliefs and the inductive context in which their own and their religious community’s inquiry takes place. This will allow for some potentially powerful thought experiments in successive chapters, about luck, risk, and questions of epistemic in/justice as they pertain to religious faith ventures. (shrink)

There are at least three basic phenomena that philosophers traditionally classify as paradigm cases of irrationality. In the first two cases, wishful thinking and self-deception, a person wants something to be true and therefore ignores certain relevant facts about the situation, making it appear to herself that it is, in fact, true. The third case, weakness of will, involves a person undertaking a certain action, despite taking herself to have an all-things-considered better reason not to do so. While I think (...) that Stephen Colbert's notion of "truthiness" might be able to fit the mold of each of these three kinds of irrationality, it applies most directly to cases of wishful thinking and self-deception — and it’s these two types of irrationality that I discuss extensively in this paper. As we will see, there are some troubling philosophical problems that arise regarding phenomena like self-deception. But we can use the concept of truthiness to show how these “paradoxes of irrationality” may be resolved without denying the fundamental irrationality of truthiness itself. -/- An earlier version of this paper ("Truthiness, Self-Deception, and Intuitive Knowledge") appeared in "The Daily Show and Philosophy" (2007). (shrink)

What kind of reasons for belief are provided by the testimony of experts? In a world where we are often inundated with fake news, misinformation, and conspiracy theories, this question is more pressing than ever. A prominent view in the philosophical literature maintains that the reasons provided by experts are preemptive in that they normatively screen off, or defeat, other relevant reasons. In this paper, I raise problems for this conception of expertise, including a wholly new one that I (...) call the Problem of the Predatory Expert, which targets both original versions of preemption as well as new, modified ones that aim to avoid some of the standard objections. (shrink)

According to robust versions of virtue epistemology, the reason why knowledge is incompatible with certain kinds of luck is that justified true beliefs must be achieved by the agent . In a recent set of papers, Pritchard has challenged these sorts of views, advancing different arguments against them. I confront one of them here, which is constructed upon scenarios affected by environmental luck, such as the fake barn cases. My objection to Pritchard differs from those offered until now by (...) Carter , Jarvis or Littlejohn in that it is based on the claim that cognitive performances may not be properly considered as achievements beyond the scope of the agent’s intentional action—an idea that confers more explanatory power on my argument, and contributes to stregthening links between knowledge and agency. (shrink)

Beyond the only text Jean-Luc Nancy explicitly dedicated to it (‘Rumoration’ in La Ville au loin), rumor lurks in the background — under the surface — of any discourse on community, or on being-with. Following closely Nancy’s thought process in ‘Rumoration’ (Nancy presents himself as walking, wandering in the city), this article interweaves fragments of a genealogy of rumor, from the ancient Greek logopoios to today’s ‘fake news’. But rumor is precisely what evades genealogy, so although it can be (...) thought of as an archimedium (pure mediality, as Maurice Blanchot suggests), its floating texture, made up of references to references, turns it into a kind of anarchistructure. (shrink)

Napolitano (The epistemology of fake news, Oxford University Press, 2021) argues that the Minimalist Account of conspiracy theories—i.e., which defines conspiracy theories as explanations, or theories, about conspiracies—should be rejected. Instead, she proposes to define conspiracy theories as a certain kind of belief—i.e., an evidentially self-insulated belief in a conspiracy. Napolitano argues that her account should be favored over the Minimalist Account based on two considerations: ordinary language intuitions and theoretical fruitfulness. I show how Napolitano’s account fails its own (...) purposes with respect to these two considerations and so should not be favored over the Minimalist Account. Furthermore, I propose that the Minimalist Account is the best conception of ‘conspiracy theory’ if we share Napolitano’s goal of advancing the understanding of conspiracy theories. (shrink)

There are many different kinds of questions. -/- I have mentioned a few of them here- -/- Philosophy: Aims, Methods, Rationale Paperback – 2018 by Ulrich de Balbian (Author) -/- ISBN-10 : 1985719150 ISBN-13 : 978-1985719156 -/- In this meta-philosophical study I commence with an investigation of Wisdom. I then continue with ane xploration of the institutionalization of the subject and the professionalization of those involved in it. Thien I show that philosophizing resembles and attempts to do theorizing. The 9 (...) questions, etc of the Socratic Method and details of the Philosophical Toolkit occur throughout different stages of theorizing as one level and one dimension of it. Traditional philosophy is no longer viable, relevant and acceptable. It might be possible to continue doing philosophizing in traditional ways. It is possible to continue fabricating fictional realities in the manner of the Pre-Socratics, Spinoza, Leibniz, Husserl, Hegel, Plato, et al. It is possible to devise pictures of realities and depictions of human consciousness and cognition like Descartes or in the Kantian manner. One of the major issues with traditional philosophy is its lack of self-awareness, the absence of meta-cognition. This lack of meta-cognition of traditional philosophers leads to the creation of all sorts of questionable phenomena and fake problems. Traditional philosophy, metaphysics, ontology, epistemology, ethics, philosophy of sciences, religion, arts, etc are little more than the possibilities, limits and restrictions enabled and allowed by the philosopher's methodology, techniques and tools. It is most likely possible to envisage a project to devise a collection or synthesis of many alternative realities by means of the insights and theories of theoretical physics, mathematics, bio-chemistry, biology and other sciences, the depictions produced by the arts and pictures of realities presented by the humanities. If such a system of pictures of reality is philosophically relevant and meaningful is however another matter. It is possible to continue fabricating fictional realities in the manner of the Pre-Socratics, Spinoza, Leibniz, Husserl, Hegel, Plato, et al. It is possible to devise pictures of realities and depictions of human consciousness and cognition like Descartes or in the Kantian manner. -/- Some of these questions, certain kinds of questions are relevant to philosophy, to the doing of philosophy or philosophizing. -/- What are the aims of different kinds of questions? -/- What are their objectives and purposes? -/- How are the relevant to the doing of philosophy? -/- How are they related to philosophizing? -/- These are some of the topics that will be touched on, tacitly and explicitly, in this exploration. -/- I travel through the exploration of concepts and their role in questions, how concepts can be viewed as interconnected and being interpreted as forming a system or set of ideas and being employed to devise a theory, good, bad or indifferent. -/- . (shrink)

There are many different kinds of questions. -/- I have mentioned a few of them here- -/- Philosophy: Aims, Methods, Rationale Paperback – 2018 by Ulrich de Balbian (Author) -/- ISBN-10 : 1985719150 ISBN-13 : 978-1985719156 -/- In this meta-philosophical study I commence with an investigation of Wisdom. I then continue with ane xploration of the institutionalization of the subject and the professionalization of those involved in it. Thien I show that philosophizing resembles and attempts to do theorizing. The 9 (...) questions, etc of the Socratic Method and details of the Philosophical Toolkit occur throughout different stages of theorizing as one level and one dimension of it. Traditional philosophy is no longer viable, relevant and acceptable. It might be possible to continue doing philosophizing in traditional ways. It is possible to continue fabricating fictional realities in the manner of the Pre-Socratics, Spinoza, Leibniz, Husserl, Hegel, Plato, et al. It is possible to devise pictures of realities and depictions of human consciousness and cognition like Descartes or in the Kantian manner. One of the major issues with traditional philosophy is its lack of self-awareness, the absence of meta-cognition. This lack of meta-cognition of traditional philosophers leads to the creation of all sorts of questionable phenomena and fake problems. Traditional philosophy, metaphysics, ontology, epistemology, ethics, philosophy of sciences, religion, arts, etc are little more than the possibilities, limits and restrictions enabled and allowed by the philosopher's methodology, techniques and tools. It is most likely possible to envisage a project to devise a collection or synthesis of many alternative realities by means of the insights and theories of theoretical physics, mathematics, bio-chemistry, biology and other sciences, the depictions produced by the arts and pictures of realities presented by the humanities. If such a system of pictures of reality is philosophically relevant and meaningful is however another matter. It is possible to continue fabricating fictional realities in the manner of the Pre-Socratics, Spinoza, Leibniz, Husserl, Hegel, Plato, et al. It is possible to devise pictures of realities and depictions of human consciousness and cognition like Descartes or in the Kantian manner. -/- Some of these questions, certain kinds of questions are relevant to philosophy, to the doing of philosophy or philosophizing. -/- What are the aims of different kinds of questions? -/- What are their objectives and purposes? -/- How are their relevant to the doing of philosophy? -/- How are they related to philosophizing? -/- These are some of the topics that will be touched on, tacitly and explicitly, in this exploration. -/- I travel through the exploration of concepts and their role in questions, how concepts can be viewed as interconnected and being interpreted as forming a system or set of ideas and being employed to devise a theory, good, bad or indifferent. -/- . (shrink)

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

Prejudiced beliefs may certainly seem like defective beliefs. But in what sense are they defective? Many will be false and harmful, but philosophers have further argued that prejudiced belief is defective also in the sense that it could only arise from distinctive kinds of epistemic irrationality: we could acquire or retain our prejudiced beliefs only by violating our epistemic responsibilities. It is also assumed that we are only morally responsible for the harms that prejudiced beliefs cause because, in forming these (...) beliefs in the first place, we are violating our epistemic responsibilities. In Prejudice, Endre Begby argues that these common convictions are misguided. His discussion shows in detail that there are many epistemically justified pathways to prejudiced belief, and that it is a mistake to lean on the concept of epistemic responsibility to articulate our ethical responsibilities. Doing so unreasonably burdens victims of prejudice with having to show that their victimizers were in a position to know better. Accordingly, Begby provides an account of moral responsibility for harm which does not depend on finding grounds for epistemic blame. This view is supported by a number of examples and case studies at individual, collective, and institutional levels of decision making. Additionally, Begby develops a systematic platform for non-ideal epistemology which would apply to a wide range of other social and epistemic phenomena of current concern, such as fake news, conspiracy theories, science scepticism, and more. (shrink)

The recent emergence of machine-manipulated media raises an important societal question: How can we know whether a video that we watch is real or fake? In two online studies with 15,016 participants, we present authentic videos and deepfakes and ask participants to identify which is which. We compare the performance of ordinary human observers with the leading computer vision deepfake detection model and find them similarly accurate, while making different kinds of mistakes. Together, participants with access to the model’s (...) prediction are more accurate than either alone, but inaccurate model predictions often decrease participants’ accuracy. To probe the relative strengths and weaknesses of humans and machines as detectors of deepfakes, we examine human and machine performance across video-level features, and we evaluate the impact of preregistered randomized interventions on deepfake detection. We find that manipulations designed to disrupt visual processing of faces hinder human participants’ performance while mostly not affecting the model’s performance, suggesting a role for specialized cognitive capacities in explaining human deepfake detection performance. -/- . (shrink)

The focus of this paper is the prima facie plausible view, expressed by the principle of Counter-Closure, that knowledge-yielding competent deductive inference must issue from known premises. I construct a case that arguably falsifies this principle and consider five available lines of response that might help retain Counter-Closure. I argue that three are problematic. Of the two remaining lines of response, the first relies on non-universal intuitions and forces one to view the case I construct as exhibiting a justified, true (...) belief to which none of the usual diagnoses of knowledge failure in Gettier cases apply. The second line involves claiming that Fake Barns and its ilk are misdiagnosed by epistemological orthodoxy as Gettier cases. We are thus confronted by a trilemma: either the case I discuss undermines the first-blush plausible principle of Counter-Closure; or the case I discuss instantiates a novel kind of Gettier case; or a popular conception of a key range of alleged Gettier cases must be rejected. No matter which horn we choose, the case points to a philosophically curious conclusion. (shrink)

Much of what we know we know through testimony, and knowing on the basis of testimony requires some degree of trust in speakers. Trust is therefore very valuable. But in trusting, we expose ourselves to risks of harm and betrayal. It is therefore important to trust well. In this paper, I discuss two recent cases of the betrayal of trust in (broadly) academic contexts: one involving hoax submissions to journals, the other faking an identity on social media. I consider whether (...) these betrayals suggest that we ought to be less trusting in contexts like these. I argue that we should not: the acquisition of knowledge is dependent on trust, and we cannot intentionally reduce the extent to which we trust in these kinds of contexts without risking destroying it utterly. Instead, we must trust in our epistemic networks and the way they work to filter out deception. (shrink)

For most people, the internet is now the most dominant source of socially useful knowledge. Its widespread use has made knowledge more accessible, more widely distributed, and more commonly produced. -/- But the internet is also widely seen—and not just by philosophers—as raising a number of distinct epistemological problems. Some of those problems concern the metaphysics of knowledge—the extent to which knowledge via the internet is understood as outsourced, or even extended, knowledge. Others concern the type of knowledge the internet (...) can give us—whether, for example, the knowledge we gain by using our digital devices is a kind of testimonial knowledge. -/- In this chapter, we will focus on a third issue: how our uses of the internet to gain information affect our epistemic agency—or our capacity to take responsibility for our own epistemically relevant mental states and our wider contributions to our epistemic environment. In the early days of digital technology, the internet was generally seen as increasing our epistemic agency for the simple reason that it made information (and presumably knowledge) more accessible and widespread. But in recent years, such optimism has been tempered due to the rise of fake news, massive amounts of misinformation online, and the average consumer’s seeming credulity with regard to what they read on social media. The chapter will outline these objections and critically examine them, arguing that both our epistemic agency and our ability to responsibly exercise such agency can be undermined by some uses of the internet, even as those same uses increase agency in other ways. (shrink)

This paper explores the use of new scientific techniques to examine collections of historic scientific apparatus and other technological artefacts. One project under discussion uses interferometry to examine the history of lens development, while another uses X-ray fluorescence to discover the kinds of materials used to make early mathematical and astronomical instruments. These methods lead to surprising findings: instruments turn out to be fake, and lens makers turn out to have been adept at solving the riddle of aperture. Although (...) exciting, in some ways this is neither novel nor particularly unusual. After all, lab techniques have been used in art and archaeological collections for a very long time. In fact, scientific instruments themselves have been examined in this way since at least the 1950s. What, then, is special about the use of new instruments to examine old instruments? We argue that the answer has less to do with measuring historical innovation or establishing priority, and more to do with networks of craft know-how that, typically, have left no other historical traces than those embodied in surviving instruments themselves. We show, in particular, how collections of objects can be mobilised within wider histories of knowledge, placing instruments within a dynamic interplay of craft knowledge, expertise, labour, commerce, and material exchange, over the longue durée. Finally, we suggest that these kinds of lab analyses can be given an extra dimension through the use of computational modelling, and we introduce the “Tools of Knowledge” project, which is designed to bring together XRF with techniques from the digital humanities, in order to tell a new story about the development of scientific instruments from the 16th to the 20th century. (shrink)

This paper explores aspects of GPT-3 that have been discussed as harbingers of artificial general intelligence and, in particular, linguistic intelligence. After introducing key features of GPT-3 and assessing its performance in the light of the conversational standards set by Alan Turing in his seminal paper from 1950, the paper elucidates the difference between clever automation and genuine linguistic intelligence. A central theme of this discussion on genuine conversational intelligence is that members of a linguistic community never merely respond “algorithmically” (...) to queries through a selective kind of pattern recognition, because they must also jointly attend and act with other speakers in order to count as genuinely intelligent and trustworthy. This presents a challenge for systems like GPT-3, because representing the world in a way that makes conversational common ground salient is an essentially collective task that we can only achieve jointly with other speakers. Thus, the main difficulty for any artificially intelligent model of conversation is to account for the communicational intentions and motivations of a speaker through joint attention. These joint motivations and intentions seem to be completely absent from the standard way in which systems like GPT-3 and other artificial intelligent systems work. This is not merely a theoretical issue. Since GPT-3 and future iterations of similar systems will likely be available for commercial use through application programming interfaces, caution is needed regarding the risks created by these systems, which pass for “intelligent” but have no genuine communicational intentions, and can thereby produce fake and unreliable linguistic exchanges. (shrink)

How can we make businesspeople more concerned about the truth of the information they spread or allow to circulate? In this age of ‘fake news’, ‘business bullshit’ and ‘post-truth,’ the issue is of the utmost importance, especially for business trustworthiness in the internet economy. The issue is related to a kind of epistemic responsibility, that consists in accounting for one’s own epistemic wrongdoings, such as making a third party believe something false. Despite growing interest in epistemic misbehavior in the (...) literature of business ethics, the question of epistemic responsibility has been neglected. The aim of this paper is therefore to address this gap, by proposing a notion of epistemic responsibility for business, that may help regulate undesirable epistemic behavior, such as the spreading of false information. To define this notion of epistemic responsibility, I have introduced the concept of epistemic fault. Being epistemically responsible consists in being disposed to account for alleged epistemic faults. This notion of epistemic fault relies on a theoretical framework which combines a typology of eight ‘epistemic values’, a normative stance regarding these values, and a dispositional approach to epistemic virtues and vices. I use this theoretical framework to integrate the various accounts of epistemic virtues and vices found in the literature into a single explanatory scheme. Combined with the notion of epistemic responsibility itself, such an integrative framework should facilitate the practical application of an operational epistemic ethics in business, i.e., the development of virtuous epistemic practices. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 4, Page 515-529, May 2022. Much of the recent literature on freedom of speech has focused on the arguments for and against the regulation of certain kinds of speech. Discussions of hate speech and offensive speech, for example, abound in this literature, as do debates concerning the permissibility of pornography. Less attention has been paid, however, at least recently, to the normative foundations of freedom of speech where three classic justifications still prevail, based (...) on the values of truth, autonomy and democracy. In this paper we argue, first, that none of these justifications meet all four intuitive desiderata for an adequate theory of free speech. We go on to sketch an original relational view of free speech, one which grounds its value in the recognition that speakers grant each other when engaging in speech practices, and its limits in the republican ideal of non-dominated co-exercisable liberty. We briefly illustrate the relational approach’s implications for the debate on hate speech regulation and for the response to fake news. (shrink)

This paper is a critical and comparative legal historical study, which offers a global vision of the U.S. Legal System, according to the religious factor impact and its complex dimensions (e.g. religious liberty, Church-State relations, welfare state & solidarity). The principal goal is the deconstruction of the fake official History, elaborated after the Second World War (e.g. inferences, impostures, fallacies). At the same time, it shows the social development (and the kind of commitment in each period), and how it (...) happens the consolidation of the system thanks to the regulation. In this way, it is possible to pay attention to the American experimental evolution (not lineal or exceptional –as many U.S.hand-books pretend): from colonial Blue Laws (or Sunday regulation), up to the current regulation on freedom of religion and non-discrimination. Also, this paper offers a systematic set of diverse legal sources (e.g. Executive orders & rules, Legislative statutes, Judicial cases & resolutions). Another goal of this paper is the evaluation of the allegedly paradoxical policies and regulations in this field, during the last two Administrations (Clinton and W. Bush); both of them, from extreme views (linked at the end), they used incorrectly the religious factor, and they confused the institutions. The result seems to be a landed in the Postmodernity (less realistic and more speech based). (shrink)

In a thoughtful paper, Peter Martin Jaworski has written, “The debate over originals, authenticity, fakes, duplicates, and forgery got its start in the mid-60s and then continued until the ‘80s.”Peter Martin Jaworski. “In Defense of Fakes and Artistic Treason: Why Visually-Indistinguishable Duplicates Are as Good as the Originals.” Journal of Value Inquiry (2013), pp. 391–405. Quotation at p. 392. The debate, at least insofar as I participated in it, questioned whether original paintings and forgeries were sufficiently alike – sufficiently the (...) same kinds of things – that as a general rule the same qualities could be predicated of them. I and others argued they were not. To know the qualities of a painting, to make sense of the many often conflicting interpretations critics may offer of the same canvass, one must as a first step know what kind of painting it is. The relevant qualities of a painting, call them “artistic” or “aesthetic” or “stylistic” or whatever, are predicated of them i .. (shrink)

Unfortunately, many people today see the regulation of lies, disinformation, hate speech, and fake news as an infringement of free speech, at least when such speech is ‘political,’ despite the damage that such speech can do. But this very protective attitude toward speech rests on a mistaken understanding of the role of free speech in a liberal society. The right to free speech is based on the liberal value of freedom, and as such can be no broader than freedom (...) itself. And freedom has always been subject to reasonable limits in a liberal society. Indeed, while the principles of toleration and neutrality are often cited as supporting a broad interpretation of the right to free speech, they also tell us that certain limits apply to that right. We need not tolerate speech that encourages intolerance, and while government should be neutral between reasonable conceptions of the good, it need not be neutral between reasonable and unreasonable conceptions. These ideas form the framework of liberal society, and as I shall show, also provide a guide for understanding what kind of speech is protected in a liberal society and what it is not. (shrink)

Traditional philosophy is no longer viable,‭ ‬relevant and acceptable.‭ ‬It might be possible to continue doing philosophizing in traditional ways.‭ ‬It is possible to continue fabricating fictional realities in the manner of the Pre-Socratics,‭ ‬Spinoza,‭ ‬Leibniz,‭ ‬Husserl,‭ ‬Hegel,‭ ‬Plato,‭ ‬et al.‭ ‬It is possible to devise pictures of realities and depictions of‭ ‬human consciousness and cognition like Descartes or in the Kantian manner. -/- One of the major issues with traditional philosophy is its lack of self-awareness,‭ ‬the absence of meta-cognition.‭ (...) ‬This lack of meta-cognition of traditional philosophers leads to the creation of all sorts of questionable phenomena and fake problems. -/- Traditional philosophy,‭ ‬metaphysics,‭ ‬ontology,‭ ‬epistemology,‭ ‬ethics,‭ ‬philosophy of sciences,‭ ‬religion,‭ ‬arts,‭ ‬etc are little more than the possibilities,‭ ‬limits and restrictions enabled and allowed by the philosopher's methodology,‭ ‬techniques and tools.‭ -/- It is most likely possible to envisage a project to devise a collection or synthesis of‭ ‬many alternative realities by means of the insights and theories of theoretical physics,‭ ‬mathematics,‭ ‬bio-chemistry,‭ ‬biology and other sciences,‭ ‬the depictions produced by the arts and pictures of realities presented by the humanities.‭ ‬If such a system of pictures of reality is philosophically relevant and meaningful is however another matter. -/- The original,‭ ‬creative thinking philosopher constitutes alternattive or new realities by his philosophizing.‭ ‬This philosophizing employs and resembles aspects and stages of the processes of theorizing. -/- The real goal of philosophizing is to increase ever greater wisdom.‭ ‬Not merely wisdom in an abstract sense,‭ ‬but different kinds of practical and applied wisdom in all areas of human,‭ ‬everyday existence.‭ ‬In other words,‭ ‬like spirituality and mysticism philosophizing attempts to embody or incarnate wisdom.‭ ‬While mysticism or the mystical paths and aspects of religions aspire to unity experience,‭ ‬to become one with THE ONE,‭ ‬to become the ONE,‭ ‬REAL SELF,‭ ‬to realize the Buddha mind or to be united or‭ '‬married‭' ‬to the Beloved of Sufism. (shrink)

In this paper, it is argued that there are (at least) two different kinds of ‘epistemic normativity’ in epistemology, which can be scrutinized and revealed by some comparison with some naturalistic studies of ethics. The first kind of epistemic normativity can be naturalized, but the other not. The doctrines of Quine’s naturalized epistemology is firstly introduced; then Kim’s critique of Quine’s proposal is examined. It is argued that Quine’s naturalized epistemology is able to save some room for the concept of (...) epistemic normativity and therefore his doctrine can be protected against Kim’s critique. But, it is the first kind of epistemic normativity that can be naturalized in epistemology. With the assistance of Goldman’s fake barn case, it is shown that the concept of epistemic normativity that is involved in the concept of knowing, which cannot be fully naturalized. The Gettier problem indicates that Quine only gets partially right idea concerning whether epistemology can (and should) be natualized. (shrink)

Human civilization is moving into the digital age. Many believe that total digitalization is bringing humanity closer to the dream age of general wellbeing and happiness. However, although there is a real revolution in the knowledge and mastering of the world, the tension and conflicts within human society do not stop, and people do not feel happier. This determines the aim and the tasks of the research, which are based on the analysis of deep contradictions and conflicts existing in modern (...) society, including military conflicts, to find out the factor of consciousness in their emergence and development, as well as the role and significance of information and communication technologies in formation of positive or negative trends. The research methodology has a complex nature and is based on a philosophical and cultural analysis of the problems of the influence of digitalization on the formation of the consciousness of our contemporary, which leads to constructive or destructive directions of the development of society. To solve the specific tasks of the research, the principles of historicism, systematicity, objectivity, the connection of the historical and the logical were also used.Research results: The reasons for deep contradictions tearing modern societylie, first of all, in the material sphere. However, the possibilities of the extensive path are practically exhausted today, it is necessary to go in the direction of improving the mental sphere, to look for new ideas that could help to find new opportunities for the further development of human civilization. However, this is where one of the main conflicts of our time arises, namely: the human consciousness, which is intended for the production of constructive ideas and solutions, is often directed in the exact opposite direction, towards destruction and violence. The search for reasons and discussions on this matter have not stopped for many decades and are becoming increasingly acute.Discussion. The most contradictory human consciousness manifests itselfin the conditions of war. One of the main causes of wars and military conflicts is the deformation of people’s consciousness, the mental sphere at the local and global levels. Modern information and communication technologies create great opportunities to shape human consciousness with given properties, to direct it in one direction or another. Modern highly developed societies, where democracy reigns and the Global Network plays a huge role, seem to be the territory of freedom and pluralism. However, precisely thanks to digital technologies, the satisfaction of spiritual needs has turned into a kind of mass production, when tastes are lowered below the lowest level, and worthy things are replaced by informational surrogates.Conclusions. In order to be able to distinguish a high-quality informationproduct from a fake, veiled or outright lie, a fairly high level of intellectualdevelopment of the individual is required. It is necessary to form an own information environment, where priorities will be clearly defined, as well as curtains and mental filters will be installed, which do not allow the penetration and accumulation of unnecessary and harmful information. The triumph of man in the modern information and digital age lies in the fact that we have reached the level of a society of mass information consumption. But the tragedy is that people were not ready for such a rapid turn in the development of our civilization. There is a real risk of losing one’s humanity, turning not into spiritual beings, but into something similar to machines, homo technologicus, for whom not only higher spiritual needs disappear, but also the value of life in general. In order to avoid a negative scenario, it is necessary to seriously revise the attitude to information, to make information hygiene at all levels the norm of our life. (shrink)

Would suppressing deepfakes violate freedom of expression norms? The question is pressing because the deepfake phenomenon in its more poisonous manifestations appears to call for a response, and automated targeting of some kind looks to be the most practically viable. Two simple answers are rejected: that deepfakes do not deserve protection under freedom of expression legislation because they are fake by definition; and that deepfakes can be targeted if but only if they are misleadingly presented as authentic. To make (...) progress, following a discussion of why freedom of expression deserves protection in a democracy, the question is reframed. At issue is not whether the arrival of deepfakes brings new and potentially serious dangers (it does), nor whether these dangers call for measures that potentially limit freedom of expression (they do), but whether the need for such measures raises any new and unfamiliar freedom-of-expression challenges. The answer to that question, surprisingly, is no. The balancing act needed to cope with the arrival of deepfakes brings plenty of difficulties, certainly, but none of the measures likely to be effective in tackling deepfake harms raises freedom-of-expression concerns that aren’t familiar from consideration of non-deepfake harms. In that respect, at least, the arrival of deepfakes makes no difference. (shrink)

This paper is addressed to recent theoretical discussions of the Anthropocene, in particular Bernard Stiegler’s Neganthropocene (Open Universities Press, 2018), which argues: “As we drift past tipping points that put future biota at risk, while a post-truth regime institutes the denial of ‘climate change’ (as fake news), and as Silicon Valley assistants snatch decision and memory, and as gene-editing and a financially-engineered bifurcation advances over the rising hum of extinction events and the innumerable toxins and conceptual opiates that Anthropocene (...) Talk fascinated itself with—in short, as ‘the Anthropocene’ discloses itself as a dead-end trap…”. The objective of this paper is therefore twofold: (1) to discuss how the Anthropocene is appropriated to certain ideological discourses (paradoxically) to maintain the hegemony of precisely those systems of production that have most accelerated climate change etc.; (2) to consider how the factography of the Anthropocene is exploited in this process to mask the ideological character of industry-aligned “technocratic” environmental management. The paper is not concerned with specific case studies in terms of government and industry policy, or climate science, but rather with the ways in which the discourse of the Anthropocene has been inflected within the humanities and the broader cultural field—that is to say, ideologically, as a system or logic of meaning. How the Anthropocene “means” is, in this respect, a question of some importance. This paper does not attempt to address all the facets of this question, but focuses upon a central “apocalyptic” strain in the discourse of the Anthropocene drawn particularly from Francis Fukuyama’s millennial posthumanism and centred in the question of “sustainability” as catastrophe management—with the risk that real environmental degradation will become an alibi for a revived neoliberalism. In other words, that the critical Earth system transformations that characterise the Anthropocene are themselves commodities, and that the project of their amelioration is in process of defining a future (opportunistic) “crisis” rhetoric with a global political franchise. The ideological import of the Anthropocene stems precisely from the fact that it is planetary and, while catalysed by human agency, independent in its specific behaviour from it. The Anthropocene objectively presents as the contemporary counterpart of the Cold War doctrine of Mutually Assured Destruction and the most compelling argument for a new kind of technological “arms race.” But it also presents as the condition of an emerging ideological discourse which will determine how this race is run. From the discourse on “energy security” to the widespread “security crackdown” on environmental activists across the so-called developed & developing world, the Anthropocene has come to represent the co-option of a scientific factography for the thinly disguised resurgence of “ideological science” of the Fukuyamaesque variety (post-history, post-human). For Fukuyama, the true meaning of “posthuman” is thus the accomplishment of humanity’s historical mission. As the “End of History” designates an end of ideological struggle, so too the dénouement of the Anthropocene and the “ends of man” represent the accomplished purpose of species warfare: dominion, not simply over the world, but over all possible worlds. According to this narrative, science—like technology—must be uniquely at the service of the maintenance of the global order, organised around a universal appeal to “crisis management.” It is precisely for this reason that what calls itself post-human masks the return of an ever-more-apocalyptic Humanism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Bill Brandt: A LifeStuart Richmond, Professor of Arts EducationBill Brandt: A Life, by Paul Delany. Stanford California: Stanford University Press, 2004, 335 pp., $47.50 hardcover.From June to September 2003, Britain's famous art gallery, the Tate Modern, housed dramatically in a gigantic, renovated power station on the south bank of the Thames, held its first major photography exhibition, entitled Cruel and Tender after comments made by a critic to (...) describe the work of Walker Evans. The twenty-three artists in the show, including August Sander, Diane Arbus, Rineke Dijkkstra, William Eggleston, Walker Evans, Philip-Lorca diCorcia, and Thomas Ruff, were mainly Americans and Germans. Bill Brandt, who had a reputation as a documentary photographer, was not included. Writing in the catalogue, Tate director Nicholas Serota notes, "Cruel and Tender examines a form of documentary photography that keeps within the limits of the medium, stressing pure description.... Surrealist and Conceptual photography would fit more naturally into the programs and displays at the Tate, but the elusive and documentary qualities in straight photography challenge the traditions of the institution, by concentrating on a form of photography which explores the intrinsic aspects of the medium." In other words, "straight photography" serves as a kind of unemotional, uncreative narrative of ordinary life, avoiding drama, romanticism, sentimentality, deep coding, and, as far as possible, the expressive contributions of the artist. The relationship of photograph to reality, though problematic, is still interesting, according to the catalogue notes, and this contemporary work aims to inform us, literally, of the true essence, banal or otherwise, of our world. This approach acts implicitly to undermine the fake optimism of consumer capitalism.It will be useful to keep in mind this exhibition in considering the work of Brandt, for in the early 1980s Brandt was being lauded as Britain's greatest photographer, and he was nothing if not expressive. It was his métier to find the unusual in the everyday and to create meaning through careful staging and composition, drawing very much on his own personal outlook, aesthetic philosophy, and psychology. He believed all was permitted in photography, whether in the novel choice of lens, use of friends as models, or darkroom processing to achieve his vision. Rather than being a documentary photographer, at least in the purist sense of the Tate collection, he was more the poet ethnographer with a strong sense of the surreal. His was a vision that would be imposed on the world. After reading Paul Delany's excellent biography, it becomes clear why Brandt, all too soon, had become unfashionable in the eyes of the Tate organizers and contemporary photography at large. He is, nevertheless, an artist who can help us question the nature of reality while producing work that is often very complex and beautiful, and someone whose methods and ideas can serve as [End Page 118] a model of individual creative practice. The global interest in photography, the many significant exhibitions and books produced in the past decade, and the prices paid for photographs have by now lain to rest the old debate about whether photography is a genuine art form. As any serious photographer can attest, producing a photograph that has form, presence, and originality is dauntingly difficult, even though photography seems so easy. Everyone, today, has a camera. Yet, constantly fed with glitzy images from commerce and entertainment that direct our minds along certain well-worn grooves—a challenge for aesthetic education—budding artists require a certain strength of character and imagination to resist the literal and obvious and move toward a more authentic way of seeing. Delany's book shows how someone can defy fashion, as Brandt did for half a century, producing "pictorial" images layered with meaning and mystery. As an aside, despite the intent to show images that simply describe the world, some of the Tate pictures still manage, to my eye at least, to have their own ephemeral expressiveness, and at times great beauty, which raises the question, At what point does a document become a work of art? The Tate approach, with its strict theories, seems to be more interested in legislating than in exploring photographic practice.Biographies can... (shrink)

Mike Shur’s Netflix-aired The Good Place has been a focus of philosophical attention by both popular-culture (written by pop-philosophers) and professional philosophers. This attention is merited. The Good Place is a philosophically rich TV show. The Good Place is based in three places: The Good Place, The Medium Place and The Bad Place. Every human being ends up in one of these places after they die based on their good points (points received for doing good actions e.g., chewing with your (...) mouth closed) and bad points (points received for doing bad actions e.g., virtue-signaling). Spoiler alert: by Season 4 of The Good Place (the fourth and final season), the main characters of the show – Eleanor, Chidi, Jason and Tahani – eventually reach the real Good Place (not the fake “Good Place” they had been tortured in by the human-formed, architect demon Michael in Season 1). However, when they reach the real Good Place after much struggle with ethical dilemmas, recognition of their moral flaws and moral development, they find themselves wanting to leave: they were unsatisfied with what The Good Place had to offer and wanted to be freed from it. This paper is concerned with the following questions: What accounts for their desire to be freed from The Good Place? What kind of freedom were they trying to achieve, and how did The Good Place represent it? Reflecting on these (and similar) questions, I argue that St. Thomas (who made it into The Good Place!) gives an ingenious and plausible answer: it was not merely that The Good Place was characterized by pure hedonism (a core deficit of The Good Place, identified by its creators), but more specifically that they had a positive desire for a freedom from temporal goods/experiences which do not satisfy the longings of the human heart and a freedom for the enjoyment of perfect freedom. While The Good Place ends in much perplexity, I argue that the freedom they desired was a rudimentary articulation of the freedom that St. Thomas identifies in heaven. (shrink)

The choice is clear: truth, justice, freedom or lies, injustice, bondage? The good life and a just society depend on truth telling, but perhaps we are more comfortable with lies and fake news? How can we recognize the truth when everyone does "what is right in their own eyes"? When we accept and expect lies, how is civil society possible? How can we decide what is true, good, and right? If everyone has their own moral compass, is there any (...) compass at all? This book addresses the skepticism about our capacity to know anything for sure and the inevitable consequences of moral relativism. The author says that skepticism and relativism cannot provide effective barriers against the drift by democracies into authoritarianism--characterized by the heavy use of state power to impose the culture of one kind of Me on us all. In the past religion provided a beacon of hope and as the bedrock for our society and its laws. Now, religion is confined to the private and often silent recesses of the person. How then can we speak of God, truth, power, and justice as a society? These are some of the questions that the book takes up. Long begins by saying that truth and freedom promote human flourishing and concludes by pointing us to how we can discern and practice truth telling as private citizens and as people of faith. (shrink)

The name heading a text signifies a pledge of responsibility for the content. Even when the author is not part of the narrative proper, references to his/her name do more than supply factual information. Though ultimately the author is only what readers make him/her to be, s/he is nevertheless a powerful and important figure of reading or understanding that is activated to some extent in all texts. Thus the author’s name is as much part of a text and of our (...) understanding of it as the content itself and yet it is strangely ‘paratextual’, straddling the text and the world outside it. This chapter looks at how ancient authorial ascriptions function as paratexts—focussing on the kind of authority they claim for the text, and how that authority may in some cases be faked. The chapters considers, in particular, sphragides—closing authorial statements in Roman poets—and the authorial voices they express. (shrink)

At first thought, iteration seems banal. It is about repeating the existing; nothing is changing. But this special issue shows that, in an era obsessed with the new, it is often the repetition of the old that creates social change. Iteration fosters persuasion. It affords opportunities for critical and creative engagement with meaning, values and knowledge. It invites collaboration, though its apparent simplicity often belies a tremendous amount of individual and collective labour involved in the practices of iteration. Through its (...) repetition of the existing, however, iteration also can be a mechanism for reproducing the status quo. Its pervasiveness and banality naturalises power, and its mimetic qualities shrink spaces for critical distance and care. The editors of this special issue have brought together a delightful and fascinating diversity of articles focussed on iteration in cultural production in the digital age. We hop across geographies to examine lockdown diaries, artists’ books, socialist memes, fake news, the design of social media platforms and artificial intelligence, activism, film, social media forum moderation, news website reader comments and more. Iterating through the collection as a whole, across its many disciplines, is a commitment to theorising through empirical evidence, to explaining with critique, and to providing pathways to praxis. These characteristics of this special issue, and the many concepts and arguments it puts forward, make this collection of work exceptionally rich material for seeing iteration and how it shapes the world we live in today, as well as the world we want it to be. In this preface, I take a media sociology approach to show how iteration can be usefully understood as collaborative communication for change. I see this understanding of iteration, whose ascendancy is related to the ascendancy of computer science, as baked into the form of communication technologies—and thus as shaping the kinds of iteration that are possible when we use these technologies. This understanding also prompts us to focus on the connection between iteration and social change. To explore how this works, I analytically slow down the practice of iteration to show that it is a communication practice of transmission. That transmission practice is itself constituted of cognate communication practices—the reception, evaluation and production of knowledge—in which visibility and persuasion are key. In the latter parts of the preface, I illustrate this through the example of witnessing as iteration, as the high-stakes nature of witnessing make it a canary in the coalmine, more generally, for mediated communication in the digital age. I show how breaking the witnessing practice down into its various parts allows us to see how power enters and inflects who and what are iterated, when—and who and what are not. Thinking critically with iteration and against unequal power relations, the praxis this preface suggests is one—much in line with the rest of this special issue—of explaining how iteration might move the grassroots towards their goals. (shrink)

Christmas gives us that 'sweet little Jesus Boy' and Lent follows that with the 'gentle Jesus, meek and mild.' He was neither of those. In point of fact, he was the 'tough guy from Nazareth.' He was consistently abrasive, if not abusive, to his mother (Lk 2:49; Jn 2:4; Mt 12:48) and aggressively hard on males, particularly those in authority. In Mark 8 he cursed and damned Peter for failing to get Jesus' esoteric definition of Messiah correct. Nobody else understood (...) it either. Jesus had made it up himself and not adequately explained it to anybody until then. He called the religious authorities snakes, corrupt tombs, filthy chinaware, fakes, and Mosaic legalists who had forgotten God's real revelation of universal grace and salvation in the Abraham Covenant. He tore up the temple in the middle of a worship service and cursed those present for turning God's house of prayer into a den of thieves, when actually they were kind, helping out-of-town tourists obtain the proper sacrifices for the liturgical rituals. Jesus was persistently aggressive, often angry and not infrequently irrational, killing an innocent fig tree with his curse, for example. He constantly attacked the Pharisees and their proposals for renewing the spiritual vitality of the Jewish Community. He abused numerous people by healing them on the Sabbath just to make his political point against the religious leaders. He could just as well have healed them on Tuesday, if he really wanted to heal them. By healing the blind man in John 9 on the Sabbath, for example, he caused the man to be driven out of his synagogue, his family, and his community of faith; isolated and abandoned as if he were a leper. Even when he said surprising things about children, his focus was not on the children but on his disciples, using the children as tools for making an assertive teaching point. Jesus' life was one of perpetually aggressive claims for his vision of God's reign. He constantly and intentionally provoked conflict and disruption of the status quo, spiritually and politically. He refused to negotiate, compromise, palliate, or mollify his insistence upon keeping his elbow perpetually in the eye of the people in power. In all this he would not back down. The principle by which Jesus operated was absolute and that is why he did not back down, even though they killed him for this very reason. His principle was simply that the renewal of Jewish spirituality could only come from a return to the Abrahamic Covenant, which declared (Gn 12; Rm 8) that God is gracious and universally forgiving towards all humankind, unconditional to our conduct and behaviour, and radically in that it removes all fear, guilt, and shame from the equation of our relationship with God (Mi 7:18-20). He saw that the Pharisees and Scribes were absolutely wrong in assuming that the Mosaic legal system would renew the Jewish relationship with God. He was not the gentle Jesus, meek and mild. He was that tough guy from Nazareth! He had good reason and he was willing to go the distance for what he stood for, even to death on the cross. (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)

Tracing the thread of “decreation” in Chinese thought, from constantly changing classical masterpieces to fake cell phones that are better than the original. Shanzhai is a Chinese neologism that means “fake,” originally coined to describe knock-off cell phones marketed under such names as Nokir and Samsing. These cell phones were not crude forgeries but multifunctional, stylish, and as good as or better than the originals. Shanzhai has since spread into other parts of Chinese life, with shanzhai books, shanzhai (...) politicians, shanzhai stars. There is a shanzhai Harry Potter: Harry Potter and the Porcelain Doll, in which Harry takes on his nemesis Yandomort. In the West, this would be seen as piracy, or even desecration, but in Chinese culture, originals are continually transformed—deconstructed. In this volume in the Untimely Meditations series, Byung-Chul Han traces the thread of deconstruction, or “decreation,” in Chinese thought, from ancient masterpieces that invite inscription and transcription to Maoism—“a kind a shanzhai Marxism,” Han writes. Han discusses the Chinese concepts of quan, or law, which literally means the weight that slides back and forth on a scale, radically different from Western notions of absoluteness; zhen ji, or original, determined not by an act of creation but by unending process; xian zhan, or seals of leisure, affixed by collectors and part of the picture's composition; fuzhi, or copy, a replica of equal value to the original; and shanzhai. The Far East, Han writes, is not familiar with such “pre-deconstructive” factors as original or identity. Far Eastern thought begins with deconstruction. (shrink)

It is possible to talk about dominant concepts in modern political definitions. Among these concepts; power, violence, hierarchy, security and resource allocation are the prominent ones. For many, politics is how power and authority is distributed and used. When politics is defined in relation to pure power, violence appears to be one of the effective means of politics. Even, with a further extent, violence is seen as an expression of power. As said by C. W. Mills’ “politics is a struggle (...) for power, the ultimate kind of power is violence” or the way Mao Zedong puts it “politics is war without bloodshed, while war is politics with bloodshed” are the most typical examples of violence and politics together. It is inevitable for politics, which is defined as art of ruling, obtaining power and maximizing power, to see violence as legitimate. User of this formulation most commonly tend to distinguish between legitimate and illegitimate violence. Making this distinction confirms the legitimization of violence as a political action. There are also criticisms of the dominant approach that defines politics through power and violence. These criticisms, by asking whether it is possible to provide a different definition, try to emerge an alternative understanding of politics. Hannah Arendt is one of the prominent thinkers of this current. Through distinguishing the fake and authentic politics, she places action at the center of authentic politics. Action is the ability to initiate and interrupt processes that enables people to realize themselves, make them authentic and live with other humans. In this respect, politics is the act of living together, discussing public issues and taking action for the common world. Acting in the public sphere before their peers causes the person to show uniqueness. In this respect, equality and plurality are the condition of politics. Arendt places not only action, but also “speech” at the center of politics. For Arendt, political life is based on action. The association of politics with the speech clearly excludes violence. According to Arendt, violence is mute and never has the ability to initiate and be creative of the process caused by action, which is the center of politics. The aim of this paper is to rethink politics through Arendt’s views and discussing the possibility of a new definition for politics. (shrink)