Suicidal Thoughts is a compilation of some of the most moving and insightful writing accomplished on the topic of suicide. It presents the thoughts and experiences of fifteen writers who have contemplated suicide-some on a professional level, others on a personal level, and a few, both personally and professionally. Through this collection, the reader is able to bear witness to the struggle between life and death and to the devastating aftermath of suicide. Suicidal Thoughts provides readers with a better understanding (...) of the reasons why some individuals give serious consideration to killing themselves. (shrink)

Fan culture has grown immensely over the past few years. People are constantly looking up to celebrities and personalities as role models for their fashion, identity, and success. During the stage of adolescence, it is normal for teenagers to admire well- known people and form fan attachments as part of their identity formation. However, this admiration of a specific media figure can be associated with one's personality, cognitive processes, and psychological well-being. Thus, the current study aims to investigate the correlation (...) between celebrity admiration and the self-esteem of 238 Filipino male teenagers. The research instruments, namely Celebrity Attitude Scale (CAS) and Rosenberg Self-Esteem Scale (RSES) were both utilized through google forms. Results have shown high scores on celebrity admiration and the normal range of self-esteem of the participants. Using Pearson’s r correlation coefficient, it was found that celebrity admiration and self-esteem of Filipino male teenagers have a significant relationship that exists in a negative direction. (shrink)

Marine ecosystems are under increasing pressure from human activity, yet successful management relies on knowledge. The evidence-based policy (EBP) approach has been promoted on the grounds that it provides greater transparency and consistency by relying on ‘high quality’ information. However, EBP also creates epistemic responsibilities. Decision-making where limited or no empirical evidence exists, such as is often the case in marine systems, creates epistemic obligations for new information acquisition. We argue that philosophical approaches can inform the science-policy interface. Using marine (...) biosecurity examples, we specifically examine the epistemic challenges in the acquisition and acceptance of evidence to inform policy, discussing epistemic due care and biases in consideration of evidence. (shrink)

A dual-code model of number processing needs to take into account the difference between a number symbol and its meaning. The transition of automatic non-abstract number representations into intentional abstract representations could be conceptualized as a translation of perceptual asemantic representations of numerals into semantic representations of the associated magnitude information. The controversy about the nature of number representations should be thus related to theories on embodied grounding of symbols.

The eight essays contained in this book explore the portrayal of women, and various philosophical responses to that portrayal in contemporary post-civil rights society. They bring feminist voices to the conversation about gender and attests to the importance of feminist critique in what is sometimes claimed to be a post-feminist era.

Between the Psyche and the Social is the first collection that specifically features the field of psychoanalytic social theory emerging in and between psychoanalysis, feminism, postcolonial studies, and queer theory, and across the disciplines of philosophy, literary, film, and cultural studies. This collection of essays takes the psychoanalytic study of social oppression in some new directions by engaging—indeed, stirring up—unconscious fantasies and ethical tensions at the heart of social subjectivity.

We present a new axiomatization of the classical discounted expected utility model, which is primarily used as a decision model for consumption streams under risk. This new axiomatization characterizes discounted expected utility as a model that satisfies natural extensions of standard axioms as in the one-period case and two additional axioms. The first axiom is a weak form of time separability. It only requires that the choice between certain constant consumption streams and lotteries should be made by just taking into (...) account the time periods where the consumption is different. The second axiom, the time–probability equivalence, requires that risk and time preferences basically work in the same way. Moreover, we prove that preferences satisfying the natural extensions of the standard axioms as well as the first axiom can be represented in a simple form relying on three functions linked to the risk or time preferences in simple situations. Finally, we illustrate that several examples that are not fully time separable satisfy all our axioms except for the time–probability equivalence. (shrink)

Throughout the biological and biomedical sciences there is a growing need for, prescriptive ‘minimum information’ (MI) checklists specifying the key information to include when reporting experimental results are beginning to find favor with experimentalists, analysts, publishers and funders alike. Such checklists aim to ensure that methods, data, analyses and results are described to a level sufficient to support the unambiguous interpretation, sophisticated search, reanalysis and experimental corroboration and reuse of data sets, facilitating the extraction of maximum value from data sets (...) them. However, such ‘minimum information’ MI checklists are usually developed independently by groups working within representatives of particular biologically- or technologically-delineated domains. Consequently, an overview of the full range of checklists can be difficult to establish without intensive searching, and even tracking thetheir individual evolution of single checklists may be a non-trivial exercise. Checklists are also inevitably partially redundant when measured one against another, and where they overlap is far from straightforward. Furthermore, conflicts in scope and arbitrary decisions on wording and sub-structuring make integration difficult. This presents inhibit their use in combination. Overall, these issues present significant difficulties for the users of checklists, especially those in areas such as systems biology, who routinely combine information from multiple biological domains and technology platforms. To address all of the above, we present MIBBI (Minimum Information for Biological and Biomedical Investigations); a web-based communal resource for such checklists, designed to act as a ‘one-stop shop’ for those exploring the range of extant checklist projects, and to foster collaborative, integrative development and ultimately promote gradual integration of checklists. (shrink)

The COVID-19 pandemic has negatively impacted mobility worldwide. As a corollary, the health of top- and lower-level athletes alike is profoundly reliant on movement and exercise. Thus, the aim of this study is to understand impacts of the COVID-19 pandemic lockdown on athletes’ motivation to exercise and train. In detail, we aim to better understand who reported a change in motivation to train due to the lockdown, why they reported lower motivation, what they did to help themselves, what support they (...) received from others, and what they are looking forward to after the lockdown. Questionnaire data and answers to these open-ended questions were assessed via an online questionnaire, completed by 95 amateur and recreational athletes during the first COVID-19 lockdown in Germany. Results show that greater numbers of female athletes are less motivated to train in comparison to male athletes. No differences in motivation were found regarding type of sport and number of competitions during the year. Also, more motivated to train amateur and recreational athletes showed lower athletic identity than athletes who reported no change in motivation to exercise during the lockdown. Additionally, differences in state emotional, perceived stress, and personality variables were found between athletes who stated that they were less motivated to train compared to athletes who reported no changes in motivation. In particular, closure of sports facilities and social distancing measures were perceived to be highly problematic. Even though athletes received emotional support, organized themselves via routines and schedules, and trained using online tools, they predominately stated that they wished that their coaches would have supported them more. Understanding the impacts of a pandemic-related lockdown on athletes’ motivation, athletes’ coping strategies, and their desired support will help better support them in future crises. (shrink)

Feminist Time Against Nation Time offers a series of essays that explore the complex and oftentimes contradictory relationship between feminism and nationalism through a problematization of contemporality. The collection pursues the following questions: how do the specific temporalities of nationalism and war limit and delimit public spaces in which dissent might happen; and how might we account for the often contradictory and ambiguous relationship of "feminism" and "nationalism" through an exploration of the problem of time?

Documentary film, in the words of Bill Nichols, is one of the "discourses of sobriety" that include science, economics, politics, and history-discourses that claim to describe the "real," to tell the truth. Yet documentary film, in more obvious ways than does history, straddles the categories of fact and fiction, art and document, entertainment and knowledge. And the visual languages with which it operates have quite different effects than does the written text. In the following interview conducted during the winter of (...) 1997, historian Ann-Louise Shapiro raises questions about genre-the relationship of form to content and meaning-with documentary filmmaker Jill Godmilow.In order to explore the possibilities and constraints of non-fiction film as a medium for representing history, Godmilow was asked: What are the strategies and techniques by which documentary films make meaning? In representing historical events, how does a non-fiction filmmaker think about accuracy? authenticity? invention? What are the criteria you have in mind when you call a film like The Wonderful, Horrible Life of Leni Riefenstahl "dishonest"? How does the tension between making art and making history affect documentary filmmaking? Should documentary filmmakers think of themselves, in the phrase of Ken Burns, as "tribal storytellers"? What kind of historical consciousness is produced by documentary film? (shrink)

The purpose of this study was to extend the previous research on ethics in retailing. Prior research of Dornoff and Tankersley, Gifford and Norris, Norris and Gifford, and Burns and Rayman examined the ethics orientation of retail sales persons, sales managers, and business school students. These studies found the college students less ethically-oriented than retail sales people and retail managers. The present study attempts to extend the research on ethics formation to a geographically and academically diverse sample, and to (...) determine if retail management experience in the form of a professional practicum or internship, or entry level management training programs, such as experienced by recent graduates, are critical factors in the formation of business ethics. The sample consisted of thirty-three students majoring in Human Ecology with a concentration in Retail Merchandising and 51 recent graduates of the retail Merchandising program. The series of fourteen vignettes developed by Dornoff and Tankersley was used. An acknowledged limitation of this study is the validity of the questionnaire developed by Dornoff and Tankersley due to the method of development and new laws concerning warranties and credit etc. which have occurred since 1976. The instrument was used, however, to maintain consistency with earlier studies for the purpose of comparison of groups. No significant differences were found in the students' perceptions of the fourteen actions presented in the vignettes, but the range of the responses in the post-internship tests increased in many cases. The alumni appeared to be slightly more ethical than the students but not as ethical as the managers surveyed in 1986 by Norris and Gifford. Indications are that the critical point of ethics formation may be at the mid-management level and that internships and management training programs have little effect on the ethical perceptions of participants. These findings are consistent with studies such as Gable and Topol, and Jordan and Davis which showed high Machiavellian scores among young retailing executives, often buyers, as opposed to upper level retailing management. Scales with measure Machiavellianism, or manipulativeness, have been used as an alternative method of examining business ethics. (shrink)

Anne Conway produced only one short treatise – The Principles of the Most Ancient and Modern Philosophy – but addressed key problems in the philosophy of religion which are still much discussed today. The most significant of these are the problem of religious diversity and the problem of evil. Although the sources of her ideas may be found in the Kabbalah of Isaac Luria and the work of the Cambridge Platonists and the Quaker George Keith, among others, she offers her (...) own unorthodox solutions to these problems. The idea of Christ as an indwelling mediator of the divine who assists us in our moral endeavours is designed to appeal to those of all religions and none, while her claim that God created creatures knowing that they would eventually be redeemed, and that suffering promotes moral development which leads to redemption offers a novel response to the problem of evil. Conway's work is also important for its influence on the work of Gottfried Wilhelm Leibniz, and some have argued that it prefigures, at least in outline, the field theory of modern physics. (shrink)

Documentary film, in the words of Bill Nichols, is one of the "discourses of sobriety" that include science, economics, politics, and history-discourses that claim to describe the "real," to tell the truth. Yet documentary film, in more obvious ways than does history, straddles the categories of fact and fiction, art and document, entertainment and knowledge. And the visual languages with which it operates have quite different effects than does the written text. In the following interview conducted during the winter of (...) 1997, historian Ann-Louise Shapiro raises questions about genre-the relationship of form to content and meaning-with documentary filmmaker Jill Godmilow.In order to explore the possibilities and constraints of non-fiction film as a medium for representing history, Godmilow was asked: What are the strategies and techniques by which documentary films make meaning? In representing historical events, how does a non-fiction filmmaker think about accuracy? authenticity? invention? What are the criteria you have in mind when you call a film like The Wonderful, Horrible Life of Leni Riefenstahl "dishonest"? How does the tension between making art and making history affect documentary filmmaking? Should documentary filmmakers think of themselves, in the phrase of Ken Burns, as "tribal storytellers"? What kind of historical consciousness is produced by documentary film? (shrink)

This thesis investigates the causal theory of properties (CTP). CTP states that properties must be understood via the complicated network of causal relations to which a property can contribute. If an object instantiates the property of being 900C, for instance, it will burn human skin on contact, feel warm to us if near, etc. In order to best understand CTP, I argue that we need to distinguish between properties and particular instances of them. Properties should be analysed via the causal (...) relations their instances stand in, it is this oven’s being 900C which causes my skin to burn, etc. The resulting CTP offers an illuminating analysis of properties. First, it provides a criterion of identity for properties, their identity being analysed via the causal roles property instances realise. It also offers an account of how property instances are sorted into genuine kinds, in cases of determinables and determinates. I show how we can distinguish between genuine and non-genuine similarity via the property instances of objects. The implications of CTP for an analysis of causation are then investigated. I argue that the proposed CTP offers a plausible causal ontology. The fine-grainedness of property instances enables us to capture the subtleties involved in questions concerning what causes what. But, even more importantly, CTP enables us to reconcile two highly attractive theses concerning the causal relation. The first of these is the generalist’s thesis. This states that causal relations are part of more general patterns. The second of these is the singularist’s thesis. This states that the causal connection between two entities, doesn’t depend upon anything extraneous to that relation. I argue that by combining CTP with an ontology of tropes, we can thereby respect what is driving both singularism and generalism.Logic & Metaphysics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:diacritics 33.2 (2005) 42-70 [Access article in PDF] "O Happy Living Things" Frankenfoods and the Bounds of Wordsworthian Natural Piety Anne-Lise François With all the flowers Fancy e'er could feignWho breeding flowers will never breed the same. —John Keats, "Ode to Psyche" And I could wish my days to beBound each to each in natural piety. —William Wordsworth, "My heart leaps up" O happy living things! no tongue Their (...) beauty might declare:A spring of love gusht from my heart, And I bless'd them unaware!Sure my kind saint took pity on me, And I bless'd them unaware. —Samuel Taylor Coleridge, "The Rime of the Ancient Mariner" "O happy living things!"—vitamin-enriched grains; potatoes equipped to kill their predators; silk-producing goats; fast-growing salmon that hardly require feeding. Is it possible to predicate the breathless exclamation that escapes Coleridge's mariner, unaware not of water snakes but of the fantastic array of genetically modified creatures—animals and plants—currently under design or production by biotech industries? Already in May 2000 a New York Times article was announcing the imminent arrival of "fast-growing trout and catfish, oysters that can withstand viruses, and an 'Enviropig,' whose feces are less harmful to the environment because they contain less phosphorus." An article inset describes the emergent production of "pharm-animals":These domesticated beasts—cows, pigs, goats, sheep, and chickens—have been given the ability to produce pharmaceuticals and other valuable substances in their milk, eggs or semen. Endowed by scientists with foreign genes, often taken from humans, these animals, or bioreactors, as they are also known, earn their keep as living chemical factories. Two companies, the Genzyme Corporation of Cambridge, Mass., and PPL Therapeutics, a Scottish company, already have products from pharm animals being tested in clinical trials supervised by the Food and Drug Administration. Many other animals are [End Page 42] still in the development stage. For example, Nexia Biotechnologies in Canada is working on a goat that carries a gene from spiders allowing it to produce spider silk in its milk. When the spider silk, which consists of extremely strong, light proteins, is extracted from the goat's milk, the substance, potentially, can be used in applications like bulletproof vests. [Yoon] This last sentence is intriguing. The genetic revolution often bills itself as a second green revolution that will prevent starvation and alleviate disease, promising to feed the world's growing population in terms that tend to essentialize poverty and hunger as inevitable symptoms of a human condition, rather than understand them through the lens of specific colonial and postcolonial histories. But bulletproof vests? The indignant leftist response here would be to deride the collusion between biotechnology and the military-industrial complex—bulletproof vests leaving little doubt as to whose desires count as universal, timeless needs. Yet such a response is perhaps too quick to attribute reason to these genetic experiments in cross-species breeding, and too quick to accept the terms in which biotechnicians present themselves—as the instruments of reason, whether of global capitalism or universal human progress. Part of what this essay wishes to suggest is that to dream up such things and to think of wanting to do them—make a goat produce spider silk in its milk—involve particular fantasies, fantasies not simply about recreating the world in one's image, but about learning to desire the world again, to be excited by it or "surprised" by its existence, to borrow a phrase from Stanley Cavell. The journalist's parenthetical "potentially" indicates that no use has yet been determined, no burning need fuels such experiments, and hints at the boredom behind them—what William Wordsworth might have called the "state of almost savage torpor" in which desire itself has to be invented.As the New York Times writer's double metaphor of animal as laborer- and factory-in-one suggests—"these animals, or bioreactors, as they are also known, earn their keep as living chemical factories"—the binaries animal-human, machine-animal... (shrink)

The purpose of this study was to extend the previous research on ethics in retailing. Prior research of Dornoff and Tankersley (1985–1976), Gifford and Norris (1987), Norris and Gifford (1988), and Burns and Rayman (1989) examined the ethics orientation of retail sales persons, sales managers, and business school students. These studies found the college students less ethically-oriented than retail sales people and retail managers. The present study attempts to extend the research on ethics formation to a geographically and academically (...) diverse sample, and to determine if retail management experience in the form of a professional practicum or internship, or entry level management training programs, such as experienced by recent graduates, are critical factors in the formation of business ethics. The sample consisted of thirty-three students majoring in Human Ecology with a concentration in Retail Merchandising and 51 recent graduates of the retail Merchandising program. The series of fourteen vignettes developed by Dornoff and Tankersley (1975–1976) was used. An acknowledged limitation of this study is the validity of the questionnaire developed by Dornoff and Tankersley due to the method of development and new laws concerning warranties and credit etc. which have occurred since 1976. The instrument was used, however, to maintain consistency with earlier studies for the purpose of comparison of groups. No significant differences were found in the students' perceptions of the fourteen actions presented in the vignettes, but the range of the responses in the post-internship tests increased in many cases. The alumni appeared to be slightly more ethical than the students but not as ethical as the managers surveyed in 1986 by Norris and Gifford. Indications are that the critical point of ethics formation may be at the mid-management level and that internships and management training programs have little effect on the ethical perceptions of participants. These findings are consistent with studies such as Gable and Topol (1988), and Jordan and Davis (1990) which showed high Machiavellian scores among young retailing executives, often buyers, as opposed to upper level retailing management. Scales with measure Machiavellianism, or manipulativeness, have been used as an alternative method of examining business ethics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Earthquake of 1906, the Christian Anarchy of Dorothy Day, and the Opened “Tomb” of René GirardAnn W. Astell (bio)The autobiographical writings of Dorothy Day (1897–1980) feature a childhood memory of catastrophe and conversion, her traumatic experience at age eight of the earthquake that rocked San Francisco and Oakland in 1906, leaving half of San Francisco in ruins and sending 50,000 refugees in flight from the burning city, many (...) of them in ferries across the bay. Day’s observations of the spontaneous behavior of people who helped one another at that time of crisis guided her later in dealing with the great crash of 1929 and the subsequent economic depression, during which, in 1933, she cofounded with Peter Maurin (1877–1949) the Catholic Worker Movement and its many Houses of Hospitality.Day’s experience of an anti-sacrificial civilization of love emerging spontaneously out of a chaotic situation of social crisis seems to challenge René Girard’s theory of the scapegoat-mechanism as the normative way of restoring order and peace to a community whose very existence is threatened by anarchy. A closer examination of Day’s experience and social thought in conversation with Girard’s reveals that Girard and Day agree about the violent origins of all culture, which Day envisages as revealed by an earthquake, Girard as concealed by a tomb—related foundational images that, as we shall see, Scripture scholars [End Page 19] find collocated especially in the final chapters of the Gospel according to St. Matthew. The difference between the two images—one natural and one man-made—should not, and indeed cannot, be overlooked, however. The earthquake and its social effect as observable phenomena force the consideration that Girard’s early formulations of his theory, which explicitly distanced it from naturalistic explanations of myth, need to be revised in a way that accords more closely with his own later, apocalyptic thought.In an article published recently in Contagion, Matthew Pattillo has shown that Girard’s writings parallel, and to some extent directly affected, those of Jacques Ellul,1 the noted Christian anarchist who cites Girard explicitly on occasion and whose many books, according to Mark and Louise Zwick, “influenced the later Catholic Worker Movement.”2 In this article, I follow Pattillo’s lead, going back in time in order to examine ways in which the mimetic theory of Girard illumines the early thought and practice of Day, highlighting the originality of Day’s Christian anarchism as a remedy for a culture founded on violence. Whereas Girard posits a prereligious phase of anarchic, contagious violence, to which the rituals and prohibitions of religious societies responded (thus distantly preparing the way for a secularized modernity in which “law and order” stand opposed to an ever-threatening “anarchy”), Day finds a freely chosen Christian anarchy the best cure for anarchic destruction and totalitarianism alike, thus forging what Pattillo calls a “‘third way’ beyond law, beyond morality, beyond chaos.”3 In the end, the prolonged crisis within which the Catholic Workers shape their anarchistic “new society” against an eschatological horizon confirms Girard’s apocalypticism, even as it serves to place it in conversation with the apocalyptic philosophy of history of the Russian philosopher Nicholas Berdyaev (1874–1949), whose thought influenced Maurin and Day.4The Earthquake and the TombFor Girard, the tomb is the real and metaphoric evolutionary origin of human civilization. “Culture,” he writes,always develops as a tomb. The tomb is nothing but the first human monument to be raised over the surrogate victim, the first, most elemental and fundamental matrix of meaning. There is no culture without a tomb, and no tomb without a culture; in the end, the tomb is the first and only [End Page 20] cultural symbol. The above-ground tomb does not have to be invented. It is the pile of stones in which the victim of unanimous stoning is buried.5Moving from its literal, historical meaning in connection with a primeval murder, Girard elaborates the metaphorical significance of the tomb for culture as a whole. As a site serving two functions simultaneously—namely, those of honoring the dead and of concealing a corpse—the tomb... (shrink)

Following the U.K. Labour government commitment to marriage in the 1998 Green Paper ‘Supporting Families’, Barlow and Duncan produced a robust critique calling for ‘realism’ in recognising that many couples are now choosing not to marry, that too many do not make informed decisions as to whether to marry or not and that, on the basis of their survey, over 40% of respondents believed that some form of family law protection would be available to them, despite their lack of marital (...) status. When added to a concern that economically vulnerable cohabiting women do not receive adequate protection in property law, it seemed all too obvious that the government commitment to marriage should be challenged. In fact, government policy does seem to have shifted somewhat when, partly as a tactical manoeuvre to help the passage of the Civil Partnership Act 2004 and specifically recognising concerns with the needs of economically vulnerable parties, the issue was referred to the Law Commission for England and Wales. This places the ‘realism’ arguments firmly within the reform agenda. However, this article argues that there is a need to look more closely at the arguments used by the ‘realists’, in particular at the evocation of the figure of Mrs. Burns. The more contemporary case of Oxley v. Hiscock is used to both raise questions about the socio-economic profiles of cohabitants, as well to question the presentation of property law as failing women (and family law as offering the protection they need). I argue that feminists should take a cautious approach in relation to the seemingly compelling argument that cohabitants will benefit from the extension of aspects of marriage law to cover property issues at the end of a relationship. (shrink)

Burns, C. R. Introduction.--Antiquity: Margalith, D. The ideal doctor as depicted in ancient Hebrew writings. Edelstein, L. The Hippocratic oath. Edelstein, L. The professional ethics of the Greek physician. Michler, M. Medical ethics in Hippocratic bone surgery. Maas, P. L., Oliver, J. H. An ancient poem on the duties of a physician.--The medieval era: Levey, M. Medical deontology in ninth century Islam. Bar-Sela, A., Hoff, H. E. Isaac Israeli's fifty admonitions of the physicians. Rosner, F. The physician's prayer attributed (...) to Moses Maimonides. MacKinney, L. C. Medical ethics and etiquette in the early middle ages, the persistence of Hippocratic ideals. Welborn, M. C. The long tradition, a study in fourteenth-century medical deontology.--The modern period: Larkey, S. V. The Hippocratic oath in Elizabethan England. Pleadwell, F. L. Samuel Sorbiere and his Advice to a young physician. Clark, G. Bernard Mandeville, M.D., and eighteenth-century ethics. Burns, C. R. Thomas Percival, medical ethics or medical jurisprudence? Burns, C. R. Reciprocity in the development of Anglo-American medical ethics, 1765-1865. Williams, T. F. Cabot, Peabody, and the care of the patient. (shrink)

Gamification in education is still a very new concept in South Africa. Being a 21st-centuryinvention, it has already established itself in the world within the environs of the corporatemarket, marketing, training and the social world. This article will first discuss gamification(and all its other designations) and its applications in general; thereafter, the focus will be onthe application of gamification within the environment of education, and more specificallywith an emphasis on assessment. The burning question for South Africa is whethergamification can enhance (...) a module or course on the level of higher education so much that aneducational institution cannot do without it anymore, knowing that we are working withstudents belonging to the ‘Digital Wisdom generation’. This article would like to open theway for the implementation of gamification as a transformative online assessment tool inhigher education. (shrink)

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Dans la genese de sa constitution, la philosophie n'a pu faire l'economie d'une confrontation avec la musique qui fournissait aux anciens Grecs les schemes fondamentaux de la culture. De cette confrontation Platon est le temoin. Scindant la musique, il privilegie l'Harmonique, qui en est la partie theorique, sans toutefois lui reconnaitre la titre de science supreme. Correlativement, il condamne comme dysharmonie, tumulte fracassant et perturbateur de l'ordre cosmique, l'harmonie chromaticiste dont il s'emploie, non sans paradoxe, a decrire le detail. Par (...) cette lecture en filigrane des Dialogues de Platon, l'auteur se propose de reconstruire la pensee qui procede de l'harmonie chromaticiste et de montrer son importance dans l'elaboration de la philosophie fondatrice. Au carrefour des disciplines du savoir antique, ce livre s'adresse non seulement aux philosophes, mais aussi a tous ceux qui, musiciens ou stylisticiens, s'interessent a la forme musicale. (shrink)

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

In this paper I argue against Michael Morris’ claim, that the Tractatus view involves holding that the possibility of truth-functional combination is prior to the possibility for sentential constituents to combine with one another. I provide an alternative interpretation in which I deny the presence of any distinction in the Tractatus between these two possibilities. I then turn to Adrian Moore’s ‘disjunctivist’ account of sentencehood, itself inspired by the Tractatus view. I argue that Moore’s account need not involve a commitment (...) to the kind of priority Morris describes, and that it need not involve a commitment to transcendental idealism. (shrink)