The field of Neuro-Engineering seems to be on the fast track towards accomplishing its ultimate goal of potentially replacing the nervous system in the face of disease. Meanwhile, the patients and professionals involved are continuously dealing with human bodily experience and especially how neuro-engineering devices could become part of a user’s body schema: the domain of ‘embodied phenomenology’. This focus on embodiment, however, is not sufficiently reflected in the current literature on ethical and philosophical issues in neuro-engineering. In this article (...) we will focus on this lacuna by explaining existing data on neuro-engineering user’s experiences by using phenomenological concepts such as transparency and the concepts that may facilitate this: functionality, sensorimotor feedback and affective tolerance. By introducing and applying these concepts to four real life case examples, we will discuss practical implications and guidelines which can contribute to the actual success of incorporation of the device by the patient. First, we will discuss the importance of a ‘Patient Preference Diagnosis’, which can serve as a way to prepare the patient for the existential reorientation involved in the process. In addition, a Patient Transparency Diagnosis during and after such a process is also relevant when wanting to provide the medical field in general with feedback, and the patient in particular with possibilities to fine-tune the device. From these practical guidelines we will conclude that the phenomenological approach can be very valuable when applied to the field of neuro-engineering. (shrink)

The field of Neuro-Engineering seems to be on the fast track towards accomplishing its ultimate goal of potentially replacing the nervous system in the face of disease. Meanwhile, the patients and professionals involved are continuously dealing with human bodily experience and especially how neuro-engineering devices could become part of a user’s body schema: the domain of ‘embodied phenomenology’. This focus on embodiment, however, is not sufficiently reflected in the current literature on ethical and philosophical issues in neuro-engineering. In this article (...) we will focus on this lacuna by explaining existing data on neuro-engineering user’s experiences by using phenomenological concepts such as transparency and the concepts that may facilitate this: functionality, sensorimotor feedback and affective tolerance. By introducing and applying these concepts to four real life case examples, we will discuss practical implications and guidelines which can contribute to the actual success of incorporation of the device by the patient. First, we will discuss the importance of a ‘Patient Preference Diagnosis’, which can serve as a way to prepare the patient for the existential reorientation involved in the process. In addition, a Patient Transparency Diagnosis during and after such a process is also relevant when wanting to provide the medical field in general with feedback, and the patient in particular with possibilities to fine-tune the device. From these practical guidelines we will conclude that the phenomenological approach can be very valuable when applied to the field of neuro-engineering. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Vagaries and Vicissitudes of WarRichard W Sams III remember standing in the kitchen of our home on Camp Pendleton—a United States Marine Corps base in Southern California—listening to National Public Radio (NPR) and doing dishes in the fall of 2002. President Bush announced to the world that he was considering a pre-emptive invasion of Iraq on the pretext of Saddam Hussein harboring weapons of mass destruction (WMD). Three (...) months later, as a Navy Family Physician, I deployed with a surgical company in support of Operation Iraqi Freedom. Reflecting on the situation with a like-minded close friend, I was not sure— would this be a just war? A necessary war? In my mind, it did not rise to the level of conscientious objection, yet the rightness of invading another country with all the anticipated death and destruction was not clear.En route to Kuwait, we laid over in Spain. While fixed to a TV in a holding area, I watched the Secretary of State make a case to the United Nations (UN) and the world that removing Hussein from power would protect us from mobile anthrax labs that could kill tens of thousands. I thought to myself, Either he is absolutely right, and we are protecting our country and the rest of the free world, or he is terribly mistaken and we are embarking on a disaster.As we trained, prepared, and waited in our tents to invade, we listened to the news on “Voice of America” with a hand crank radio. Thousands of citizens from nations around the world protested. Pope John Paul II, a man well acquainted with the tragedy of war, even spoke out about the planned invasion. “War is not inevitable. It is always a defeat for humanity.” He admonished our leaders that war needed to be the very last option. As a man of faith, I was troubled by his resolute, thoughtful opposition to the crusade I was embarking on. As the day of the invasion approached, scud missiles flew over our camp and we scurried into bunkers, day and night, with our gas masks donned to protect us from possible WMD attacks. In March, with the announcement of a “shock and awe” missile attack on Hussein’s palace, the invasion commenced.Within a day of flying by helicopter into enemy territory to set up a surgical company, the fog of war set in. A series of mass casualties streamed in from nearby Nasiriya. We received dozens of injured enemy combatants and American soldiers. Most troubling were the civilians. An entire extended family fleeing for their lives stumbled into an Iraqi minefield meant for us: a mother dead, the men with shrapnel wounds, and an aunt lost both of her legs. Then there was the little boy. By doctrine, our leaders reassured us we would not care for children. Yet, out of instinct, the field corpsmen scooped up all injured, including children, and [End Page 170] brought them to us. The five-year-old’s legs were blown to bits. We had no pediatric supplies. The anesthesiologist heroically intubated the child’s tiny airway with a urinary catheter and placed an adult IV. The surgeons corrected the wounds the best they could. Hours later, in futility, we performed chest compressions on his tiny mangled body.A day later, the worst sandstorm in a decade struck the area. We struggled to keep the patient-filled tents erect. A Marine appeared on the scene out of the darkness (you could not see beyond your nose in the storm) exclaiming we were going to condition one—lock and load our weapons due to an imminent threat. As healthcare professionals, Geneva Conventions dictated we were to use weapons only in self-defense. We chambered our 9-millimeter pistols to defend our patients and ourselves while Marines formed a defensive perimeter. I thought to myself, Great I’m gonna be shot up and die during a freaking sandstorm in Iraq. Hours later, we were told to stand down. The threat was not from approaching enemy combatants but from shepherds running from the crossfire. I had a small nervous breakdown, sleep deprived and under duress... (shrink)

I’m one of those who is awed and impressed by the potential of this field and have devoted some part of my energy to persuading people that it is a positive force. I have done so largely on the grounds of its economic benefits and it potential for making the fruits of computer technology more generally available to the public — for example, to help the overworked physician; to search for oil and minerals and help manage our valuable resources; to (...) explore, mine, and experimentindangerousenvironments;toallowthenon-computingpublicaccesstovast libraries of important information and even advice, and in the process give real meaning to the.. (shrink)

How can we best understand our aesthetic appreciation of sky and space? This essay begins by outlining the nature of spatial experience through some examples. Then it examines how our responses can be shaped by art and myth. Here we see how themes, such as ascension, that were current in prehistory and developed religions, can be reappropriated as components of a justifiable aesthetic experience. However, the task of finding defensible aesthetic responses to space as both experience and abstract idea does (...) present paradoxes. For example, how are we to respond to scientific updates about the ever greater vastness of space? The way forward presented here is to endorse, but not with any sense of uniqueness of misplaced grandeur, our freedom to contemplate with due seriousness both the near and the far and our own capacities, such as imagination and love, as also part of the wonder and mystery of the universe. (shrink)

a. 'Two things fill the mind with ever new and increasing admiration and awe, the oftener and the more steadily we reflect on them: the starry heavens above and the moral law within. ' Thus Kant formulates his attitude to morality (Critique of Practical Reason, p. 260). He draws a sharp distinction between these two objects of admiration. The starry sky, he writes, represents my relationship to the natural, empirical world. Moral law, on the other hand, is of a completely (...) different order. It ' . . . begins from my invisible self, my personality, and exhibits me in a world which has true infinity, but which is traceable only by the understanding and with which I discern that I am not in a merely contingent but in a universal and necessary connection (. . . ). ' (p. 260). So Kant sees morality as a separate metaphysical order opposed to the world of empirical phenomena. Human beings belong to both worlds. According to Kant, the personality derives nothing of value from its relationship with the empirical world. His part in the sensuous world of nature places man on a level with any animal which before long must give back to the rest of nature the substances of which it is made. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eve W. Stoddard REASON ON TRIAL: LEGAL METAPHORS IN THE CRITIQUE OF PURE REASON 6 6 r I 1WO things fill the mind with ever new and increasing admi_I_ ration and awe, the oftener and more steadily we reflect on them: the starry heavens above me and the moral law within me." ' These are perhaps Kant's most well-known and oft-repeated words. They reflect not only the profound feeling (...) that underlies his technical and abstruse treatises, but also his characteristic preoccupation with law. The "starry heavens" are a synecdoche both for the wonder of nature as we perceive it in all its multiplicity, and for the marvel of science's ability to reduce, order, and subdue that infinite multiplicity into a few elegant laws. These two types of law, natural and moral, define the focus of Kant's critical philosophy, and metaphors drawn from jurisprudence pervade all three critiques. In the context of controversial statements on the role of metaphor in philosophical texts by Jacques Derrida, Paul Ricoeur, and Richard Rorty, I will analyze the legal metaphors in the prefaces and Transcendental Deductions of the Critique ofPure Reason. My goal in engaging Kant's texts in this controversy over metaphor is twofold: on the one hand to assess experimentally the value of these positions on metaphor in the history of philosophy, and, on the other hand, to examine the relations between critical conceptualization and insurgent metaphoricity in Kant's carefully elaborated and systematized text. In a textwhose key words are "universal and necessary for all possible experience," contingentand ambiguous metaphors might be expected to cause problematic unravelings. Richard Rorty has argued recently that "the history ofscience, culture and politics" should be viewed "as a history of metaphor rather than of discovery." 2 He compares the creations of new vocabularies to the 245 246Philosophy and Literature invention of "new tools" ("CL," p. 5), alluding to "Nietzsche's definition of truth as a mobile army of metaphors" (p. 6). From Plato's figures of the world as cave and the mind as charioteer with unruly horses, we shift to Locke's view of mind as tahda rasa and Descartes's description of the world as a machine. Rorty's paradigm of cultural history as a history of metaphor enters into an earlier, unresolved debate between Jacques Derrida and Paul Ricoeur over the relationship between metaphor and philosophical discourse. Like Derrida, Rorty follows Nietzsche's claims about metaphor in the history of philosophy, a view Ricoeur wants to disprove so that he can recover the privileged univocity of speculative discourse. However Rorty has nothing in common with die complexity and "invaginated" ambiguities, the dazzling multivocity of Derrida's writing on the economics of metaphor. Although Rorty appears at first to agree with Derrida that there is no truth or reality apart from the linguistic tropes which dominate different epochs and cultures, he retains a metaphysical distinction between literal reference and figurative play. Rorty adopts Donald Davidson's theory that metaphors do not have "meaning" precisely because diey have no place in the language game into which they are inserted. They produce an effect, but it is not meaning: "One can only savour it or spit it out"; it is not a " 'truth-value candidate' " ("CL," p. 6). However, through repeated use, the metaphor will find a role in the language game; dying as a metaphor, it will live as a literal statement. Therefore Rorty agrees with Ricoeur that a moribund metaphor is no longer a metaphor, but a literally functioning segment of discourse. Thus despite his initial move toward a Derridean, or atleast Nietzschean, position, Rorty ultimately takes a stand consonant with Ricoeur's desire to rescue speculative discourse from the unruliness of metaphor. Considering Rorty's celebration of Freud in an article on "The Contingency of Selfhood," 3 his failure to consider the role of unconscious associations and overdetermination in the writing and reading of texts is surprising. Dead or alive, a metaphor brings with it a host ofpersonal and public, conscious and unconscious, new and traditional associations that become juxtaposed against a similar number of associations connected with the signifying chain into which the metaphor has been inserted. In... (shrink)

Media analyses of the aesthetic presentation of news frequently and persuasively demonstrate the skewed ethics of news production, where those in need who are distant and dissimilar are often presented in ways that do not fully humanize their condition. However, it is argued here, they also locate too fully the locus of moral responsibility in the production and presentation of the media text. This article explores the moral demands inherent in two kinds of media presentation: the explicit focus on shock (...) and awe over intimacy; and minimal presentations that substitute bare information for affective stories. It is argued that in both cases a moral encounter with the other can be motivated despite the news presentation and it is concluded that an excessive emphasis on the role of the news in generating moral responsibility justifies a spectatorish inertia that should be resisted. (shrink)

This is a collection of early essays. It ought to be read with The Future of Man before any of his other works, particularly before trying to stumble through such terms as the 'Noosphere,' 'forced coalescence,' 'Migh-Synthesis'. Teilhard does not argue in syllogistic form, which may be scandalous to Scholastics. But then he does not argue at all. He seems to assume that he is writing to a select group of cognoscenti, who know as much about science and philosophy as (...) he. He does not take issue with his contemporaries --nor with the great thinkers of the past. One senses something of his intellectual isolation, and one is awed all the more by Teilhard's accomplishments. There are some problems with Teilhard's use of familiar scientific terms, especially as they are presented to a non-scientific reader. Teilhard supports the mentality of the modern believing Christian. He argues that "at extreme degrees of physico-chemical complexity, attaining the order of a million atoms, particles become 'animate'. At the level of the viruses we meet an ill-defined function which separates living from non-living beings." It is that kind of world-view that is consonant with both modern theology and modern science, at least in a Christian context.--W. A. J. (shrink)

Little is known about the psychological processes that can explain how connectedness to nature evolves. From social psychology, we know that emotions play an essential role when connecting to others. In this article, we argue that social connectedness and connectedness to nature are underpinned by the same emotions. More specifically, we propose that social relational emotions are crucial to understanding the process, how humans connect to nature. Beside other emotions, kama muta (Sanskrit: being moved by love) might play a particular (...) crucial role when connecting to nature. Future research should address the consideration of social relational emotions in a range of areas when investigating the human-nature relationship. (shrink)

In the Netherlands, the poet Herman Gorter is mostly known as the author of the neo-romantic poem May and the “sensitivistic” Poems, but internationally he became famous as a propagandist of radical Marxism: the author of influential brochures and of an “open letter” to comrade W.I. Lenin in 1920. During the 1890s, Gorter became increasingly dissatisfied with his poetry, considering it as ego-centric, disinterested and “bourgeois”, unconnected with what was happening in the real world. He wanted to put his poetry (...) on a scientific footing, notably by endorsing a dialectical materialist worldview. In the communist society he envisioned, science would become poetry and poetry would become science. In his opus magnum Pan, two terms are rather prominent, namely heelal and kristal. These signifiers not only reflect important themes, but also two friendships which began around 1900, namely with prominent astronomer and marxist Anton Pannekoek and with Ada Prins, the first woman in the Netherlands who acquired a PhD in chemistry, specialised in liquid crystal research. Whereas Ada Prins is mostly remembered as one of Gorter’s secret lovers, she was first and foremost his educated guide into the complex and enigmatic world of twentieth-century chemistry research. Liquid crystal chemistry became an important source of inspiration for Gorter’s work and the main objective of this paper is to demonstrate her influence on Gorter’s Pan as a scientific poem After presenting the two heroes of this paper, and their work in poetry and chemistry respectively, I will analyse the role of liquid crystals in Herman Gorter’s Pan, highlighting important connections with Ada Prins’ research into liquid crystal chemistry. (shrink)

In the Netherlands, the poet Herman Gorter is mostly known as the author of the neo-romantic poem May and the “sensitivistic” Poems, but internationally he became famous as a propagandist of radical Marxism: the author of influential brochures and of an “open letter” to comrade W.I. Lenin in 1920. During the 1890s, Gorter became increasingly dissatisfied with his poetry, considering it as ego-centric, disinterested and “bourgeois”, unconnected with what was happening in the real world. He wanted to put his poetry (...) on a scientific footing, notably by endorsing a dialectical materialist worldview. In the communist society he envisioned, science would become poetry and poetry would become science. In his opus magnum Pan, two terms are rather prominent, namely heelal and kristal. These signifiers not only reflect important themes, but also two friendships which began around 1900, namely with prominent astronomer and marxist Anton Pannekoek and with Ada Prins, the first woman in the Netherlands who acquired a PhD in chemistry, specialised in liquid crystal research. Whereas Ada Prins is mostly remembered as one of Gorter’s secret lovers, she was first and foremost his educated guide into the complex and enigmatic world of twentieth-century chemistry research. Liquid crystal chemistry became an important source of inspiration for Gorter’s work and the main objective of this paper is to demonstrate her influence on Gorter’s Pan as a scientific poem After presenting the two heroes of this paper, and their work in poetry and chemistry respectively, I will analyse the role of liquid crystals in Herman Gorter’s Pan, highlighting important connections with Ada Prins’ research into liquid crystal chemistry. (shrink)

This paper explores the interrelations between temporality and emotion in rhetorical argumentation. It argues that in situations of uncertainty argumentation affects action via appeals that invoke emotion and thereby translate the distant past and future into the situated present. Using practical inferences, a threefold model for the interrelation of emotion and time in argumentation outlines how argumentative action depends on whether speakers provide reasons for the exigence that makes a decision necessary, the contingency of the decision, and the confidence required (...) to act. Experiences and choices from the past influence the emotions experienced in the present and inform two intertemporal mechanisms that allow speakers and audiences to take the leap of faith that defines decision-making under uncertainty: retrospective forecasting and prospective remembering. Retrospective forecasting establishes a past–future–present link, whereas prospective remembering establishes a future-past-present link, and, together, the two mechanisms provide a situated presence that transcends the temporal constraints of uncertainty. Finally, the applicability of the model is illustrated through an analysis of a speech delivered by Danish Prime Minister Mette Frederiksen at the outset of the COVID-19 pandemic, a time where the need for decisive, yet argumentative action was crucial. (shrink)

This article is a short presentation of God existance in Julian Tuwim’s works. In the early period of Julian Tuwim literal output, in juveniles and Czyhanie na Boga (Wailing for God), Sokrates tańczący (Dancing Socrates), Siódma jesień (Seventh Autumn), Słowa we krwi (Words in Blood), God is shown with a passion and nostalgia. But afterwords its position changed and was usually depicted as Jesus Christ. God became a sinonime of lost love, order, consolation in the article of awe existance, justice (...) which lack of them is visible for Tuwim. God is a creation power and women become deified by him. It is hard to talk about transcendental experience in Tuwim’s poetry. There is no way out to the history, society and culture. (shrink)

This paper uses a study of the life story narratives of former classmates of Dutch and Moluccan descent to argue that the constructionist approach to intersectionality, with its account of identity as a narrative construction rather than a practice of naming, offers better tools for answering questions concerning intersectional identity formation than a more systemic intersectional approach. The case study also highlights the importance of the quest for origins in narratives. It demonstrates that theories of intersectionality are unjustified in subsuming (...) the issue of belonging under the identity marker of ethnicity, when all identities are performatively produced in and through narrative enactments that include belonging. Belongingness is a precarious achievement. The case study illustrates that if narrative accounts of a life fail to achieve narrative closure regarding roots, attempts to trace routes are seriously hampered. (shrink)

This article discusses the viability of a feminist constructivist approach of knowledge through the careful reading of the work of the feminist scholar and historian of science and technology, Donna Haraway. Haraway proposes an interpretation of objectivity in terms of "situated knowledges. " Both the subject and the object of knowledge are endowed with the status of material-semiotic actors. By blurring the epistemological boundary between subject and object, Haraway's narratives about scientific discourse become populated with hybrid subjects/objects. The author argues (...) that the ethics of these hybrid subjects consists of an uneasy mixture of a Nietzschean and a socialist-Christian ethic. The article concludes by setting out why Haraway's project constitutes an inter esting effort tofuse postmodern insights and feminist commitments. (shrink)

A complete translation of Aristotle's classic that is both faithful and readable, along with an introduction that provides the modern reader with a means of understanding this seminal work and its impact on our culture. In this volume, Joe Sachs (translator of Aristotle's _Physics, Metaphysics,_ and the _Nicomachean Ethics _)also supplements his excellent translation with well-chosen notes and glossary of important terms. Focus Philosophical Library translations are close to and are non-interpretative of the original text, with the notes and a (...) glossary intending to provide the reader with some sense of the terms and the concepts as they were understood by Aristotle’s immediate audience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Destruction and Transcendence in W. G. SebaldMark R. McCullohIFor all the Saturnine pessimism of W. G. Sebald's application of Walter Benjamin's view of historical process (an attitude toward history expounded upon at length in an influential work by Susan Sontag), the author's sense of irony about the human predicament is irrepressible. 1 Human beings seem destined to remain prisoners of various paradoxes—they both create and destroy, they are capable (...) of acts of love as well as bitterness and hate, they make efforts to document and communicate, but at the same time they tend to forget and are given to suppressing the truth, they are driven by ideals, yet remain hobbled by imperfection. Art and music, passed on from generation to generation, seem to be the most common way that human beings transcend the strictures of their imperfections, inadequacies, and their finitude. And to the extent that art indeed survives over time, and continues to be perceived and appreciated by beholders, the aesthetic enterprise succeeds. However, ultimately, as the Book of Ecclesiastes and Shelley's "Ozymandias" remind us, all human endeavor is in vain, and, to assume the perspective of physical cosmology for a moment—and in this regard Benjamin's cosmic vision appears painfully accurate—our speck of earth, dwarfed by a vast universe the true immensity of which has been revealed by the Hubble Telescope, will one day be ground to dust and debris like the rings of Saturn, and our sun will exist only as a burned-out hulk. But such a future world, devoid of beholders, and devoid of creators and their artifacts, is not Sebald's primary subject, even though it clearly forms the teleological backdrop for his third novel, The Rings of Saturn (1995, English version 1998). Rather, Sebald pursues his art in spite of a terminal prospect that will ultimately confront our [End Page 395] planet and solar system. His primary subject, the effect of trauma on individual and collective experience, is instead closely linked with the passing of Europe as a tradition, as an idea—as an idiosyncratic and innovative, but inherently corrupt contributor to cultural history. In the course of his narratives he also addresses the redemptive role of art in memorializing the past and attempting to capture the passing present. In both respects he attends to the humane and the sublime as well as the tragic and the grotesque.Paraphrasing the art historian Svetlana Alpers, one early reviewer of Sebald's novel Austerlitz (2001) points out the self-contradictory nature of preserving the transient moment in art:Why create visual art at all when everything on earth must be represented in its inexorable transitoriness; why paint earthly scenes with such incredible care and precision as if they were permanent? 2The care and precision of the painter's craft (in this case, the Dutch still-life painter David Bailly) are devoted to the representation of a scene that is by its very nature transient and even tenuous—like the scenes of sublime beauty in Sebald's fiction, the artist's depiction "courts and admits" its own fragility. What Bailly does visually, Sebald attempts in words. Take, for instance, the following passage from Vertigo, Sebald's first novel, which was titled in German (with considerably more irony) Schwindel. Gefühle 3 :At a hairpin bend I looked out of the turning bus down into the depths below and could see the turquoise surfaces of the Ferstein and Smaranger lakes, which, even when I was a child, on our first excursions into the Tyrol, had seemed to me the essence of all conceivable beauty.(p. 176)The author has already prepared the reader for this moment of awe by remarking on the otherworldly "slow-motion quality" of the waterfalls descending from the mountain cliffs and on the boulders in their screes spreading downwards into the wooded hillsides, "screes which reached from the mountains down into the forests like pale fingers into dark hair..." (p. 176). Examined closely, the passage in question suggests both the enduring power of natural beauty and, especially with its precise reference to an automobile long since out of production and unfamiliar to... (shrink)

In the early 1990’s, many feminist philosophers found that the practice of the women´s movement as well as those of other new social movements, could be articulated most adequately in terms of citizenship. The classical political vocabulary of citizenship seemed to offer a viable alternative to the vocabularies that until then had been dominant in feminist political theory: the individualistic, rights-oriented discourse of liberalism, and the structuralist, interest-oriented perspectives of socialism and marxism.

Software agents that play a role in E-commerce and E-government applications involving the Internet often contain information about the identity of their human user such as credit cards and bank accounts. This paper discusses whether this is necessary: whether human users and software agents are allowed to be anonymous under the relevant legal regimes and whether an adequate interaction and balance between law and anonymity can be realised from both the perspective of Computer Systems and the perspective of Law.

La méthodologie de Hobbes est interprétée par la plupart des commentateurs en termes de l'idéal scientifique moderne comme celui-ci fut exprimé par exemple par Galilée. Cependant, en ce qui concerne son approche purement méthodologique, tant du problème de la vérité que de celui de la certitude, et son ambiguïté vis-à-vis du rôle épistémologique de l'expérience, sa méthodologie paraît beaucoup plus apparentée aux conceptions méthodologiques, inspirées par les mathématiques grecques, de certains aristotéliciens éclectiques du seizième et de la première moitié du (...) dix-septième siècle. Cette affinité se manifeste notamment dans les conceptions de Hobbes concernant le rapport entre les sciences théoriques et appliquées, dans sa plaidoirie pour la méthode axiomatiquedeductive des géomètres comme le procédé logique par excellence, et dans son idéal d'un système cohérent des sciences qui, se basant sur la philosophie première au sens d'une nomenclature adéquate des choses, obtient principalement son unité de la méthode. (shrink)