This paper examines philosophically the nature and possible moral justification of racial profiling in terms of color profiling. Precisely what is such profiling, and can it ever be morally justified? If so, under what conditions is it morally justified?

In response to Zack’s “White Privilege​ and Black Rights”, I consider her account of the hunting schema in light of police violence against black women. I argue that although Zack provides us with a compelling account of racial profiling and police brutality, the emotional aspect she attributes to the hunting schema is too charitable. I then claim that Zack’s hunting schema fails to account for state violence against black women and in doing so she only tells a partial story (...) of comparative injustice as it relates to police brutality of blacks. (shrink)

How, if at all, does the internal structure of human phenomenological color space map onto the internal structure of objective reflectance‐profile space, in such a fashion as to provide a useful and accurate representation of that objective feature space? A prominent argument (due to Hardin, among others) proposes to eliminate colors as real, objective properties of objects, on grounds that nothing in the external world (and especially not surface‐reflectance‐profiles) answers to the well‐known and quite determinate internal structure of human (...) phenomenological color space. The present paper proposes a novel way to construe the objective space of possible reflectance profiles so that (1) its internal structure becomes evident, and (2) that structure’s homomorphism with the internal structure of human phenomenological color space becomes obvious. The path is thus reopened to salvage the objective reality of colors, in the same way that we preserved the objective reality of such features as temperature, pitch, and sourness—by identifying them with some objective feature recognized in modern physical theory. (shrink)

Philosophical reflection on racial profiling tends to take one of two forms. The first sees it as an example of ‘statistical discrimination,’ (SD), raising the question of when, if ever, probabilistic generalisations about group behaviour or characteristics can be used to judge particular individuals.(Applbaum 2014; Harcourt 2004; Hellman, 2014; Risse and Zeckhauser 2004; Risse 2007; Lippert-Rasmussen 2006; Lippert-Rasmussen 2007; Lippert-Rasmussen 2014) . This approach treats racial profiling as one example amongst many others of a general problem in egalitarian (...) political philosophy, occasioned by the fact that treating people as equals does not always require, or permit, us to treat them the same. The second form is concerned with how racial profiling illuminates the nature, justification, and reproduction of hierarchies of power and privilege based on skin colour and morphology. This form of reflection on racial profiling is therefore less about the justification for judging people based on the characteristics of the group to which they (appear to) belong, and more concerned with the specific ways in which the association of racialized minorities – and, in particular, black people – with crime, contributes to, and reflects, racial inequality, and oppression.(Kennedy 1998; Zack, 2015; Lever, 2005; Lever 2007). Both approaches to profiling have much to recommend them and, taken together, they form an essential component of the political philosophy of race. The statistical approach has the merits of linking racial profiling, as practice, to a body of other practices that generate and justify inequalities based on factors other than race, but it typically offers little by way of insight into the role of racial profiling itself in sustaining racial inequality and injustice. The racial construction approach, for obvious reasons, is rather better at the latter task, but its insights tend to come at the price of a broader understanding of the ways in which inequality is reproduced and justified, or of the ethical dilemmas raised by our competing claims to security. As we will see, insights from both approaches can be synthesized to clarify what, if anything, is wrong with racial profiling and what broader conclusions for equality and security follow from the study of profiling. (shrink)

Redness is the property that makes things look red in normal circumstances. That seems obvious enough. But then colour is whatever property does that job: a certain reflectance profile as it might be. Redness is the property something is represented to have when it looks red. That seems obvious enough. But looking red does not represent that which looks red as having a certain reflectance profile. What should we say about this antinomy and how does our answer impact on the (...) contest between realism and subjectivism about colour? I address the issues through the lens of a representationalist position on colour experience. (shrink)

This study investigated the neuropsychological profile of college students who engage in binge drinking using comprehensive neuropsychological tests evaluating verbal/non-verbal memory, executive functions, and attention. Groups were determined based on scores on the Korean version of the Alcohol Use Disorder Identification Test and Alcohol Use Questionnaire. There were 79 and 81 participants in the BD and non-BD groups, respectively. We administered the Korean version of the California Verbal Learning Test and Rey-Osterrieth Complex Figure Test to evaluate verbal and non-verbal memory, (...) respectively, and measured executive functions using the Wisconsin Card Sorting Test, Trail-Making Test, Controlled Oral Word Association Test and Stroop Color-Word Test. We administered the d2 test to evaluate attention. Neuropsychological performance was analyzed by multivariate analysis of variance. The BD group showed significantly poorer performance in the long-term free recall condition of the K-CVLT and delayed recall condition of the RCFT and completed significantly fewer categories on the WCST than the non-BD group. In addition, there were significant negative associations among the AUDIT-K total score, AUQ binge score, and long-term free recall score of the K-CVLT. There were significant negative associations between the total AUDIT-K score and delayed recall RCFT score, and between the total AUDIT-K total score and numbers of completed categories on the WCST. These results indicate that college students who participate in BD have difficulties with verbal/non-verbal memory and executive functions, and further suggest that excessive alcohol use could have detrimental effects on the hippocampal-prefrontal circuit even with a relatively short period of alcohol use. (shrink)

Recent research has suggested that not all grapheme-colour synaesthetes are alike. One suggestion is that they can be divided, phenomenologically, in terms of whether the colours are experienced in external or internal space. Another suggestion is that they can be divided according to whether it is the perceptual or conceptual attributes of a stimulus that is critical. This study compares the behavioural performance of 7 projector and 7 associator synaesthetes. We demonstrate that this distinction does not map on to behavioural (...) traits expected from the higher–lower distinction. We replicate previous research showing that projectors are faster at naming their synaesthetic colours than veridical colours, and that associators show the reverse profile. Synaesthetes who project colours into external space but not on to the surface of the grapheme behave like associators on this task. In a second task, graphemes presented briefly in the periphery are more likely to elicit reports of colour in projectors than associators, but the colours only tend to be accurate when the grapheme itself is also accurately identified. We propose an alternative model of individual differences in grapheme-colour synaesthesia that emphasises the role of different spatial reference frames in synaesthetic perception. In doing so, we attempt to bring the synaesthesia literature closer to current models of non-synaesthetic perception, attention and binding. (shrink)

It might seem that racial profiling by doctors raised few of the same concerns as racial profiling by police, immigration, or airport security. This paper argues that the similarities are greater than first appear. The inappropriate use of racial generalizations by doctors may be as harmful and insulting as their use by law enforcement officials. Indeed, the former may be more problematic in compromising an ideal of individualized treatment that is more applicable to doctors than to police. Yet (...) doctors, unlike police, should not attempt to ignore race altogether. Race and ethnicity are associated with the geography of disease, with social and cultural factors relevant to disease, and, to some extent, with genetic predispositions to disease. Moreover, greater attention to the distinctive health conditions of certain racial and ethnic groups is necessary to make up for past neglect. But it will be a tricky business to steer a middle course between a naïve, reckless, or dogmatic color blindness and a stereotype-driven overreliance on race and ethnicity. In trying to steer such a course, the doctor can only hope for the day when a combination of more individualized genomic medicine and greater social equality will make it possible for her to pay less attention to race and ethnicity without detriment to her patients' health. (shrink)

Attention-deficit hyperactivity disorder is one of the most common neurodevelopmental disorders in children and adolescents. People who have this disorder are characterized by presenting difficulties in the processes of sustained attention, being very active, and having poor control of their impulses. Despite the high prevalence of this disorder and the existence of various tests used for its diagnosis, few data are available regarding the usefulness and diagnostic validity of these tools. Given the difficulties that these subjects present in executive functions, (...) the aim of this study was to evaluate whether the Neuropsychological Assessment of Executive Functions battery for Children allows to establish specific profiles of executive performance for people with attention-deficit hyperactivity disorder. The sample was made up of 197 participants of both sexes, aged between 6 and 12 years age. A nonexperimental design was followed, using a comparative descriptive study method. The results indicated that the scales of phonological fluency, color path, rings, and interference are the most associated with the diagnosis of ADHD, providing data on inhibition, mental flexibility, sustained and selective attention, planning, verbal fluency, and working memory, among others. The practical implication of these results is in line with providing support in the clinical diagnosis that is carried out in children’s mental health units. In addition, the ENFEN tool can be valued as a suitable psychometric instrument in the psychoeducational field, helping professionals in a school environment to be more aware of the areas of cognitive development in which a student diagnosed with ADHD will have more difficulties and, in doing so, providing more adjusted and effective psychopedagogical measures when it comes to supporting students in their adaptation to the school environment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Spectral Productances and Color PrimitivismCallie McGrathViews about the metaphysics of color can be divided broadly into realist and antirealist positions. In the realist camp are views that regard colors as instantiated; the pretheoretic appearance of the world as really being colored is correct. In the antirealist camp are views that regard this appearance as illusory.Realist views can be divided into reductionism and primitivism. The former has it (...) that for each color there is a reductive analysis: a true biconditional of the form "There is an F such that for all x, x is red (or blue, yellow) just in case x is F," where F is some predicate that explains what it is for x without making reference to color.1 To put the matter another way, suppose that one were to describe the world as accurately and exhaustively as possible, except that no explicit reference is ever made to color. According to reductionism, somewhere in such a description colors have nevertheless been attributed, only not using the usual color terms.There are two common varieties of reductionism, which we can call "subjective" and "objective reductionism." According to subjective reductionism, the right-hand side of each biconditional of the above sort makes reference to some effect x has on a perceiving subject.2 For instance, Peacocke gives the following analysis of red: "x is red just in case x is disposed to produce a red* sensation in normal perceivers under standard viewing conditions," where "red*" is a term referring to [End Page 509] a sensation in one's visual field.3 Other such color reductionists attempt to provide an analysis of sensations, such as a particular state of one's brain.Objective reductionism attempts to analyze colors without making reference to a perceiving subject. Some varieties of objective reductionism regard colors as microphysical properties of objects.4 Others propose that colors are reflectance properties of surfaces or, more generally, spectral productance properties of visibilia.5Primitivism is the rejection of reductionism; it is the view that no color is a property that can be described or understood purely in nonchromatic terms. Any biconditional of the sort mentioned above must make mention of color. Or, alternatively, the best one can hope to do to explain what any color is as such is to point to one of its bearers: "redness is that [demonstrating a fire truck, or a ripe beefsteak tomato, and so on]."6 Thus, if the world is described without explicitly using color terminology, something has been left out; there are further facts that must be included to give a complete description of the world.In what follows I outline some views that have been previously advanced to elaborate upon color primitivism. I show how one research program in perceptual psychology entails certain constraints on what colors must be like, and how they motivate one form of objective reductionism, which identifies colors as spectral productance profiles.7 However, productance physicalism is seemingly undermined by the fact that there is a pervasive many–one relationship between spectral productance and each color. I defend a variety of realist primitivism that regards colors as properties constitutively related to spectral productance. This view incorporates the advantages of the productance [End Page 510] view, while providing straightforward answers to the problems primitivism is alleged to face.IWhile primitivists agree about what colors are not, they do not agree about what colors are. Gert rejects the possibility of any metaphysical analysis of colors that goes much beyond ordinary, nonphilosophical discourse about color.8 Most primitivists do not go so far as this quietist sort of primitivism. One can reject reductive analysis of colors without altogether rejecting metaphysical theorizing about color.Most primitivists regard colors as categorical properties.9 This is to say that they reject the idea that colors are any sort of disposition. Benbaji is an exception, arguing that, for instance, red is a disposition to appear red to normal perceivers in standard conditions.10 Since, unlike subjective reductionists, Benjabi does not regard the phrase "appears red" and its cognates as amenable to reductive analysis, his position is a form of primitivism. Broackes suggests that surface colors are certain... (shrink)

Using the results of the latest neurophysiological research on colour, the article rejects outright physicalism and dispositionalism as appropriate approaches to solving the problem of colour realism. Physicalism sees colour as a real property of objects, i.e. the reflectance profile, while dispositionalism takes subjects, objects and light as necessary elements for colour production. First, it briefly outlines the historical development of the theory of colour, pointing towards dispositionalism which, in some sense, considers colour as a real entity of the world, (...) and then introduces the problem of colour realism, focusing on objections to physicalism as well as dispositionalism. After delineating the neurophysiological mechanisms underlying the visual experience of colour, and with the help of the concrete results of practical neurophysiological experiments, the article points to why the physicalist and any dispositionalist theories of colour in the light of a new physiological objection do not present credible views on the nature of colour. (shrink)

La femme de couleur libre fut un acteur économique et social dynamique des sociétés coloniales de la Caraïbe. Son étude permet d’illustrer sa place et sa capacité d’agir dans la société. Les donations, enregistrées dans le fonds des Hypothèques de la Martinique entre 1806 et 1830, offrent l’opportunité d’une approche singulière pour dresser le profil de ces femmes de couleur libres et entrevoir la richesse et les spécificités de leurs interactions sociales à une période où leur groupe connait une croissance (...) numérique et économique importante. L’article montre que leur statut particulier les incitait à s’organiser pour garantir la transmission des biens au sein de la famille, malgré l’absence d’union légitime ou encore à prendre en considération la présence de membres de membres esclaves de la famille. Enfin, il éclaire aussi la manière dont ces femmes mettent en œuvre des solidarités féminines particulières. (shrink)

This paper explores the implications of some experimental data for views that identify colors with objective physical properties such as reflectance profiles. Those who reject objectivist views often argue from the existence of intersubjective differences in color categorization ; but objectivists have managed to stand their ground by identifying colors with sets or ranges of reflectances individuated by the ways in which they stimulate the visual system. In the interest of moving the debate forward, I provide a new kind (...) of evidence against objectivism. Results of a psycholinguistic experiment reveal hysteresis and enhanced contrast in ordinary speakers’ applications of vague terms. These dynamical patterns are purely psychological and give rise to intra-subjective variation in subjects’ applications of vague predicates; in particular, in the case of color predicates, nothing in the stimulus configuration or the illuminant undergoes any change, the only variable being the order in which stimuli are judged. I hypothesize that these order effects are necessary if vague words are to be applicable to values on dimensions, like color, that admit of continuous change. To the extent that this hypothesis is correct, it suggests that if colors are the properties named by ordinary color predicates, and ordinary color predicates are vague, and the application of vague predicates exhibits the order effects found in the experiment, colours cannot be physical or otherwise objective in nature. (shrink)

In Emotions, Values & Agency, Christine Tappolet develops a sophisticated, perceptual theory of emotions and their role in wide range of issues in value theory and epistemology. In this paper, we raise three worries about Tappolet's proposal.

Love taking pictures with your digital camera? Want to improve your skills, but don’t have a lot of time to spend? How about some straight-to-the-point tips that cut to the chase and show you step by step how to accomplish a task? If that sounds like just what you had in mind, Digital Photography Just The Steps For Dummies, 2nd Edition is exactly what you need. This handy, full-color guide breaks down the most important tasks into simple two-page, illustrated (...) instructions. You choose what you want to do, flip to the right page, follow the instructions, and voilà! A new skill is yours! Digital Photography Just The Steps For Dummies, 2nd Edition covers important tasks from choosing a camera to printing your photos or turning them into slideshows or galleries. You’ll be able to: Select and use various lenses Take advantage of your meters Use tripods, screens, and scrims when shooting Work with depth of field Shoot and process Camera Raw images Download and organize your pictures Understand and use color profiles Edit in the “quick fix” mode Restore a vintage photo Create an online photo gallery, greeting cards, calendars, or CD jackets More than 170 digital photography tasks are presented in this easy-to-use, full-color reference. Grab a copy and find out how much more fun you can have with your digital camera! (shrink)

Providing a vibrant four-color design, market-leading BUSINESS ETHICS: ETHICAL DECISION MAKING AND CASES, Ninth Edition, thoroughly covers the complex environment in which managers confront ethical decision making. Using a proven managerial framework, this accessible, applied text addresses the overall concepts, processes, and best practices associated with successful business ethics programs--helping readers see how ethics can be integrated into key strategic business decisions. Thoroughly revised, the new ninth edition incorporates coverage of new legislation affecting business ethics, the most up-to-date examples, (...) and the best practices of high-profile organizations. It also includes 20 all-new or updated original case studies. (shrink)

profile deforms as we move about it. As perceivers we are masters of the patterns of sensorimotor contingency that shape our perceptual interaction with the world. We expect changes in such things as apparent size, shape and color to occur as we actively explore the environment. In encountering perspective-dependent changes of this sort, we learn how things are quite apart form our particular perspective. Our possession of these skills is constitutive of our ability to see . This is confirmed (...) by the fact that we can disrupt a person. (shrink)

Realists about color, be they dispositionalists or physicalists, agree on the truth of the following claim: (R) x is red iff x is disposed to look red under standard conditions. The disagreement is only about whether to identify the colors with the relevant dispositions, or with their categorical bases. This is a question about the representational content of color experience: What kind of properties do color experiences ascribe to objects? It has been argued (for instance by Boghossian (...) and Velleman, 1991) that truths like (R) cannot be used in an account of the colors as they would result in ‚circular’, and therefore empty, contents. It has also been argued (for instance by Harman, 1996) that switching to an account of color in terms of a functional account of color sensations would result in a circular, and therefore empty, account. In this paper, I defend a realist account of color in terms of a (non-reductive) functional account of color sensations. Such an account of sensations has been suggested by Pagin (2000), and it can be applied to color sensations without the resulting account of the colors themselves being circular or empty. I argue that the so-called transparency of experience does not provide any argument against such an account. I also argue that on such an account, the issue of physicalism vs. dispositionalism boils down to the question of the modal profile of the color concepts. (shrink)

Virtue signaling—using public moral discourse to enhance one’s moral reputation—is a familiar concept. But, what about profile pictures framed by “Vaccines work!”? Or memes posted to anti-vaccine groups echoing the group’s view that “Only sheep believe Big Pharma!”? These actions don’t express moral views—both claims are empirical (if imprecise). Nevertheless, they serve a similar purpose: to influence the judgments of their audience. But, where rainbow profiles guide their audience to view the agent as morally good, these acts guide their audience (...) to view the agent as epistemically good. They are instances of epistemic virtue signaling. The first goal of this paper is to offer an account of epistemic virtue signaling. I argue that epistemic virtue signaling occurs through both behavioral and propositional signals, and serves purposes similar to those of moral virtue signaling across a wide variety of discourses. The second is to show that there is much work for this concept to do. In particular, this concept illuminates a double bind faced by those who suffer from and seek to overcome testimonial injustice. I close by demonstrating how this double bind arises in the dissolution of medical autonomy, focusing on the care gap faced by pregnant women of color in the United States today, as compared with their white counterparts. (shrink)

Featuring an exceptionally clear writing style and a wealth of real-world examples and exercises, Logic, Second Edition, shows how logic relates to everyday life, demonstrating its applications in such areas as the workplace, media and entertainment, politics, science and technology, student life, and elsewhere.Thoroughly revised and expanded in this second edition, the text now features 2600 exercises, more than 1000 of them new; three new chapters on legal arguments, moral arguments, and analyzing a long essay; enhanced pedagogy; and much more.FEATURES* (...) 2600 exercises--more than 1000 of them new--breathe new life into logic* Real-world examples help bring logic down to earth for students* A unique, extended explanation or model of the answer to the first question of each "Check Your Understanding" section shows students what is expected of their answers* An additional 25% of the exercises are answered at the back of the book* "Profiles in Logic" provide short sketches of logicians, philosophers, mathematicians, and others associated with logic* "Logic Challenge" problems present puzzles and paradoxes that end each chapter on a fun note* Additional pedagogical elements--marginal definitions, key terms, a glossary, reference boxes, and bulleted chapter summaries--make the material even more accessible* Detailed guides help students learn to create "truth tables" and Venn diagramsSUPPORT PACKAGEAn Instructor's Manual with Computerized Test Bank on CD includes: Solutions to all exercises in the book, enhanced by explanations and answers that elucidate the details of the correct answersKey Terms and a summary for each chapterA customizable Computerized Test Bank--with multiple-choice, true/false, and fill-in-the-blank questions--that allows instructors to give exams or homework problems that can be auto-gradedA traditional "pencil-and-paper" Test Bank and answer key containing the same questions as the Computerized Test BankPowerPoint-based lecture outlinesThe Instructor's Manual with Computerized Test Bank and the traditional Test Bank are also available in printed format.A Companion Website offers:Instructor Resources :A downloadable version of the Instructor's Manual PowerPoint-based lecture outlinesStudent Resources:Brief chapter summariesInteractive Flash Cards with key terms and definitionsWeb links and other media resourcesPractice quizzes with answers and explanations The Learning Management System Cartridges include, in a fully downloadable format:Instructor's Manual and Computerized Test Bank Student material from the companion websiteThe Perfect Text for Your Course... No Matter How You Teach ItYour course is unique; you have your own teaching philosophy and style. Whether you teach traditional Introduction to Logic, Critical Thinking/Informal Logic, or Formal Logic, Baronett: Logic, Second Edition, can be tailored to fulfill your course needs.We'll make it easy for you; choose one of our Alternate Editions or build the book you want, chapter by chapter.Option 1. Author Stan Baronett has suggested four Alternate Editions that may work for you. Each Alternate Edition comes in full color, with answers to problems, a full glossary, and an index. The books are in stock and available for ordering. Please see the ISBN information below.Logic: Concise EditionChapters 1, 3, 4, 5, 6, 7, 8Order using ISBN: 978-0-19-994129-2Logic: An Emphasis on Critical Thinking and Informal LogicChapters 1, 2, 3, 4, 10, 11, 12, 13 A-E, 14, 15Order using ISBN: 978-0-19-994128-5Logic: An Emphasis on Formal LogicChapters 1, 5, 6, 7, 8, 9Order using ISBN: 978-0-19-994126-1Logic: With Diagramming used in Chapter 4. Informal FallaciesFull textOrder using ISBN: 978-0-19-997081-0Option 2. Create your own customized textbook by choosing the specific chapters that you need for your course. Please contact your Oxford University Press Sales Representative or call 800.280.0280 for details. (shrink)

Smell 'sensations' are among the most mysterious of conscious experiences, and have been cited in defense of the thesis that the character of perceptual experience is independent of the physical events that seem to give rise to it. Here we review the scientific literature on olfaction, and we argue that olfaction has a distinctive profile in relation to the other modalities, on four counts: in the physical nature of the stimulus, in the sensorimotor interactions that characterize its use, in the (...) structure of its intramodal distinctions and in the functional role that it plays in people's behaviour. We present two thought experiments in which we detail what would be involved in transforming sounds into smells, and also smells into colours. Through these thought-experiments, we argue that the experiential character of smell derives precisely from the structural features of olfaction, and that an embodied account of olfactory phenomenology is called for. (shrink)

In The Alchemy of Race and Rights Patricia Williams notes that when people of color are asked to understand such practices as racial profiling by putting themselves in the shoes of white people, they are, in effect, being asked to, ‘look into the mirror of frightened white faces for the reality of their undesirability’ (1992, 46). While we often see understanding another as ethically and epistemically virtuous, in this paper I argue that it is wrong in some cases (...) to ask another to attempt to understand certain positions or lines of thought. In developing my argument I draw on the work of María Lugones to argue for a view of agency that is epistemically interdependent. I examine the case described by Patricia Williams to demonstrate specifically how the understanding requested in this case unfairly undermines both epistemic and non-epistemic agency. I distinguish appropriate requests for understanding from inappropriate requests so as to make clear that I am not suggesting that it is wrong to make such requests when the understanding sought after is difficult, painful, or even when it forces one to reconsider the meaning of one’s actions. Finally, I examine an example from Susan Brison to show how strategic refusals to understand may provide a pathway toward new ways of knowing and being in resistance to oppressive regimes. (shrink)

In this book, philosopher David Boonin attempts to answer the moral questions raised by five important and widely contested racial practices: slave reparations, affirmative action, hate speech restrictions, hate crime laws and racial profiling. Arguing from premises that virtually everyone on both sides of the debates over these issues already accepts, Boonin arrives at an unusual and unorthodox set of conclusions, one that is neither liberal nor conservative, color conscious nor color blind. Defended with the rigor that (...) has characterized his previous work but written in a more widely accessible style, this provocative and important new book is sure to spark controversy and should be of interest to philosophers, legal theorists and anyone interested in trying to resolve the debate over these important and divisive issues. (shrink)

What is the compulsion that keeps race and racism in play? This article considers how the struggle for non-racialism, color blindness, and post-racialism can work to keep racism alive. Ironically, ideas about racism are often kept current by attempts to avoid or criticize racism. In previous work, the author has defined race trouble as the “implicit or explicit use of constructions of ‘racism’ for accountable conduct.” We use ideas about racism to conduct ourselves accountably in racialized worlds. Ideas about (...) what constitutes racism help us to live as decent human beings, criticizing racism and avoiding acting like racists. This article will provide an analysis of a high-profile and widely condemned archetypal incident of racism in post-apartheid South Africa, namely, the video made by students at the Reitz Residence at the University of the Free State in 2007, which depicted scenes of abuse against black cleaners by white male students. It will use these materials to show how racism can be perpetuated by antiracist discourse, thus making the argument reflected in the article title. (shrink)

Paul Churchland proposed a conceptual framework for translating reflectance profiles into a space he takes to be the color qualia space. It allows him to determine color metamers of spectral surface reflectances without reference to the characteristics of visual systems, claiming that the reflectance classes that it specifies correspond to visually determined metamers. We advance several objections to his method, show that a significant number of reflectance profiles are not placed into the space in agreement with the qualia (...) solid, and produce two sets of counterexamples to his claim for metamers. (shrink)

States of the brain represent states of the world. A puzzle arises when one learns that at least some of the mind/brain’s internal representations, such as a sensation of heat or a sensation of red, do not genuinely resemble the external realities they allegedly represent: the mean kinetic energy of the molecules of the substance felt (temperature) and the mean electromagnetic reflectance profile of the seen object (color). The historical response has been to declare a distinction between objectively real (...) properties, such as shape motion and mass, and merely subjective properties, such as heat, color and smell. This hypothesis leads to trouble. A challenge for cognitive neurobiology is to characterize, in suitably general terms, the nature of the relationship between brain models and the world modeled. We favor the hypothesis that brains develop high-dimensional maps whose internal relations correspond in varying degrees of fidelity to the enduring causal structure of the world. From this perspective, the basic epistemological relation is not “single-percept to single- external-feature” but rather “background-brain-maps to causal-domain-portrayed. (shrink)

Since our visual perception of physical things essentially involves our identifying objects by their colours, any theory of visual perception must contain some account of the colours of things. The central problem with colour has to do with relating our normal, everyday colour perceptions to what science, i.e. physics, teaches us about physical objects and their qualities. Although we perceive colours as categorical surface properties of things, colour perceptions are explained by introducing physical properties like reflectance profiles or dispositions to (...) cause certain experiences in normal human perceivers. Hence, it seems as if colours as they are experienced by us have no place in the physical world, because they are fundamentally different from the properties which we ascribe to physical objects in scientific accounts of colour perceptions. This special issue on perspectives on colour perception presents new suggestions to solve to this major problem. (shrink)

On 22 July, 2011, we were confronted with the horror of the actions of Anders Behring Breivik. The instant reaction, as we have seen with similar incidents in the past—such as the Oklahoma City bombings—was to attempt to explain the incident. Whether the reasons given were true or not were irrelevant: the fact that there was a reason was better than if there were none. We should not dismiss those that continue to cling on to the initial claims of a (...) wider Jihadist plot behind the actions of Timothy McVeigh and Terry Nichols as Islamophobes (or merely lacking common sense): for, it is often easier to rely on reason—no matter how fictional—than not to have anything to cling on at all. In many ways, it is even better if the reason is fictional: for, if grounded in a certain fact, or reality, it can then go away. However, if it is in the realm of the imaginary, it is then always already metaphorical: thus, can be applied to any and every situation. And it is this, if we echo Friedrich Nietzsche, that gives us our “metaphysical comfort”; that we can know what is going on. This is why conspiracy theories are so popular: underlying them is the logic that someone—no matter how implausible—is in control of the situation. One would rather believe that all acts of terror stemmed from Osama bin Laden (and the narrative worked even better when he was in a ‘cave in Afghanistan’) than if they were the actions, and decisions, of singular individuals. For, if there is a head organizing everything, it can be cut off; there is no controlling a mass of singularities. As Jean Baudrillard continues to teach us, the term ‘mass’ is not a concept. It is a leitmotif of political demagogy, a soft, sticky, lumpen-analytical notion. A good sociology would attempt to surpass it with ‘more subtle’ categories: socio-professional ones, categories of class, cultural status, etc. This is wrong: it is by prowling around these soft and acritical notions (like ‘mana’ once was) that one can go further than intelligent critical sociology. Besides, it will be noticed retrospectively that the concepts ‘class’, ‘social relations’, ‘power’, ‘status’, ‘institution’, and ‘social’ itself—all these too-explicit concepts which are the glory of the legitimate sciences—but also only ever been muddled notions themselves, but notions upon which agreement has nevertheless been reached for mysterious ends: those of preserving a certain code of analysis. To want to specify the term ‘mass’ is a mistake—it is to provide meaning for that which has none.1 And it is this lack of meaning—this nothingness of not only the mass, but our inability to know in general—that truly scares us. For, if we are never able to legitimately make a generalizing statement, this suggests that we can never actually posit beyond a singular, situational, moment. Hence, we can never claim to know anyone: at best, we can only catch momentary glimpses. It is for this very reason that the insanity plea Breivik’s lawyer will attempt is the one that horrifies us the most. For, if Breivik is insane, this foregrounds our inability to understand, know. And as Aristotle has taught us, it is more important that something is plausible than if something were probable—in this context, we would rather have Breivik as a calculating mass murderer than someone who was completely out of his mind. This is especially ironic in the light of the fact that none of us would say that we have any similarity with Breivik. If that were so, the declaration that he was mad should be no more than a logical consequence. However, we also want Breivik to be accountable for his actions. And in order for that to be so, we need him to be of sound mind. But if that were true, we can then no longer distinguish ourselves from him. And it is precisely this that scares us. For, we are horrified not when there are abnormalities to our way of life. There are usually two different reactions to this—either oppose and destroy it; or subsume it under the dominant logic. We see this most clearly in reactions to immigration: there are either calls for immigrants to ‘pack up and leave’ or pseudo-liberal notions of ‘we are all alike’. Both of which are merely version of “all men are brothers”—the brutal translation of which is that you are my brother if you live the same way as me; otherwise not only are you not my brother, you are also potentially not part of mankind (you might as well be, to echo Giorgio Agamben, bare life ). This is played out in our age of what is commonly termed post-political bio-politics —an instance of horribly awkward theoretical jargon that Slavoj Žižek channeling Agamben unpacks rather elegantly: “ post-politics is a politics which claims to leave behind old ideological struggles and, instead, focus[es] on expert management and administration, while bio-politics designates the regulation of the security and welfare of human lives as its primary goal.”2 Žižek continues: Post-political bio-politics also has two aspects which cannot but appear to belong to two opposite ideological spaces: that of the reduction of humans to ‘bare life,’ to Homo sacer , that so-called sacred being who is the object of expert caretaking knowledge, but is excluded, like prisoners at Guantanamo or Holocaust victims, from all rights; and that of respect for the vulnerable Other brought to an extreme through an attitude of narcissistic subjectivity which experiences the self as vulnerable, constantly exposed to a multitude of potential harassments [….] What these two poles share is precisely the underlying refusal of any higher causes, the notion that the ultimate goal of our lives is life itself. That is why there is no contradiction between the respect for the vulnerable Other and […] the extreme expression of treating individuals as Homini sacer .3 This is why the ones that are harshest towards new immigrants are the recently naturalized citizens of any country. For, if there is no longer any “ideological struggle” and all life is reduced to mere automaton-living, there is the realization that we are all the same—not in a tree-hugging hippie sense—but that the immigrant is the same as us precisely because we are all immigrants. And since all nations, and by extension peoples in a nation (especially those who believe in the notion of nationality, and national identity), have to find some manner, no matter from where or what it is, to distinguish themselves from those around them, the other (in spite, and especially in the light, of its absence) is the most crucial aspect of the discourse of nationality. More precisely, in the interests of what Baudrillard calls “preserving a certain code of analysis” (nationality in this case), what has to be maintained is the absolute otherness of the other. Very rarely is Boris Johnson right: “it is not enough to say he is mad. Anders Breivik is patently mad.”4 However, much like Breivik in his manifesto, he should have stopped whilst he was ahead. By attempting to diagnose Breivik—“the fundamental reasons for their callous behavior lie deep in their own sense of rejection and alienation. It is the ideology that gives them the ostensible cause … that gives them an excuse to dramatize the resentment … and to kill.”—Johnson falls into the same trap that he accuses others of: “to try to advance any other explanation for their actions … is simply to play their self-important game.” More crucially, and this is the point that Johnson completely misses, attempting to rationalize Breivik’s actions—to rehabilitate reason—is a desperate attempt at maintaining his otherness. In fact, we’ll end up going one step further, insist on Breivik’s sanity, put him on the stand, and hope that he will display such a difference from all of us that we can rest safe that we are unlike him and his kind. That, in itself, is a dangerous game to play. One should not forget that the turning point in Mary Shelley’s Frankenstein is in the central part of her novel where she lets the monster speak. At that moment, the monster moves from an ‘it’ to a fully subjectivized person; with his own stories, historicities, emotions, and so on. In Slavoj Žižek’s reading of Frankenstein , this is the moment where “the ultimate criminal is thus allowed to present himself as the ultimate victim. The monstrous murderer reveals himself to be a deeply hurt and desperate individual, yearning for company and love.”5 But, in the case of Breivik, this goes beyond just a risk of us feeling for him: for, no right-minded person should ever deny another the opportunity to put forth her or his own case. The problem lies with us trying to deny the madness of Breivik’s act by putting him back under reason. The problem is in our inability to differentiate the act from the person; the singular from the universal.6 In our desperation to preserve the notion that we are rational beings incapable of becoming monsters, we’ve had to deny the meaninglessness—in the strict sense of it lying outside of reason—of Breivik’ act; we’ve had to “provide meaning where there is none.” For, if this act were a moment of madness—a moment that comes from elsewhere—we cannot say that it will not descend upon us one day. If Breivik’s actions were that of a sane person, one who is in control of his being, his self, we can then locate the otherness in his being. More importantly, this would allow us to distinguish ourselves from that said being. Breivik’s sanity is the only thing that allows us to say that ‘this act of terror is borne out of one with an ultra-right ideology’; and ‘since I am not of that ideology, I would never do such a thing’. By doing that, we attempt to protect ourselves by claiming that people who share Breivik’s ideology are foreign to us, other to us. However, if Breivik’s act was a moment of insanity, his otherness is no longer locatable: and the notion of ‘us and them’ shifts from a geographical, physical, religious, or cultural notion, to one in the realm of ideas. And this is what truly scares us. For, if what is foreign is not phenomenological, then it cannot be seen, detected, sensed. Anders Behring Breivik, Timothy McVeigh, and Terry Nichols, terrify us not merely for the fact that they were white in a white society, but more pertinently that their skin color did not matter: we would not be able to spot them even if they were blue, even if they were right next to us, even if we had known them all our lives. Even as we are grappling with holding Breivik accountable by declaring him of sound mind, what truly terrifies us is that deep down we know that Breivik’s act is a moment of madness; beyond all comprehensibility. And this means that we would not be able to spot the idea; even if it were in our heads at this very moment. We have gone to lengths to rehabilitate Breivik, McVeigh, Nichols, and such perpetrators of massive incomprehensible violence, in order to preserve our difference from them. What we have really been trying to deny is the fact that everyone, at any given moment, could have a moment of madness. And this is the true radicality of Mary Shelley: in allowing us to momentarily enter the head of the monster, she shows us not just the fact that he is like any one of us, but that any one of us could, in the right (or wrong) circumstance, be like him. Perhaps here, there is a lesson to be learned from Wes Craven’s A Nightmare on Elm Street . The most dangerous thing that one could do on Elm Street was to mention Freddy’s name—once you had knowledge of him, you were open to the possibility of a visit during your dreams. This suggests that Freddy is a combination of externalities (after all, when you die, he survives) and your self (if you have never heard of him, he cannot come for you). In this sense, Freddy would be the manifestation par excellence of what Avital Ronell calls a “killer text”—it is one’s relationality with the text (and the ideas, notions, in the said text) that opens oneself to it, to the lessons of the text, to being changed, affected, even to the dangers of the text. After all, one should never forget Plato’s warning that ideas can corrupt, can be perilous. To compound matters, as Ronell reminds us, “the connection to the other is a reading—not an interpretation, assimilation, or even a hermeneutic understanding, but a reading.”7 Thus, in attempting to differentiate ourselves from Breivik by concocting some reason(s) why we are not like him, we have done nothing but read him, open a connection to him. *** Bang bang, he shot me down Bang bang, I hit the ground Bang bang, that awful sound Bang bang, my baby shot me down. “Bang Bang (My Baby Shot Me Down)” Sonny Bono, 1966. This is the part that we all know and remember. Whilst never quite remembering that this is a song that is not so much about violence, love, but about remembering. For, after the bridge comes the accusatory stanza: “Now he's gone, I don't know why/ And till this day, sometimes I cry/ He didn't even say goodbye/ He didn't take the time to lie.” Bang Bang is a game that the two lovers used to play; and all she has now is the memory of the game to remember him by. And the only reason she has to recall this game is: he never provided her a reason for his leaving, his death. Not that she will, can, ever get that satisfactory answer. This is precisely the game we are playing with Anders Behring Breivik. Even though he has left a 1500 page manifesto, even though we will allow him to use the court-room as his platform, we will continue screaming at him “tell me why …” For, what we want him to say is that we are not like him: what we really want him to do is, “take the time to lie …” Perhaps here, we should allow the echo of the infans to resound in baby . As Christopher Fynsk reminds us, the infans is one that is pre-language, pre-knowing, pre-understanding: it is the very finitude, and exteriority, of relationality itself.8 And thus, it is a position of openness to the fullness of possibility—and nothing else. This would be, in Ronell’s terms, a “connection to the other” that knows nothing other than the fact that it is a connection. The true horror of 22 July, 2011, is the fact that it is not Anders Behring Breivik who is mad, but the act itself that is. And this is precisely why only “my baby” that could have “shot me down.” For, it is an act that is from beyond, a sheer act of madness that—as Plato warns us—is whispered into our ears (and can so easily be mistaken for inspiration, and even wisdom), an act that can both seize, and cease, us at the same time. And what can this utter openness to an other, the other, be but a moment of love, a true ‘falling in love’. At the moment of whispering, nothing can be known as we are babies as our baby shoots us down …. Hence, all attempts at analyzing this event (including this one) are not only futile, but border on the farcical. The real tragedy is that we forget that all of us have the possibility of becoming Breivik. NOTES Jean Baudrillard. In the Shadow of the Silent Majorities . Trans. Paul Foss, John Johnston, Paul Patton, & Andrew Berardini. Los Angeles: Semiotext(e), 2007. p. 37. Slavoj Žižek. Violence: Six Sideway Reflections . London: Profile Books, 2009. p. 34 Ibid: 35-36. Boris Johnson. “ Anders Breivik: There is nothing to study in the mind of Norway’s mass killer .” The Telegraph . (25 July, 2011): Slavoj Žižek. Violence: Six Sideway Reflections . London: Profile Books, 2009. p.39. What is killing us is the notion that Breivik’s act is beyond reason, beyond knowing, outside understanding itself. This is why Boris Johnson’s plea was for us to ignore Breivik as a madman. But to do so, Johnson conflates the notion of the act and the person; the singular and the universal. This is exactly the same gesture as insisting on his sanity: the ‘madman’ is merely the absolute other, one that we are not. Avital Ronell. The Telephone Book: Technology, Schizophrenia, Electric Speech . Lincoln: University of Nebraska Press, 1989: 380. Christopher Fynsk. Infant Figures: The Death of the Infans and Other Scenes of Origin . Stanford, CA: Stanford University Press, 2000.  . (shrink)

Since our visual perception of physical things essentially involves our identifying objects by their colours, any theory of visual perception must contain some account of the colours of things. The central problem with colour has to do with relating our normal, everyday colour perceptions to what science, i.e. physics, teaches us about physical objects and their qualities. Although we perceive colours as categorical surface properties of things, colour perceptions are explained by introducing physical properties like reflectance profiles or dispositions to (...) cause certain experiences in normal human perceivers. Hence, it seems as if colours as they are experienced by us have no place in the physical world, because they are fundamentally different from the properties which we ascribe to physical objects in scientific accounts of colour perceptions. This special issue on perspectives on colour perception presents new suggestions to solve to this major problem. (shrink)

Dynamic topological logic provides a context for studying the confluence of the topological semantics for S4, topological dynamics, and temporal logic. The topological semantics for S4 is based on topological spaces rather than Kripke frames. In this semantics, is interpreted as topological interior. Thus S4 can be understood as the logic of topological spaces, and can be understood as a topological modality. Topological dynamics studies the asymptotic properties of continuous maps on topological spaces. Let a dynamic topological system be a (...) topological space X together wError: Corrupted memory profileError: read ICCBased color space profile errorith a continuous function f. f can be thought of in temporal terms, moving the points of the topological space from one moment to the next. Dynamic topological logics are the logics of dynamic topological systems, just as S4 is the logic of topological spaces. Dynamic topological logics are defined for a trimodal language with an S4-ish topological modality, and two temporal modalities, and ∗, both interpreted using the continuous function. (shrink)

My assertion is that God’s biblical image may not reflect entirely His existence in itself as well as His revealed image. Even if God in Himself is both transcendent and immanent at the same time, and He is revealing accordingly in the history of humankind, still the image of God constructed in the writings of the Old Testament is merely the perspective made upon God by His followers to whom the He has revealed. That could be the reason why for (...) centuries God’s biblical image seems to emphasize more His immanence, starting with Pentateuch, where God cohabites with Adam on Earth, then He reveals Himself to Abraham and Moses and so on. Somewhere, after the Babylonian exile, the image suffers slightly differences tilting towards God’s transcendence. In a path already created and grounded by Israel’s ancestors, even this new color of transcendence bears the nuances of immanence. How can this be possible? Let’s take a look on the revelation received by Abraham from God and see how this can fit the profile. Instead of the transcendence of God regarded by others in the differentness of Yahweh appointed by Abraham in his walking out of Mesopotamia, I will prove otherwise, that Abraham is on the contrary proving God’s immanency in this very differentness of His in relation with other gods by providence and omnipresence, indwelling His creation. (shrink)

Strong property representationalism, as applied to visual experience, is the thesis that the phenomenal character of a visual experience is one and the same as the property complex or ‘sensible profile’ represented by that experience. Speaks discusses the following argument against this thesis:Let ‘RED’ stand for the phenomenal character of the experience of red.(1) Red = RED (strong property representationalism).(2) My pen has no representational properties, but is red.Hence,(3) My pen has a phenomenal character but no representational properties.Since (3) is (...) false, (1) is false too.(3) Follows from (1) and (2) only on the assumption that what it is for something to have a phenomenal character is for it to instantiate a certain property just as what it is for my pen to have the color red is for it to instantiate the property of being red. The property instantiation model of having a phenomenal character is not the only possible model, however, and I reject it.An alternative model is t. (shrink)

This study tested the prediction that dissociative tendencies modulate the impact of a hypnotic induction on cognitive control in different subtypes of highly suggestible individuals. Low suggestible , low dissociative highly suggestible , and high dissociative highly suggestible participants completed the Stroop color-naming task in control and hypnosis conditions. The magnitude of conflict adaptation was used as a measure of cognitive control. LS and LDHS participants displayed marginally superior up-regulation of cognitive control following a hypnotic induction, whereas HDHS participants’ (...) performance declined. These findings indicate that dissociative tendencies modulate the influence of a hypnotic induction on cognitive control in high hypnotic suggestibility and suggest that HS individuals are comprised of distinct subtypes with dissimilar cognitive profiles. (shrink)

My assertion is that God’s biblical image may not reflect entirely His existence in itself as well as His revealed image. Even if God in Himself is both transcendent and immanent at the same time, and He is revealing accordingly in the history of humankind, still the image of God constructed in the writings of the Old Testament is merely the perspective made upon God by His followers to whom the He has revealed. That could be the reason why for (...) centuries God’s biblical image seems to emphasize more His immanence, starting with Pentateuch, where God cohabites with Adam on Earth, then He reveals Himself to Abraham and Moses and so on. Somewhere, after the Babylonian exile, the image suffers slightly differences tilting towards God’s transcendence. In a path already created and grounded by Israel’s ancestors, even this new color of transcendence bears the nuances of immanence. How can this be possible? Let’s take a look on the revelation received by Abraham from God and see how this can fit the profile. Instead of the transcendence of God regarded by others in the differentness of Yahweh appointed by Abraham in his walking out of Mesopotamia, I will prove otherwise, that Abraham is on the contrary proving God’s immanency in this very differentness of His in relation with other gods by providence and omnipresence, indwelling His creation. (shrink)

Learn to achieve the best possible images with minimal lighting equipment Author Bob Davis is a photographer whose high-profile clients include Oprah Winfrey and Eva Longoria, and whose work has appeared in Time, O Magazine, and People. Along with his invaluable professional advice, this beautiful full-color book includes a DVD featuring portions of his workshop curriculum. He covers the elements of lighting and shares his two-strobe technique that will enable you to create studio-quality lighting anywhere with only minimal equipment. (...) High-profile photographer Bob Davis is especially known for his lighting techniques; this book shares his advice on lighting for professional photographers and serious amateurs Covers all the key elements of photographic lighting, with informative illustrations and lighting grids Details the author's pioneering two-strobe technique that reduces the amount of equipment a photographer must carry to a shoot and dramatically lowers equipment costs Features professional tips and stunning full-color images 60-Minute DVD includes video from the author's three-day lighting and photography workshop Lights, Camera, Capture: Creative Lighting Techniques for Digital Photographersoffers your professional advice worth many times the cost of the book. Note: CD-ROM/DVD and other supplementary materials are not included as part of eBook file. (shrink)

Since our visual perception of physical things essentially involves our identifying objects by their colours, any theory of visual perception must contain some account of the colours of things. The central problem with colour has to do with relating our normal, everyday colour perceptions to what science, i.e. physics, teaches us about physical objects and their qualities. Although we perceive colours as categorical surface properties of things, colour perceptions are explained by introducing physical properties like reflectance profiles or dispositions to (...) cause certain experiences in normal human perceivers. Hence, it seems as if colours as they are experienced by us have no place in the physical world, because they are fundamentally different from the properties which we ascribe to physical objects in scientific accounts of colour perceptions. This special issue on perspectives on colour perception presents new suggestions to solve to this major problem. (shrink)

Through the kindness of Professor K. T. Erim of New York University I have the opportunity to offer the following note on a fragment of a Lydian inscription found recently during his excavations at Aphrodisias in Caria. The description and details of the archaeological context I owe to Professor Erim and to Miss Joyce Reynolds.The fragment came to light in July 1968, re-used in one of the ruined modern houses on the northern slope of the so-called acropolis when they were (...) being demolished in preparation for the full-scale excavation of the Theatre there. It is of medium- to coarse-grained marble, greyish in colour, probably from the Aphrodisias quarries themselves, and measures 0·11 × 0·75 × 0·165 m.; no original edges survive, but it is likely that the original left edge was very close to the surviving left edge.What remains of the inscribed surface is approximately trapezoidal in shape and carries traces of three lines of text; in the first only the lower tips of the letters survive and these cannot be securely interpreted, but in the second five complete letters can be read, although they have suffered from slight surface chipping, and in the third the upper two-thirds of five letters survives and these also can be read perfectly well. The inscription was firmly and deftly, if lightly, cut, with trenches c. 0·001 deep, very slightly triangular in profile and showing some tendency to broaden a little on the base line. Judging from the position of the last letters in Il. 2, 3, it seems probable that each line ended with a completed word. (shrink)

Alternative food movements work to create more environmentally and economically sustainable food systems, but vary widely in their advocacy for social, racial and environmental justice. However, even those food justice activists explicitly dedicated to equity must respond to the unintended consequences of their work. This paper analyzes the work of activists in Oakland, CA, who have increasingly realized that their gardens, health food stores and farm-to-table restaurants play a role in what scholars have called green gentrification, the upscaling of neighborhoods (...) through the creation of environmental amenities. Gentrification has had grave consequences for the low-income communities of color that food justice activists seek to serve. Activists are reflexive about this dynamic, and have developed strategies to push back against displacement. Most commonly, non-profit organizations and individual social entrepreneurs found businesses that seek to raise the profile of people of color in the trendy Oakland food scene while employing long-term residents in well-paying, green jobs. However, while these efforts are an essential component of a broader agenda to create both food justice and development without displacement, even these relatively high paying “good food jobs” cannot keep up with escalating rents. For this reason, we also highlight the direct action and policy-oriented strategies engaged by a smaller number of food justice activists, and argue that these are necessary compliments to a market-based approach. (shrink)

It is well known that Bayes’ theorem (with likelihood ratios) can be used to calculate the impact of evidence, such as a ‘match’ of some feature of a person. Typically the feature of interest is the DNA profile, but the method applies in principle to any feature of a person or object, including not just DNA, fingerprints, or footprints, but also more basic features such as skin colour, height, hair colour or even name. Notwithstanding concerns about the extensiveness of databases (...) of such features, a serious challenge to the use of Bayes in such legal contexts is that its standard formulaic representations are not readily understandable to non-statisticians. Attempts to get round this problem usually involve representations based around some variation of an event tree. While this approach works well in explaining the most trivial instance of Bayes’ theorem (involving a single hypothesis and a single piece of evidence) it does not scale up to realistic situations. In particular, even with a single piece of match evidence, if we wish to incorporate the possibility that there are potential errors (both false positives and false negatives) introduced at any stage in the investigative process, matters become very complex. As a result we have observed expert witnesses (in different areas of speciality) routinely ignore the possibility of errors when presenting their evidence. To counter this, we produce what we believe is the first full probabilistic solution of the simple case of generic match evidence incorporating both classes of testing errors. Unfortunately, the resultant event tree solution is too complex for intuitive comprehension. And, crucially, the event tree also fails to represent the causal information that underpins the argument. In contrast, we also present a simple-to-construct graphical Bayesian Network (BN) solution that automatically performs the calculations and may also be intuitively simpler to understand. Although there have been multiple previous applications of BNs for analysing forensic evidence—including very detailed models for the DNA matching problem, these models have not widely penetrated the expert witness community. Nor have they addressed the basic generic match problem incorporating the two types of testing error. Hence we believe our basic BN solution provides an important mechanism for convincing experts—and eventually the legal community—that it is possible to rigorously analyse and communicate the full impact of match evidence on a case, in the presence of possible errors. (shrink)

This brief and engaging introductory text treats philosophy as a dramatic and continuous story--a conversation about humankind's deepest and most persistent concerns, in which students are encouraged to participate. Tracing the exchange of ideas between history's key philosophers, Philosophical Conversations: A Concise Historical Introduction demonstrates that while constructing an argument or making a claim, one philosopher almost always has others in mind. The book addresses the fundamental questions of human life: Who are we? What can we know? How should we (...) live? and What sort of reality do we inhabit? Throughout, author Norman Melchert provides a generous selection of excerpts from major philosophical works and makes them more easily understandable with his lucid explanations. Extensive cross-references highlight the organizing themes and show students how philosophers have responded to each other's arguments. A more concise edition of Norman Melchert's The Great Conversation: A Historical Introduction to Philosophy, Fifth Edition, Philosophical Conversations is designed to be especially accessible and visually attractive to first- and second-year college students in introduction to philosophy courses. Enhanced by numerous pedagogical features, it offers: * Shorter and/or simplified presentations of much of the material * A second color that enlivens the text and makes it more visually interesting * An expanded art program featuring more than 100 photographs, illustrations, and cartoons * Classic art at the opening of each chapter * Numerous brief quotations from poets, politicians, and thinkers that underscore philosophical points and stimulate thought * Explanatory footnotes and basic study questions throughout * "Questions for Further Thought" at the end of each chapter * Key terms, boldfaced at their first appearance and collected at the end of each chapter and in a detailed glossary at the back of the book * "Sketches"--which provide glimpses of the ideas of various philosophers not already discussed in detail in the narrative--and "Profiles," which offer more in-depth looks at several thinkers, philosophical schools, and movements including Taoism, Zen, Jean-Paul Sartre, and Iris Murdoch * An Instructor's Manual and Test Bank on CD that highlights essential points and offers numerous exam questions. (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)

Bolesław Leśmian’s The Mad Violinist contains many suggestions concerning the musical side of the drama, especially its properties of sound and expression. The violin and violin playing fulfill an important function – coloristic, dramaturgic and symbolic – in the work. Also appearing are the sounds of other instruments (gong, dulcimer, plucked string instrument), refined musical timbres and acoustic effects (sound portrait of the Woodland Water Nymph), musical profiling of the characters (Alaryel plays the violin, Chryza dances on stilts, the (...) Witch strikes the clock) and ‘ballet’ scenes – solo and ensemble (Chryza’s dance, Chryza and the Water Nymph’s dramatic duet, the dance suite in the Second Delusion). The poet also described very suggestively the expressive categories of the fragments set to music. Their skillful distribution in time and combination on a contrast principle, as well as the utilization of their dramatic potential, contribute to the reinforcement of their power of expression. Alaryel’s virtuoso showpiece, maintained in a furioso-type tone, leads to a true explosion of sound and contrasts with the lyrical and wistful lamentoso played over the grave of the Water Nymph. However, the ethereal timbre of the Water Nymph, who is accompanied by an indigo dawn, emphasizes the symbolic significance of this character. The musical components in The Mad Violinist blend perfectly with the other elements – word, gesture, stage movement and the visual side of the drama, creating an extraordinary whole of great artistic value. The present article also proposes a reference to the violin music of Belgian violinist and composer Eugène Ysaÿe, whose oeuvre fits into the European Symbolist trend. His Six Sonatas for Violin Solo op. 27 from 1927 form a peculiar interpretative context for Leśmian’s drama. The point here is not to suggest any actual relationship, but rather to draw attention to the similar type of artistic sensitivity and imagination, feel for color and deeply sensual manner of experiencing the world. (shrink)

Since our visual perception of physical things essentially involves our identifying objects by their colours, any theory of visual perception must contain some account of the colours of things. The central problem with colour has to do with relating our normal, everyday colour perceptions to what science, i.e. physics, teaches us about physical objects and their qualities. Although we perceive colours as categorical surface properties of things, colour perceptions are explained by introducing physical properties like reflectance profiles or dispositions to (...) cause certain experiences in normal human perceivers. Hence, it seems as if colours as they are experienced by us have no place in the physical world, because they are fundamentally different from the properties which we ascribe to physical objects in scientific accounts of colour perceptions. This special issue on perspectives on colour perception presents new suggestions to solve to this major problem. (shrink)

Since our visual perception of physical things essentially involves our identifying objects by their colours, any theory of visual perception must contain some account of the colours of things. The central problem with colour has to do with relating our normal, everyday colour perceptions to what science, i.e. physics, teaches us about physical objects and their qualities. Although we perceive colours as categorical surface properties of things, colour perceptions are explained by introducing physical properties like reflectance profiles or dispositions to (...) cause certain experiences in normal human perceivers. Hence, it seems as if colours as they are experienced by us have no place in the physical world, because they are fundamentally different from the properties which we ascribe to physical objects in scientific accounts of colour perceptions. This special issue on perspectives on colour perception presents new suggestions to solve to this major problem. (shrink)

To Shoot Photographs of Tutankhamun – The Making of an Exhibition Star. In the 1970s, the exhibition “Treasures of Tutankhamun” toured the world. It still ranks today amongst the most popular museum exhibitions of all time. This article explores photography used in the catalogue of this blockbuster exhibition in the USA and West Germany; it describes how the pictures of Tutankhamun's objects, which were made by a team from the Metropolitan Museum in New York, introduced a significantly new and different (...) approach to catalogue photography. Until the 1960s, Ancient Egyptian artefacts had been documented by means of bare frontal or profile images in black and white; their close‐grained, accurately shaded quality allowed the objects to be investigated independently of the viewer's location. The high gloss colour images of the 1970s, however, instead sought to lend the objects something a photograph could not normally achieve: a palpable presence. They captured sensational traces, creating star items that one “just had to see for oneself”. In other words, the article presents how catalogue photos were able to participate in the creation of star objects and therefore also contributed to the exhibition's enormous success. The historical background behind the rise of this sensational photography in the 1960s and 1970s will be discussed and framed theoretically. In showing how photography played an important role in transforming the objects taken from Tutankhamen's tomb, it argues that mobilising museum objects through media can induce (semiotic and material) transformations of objects. (shrink)