This paper is reporting on electronic implementation of a three-dimensional autonomous system with infinite equilibrium point belonging to a parabola. Performance analysis of an adaptive synchronization via relay coupling and a hybrid steganography chaos encryption application are provided. Besides striking parabolic equilibrium, the proposed three-dimensional autonomous system also exhibits hidden chaotic oscillations as well as hidden chaotic bursting oscillations. Electronic implementation of the hidden chaotic behaviors is done to confirm their physical existence. A good qualitative agreement is shown between numerical (...) simulations and OrCAD-PSpice results. Moreover, adaptive synchronization via relay coupling of three three-dimensional autonomous systems with a parabolic equilibrium is analysed by using time histories. Numerical results demonstrate that global synchronization is achieved between the three units. Finally, chaotic behavior found is exploited to provide a suitable text encryption scheme by hidden secret message inside an image using steganography and chaos encryption. (shrink)

La naissance constitue pour toute famille un bouleversement identitaire. Dans ce contexte, le « devenir grand-parent » est encore peu étudié. Les auteurs ont mené plusieurs entretiens conjointement chez des parents et grands-parents dans une population tout-venant au Québec. Les résultats illustrent les enjeux identitaires qui surgissent autour de la naissance entre les parents et leurs propres parents. Les parents s’expriment sur l’attente quant au soutien que pourraient apporter ces derniers. Les grands-parents, qui semblent plutôt en attente de relations avec (...) le bébé, passeraient par ce soutien pour trouver leur propre place dans l’économie familiale. Avec des différences selon les sexes, les grands-parents concourent ainsi à construire grâce à cet étayage un berceau psychique familial qui réunit dans un premier cercle les parents avec leur bébé. En périnatalité, cette « fonction » grand-parentale permettrait d’envisager la spécificité d’un second cercle autour du bébé, propre également aux interventions des professionnels. (shrink)

El propósito del trabajo es exponer las reflexiones epistemológicas hechas por investigadores que integran un grupo interdisciplinario y que elaboran un diagnóstico durante la primera fase de una Investigación Acción Participativa (IAP). El proyecto se centra en la atención a la salud integral de cuatro comunidades en estado de alta y muy alta marginación, ubicadas en la Meseta Comiteca-Tojolabal, Chiapas, México, durante el periodo 2021-2022. Este artículo, de corte cualitativo, descriptivo y crítico reflexivo, permite repensar la investigación fundada en las (...) relaciones lineales. Se entiende que, una filosofía de la educación transdisciplinar, delinea una praxis compleja que genera transformaciones sociales. Primero, se define el método de IAP y sus desafíos. Luego, se exponen los retos experimentados por los investigadores, desde que planean acciones para atender a las solicitudes de la convocatoria emitida por el Consejo Nacional de Ciencia y Tecnología (CONACYT), hasta el momento de una segunda reflexividad en el que comprenden lo que hicieron en tanto hicieron (Giddens, 2011). Los principales resultados revelan que el acercamiento y diálogo constante entre el cuerpo de investigadores y de éstos con las comunidades genera sensibilidad intercultural cuando coexisten diferentes epistemologías y formas plurales de entenderlas. Lo anterior, favorece la proyección de diversas estrategias metodológicas que tejen esfuerzos a favor del bienestar comunitario y permite que el investigador asuma una actitud socialmente responsable. (shrink)

The aim of this research is to find the relationship between self efficacy and work performance of marketing employee refers to a person’s evaluation of his or her ability or competency to perform a task and reach a goal. Work performance is personal outcome that he or she performs in an organization. The participant for this study is 35 marketing employee of X Company. Using Pearson Correlation Product Moment, the result shows that there is a positive relationship between marketing employee (...) self efficacy and their work performance.  . (shrink)

In this article, firstly, I begin by articulating four logically different positions Kant has been argued to hold concerning the nature and meaning of ‘aesthetic judgement’ so that, secondly, I may endorse the alternative that has been almost entirely neglected: that is, aesthetic judgement should be understood to be both ‘internalist’ in that the pleasure of taste is a constitutive element of the judgement itself (rather than its external effect or prior referent) and ‘objective’ insofar as the pleasure of taste (...) not only reflects the mental state of the judging subject but discriminates features or properties of the object judged. Ultimately I believe that this ‘internal objectivism’ is a compelling meta-aesthetic position in its own right with interesting parallels to recent trends in aesthetic theory, but presently I am concerned to demonstrate that one way to get clear about how such judgements are possible and to become comfortable with their significance is to see how this position arises and is resisted in the Critique of Judgment and, accordingly, in the contemporary scholarship on Kantian aesthetics. (shrink)

This paper discusses the relationship between Kantian idealism and Marxian materialism. Part I examines the reasons this relationship is misconstrued to be predominantly a matter of practical philosophy and turns to the neglected works of Alfred Sohn-Rethel and Richard Seaford to outline the importance of money for understanding Kant’s theoretical work. Part II considers an objection that Kant confuses the commodity form for the transcendental object of experience. I am ultimately concerned with defusing the accusation that the identity of the (...) commodity with a Kantian thing renders Kantian idealism “bourgeois” in the pejorative sense. Money is implicated, historically and conceptually, in the very intelligibility of metaphysics. In that case, Kantian idealism and Marxian materialism are two sides of the same coin. (shrink)

In this presentation I take a close look at Kant’s notion of “orientation” as it arises in a minor essay of 1786 in order to show how this relatively obscure moment forces us to reconsider the central division between epistemology and aesthetics. What makes Kant’s notion orientation difficult to place in a critical system that separates conceptually grounded cognition from the affective nature of aesthetics is that orientations turn out to be claims to knowledge which can not be had without (...) an irreducible aesthetic or “felt” discrimination. So what is philosophically at issue in examining Kant’s notion of orientation is the question of whether there are indeed some features of objects or states of affairs which are not properly recognized prior to or independently of feeling a certain way about them. In other words, are our feelings epistemologically relevant? The official Kantian answer is, of course, a resounding “no”. By reconstructing the logic of “orientation” as deployed in the 1786 essay I show where the attempt to separate cognition from feelings leads into a vicious “Kantian Circle”. This logical circularity anticipates similar problems in the third critique’s explanation of beauty and life. I end by returning to the notion of “orientation” in order to suggest a way out of this “Kantian Circle”. (shrink)

This book argues that the philosophical significance of Kant’s aesthetics lies not in its explicit account of beauty but in its implicit account of intentionality. Kant’s account is distinct in that feeling, affect, or mood must be operative within the way the mind receives the world. Moreover, these modes of receptivity fall within the normative domain so that we can hold each other responsible for how we are "struck" by an object or scene. Joseph Tinguely composes a series of investigations (...) into the philosophically rich but regrettably neglected topics at the intersection of Kant’s aesthetics and epistemology, such as how we orient ourselves in the world, whether tonality is a property of the subject or object, and what we hope to accomplish when we quarrel about taste. Taken together, these investigations offer a robust and defensible picture of mind, which not only resolves tensions in a Kantian account of intentionality but also offers a timely intervention into contemporary debates about the "aesthetic" nature of the way the mind is in touch with the world. Kant and the Reorientation of Aesthetics will appeal to scholars and students of Kant, as well as those working at the intersection of aesthetics and philosophy of mind. (shrink)

Précis of _Kant and the Reorientation of Aesthetics_ and replies to comments by Samantha Matherne and Moran Godess-Riccitelli.

The purpose of this essay is to indicate the extent to which there is a privileged relationship between the experience of the death of a friend and an understanding of what it means to be a self or a subject. In particular this claim is raised against Heidegger who in ¶47 of _Being and Time_ seems to have raised and explicitly denied any such connection but on closer review turns out to have in fact ignored it altogether. This essay aims (...) to wrestle back from Heidegger the irreducible significance of an other’s death by casting light on a specific kind of intersubjectivity that Heidegger fails to consider: friendship. Drawing on the recently published course materials from Heidegger’s tenure in Freiburg, and in particular the 1921 lectures on Augustine’s _Confessions_, this essays points to a decisive turning point in Heidegger’s theory of Mitsein, if only by exposing a road not taken. The argument is that it is precisely because Heidegger, in fact, considers only the death of a “random stranger” rather than anybody that one actually cares for, that he has an easy time dismissing the significance of the death of another. Against Heidegger this essay will argue that when a friend dies one loses not only her friend’s presence but also something of her own. In so suggesting, this essay departs from the otherwise familiar critiques of Heidegger styled after Fichte, Hegel, or Levinas. (shrink)

Recent scholarship on Kant and rhetoric suggests an inclusive relation between affectivity and cognitive judgment, but that position runs counter to a traditional philosophical opposition between sensibility and rationality. A way to overcome this opposition comes into view in the overlap in three significant areas between Kantian judgment and Aristotelian rhetoric. First, each allows that communicative capacities operate within the way a perceptual object or scene appears in the first place. Secondly, each significantly broadens such communicative capacities so as to (...) include the entire conceptual form of one’s disposition or orientation to the world as a whole. Thirdly, each links those broad mental dispositions to specifically affective states of mind. Taken together, the areas of overlap between Kantian judgment and Aristotelian rhetoric adumbrate an integrated picture of the affective sensibilities and cognitive capacities largely missing from the contemporary landscape. (shrink)

Recent scholarship on Kant and rhetoric suggests an inclusive relation between affectivity and cognitive judgment, but that position runs counter to a traditional philosophical opposition between sensibility and rationality. A way to overcome this opposition comes into view when three significant areas of Kantian judgment and Aristotelian rhetoric are seen to overlap. First, each allows that communicative capacities operate within the way a perceptual object or scene appears in the first place. Secondly, each significantly broadens such communicative capacities so as (...) to include the entire conceptual form of one’s disposition or orientation to the world as a whole. Thirdly, each links those broad mental dispositions to specifically affective states of mind. Taken together, the areas of overlap between Kantian judgment and Aristotelian rhetoric adumbrate an integrated picture of the affective sensibilities and cognitive capacities largely missing from the contemporary landscape. (shrink)

Hors du temps d’Alain Boyer est l’un de ces livres qui prêtent volontiers à la critique et à la discussion, non seulement en raison des thèses soutenues par l’auteur, qui sont, de son propre aveu, controversées, mais à cause également du ton employé, souvent polémique, parfois même irrévérencieux ou iconoclaste. Et sans doute l’un des buts essentiels de l’ouvrage consiste-t-il à déboulonner une statue, non pas tant celle du philosophe Kant, dont l’auteur reconnaît le génie et l’importance, mais celle d’un (...) certain Kant élevé au rang de chantre des modernes ou d’apôtre du pluralisme, de la liberté d’expression et du dialogue intersubjectif. Bien qu’il ne conteste pas complètement la vision poppérienne d’un Kant Aufklärer, Alain Boyer entend néanmoins la nuancer: maints aspects de la philosophie de Kant s’éloignent effectivement de l’Aufklärung. Il s’agira pour lui de montrer que Kant est un philosophe tant de l’ordre que de la liberté et que bien qu’il soit le père du criticisme, il n’en est pas moins lui-même un métaphysicien dogmatique cherchant avant tout à sauver la morale et la religion du péril que lui font courir ses principaux ennemis: les sceptiques empiriques, les rêveurs délirants ou les librespenseurs. Il entend également dénoncer l’imposture de certains interprètes de Kant qui passent volontiers sous silence les aspects les plus problématiques de sa pensée pour ne retenir que ce qui s’accorde avec leurs propres convictions, projetant ainsi sur sa pensée, de manière anachronique, leurs propres idées. Parmi les thèses kantiennes que l’on tente prudemment d’écarter se trouvent entre autres la condamnation absolue du mensonge, le refus du droit de résistance, la liberté intelligible ou encore l’énigmatique chose en soi. (shrink)

Hors du temps d'Alain Boyer est l'un de ces livres qui prêtent volontiers à la critique et à la discussion, non seulement en raison des thèses soutenues par l'auteur, qui sont, de son propre aveu, controversées, mais à cause également du ton employé, souvent polémique, parfois même irrévérencieux ou iconoclaste. Et sans doute l'un des buts essentiels de l'ouvrage consiste-t-il à déboulonner une statue, non pas tant celle du philosophe Kant, dont l'auteur reconnaît le génie et l'importance, mais celle d'un (...) certain Kant élevé au rang de chantre des modernes ou d'apôtre du pluralisme, de la liberté d'expression et du dialogue intersubjectif. Bien qu'il ne conteste pas complètement la vision poppérienne d'un Kant Aufklärer, Alain Boyer entend néanmoins la nuancer: maints aspects de la philosophie de Kant s'éloignent effectivement de l'Aufklärung. Il s'agira pour lui de montrer que Kant est un philosophe tant de l'ordre que de la liberté et que bien qu'il soit le père du criticisme, il n'en est pas moins lui-même un métaphysicien dogmatique cherchant avant tout à sauver la morale et la religion du péril que lui font courir ses principaux ennemis: les sceptiques empiriques, les rêveurs délirants ou les libres-penseurs. (shrink)

Résumé Nous entendons démontrer dans cet article l’importance souvent méconnue que revêt dans la morale kantienne l’analogie entre la nature sensible et la nature morale. Nous y soutiendrons en effet que sans la présence d’une telle analogie, il serait impossible pour le jugement pratique de déterminer pour des cas particuliers quelles sont les actions qu’autorise l’impératif catégorique. A cet égard, la typique du jugement pur pratique s’avérera déterminante en ceci qu’elle fournira à la loi morale le prolongement intuitif nécessaire pour (...) que soient subsumées sous elle des actions particulières. Bien qu’elle esquisse un pont entre la nature et la liberté, la typique ne saurait se réduire, comme le suggère néanmoins Yovel, à n’être qu’une forme inférieure de la synthèse achevée de la moralité et du bonheur, telle qu’on la retrouve dans le concept du souverain bien. Son caractère incontournable pour le jugement moral s’illustre en outre dans le recours systématique à ce principe par Kant lui-même lors de la discussion et de la solution des quatre dilemmes moraux présentés dans les Fondements de la métaphysique des mœurs. (shrink)

ABSTRACTThe aim of this article is to discuss the transcendental status of Kant's moral philosophy. Despite what is usually thought among scholars, we intend to demonstrate that morality for Kant is not part of transcendental philosophy. We shall at first recall the reasons that have driven Kant to separate morality from the transcendental philosophy. Kant's position seems both firm and clear: morality, although involving a priori concepts such as the moral law, is not a transcendantal knowledge because its major concept, (...) the will, is not pure enough; it refers somehow to experience. On the other hand, after considering the positions of renowned scholars such as Gueroult, Delbos, and Höffe, who claim that Kant's morality became partially or totally transcendantal since the writing of the Grundlegung zur Metaphysik der Sitten, we suggest that Kant had then found the right way to establish on a critical basis a future metaphysics of morals. (shrink)

Notre intention dans cet article est de montrer qu’il existe deux versions différentes du souverain bien politique chez Kant et de déterminer laquelle est la plus cohérente avec l’ensemble de sa philosophie pratique. Ayant d’abord soutenu une version forte et étatique du Völkerbund conçu comme un Völkerstadt, Kant s’en éloigne progressivement jusqu’à soutenir une version non étatique de l’ordre juridique et politique international sous la forme d’une association d’États libres. Les arguments d’ordre moral avancés par Kant pour soutenir cette nouvelle (...) version de la Société des Nations ne sont rationnellement acceptables que si nous convenons qu’il a désormais abandonné l’analogie individu / État qui se trouvait pourtant à la base de l’argumentation visant à rendre nécessaire l’institution d’un ordre international. La faillite de l’analogie individu / État annonce que le modèle vers lequel doit s’orienter l’ordre politique international n’est pas l’État de droit coercitif et légal, mais l’idéal de la communauté éthique qui repose sur l’autonomie et l’intention morale des États.The purpose of this article is to determine which of the two representations of the highest political good in Kant’s philosophy is the more consistent with his whole practical philosophy. After having defended a strong version of the highest politicaI good, in which the Völkerbund was more like a Völkerstadt, Kant went on to affirm a non-state version of the international political and juridical order, now conceived as an association of free states. The arguments Kant proposes to ground his new conception of the international political order cannot be very convincing unless we admit that he has definitively abandoned the earlier analogy he made between the individual and the state. The collapsing of this analogy, which he had first proposed in order to justify a legalization of the international political order, shows that the model he has in mind for the highest political good is not the power of the national state but the ideal of an ethical commonwealth which relies only on the autonomy and the moral intentions of the states. (shrink)

Cet article plaide en faveur de l’unité de la philosophie kantienne de l’histoire qui apparaît trop souvent scindée en deux lectures antagonistes : l’une qui fait de l’histoire le lieu du développement continu de la disposition morale de l’homme, l’autre qui ne perçoit au contraire dans l’histoire qu’un progrès politique et juridique. Notre intention sera alors de présenter l’histoire comme le lieu où s’effectue chez Kant la réconciliation entre la moralité et la politique. Nous verrons à cet égard que la (...) position intermédiaire qu’occupe l’histoire lui confère par rapport au développement de l’espèce humaine une dimension pédagogique indéniable. A travers l’établissement d’un État de droit, l’histoire favoriserait donc l’émergence d’une culture de l’autonomie et de la liberté, préparant l’homme à réaliser sa tâche morale qui consiste dans l’accomplissement d’une communauté éthique du genre humain. (shrink)

A review of Katalin Makkai, _Kant’s Critique of Taste: The Feeling of Life Cambridge_: Cambridge University Press, 2021.

Ce collectif en hommage au défunt Pierre Laberge est divisé en cinq parties, qui renvoient respectivement à cinq thèmes fondamentaux de la pensée kantienne: l'éthique, l'esthétique, la politique, la philosophie théorique, l'anthropologie et l'axiologie.

BackgroundInternational guidelines recommend ethical and scientific quality standards for managing and reporting adverse events occurring during clinical trials to competent research ethics committees and regulatory authorities. The purpose of this study was to determine whether clinical trial protocols in Cameroon are developed in line with national requirements and international guidelines as far as detecting, reporting and investigating of adverse events is concerned.MethodsIt was a documentary review of all approved clinical trial protocols that were submitted at the Cameroon National Ethics Committee (...) for evaluation from 1997 through 2012. Data were extracted using a preconceived and validated grid. Protocol review process targeted the title, abstract, objectives, methodology, resources, and the chapter on safety.ResultsIn total, 106 clinical trial protocols were identified from 2173 protocols seen in the archive and 104 included for review. Seventy six trials did not include the surveillance of adverse events as part of their objective. A total of 91 protocols did not budget for adverse event surveillance, 76 did not have a data safety management board, 11 included insurance for participants, 47 did not include a case definition for serious adverse events, 33 described procedures to detect adverse events, 33 described procedure for reporting and 22 described procedure for investigating adverse events.DiscussionsMost clinical trial protocols in Cameroon are developed to focus on benefits and pay little attention to harms. The development of national guidelines can improve the surveillance of adverse events in clinical trial research conducted in Cameroon. Adverse events surveillance tools and a budget are critical for an adequate planning for adverse event surveillance when developing trial protocols.ConclusionClinical trial protocols submitted in the Cameroon National Ethics Committee do not adequately plan to assess adverse events in clinical trial protocols. In order to improve on the safety of participants and marketed drug, there is a need to develop national guidelines for clinical trials by the government, and to improve evaluation procedures and monitoring of ongoing trials by the ethics committee. (shrink)

Tinguelys gesamtes Œuvre scheint vom Vanitas-Motiv grundiert: seine sinnlosen Maschinen aus Schrott, sich selbst vernichtenden, ephemeren Artefakte, die in Form von Flügelaltären stattfindende Auseinandersetzung mit dem Tod und erst recht der eine barocke Tragikomödie referierende Cenodoxus. Dass dieser Eindruck trügt, zeigt sich sobald das scheinbar Evidente mit den frühneuzeitlichen Spielarten der Vanitas konfrontiert wird. Dennoch adaptiert und inszeniert Tinguely das Motiv mit dem melancholischen Gestus des seines Heilshorizonts verlustig gegangenen Subjekts.

Tinguelys gesamtes Œuvre scheint vom Vanitas-Motiv grundiert: seine sinnlosen Maschinen aus Schrott, sich selbst vernichtenden, ephemeren Artefakte, die in Form von Flügelaltären stattfindende Auseinandersetzung mit dem Tod und erst recht der eine barocke Tragikomödie referierende Cenodoxus. Dass dieser Eindruck trügt, zeigt sich sobald das scheinbar Evidente mit den frühneuzeitlichen Spielarten der Vanitas konfrontiert wird. Dennoch adaptiert und inszeniert Tinguely das Motiv mit dem melancholischen Gestus des seines Heilshorizonts verlustig gegangenen Subjekts.

The famous French chemist, Marcelin Berthelot, published his first scientific paper in 1850. However, reference to this paper has been largely ignored in the various accounts of his lasting contributions to chemistry. The probable reason for this is that this paper is concerned with a method of subjecting a liquid to tension, and it is more appropriate to regard it as a paper on physics rather than on chemistry. In the work described in this largely-forgotten paper, written whilst he was (...) still a young research student, Berthelot showed that liquids contained in his ‘Berthelot tube’ could withstand a considerable tension; and he is the first person to have observed cavitation, a phenomenon which has been studied so widely this century. The next mention in the literature of the Berthelot tube method is at the turn of the present century, after which it again seems to have been forgotten until the 1940s; since then there has been considerable progress using the Berthelot tube technique. In this paper the work described in Berthelot's original paper is discussed in some detail, and the subsequent fruitful development of the method is also traced and assessed. (shrink)

Flavij Klavdij Julijan, pogosto imenovan »Julijan Odpadnik«, je vladal rimskemu cesarstvu od začetka leta 360 do svoje smrti v bitki 26. junija leta 363. Kljub kratki vladavini je Julijan izpeljal vrsto pomembnih reform, usmerjenih v različne vidike javnega življenja, vključno z upravljanjem provinc. Članek se osredotoča na njegove upravne dejavnosti v Iliriku, kjer je leta 361 po Kr. bival med kampanjo proti Konstanciju II. Med­tem ko se je Julijan med kampanjo soočal z neposrednimi taktičnimi težavami, je v Iliriku opravljal cesarske (...) upravne naloge, kot poročata zgodovinar Amijan Marcelin in panegirist Klavdij Mamertin. Raziskava se osredotoči na Amijanovo poročilo in analizira Julijanove upravne dejavnosti v Iliriku ter v celotnem rimskem cesarstvu. (shrink)

La séparation des sexes caractérise le système scolaire français, et tout particulièrement l’enseignement secondaire, jusqu’aux années 1960. Dans la première moitié du XXe siècle, la mixité, telle que nous l’envisageons aujourd’hui, n’est pas concevable. Pourtant, à sa création, en octobre 1938, le lycée de garçons Marcelin Berthelot, à Saint-Maur-des-Fossés, accueille également des filles. Expliquer cette présence féminine, absolument singulière, oblige à faire la part des facteurs circonstanciels, de l’évolution des identités de sexe et de celle de la demande parentale. Si (...) le lycée continue, en dépit des critiques, à accueillir des élèves des deux sexes jusqu’à l’instauration officielle de la mixité, il ne faut cependant pas voir dans cette expérience une simple anticipation des évolutions postérieures. (shrink)

Résumé La collaboration avec une chorégraphe engage une réévaluation du travail de sculpture. Cette interprétation débouche sur des formes nouvelles par l’intermédiaire de sculptures animées qui s’apparentent à des formes de marionnettes.

The influential French chemist Marcelin Berthelot spoke against the use of Dalton's atomic theory and Avogadro's hypothesis in the second half of the nineteenth century. This paper argues that Berthelot conceded that atomism might be acceptable as a system of conventions, but he feared the power of such conventions in constructing a realistic picture of atoms which was not warranted empirically. Equally, Berthelot's anti-atomism was a last-ditch effort to assert the place of chemistry within the tradition of natural history and (...) to deny the possible reduction of chemical science to the laws of nineteenth-century physics. (shrink)

Introduction : from victims and perpetrators to implicated subjects -- The transmission belt of domination : theorizing the implicated subject -- On (not) being a descendant : implicated subjects and the legacies of slavery -- Progress, progression, procession : William Kentridge's implicated aesthetic -- From Gaza to Warsaw : multidirectional memory and the perpetuator -- Under the sign of suitcases : the Holocaust internationalism of Marceline Loridan-Ivens -- "Germany is in Kurdistan" : Hito Steyerl's images of implication -- Conclusion (...) : transfiguring implication : eleven theses. (shrink)

The most notable development in public sculpture of the last thirty years has been the disappearance of the sculpture itself. Ever since Jean Tinguely’s Homage to New York destroyed itself at the Museum of Modern Art in 1960, sculptors have tried to find new ways to make the sculptural object invisible, immaterial, or remote. Where the sculpture did have some material presence, it often took unexpected forms. As Rosalind Krauss says, “Rather surprising things have come to be called sculpture: narrow (...) corridors with TV monitors at the ends; large photographs documenting country hikes; mirrors placed at strange angles in ordinary rooms; temporary lines cut into the floor of the desert.”However various these experiments may seem, they began with a single motive: to escape the constraints of the pedestal, the gallery, and finally of art itself. To prevent this new work from becoming just another commodity in the market, artists either produced works so intangible or remote they could not be bought and sold, or disseminated their ideas in so many reproducible forms they could not be monopolized. The political nature of these motives also meant that much of this “sculpture” could be considered “public.” Changing the nature of the art meant changing the role of the audience as well, questioning the purely contemplative role the observer plays in the conventional setting of the museum or gallery. According to Henry Sayre, “As the avant-garde work of art denies its own autonomy, it implicates the audience in its workings.”3 As the aesthetic focus shifts from the object to the experience it provokes, the relationship of the two goes beyond mere implication: the public becomes the sculpture. Artists, like Richard Serra, whose goal is to illuminate the material nature of space and the often tenuous materiality of the observer’s own body, have made “the viewer, in effect, the subject of the work,” to quote Douglas Crimp. Michael North is associate professor of English at the University of California, Los Angeles. He is the author of The Final Sculpture: Public Monuments and Modern Poets and is currently completing a study of the politics of Yeats, Eliot, and Pound. (shrink)

The machine sculpture “Klamauk” (English: hubbub) by the Swiss artist Jean Tinguely (1925–1991), featured on the cover, looks like a perfect example of a deterministic process, but it also looks as if thrown together “by chance”. This tension between determinism and chance has been of longstanding concern in the sciences and the humanities. And nowhere is this tension stronger than in debates about free will and our place in the world, where determinism seems bound to crowd freedom out of the (...) picture, yet freedom in the absence of some ordered realm of causes seems inconceivable. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Gadamer On Art, Morality, and AuthorityKenneth L. BuckmanMary Devereaux claims that the problem of morality in the twentieth century and the anxiety caused by the fear of moral chaos fall into two main responses: (1) one looks to the past because the past seems to afford what the present lacks, i.e., a commonly shared and stable moral reality; and (2) one looks to the present and comes to terms (...) with the way things are, a strategy of accommodation that revises our over inflated notions of knowledge and justification, particularly moral justification. 1 She sees Gadamer’s work as an additional option that responds to this problem. Devereaux says Gadamer’s response to the collapse of traditional morality is a turn to the experience of art wherein one derives morals from an extra-moral sense. Thus, Gadamer’s aesthetic example serves as a source of moral value. Devereaux says Gadamer’s project fails, in that his account contains an optimistic and unquestioned assumption that art always operates to our benefit (p. 71). However, Gadamer is appreciative of the deficiencies and dangers inherent in the kind of view he holds and does not hold an excessively optimistic, romanticized, naive, or prescriptive view of tradition. Gadamer’s account is a descriptive explication of the manner in which societies acquire the authority to form values.Devereaux’s account is to a large extent fair and accurate. However, despite her empathy with Gadamer’s account, she has reservations about the accuracy of Gadamer’s description of art and questions the depth to which he understands the current ethical crisis. She maintains that Gadamer’s analysis indicates a preference for a certain kind of art [End Page 144] (i.e., classical), and much of twentieth-century art (Tinguely, Cage, Burden, etc.) is outside the purview of Gadamer’s analysis. Though each individual artwork, in Gadamer’s view, can serve as a metaphor for ordering in general, Burden et al. aim, “not simply to introduce new materials or new subject matter within an existing artistic framework, but to alter the frame” (p. 69). These artists reconceive the very nature of artistic activity and change the rules by substituting the accidental, the incomplete, and the self-contradictory in place of selection and craft (pp. 69–70). Recent artistic principles have deconstructed the notion of order, showing the failure of order itself. Should we even grant that certain types of traditional art function as Gadamer has indicated? Though we might hope for the desired result of moral cohesion, Devereaux says, we are still faced with the problem of availability and the extent to which a person’s contact with art generates the necessary moral education. Her most serious charge is Gadamer’s “unquestioned assumption” that art always operates to our benefit (p. 71). The reliance on shared tradition, Devereaux argues, positions Gadamer to argue that the interaction with texts serves the positive moral function of social cohesion. However, Gadamer’s willingness to assign normative authority to tradition opens him to serious charges of conservatism, most prominently from the criticism and viewpoint of feminists and black scholars, and he “does not acknowledge those for whom the authority of that tradition is deeply and unquestionably problematic. Might not a coherent tradition, if achieved, function oppressively?” (p. 71). Devereaux claims that Gadamer rejects this possibility.Devereaux’s criticisms thus fall into these five areas: (1) Gadamer privileges a certain kind of art (i.e., classical); (2) for Gadamer art serves as an ordering, but it does not fulfill that capacity; (3) Gadamer is unclear about the availability and the degree of contact members of a society must have with art in order for the artwork to function in its moral capacity; (4) Gadamer wrongly assumes that art always operates to our benefit; and (5) Gadamer’s acceptance of the normative authority of tradition is oppressive. Devereaux errs in all of these criticisms.Devereaux’s criticism of Gadamer’s aesthetic theory in general, disconnected for the moment from its supposed moral implications, is that his analysis is concerned with traditional or classical forms of art, ignoring the less integrative forms of art of the late twentieth century. Though it may... (shrink)

A quoi réent les machines? La question peut paraître étrange. C’est cependant une manière d’interroger nos propres rêveries autour des réalisations techniques, en faisant jouer aux machines le rôle de reflet de nos propres existences. A travers de nombreux artifices, dont les machines sont les plus élaborés, nous construisons notre monde, enchevêtrant raison et imaginaire et mêlant utile et gratuit. La machine et ses rêves nous renvoient alors une image éclairée de nous-mêmes. Ce jeu de miroir Ne pose-t-il pas la (...) question de savoir si, au bout de toute philosophique interrogation, nous ne serions pas plutôt des machines rêvant de devenir des humains. Ainsi, cette question ouvre une enquête sur l’imaginaire attaché aux machines, des premiers automates à l’ombre du cyborg, La définition rigoureuse de la machine, tentée en début d’ouvrage, se trouve, au fil des pages, débordée sur les frontières ténues entre raison technicienne et imaginaire. Ces rêveries de la machine ont finalement été prises au sérieux par les artistes, depuis Duchamp et Léger, jusqu’aux formes contemporaine de l’art numérique, en passant par Tinguely et Schöffer. S’intéresser aux rêves des machines, c’est prendre conscience qu’avec elles s’insinuent des parts d’ombre et de lumière. Car le songe ne va jamais sans risque. Humains nous sommes des êtres du désir, mais nous sommes aussi des êtres de l’artifice. C’est sur ce terrain-là que cet ouvrage entraîne notre réflexion, au-delà de l’opposition trop simple entre technologie naïve et technologie paralysante. (shrink)

This paper is motivated by Heidegger’s invitation to think the essence of technics through a dialogue between technics and art. This dialogue is approached with the help of several artworks belonging to what can be called the “technological turn” in art. First, I draw a schematic picture of notions of instrumentality, rationality, totality, and teleology inherited from classical philosophy of art and technology and challenged by contemporary art. I underline the Romantic claim that art overcomes these features thanks to its (...) freedom and ask, referring to the work of Gilbert Simondon, whether technology could also be liberated from its subordination to utilitarian ends. Second, I look at how certain contemporary works of art attempt to solve some of these problems. Artists who seize technical objects generally seek to make their functioning visible and problematic by distorting, interrupting, or otherwise modifying the technical dispositif—this is when a machine becomes a work of art. I show how this happens in certain works of Rebecca Horn, Jean Tinguely, Anaïs Tondeur, Eduardo Kac, and Tomas Saraceno. In conclusion, I show how art can liberate technology by liberating it from utility and instrumentality and by exposing it as such in its functioning. On the other hand, I argue that technology can liberate art, both through artistic techniques and nonartistic technological processes. (shrink)

In 1846 the Belgian scientist François Donny published a very important but still virtually unknown paper. Apparently the first publication on the ability of liquids to withstand tension, it appeared some four years before Marcelin Berthelot's famous paper on this property of liquids. It seems only fair to record the fact that, contrary to accepted belief, Donny, not Berthelot, was really the first pioneer in this field. In his paper Donny describes how he first observed by chance the fact that (...) a column of sulphuric acid in a manometer could sustain a small tension. This led him to investigate the matter further, and he found that a column of this acid could stand a tension of about a quarter of an atmosphere. From later experiments he concluded that a column of water could sustain at least one atmosphere of tension. The work described in Donny's paper is discussed and compared with the related work of Marcelin Berthelot and Osborne Reynolds which was published later in the nineteenth century. The relevance of this to current research work is also discussed briefly. (shrink)

Two books on Whitehead, a major study by the noted philosopher of science, Isabelle Stengers, and a shorter one by Didier Debaise are reviewed, along with two earlier mathematical and scientific works by Whitehead himself, which have been re-issued. This provides the basis for a wide-ranging discussion of the relationships between Whitehead's love of poetry and Heidegger's approach to it, Whitehead's background in mathematics and theoretical physics and his attitude to empirical science and more general problems of the philosophy of (...) the event, in particular how radical change can come about. (shrink)