Background: SNOMED CT is a large terminology system designed to represent all aspects of healthcare. Its current form and content result from decades of bottom-up evolution. Due to SNOMED CT’s formal descriptions, it can be considered an ontology. The Basic Formal Ontology (BFO) is a foundational ontology that proposes a small set of disjoint, hierarchically ordered classes, supported by relations and axioms. In contrast, as a typical top-down endeavor, BFO was designed as a foundational framework for domain ontologies in the (...) natural sciences and related disciplines. Whereas it is mostly assumed that domain ontologies should be created as extensions of foundational ontologies, a post-hoc harmonization of consolidated domain ontologies in use, such as SNOMED CT, is known to be challenging. Methods: We explored the feasibility of harmonizing SNOMED CT with BFO, with a focus on the SNOMED CT Clinical Finding hierarchy. With more than 100,000 classes, it accounts for about one third of SNOMED CT’s content. In particular, we represented typical SNOMED CT finding/disorder concepts using description logics under BFO. Three representational patterns were created and the logical entailments analyzed. Results: Under a first scrutiny, the clinical intuition that diseases, disorders, signs and symptoms form a homogeneous ontological upper-level class appeared incompatible with BFO’s upper-level distinction into continuants and occurrents. The Clinical finding class seemed to be an umbrella for all kinds of entities of clinical interest, such as material entities, processes, states, dispositions, and qualities. This suggests the conclusion that Clinical finding would not be a suitable upper-level class from an BFO perspective. On closer inspection of the taxonomic links within this hierarchy and the implicit meaning derived thereof, it became clear that Clinical finding classes do not characterize the entity (e.g. a fracture, allergy, tumor, pain, hemorrhage, seizure, fever) in a literal sense but rather the condition of a patient having that fracture, allergy, pain etc. This gives sense to the current characteristic of the Clinical Finding hierarchy, in which complex classes are modeled as subclasses of their constituents. Most of these taxonomic links are inferred, as the consequence of the ‘role group’ design pattern, which is ubiquitous in SNOMED CT and has often been subject of controversy regarding its semantics. Conclusion: Our analyses resulted in the proposal of (i) equating SNOMED CT’s ‘role group’ property with the reflexive and transitive BFO relation ‘has occurrent part’; and (ii) reinterpreting Clinical Findings as Clinical Occurrents, i.e. temporally extended entities in an organism, having one or more occurrents as temporal parts that occur in continuants. This re-interpretation was corroborated by a manual analysis of classes under Clinical Finding, as well as the identification of similar modeling patterns in other ontologies. As a result, SNOMED CT does not require any content redesign to establish compatibility with BFO, apart from this re-interpretation, and a suggested re-labeling. Regarding the feasibility of harmonizing terminologies with principled foundational ontologies post-hoc, our results provide support to the assumption that this does not necessarily require major redesign efforts, but rather a careful analysis of the implicit assumptions of terminology curators and users. (shrink)

This paper investigates some delicate tradeoffs between the generality of an algorithmic learning device and the quality of the programs it learns successfully. There are results to the effect that, thanks to small increases in generality of a learning device, the computational complexity of some successfully learned programs is provably unalterably suboptimal. There are also results in which the complexity of successfully learned programs is asymptotically optimal and the learning device is general, but, still thanks to the generality, some of (...) those optimal, learned programs are provably unalterably information deficient—in some cases, deficient as to safe, algorithmic extractability/provability of the fact that they are even approximately optimal. For these results, the safe, algorithmic methods of information extraction will be by proofs in arbitrary, true, computably axiomatizable extensions of Peano Arithmetic. (shrink)

In this paper, we first briefly survey the main responses to the challenge that experimental philosophy poses to the method of cases, given the common assumption that the latter is crucially based on intuitive judgments about cases. Second, we discuss two of the most popular responses in more detail: the expertise defense and the mischaracterization objection. Our take on the expertise defense is that the available empirical data do not support the claim that professional philosophers enjoy relevant (...) expertise in their intuitive judgments about cases. In contrast, the mischaracterization objection seems considerably more promising than its largely negative reception has suggested. We argue that the burden of proof is thus on philosophers who still hold that the method of cases crucially relies on intuitive judgments about cases. Finally, we discuss whether conceptual engineering provides an alternative to the method of cases in light of the challenge from experimental philosophy. We argue that this is not clearly the case, because conceptual engineering also requires descriptive information about the concepts it aims to improve. However, its primarily normative perspective on our concepts makes it largely orthogonal to the challenge from experimental philosophy, and it can also benefit from the empirical methods of the latter. (shrink)

Background: In prior reports, we described the design and initial performance of a fully implantable, bi-directional neural interface system for use in deep brain and other neurostimulation applications. Here we provide an update on the chronic, long-term neural sensing performance of the system using traditional 4-contact leads and extend those results to include directional 8-contact leads.Methods: Seven ovine subjects were implanted with deep brain stimulation leads at different nodes within the Circuit of Papez: four with unilateral leads in the anterior (...) nucleus of the thalamus and hippocampus; two with bilateral fornix leads, and one with bilateral hippocampal leads. The leads were connected to either an Activa PC+S® or Percept PC°ledR deep brain stimulation and recording device. Spontaneous local field potentials, evoked potentials, LFP response to stimulation, and electrode impedances were monitored chronically for periods of up to five years in these subjects.Results: The morphology, amplitude, and latencies of chronic hippocampal EPs evoked by thalamic stimulation remained stable over the duration of the study. Similarly, LFPs showed consistent spectral peaks with expected variation in absolute magnitude dependent upon behavioral state and other factors, but no systematic degradation of signal quality over time. Electrode impedances remained within expected ranges with little variation following an initial stabilization period. Coupled neural activity between the two nodes within the Papez circuit could be observed in synchronized recordings up to 5 years post-implant. The magnitude of passive LFP power recorded from directional electrode segments was indicative of the contacts that produced the greatest stimulation-induced changes in LFP power within the Papez network.Conclusion: The implanted device performed as designed, providing the ability to chronically stimulate and record neural activity within this network for up to 5 years of follow-up. (shrink)

In this paper, I argue that the method of cases (namely, the method of using intuitive judgments elicited by intuition pumps as evidence for and/or against philosophical theories) is not a reliable method of generating evidence for and/or against philosophical theories. In other words, the method of cases is unlikely to generate accurate judgments more often than not. This is so because, if perception and intuition are analogous in epistemically relevant respects, then using intuition (...) pumps to elicit intuitive judgments is like using illusions to elicit perceptual judgments. In both cases, judgments are made under bad epistemic circumstances. (shrink)

In this paper I discuss a set of problems concerning the method of cases as it is used in applied ethics and in the metaphysical debate about personal identity. These problems stem from research in social psychology concerning our access to the data with which the method operates. I argue that the issues facing ethics are more worrying than those facing metaphysics.

In recent years, there has been increasing discussion of whether philosophy actually makes progress. This discussion has been prompted, in no small part, by the depth and persistence of disagreement among philosophers on virtually every major theoretical issue in the field. In this paper, I examine the role that the Method of Cases – the widespread philosophical method of testing and revising theories by comparing their verdicts against our intuitions in particular cases – plays in creating (...) and sustaining theoretical disagreements in philosophy. Drawing on work from cognitive psychology, I argue that there is a fundamental incompatibility between the structure of the theories that philosophers seek to construct using the MoC and the structure of the concepts on which our case-specific intuitions are based. This incompatibility renders MoC-based philosophical theorizing unable ever to succeed by the very standards of adequacy that it sets for itself. And this, in turn, helps to explain the depth and persistence of theoretical disagreements – and, in certain ways, the lack of progress – in the many areas of philosophy where the MoC plays an important role. (shrink)

Volume 27, Issue 4, October 2019, Page 597-608.

The paper investigates to what extent the method of cases can be interpreted as either a descriptive or a normative enterprise. I demonstrate that although most instances of the method of cases in most philosophical theories could be interpreted as being intended to either discover or revise the meaning of their target concepts, within a theory of reference this method cannot be used to shift the meaning of the concept of reference. The reason for this (...) is that intuitions of extension in a theory of reference constitute a set of data that needs to be explained, while in most other philosophical theories they could either be abandoned in favor of intuitions of intension or serve as a criterion for the adequacy of the proposed definition of the target concept. This feature of a theory of reference is caused by the fact that an implicit understanding of what reference is in a theory of reference is usually assumed and is out of discussion. In effect, the claim in paradigmatic instances of the method of cases within a theory of reference does not concern whether an expression does or does not refer in particular cases, but rather what the reference of a certain expression is, and therefore it cannot be justified by intuitions of intension. (shrink)

Avner Baz argues that the philosophical method of cases presupposes a problematic view of language and linguistic competence, namely what he calls "the atomistic-compositional view". Combining key elements of social pragmatism and contextualism, Baz presents a view of language and linguistic competence, which he takes to be more sensitive to the open-endedness of human language. On this view, there are conditions for the "normal" and "felicitous" use of human words, conditions that Baz thinks are lacking in the context (...) of the philosophical method of cases, and which make the question that philosophers are prone to ask in that context and the answers they give to that question to be pointless. However, in this paper, I argue as follows. First, Baz's conditions for the "normal" and "felicitous" use of human words are in tension with the open-endedness of human language and the use of human words. Second, it is not even clear that those conditions are really missing in the context of the philosophical method of cases. And third, even if we grant that those conditions are missing in that context, this does not licence his damning conclusion on the philosophical method of cases since we are not forced to embrace the view of language and linguistic competence on which that damning conclusion is plausible. This last move is secured by advancing and defending a skill or virtue-based view of language and linguistic competence inspired by the later work of Donald Davidson. (shrink)

The philosophical “method of cases” has been the subject of intense discussion. In a recent paper, Frank Jackson attempts to vindicate the method by proposing that it is underwritten by the “representational view of language.” Jackson's proposal is potentially very significant. For if it is true, then the method of cases stands, but quite possibly also falls, with the representational view of language as characterized by Jackson. The aim of this paper is to question the (...) philosophical method of cases by showing that it does in fact presuppose a particular view of language that is at the very least questionable, both philosophically and empirically. (shrink)

I start with some of the early challenges to the widely-employed philosophical method of cases—the very challenges that originally prompted the new movement of experimental philosophy—and with some fundamental questions about the method that are yet to have been given satisfying answers. I then propose that what has allowed both ‘armchair’ and ‘experimental’ participants in the ongoing debates concerning the method to ignore or repress those early challenges—and in particular Robert Cummins’s ‘calibration objection’—and to discount fundamental (...) disagreements about those questions, is in large part ‘the claim of continuity’, which is the claim, or assumption, that there is no philosophically significant difference between whatever it is that we do when we give our answer to the theorist’s question of whether some philosophically interesting word ‘applies’ (positively or negatively) to some theoretically significant case, and our use of that same word in the course of ordinary, non-philosophical discourse. I then summarize the ordinary language philosophy (OLP) argument against the claim of continuity, and explain why answers to the theorist’s questions are vulnerable to the calibration objection in a way that our non-philosophical, everyday employment of the same words is not. This then leads me to question another widespread assumption, which is the assumption that the theorist’s questions—as raised in the theorist’s context—have clear enough sense and correct answers. I end by responding to a series of objections to my argument and to OLP more generally. (shrink)

Experimental philosophy has focused attention on the role that intuitive responses to philosophical cases play in philosophical argumentation. The method of appealing to such cases has been dubbed the “method of cases,” and, in recent work, Edouard Machery has both defended its prevalence and uniformity in philosophical practice, and criticized its epistemic value. In this paper, I argue that there is no single method of cases, but rather a set of methods of (...) class='Hi'>cases. To defend this claim, I distinguish and articulate these different methods and argue that they better explain several paradigmatic appeals to cases. This result not only challenges the homogeneity of the method of cases; it also stocks our methodological toolbox with additional interpretive tools which help us to not only better understand philosophical arguments, but to better understand the significance of experimental work. (shrink)

A Pragmatic Method of Reading Confused Philosophic Texts: The Case of Peirce's "Illustrations" In 1878, Charles Peirce introduced a method for making confused ideas clear. In this essay, I put Peirce's method to work as a method for making confused writing clear, in particular, for clarifying the meaning of confused philosophic arguments as they appear in philosophic essays. In Section I, I introduce the method as a Pragmatic Method of Reading Confused Philosophic Texts. In (...) Section II, I re• view Peirce's 1877-78 "Illustrations of the Logic of Science"\ as examples of confused texts. In Section III, I apply the Pragmatic Method, reading Peirce's "Illustrations' as expressions of fundamentally contradictory "leading tendencies of thought." While it does not resolve such contradictions, the Pragmatic Method renders a confused text clear by enabling us to read it as a collection of two "implicit" texts, or two sets of meanings. (shrink)

Most donated organs in the United States come from brain dead donors, while a small percentage come from patients who die in “controlled,” or expected, circumstances, typically after the family or surrogate makes a decision to withdraw life support. The number of organs available for transplant could be substantially if donations were permitted in “uncontrolled” circumstances–that is, from people who die unexpectedly, often outside the hospital. According to projections from the Institute of Medicine, establishing programs permitting “uncontrolled donation after circulatory (...) determination of death,” or uDCDD, throughout the United States has the potential to provide 22,000 more donation opportunities annually. In contrast, U.S. controlled donation after circulatory determination of death, or cDCDD, cases have increased progressively over the past decade from 87 to 848 donors, but currently account for only 10.6 percent of all deceased donors. Following the IOM recommendations, several projects exploring the feasibility of uDCDD were funded by the federal government, including a grant from the Health Resources and Services Administration that supported a pilot project in New York City in which the authors of this article participated.A key feature of our protocol, and indeed of many uDCDD protocols, is the initiation of preservation methods such as chest compressions and extracorporeal membrane oxygenation shortly after death in order to perfuse and preserve the donor's organs. Critics of uDCDD argue that the means of determining death deviates from generally ascribed principles. They assert that reinstituting circulation in order to preserve organs has the effect of “undoing” the prior determination of death. The result is that cDCDD is widely accepted and practiced routinely even though it only marginally increases the number of organs available for transplantation, and uDCDD is widely considered unacceptable despite being ethically embraced and proven to significantly increase organ donation opportunities in other countries. This article explores the evolution of this counterintuitive state of affairs and calls for a policy that, in line with the IOM report, allows for both cDCDD and uDCDD protocols. (shrink)

Damascius has become well-known in recent scholarship for his unique, radical use of the aporetic method, both to highlight the inherent limits of human thought and to reveal crucial tensions in Neoplatonic metaphysics. Though much attention has been paid to the subjective or skeptical aspects of Damascius’ aporiai, little has been noted of the parallels between Damascius’ aporetic strategy in the De Principiis and Aristotle’s own in Metaphysics B. This article analyzes the parallel by looking at Aristotle’s aim for (...) aporiai in Metaphysics B.1 and closely comparing, as a case study, the De Principiis’ first aporia alongside Metaphysics B’s first aporia. Despite Damascius’ aporia dealing with different principles compared to Aristotle’s, the aporetic method for both ultimately exposes the limitations of thought and, exactly in the domain of these limitations, clarifies our concepts in relating to reality and attaining determinate understanding of principles. (shrink)

Context: The use of first-person micro-phenomenological interviews and their productive interaction with third-person physiological data is a challenging and pressing issue in order to offer an effective and fruitful application of Varela’s neurophenomenological hypothesis. Problem: We aim at offering a generative method of analysis of first-person micro-phenomenological interviews using third-person physiological data. Our challenge is to describe this generative first-person analysis with the third-person physiological framework rather than put Varela’s hypothesis into practice in a generative way (as we did (...) in another paper. Method: The present contribution is a first pioneering study as far as the exposition of such an interactive generative methodology is concerned. It is also a new issue insofar as it deals with a case study, surprise in depression, that has not been thoroughly dealt with so far, either in philosophy or in psychopathology. Results: We show that the analysis of first-person data is an intrinsic generative one, insofar as new refined categories and multifarious circular micro- and macro-processes were discovered in the very process of analyzing. They provide the initial structural generic third-person description of surprise inherited both from philosophical phenomenological a priori categories and from the experimental startle setting with a refined micro-segmentation of the dynamic of the experience. Implications: Our article could be of interest to neurophenomenologists looking for an effective application and to researchers in quest of a method of analysis of first-person data. The present limitations are due to the still preliminary data-results we need to complete. Constructivist content: The article is directly linked to Varela’s neurophenomenological program and aims at extending and reforming it with a cardio-phenomenological approach. Keywords: First-person micro-phenomenological interviews, surprise, generative analysis of first-person data, depression, cardio-phenomenology, generative categories. (shrink)

The Case Study Method of Instruction (CSMI) is an excellent vehicle for achieving many instructional goals, including employing critical thinking to facilitate learning. The best results occur when instructors have a clear understanding of the CSMI and critical thinking. In this article, the author describes the evolution of the CSMI, its notable characteristics, and its instructional benefits. The author also presents five detailed definitions of critical thinking, and explains how case studies can be used to lead students to think (...) critically and subsequently learn. (shrink)

The Case Study Method of Instruction (CSMI) is an excellent vehicle for achieving many instructional goals, including employing critical thinking to facilitate learning. The best results occur when instructors have a clear understanding of the CSMI and critical thinking. In this article, the author describes the evolution of the CSMI, its notable characteristics, and its instructional benefits. The author also presents five detailed definitions of critical thinking, and explains how case studies can be used to lead students to think (...) critically and subsequently learn. (shrink)

This article is targeted at analyzing the advantages of using the case study method in the course of Business English at Scientific Research University - Higher School of Economics in Saint Petersburg. Cases offer a lot of opportunities for developing academic skills in reading, writing, listening and making presentations. Students get not only linguistic skills but also non-linguistic competences. Students are taught to work in teams, to analyze the data given in the task, to make decisions. Communicative and (...) managerial skills are obtained as well. Special attention is paid to making team presentations. It is vital to mention that analysis and case solving can be compared to a play where students are actors trying to come up with a solution of a problem using the information given. This approach stimulates students to be more creative, decisive, communicative and goal-oriented. This method helps to achieve better results in developing academic skills while studying Business English. In this article, the importance of Russian companies’ problems analyses is pushed forward. (shrink)

The method of contrast is used within philosophy of perception in order to demonstrate that a specific property could be part of our perception. The method is based on two passages. I argue that the method succeeds in its task only if the intuition of the difference, which constitutes the core of the first passage, has two specific traits. The second passage of the method consists in the evaluation of the available explanations of this difference. Among (...) the three outlined options, I will demonstrate that only in the third option – as we shall see, the case of the scenario that remains the same but is perceived in two different ways by the same perceiver – the intuition purports a difference that posses the necessary characteristics, namely being immediately evident and extremely complex and multifaceted, which determine its tensive nature. The application within auditory perception of this third option will generate two cases, a diachronic one and a synchronic one, which clearly show that we can auditorily perceive causality as a link between two sonorous episodes. The causal explanation is the only possible explanation among the many evaluated within the second passage of the method of contrast. (shrink)

BackgroundMoral Case Deliberation is a specific form of bioethics education fostering professionals’ moral competence in order to deal with their moral questions. So far, few studies focus in detail on Moral Case Deliberation methodologies and their didactic principles. The dilemma method is a structured and frequently used method in Moral Case Deliberation that stimulates methodological reflection and reasoning through a systematic dialogue on an ethical issue experienced in practice.MethodsIn this paper we present a case-study of a Moral Case (...) Deliberation with the dilemma method in a health care institution for people with an intellectual disability, describing the theoretical background and the practical application of the dilemma method. The dilemma method focuses on moral experiences of participants concerning a concrete dilemma in practice. By an in-depth description of each of the steps of the deliberation process, we elucidate the educational value and didactics of this specific method.ResultsThe didactics and methodical steps of the dilemma method both supported and structured the dialogical reflection process of the participants. The process shows that the participants learned to recognize the moral dimension of the issue at stake and were able to distinguish various perspectives and reasons in a systematic manner. The facilitator played an important role in the learning process of the participants, by assisting them in focusing on and exploring moral aspects of the case.DiscussionThe reflection and learning process, experienced by the participants, shows competency-based characteristics. The role of the facilitator is that of a Socratic teacher with specific knowledge and skills, fostering reflection, inquiry and dialogue.ConclusionThe specific didactics of the dilemma method is well suited for teaching bioethics in clinical settings. The dilemma method follows an inductive learning approach through a dialogical moral inquiry in which participants develop not only knowledge but also skills, attitude and character. The role of a trained facilitator and a specific view on teaching and practicing ethics are essential when using the dilemma method in teaching health care professionals how to reflect on their own moral issues in practice. (shrink)

The idea that disputes which are heated, and apparently important, may nonetheless be 'merely verbal' or 'just semantic' is surely no stranger to any philosopher. I urge that many disputes, both in and out of philosophy, are indeed plausibly considered verbal, and that it would repay us to more frequently consider whether they are so or not. Asking this question is what I call ‘The Method of Verbal Dispute’. Neither the notion nor the method of verbal dispute is (...) new. What I do here is to urge its wider application, to suggest how widespread is the phenomenon of verbal disputes, and to clarify certain misconceptions about what is, or needs to be, involved in a verbal dispute. One central claim is that verbal disputes need not be ‘merely’ verbal disputes – that often, there is a real disagreement to be had, but it is not the one suggested by the surface form of the disagreement. I also discuss the relation between verbal disputes, relativism and cases in which ‘there is no fact of the matter’. (shrink)

In this article, I argue that Habermas’s method of rational reconstruction faces limitations when it comes to analysing newly emerging and contested political practices. As rational reconstruction aims to criticize existing practices by determining their normative meaning as reflected in the participants’ idealizing presuppositions, it reaches its limits where emerging and contested practices make it impossible to identify a shared self-understanding and a single participants’ perspective. Using the example of membership politics, I argue that this is often the case (...) where nationally constituted forms of politics become controversial or are fundamentally questioned. Building on the work of Benhabib and Fraser, I develop an alternative reconstructive method of plural reconstruction, which modifies the basic premises of rational reconstruction, adjusting it to emerging and contested political contexts. (shrink)

From the perspective of the complex system, university ranking is a complex system that involves multiagent actors, which evolve over time. Yet, current major university rankings fail to reflect the system dynamics of the university innovation system. In this paper, we apply the complex system model in the field of the university innovation system in the context of university ranking in the countries along the Belt and Road, which is a long-term overlooked field. We introduce a new method of (...) university ranking based on the “winning and losing” relationship to measure the relative competitiveness between universities. This paper contributes to complex system research, the Belt and Road research, and the university ranking arena. (shrink)

One challenge for those reading methodological debates in low consensus fields is determining the outcome when participants do not share standards. When parties to a debate do not agree on the standards to be used in assessing their arguments (i.e., quality), it may be useful to ask first if parties’ contributions meet their own expectations (i.e., integrity). Most protocols for review of qualitative research specify some form of quality assessment. These protocols normally require some test of internal coherence. Coherence is (...) also relevant when describing the match between a rebuttal and the argument it answers. In 2019,Nursing Inquirypublished a critique and rebuttal of the methods used by the Joanna Briggs Institute. In this essay, we attempted to use the Joanna Briggs Institute's own quality assessment standards to assess their rebuttal of this fundamental critique. We found it possible to use the Joanna Briggs Institute's own quality assessment standards to assess this rebuttal, and we found that JBI's rebuttal did not meet their own standards. (shrink)

The organization, processing and representation of knowledge becomes increasingly important in all scientific and business contexts. This book focuses on qualitative methods for knowledge organization and their contributions to knowledge-based issues of marketing management research. Besides theoretical discussions of different approaches to and definitions of knowledge, as well as methods for knowledge organization, several case studies in the field of marketing management are presented. Questions of research design, adequate choice of methodologies and practical relevance of the results are addressed.

In this paper I argue that applied philosophers hoping to develop a stronger role in public policy formation can begin by aligning their methods with the tools employed in the policy sciences. I proceed first by characterizing the standard view of policymaking and policy education as instrumentally oriented toward the employment of specific policy tools. I then investigate pressures internal to philosophy that nudge work in applied philosophy toward the periphery of policy debates. I capture the dynamics of these pressures (...) by framing them as the “dilemma dilemma” and the “problem problem.” Seeking a remedy, I turn to the interdisciplinarity of a unique approach to policymaking generally known as the “policy sciences.” Finally, I investigate the case of bioethics, an instance where philosophy has made decent headway with policymakers. From this I draw parallels to public policy. I suggest that because the policy sciences are essentially analchemist’s brew of academic fields, and because philosophy covers many of the foundational questions associated with these fields, it is only natural that applied philosophers should begin collaborations with other applied academics by adopting the strategies that have so successfully applied in other theoretical fields. (shrink)

This article contributes to discussions of methodology in gender studies by examining narrative analysis as a feminist method. Using direct-to-consumer genetic ancestry services as a case study, the author discusses the potential of narrative analysis in interrogating complex cultural phenomena. The analysis focuses on the commercial website of the UK-based genetics company Oxford Ancestors, which the author situates at the intersection of the cultural narratives of commercialization, scientific advance and personal quest. By interrogating the mutual embeddedness of these narratives, (...) the author demonstrates how narrative analysis moves across structure and context capturing the processes through which facts about gender come into being. The author suggests that this focus on the tension between the abstract and the specific in cultural phenomena is what makes narrative analysis a particularly effective tool for feminist cultural analysis. (shrink)

Both sides in controversies tend to argue they have logic on their side. This book proposes that the interminable nature of these controversies suggests there is a problem with the main tool of logic, the syllogism. Drawing on contemporary developments in social theory and philosophy, Stanley Raffel argues that metaphors are not just aesthetic tools; they can also be used to judge phenomena. Featuring case studies drawn from both literary material and current controversial debates, _The Method of Metaphor_ ultimately (...) demonstrates the value of this neglected potential of metaphoric reasoning and shows its far-reaching implications in both moral behavior and moral education. (shrink)

If ethics consultation services influence medical decisions it is important to evaluate how ethical dilemmas are dealt with by clinical ethics committees (CECs). Such evaluation is rare. This study presents a feasible and practical method of evaluating case discussions in CECs and the results emerging from the use of this method. A written presentation of an end-of-life dilemma was sent to all Norwegian ethics committees. The committees were asked to deal with the case as they would do if (...) it was a real case, and to prepare a written report of the discussion. A majority of the committees approached the case systematically. All emphasized the importance of good communication with the next of kin. However, their conclusions varied, medical facts were interpreted differently, possible patient suffering was dealt with differently, and some committees revealed insufficient legal knowledge. Such findings are useful in the future education of committee members. (shrink)

I challenge a cornerstone of the Gettier debate: that a proposed analysis of the concept of knowledge is inadequate unless it entails that people don’t know in Gettier cases. I do so from the perspective of Carnap’s methodology of explication. It turns out that the Gettier problem per se is not a fatal problem for any account of knowledge, thus understood. It all depends on how the account fares regarding other putative counter examples and the further Carnapian desiderata of (...) exactness, fruitfulness and simplicity. Carnap proposed his methodology more than a decade before Gettier’s seminal paper appeared, making the present solution to the problem a candidate for being the least ad hoc proposal on the market, one whose independent standing cannot be questioned, among solutions that depart from the usual method of revising a theory of knowledge in the light of counterexamples. As an illustration of the method at work, I reconstruct reliabilism as an attempt to provide an explication of the concept of knowledge. (shrink)

The use of "levels of abstraction" in philosophical analysis (levellism) has recently come under attack. In this paper, we argue that a refined version of epistemological levellism should be retained as a fundamental method, which we call the method of abstraction. After a brief introduction, in section two we make clear the nature and applicability of the (epistemological) method of levels of abstraction. In section three, we show the fruitfulness of the new method by applying it (...) to five case studies: the concept of agenthood, the Turing test, the definition of emergence, quantum observation and decidable observation. In section four, we further characterise and support the method by distinguishing it from three other forms of "levellism": (i) levels of organisation; (ii) levels of explanation and (iii) conceptual schemes. In this context, we also briefly address the problems of relativism and antirealism. In the conclusion, we indicate some of the work that lies ahead, two potential limitations of the method and some results that have already been obtained by applying the method to some long-standing philosophical problems. (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)

The evaluation index system of ecological security of marine ranching is based on the assumption that there is independence among evaluation indexes in the existing studies, which ignores the complex interactive paths of marine ranching as an artificial ecosystem. In this study, the MRES evaluation network model that includes interdependent relationships is established based on the Driver-Pressure-State-Impact-Response model and the analytic network process method. Then, the probabilistic linguistic term sets and analytic network process methods are used to calculate the (...) weights of the evaluation indexes of MRES. The overall evaluation value and the contribution rate of clusters are consequently defined and analyzed to reflect the performance of MRES. Finally, a case study is carried out for evaluating the MRES of marine ranches in Rongcheng by means of the proposed method. The conclusions are summarized as follows: The weights of clusters are ranked as Responses > Impact > Driver > State > Pressure, and “scientific management of fishery resources” is the most important index; the MRES performance of marine ranches in the city of Rongcheng is at the medium security grade on the whole, and all 11 samples are driven by the response. (shrink)

Several scholars have recently criticized the dominant emphasis upon mid-level principles in bioethics best exemplified by Beauchamp and Childress's Principles of Biomedical Ethics . In Part I of this essay, I assess the fairness and cogency of three broad criticisms raised against ‘principlism’ as an approach: (1) that principlism, as an exercise in applied ethics, is insufficiently attentive to the dialectical relations between ethical theory and moral practice; (2) that principlism fails to offer a systematic account of the principles of (...) nonmaleficence, beneficence, respect for autonomy, and justice; and (3) that principlism, as a version of moral pluralism, is fatally flawed by its theoretical agnosticism. While acknowledging that Beauchamp and Childress's reliance upon Ross's version of intuitionism is problematic, I conclude that the critics of principlism have failed to make a compelling case against its theoretical or practical adequacy as an ethical approach. In Part II, I assess the moral theory developed by Bernard Gert in Morality: A New Justification of the Moral Rules , because Gert has recommended his approach as a systematic alternative to principlism. I judge Gert's theory to be seriously incomplete and, in contrast to principlism, unable to generate coherent conclusions about cases of active euthanasia and paternalism. Keywords: active euthanasia, applied ethics, Beauchamp and Childress, intuitionism, paternalism, principlism, W.D. Ross CiteULike Connotea Del.icio.us What's this? (shrink)