The current informal practice of pharmacometrics as a combination art and science makes it hard to appreciate the role that informatics can and should play in the future of the discipline and to comprehend the gaps that exist because of its absence. The development of pharmacometric informatics has important implications for expediting decision making and for improving the reliability of decisions made in model-based development. We argue that well-defined informatics for pharmacometrics can lead to much needed improvements in the efficiency, (...) effectiveness, and reliability of the pharmacometrics process. The purpose of this paper is to provide a description of the pervasive yet often poorly appreciated role of informatics in improving the process of data assembly, a critical task in the delivery of pharmacometric analysis results. First, we provide a brief description of the pharmacometric analysis process. Second, we describe the business processes required to create analysis-ready data sets for the pharmacometrician. Third, we describe selected informatic elements required to support the pharmacometrics and data assembly processes. Finally, we offer specific suggestions for performing a systematic analysis of existing challenges as an approach to defi ning the next generation of pharmacometric informatics. (shrink)

According to Hitchcock and Sober’s argument from overfitting for weak predictivism, the fact that a theory accurately predicts a portion of its data is evidence that it has been formulated by balancing simplicity and goodness-of-fit rather than overfitting data. The core argument consists of two likelihood inequalities. In this paper I show that there is a surprising accommodation-friendly implication in their argument, and contend that it is beset by a substantial difficulty, namely, there is no good reason to think (...) that their second likelihood inequality is true. (shrink)

The "tree of life" iconography, representing the history of life, dates from at least the latter half of the 18th century, but evolution as the mechanism providing this bifurcating history of life did not appear until the early 19th century. There was also a shift from the straight line, scala naturae view of change in nature to a more bifurcating or tree-like view. Throughout the 19th century authors presented tree-like diagrams, some regarding the Deity as the mechanism of change while (...) others argued for evolution. Straight-line or anagenetic evolution and bifurcating or cladogenetic evolution are known in biology today, but are often misrepresented in popular culture, especially with anagenesis being confounded with scala naturae. Although well known in the mid 19th century, the geologist Edward Hitchcock has been forgotten as an early, if not the first author to publish a paleontologically based "tree of life" beginning in 1840 in the first edition of his popular general geology text Elementary Geology. At least 31 editions were published and those between 1840 and 1859 had this "paleontological chart" showing two trees, one for fossil and living plants and another for animals set within a context of geological time. Although the chart did not vary in later editions, the text explaining the chart did change to reflect newer ideas in paleontology and geology. Whereas Lamarck, Chambers, Bronn, Darwin, and Haeckel saw some form of transmutation as the mechanism that created their "trees of life," Hitchcock, like his contemporaries Agassiz and Miller, who also produced "trees of life," saw a deity as the agent of change. Through each edition of his book Hitchcock denounced the newer transmutationist hypotheses of Lamarck, then Chambers, and finally Darwin in an 1860 edition that no longer presented his tree-like "paleontological chart.". (shrink)

This paper argues that Hitchcock's so-called 'Freudian' films (esp. Spellbound, Psycho, and Marnie) pay tribute to the cultural magnetism of Freud's ideas whist being critical of the tehories themselves.

Este ensayo considera el tema de sabotaje en Hitchcock, en especial su película británica Sabotaje, en términos de la teoría silogística de Manuel Asensi. También analiza temas subversivos semejantes en dos obras contemporáneas, Malditos bastardos de Quentin Tarantino y Volver de Pedro Almodóvar. Los sabotajes literales en la película de Hitchcock (la colocación de bombas en relación con el cine) se combinan con la matanza de un esposo (tratándole como un pedazo de carne) para figurar un cine radical (...) no solo como un arte anti-aurético (en el sentido del arte mecánicamente reproducido de Walter Benjamin) sino también como un texto atético, en términos de Asensi, para desconstruir el silogismo entimemático que informa el modelo del mundo (la sociedad y la política son como una obra artística de formas puras) al fondo del fascismo histórico. Malditos bastardos y Volver van más allá de Sabotaje de Hitchcock al ofrecer un hospedaje al subalterno en pos de los silogismos saboteados. La crítica como sabotaje nos ayuda a ver la dimensión subversiva de estas y otras películas. Al mismo tiempo, el análisis de los sabotajes cinematográficos pone en relieve el impacto político de la teoría de Asensi de la crítica como sabotaje.El fondo teórico de este artículo es el libro Crítica y sabotaje de Manuel Asensi que demuestra que las obras literarias y fílmicas tienen una función performativa. Son discursos que modelizan sujetos en el mundo. Tales modelizaciones ocurren de una manera inconsciente puesto que cada discurso contiene un silogismo que implica un modelo del mundo. La crítica como sabotaje es un instrumento para revelar estos silogismos modelizantes escondidos en las obras. Algunos textos como las películas estudiadas en este artículo explícitamente sabotean los modelos del mundo que históricamente han servido para reprimirnos, de modo que la crítica como sabotaje se une a la visión de Walter Benjamin del arte nuevo capaz de estallar el aura (los valores del culto inseparables del fascismo) asociado con el arte clásico. El cine para Benjamin, siendo un arte mecánicamente reproducido, ténia esta potencia explosiva. Es precisamente la misma visión saboteadora que encontramos en las películas analizadas en este ensayo. (shrink)

David Hitchcock, in his recent “Informal Logic and the Concept of Argument”, defends a recursive definition of ‘argument.’ I present and discuss several problems that arise for his definition. I argue that refining Hitchcock’s definition in order to resolve these problems reveals a crucial, but minimally explicated, relation that was, at best, playing an obscured role in the original definition or, at worst, completely absent from the original definition.

This article explores the way in which the generative capacity of language inflects objects and props in several films by Alfred Hitchcock, focusing in particular on Rope (1948) and Strangers on a Train (1951). Camera angle and framing, the duration of the shot, the close-up or the long shot – all give shape to the filmed object. But why is language – or its absence – not mentioned among the set of operations that determines cinematic objects? In the form (...) of dialogue or imaged writing (words or letters visible in the frame), it notably contextualizes the object in Hitchcock's films. Language in relation to objects can be punning; it can extend the image, evoking another, unimaged object through the use of rhyme, and it may act as a verbal solution to a puzzle. When imaged as writing, language is materialized, itself an object. At their most macabre, Hitchcock films stage an oscillation between a word's literal and figurative use, generating an undertext that extends beyond the joke the film's surface makes available. This discussion teases out several functions of language in Hitchcock films as it impacts the viewer's understanding of objects, moments when language creates undertexts that are clearly intentional but resist interpretation. (shrink)

The "tree of life" iconography, representing the history of life, dates from at least the latter half of the 18th century, but evolution as the mechanism providing this bifurcating history of life did not appear until the early 19th century. There was also a shift from the straight line, scala naturae view of change in nature to a more bifurcating or tree-like view. Throughout the 19th century authors presented tree-like diagrams, some regarding the Deity as the mechanism of change while (...) others argued for evolution. Straight-line or anagenetic evolution and bifurcating or cladogenetic evolution are known in biology today, but are often misrepresented in popular culture, especially with anagenesis being confounded with scala naturae. Although well known in the mid 19th century, the geologist Edward Hitchcock has been forgotten as an early, if not the first author to publish a paleontologically based "tree of life" beginning in 1840 in the first edition of his popular general geology text Elementary Geology. At least 31 editions were published and those between 1840 and 1859 had this "paleontological chart" showing two trees, one for fossil and living plants and another for animals set within a context of geological time. Although the chart did not vary in later editions, the text explaining the chart did change to reflect newer ideas in paleontology and geology. Whereas Lamarck, Chambers, Bronn, Darwin, and Haeckel saw some form of transmutation as the mechanism that created their "trees of life," Hitchcock, like his contemporaries Agassiz and Miller, who also produced "trees of life," saw a deity as the agent of change. Through each edition of his book Hitchcock denounced the newer transmutationist hypotheses of Lamarck, then Chambers, and finally Darwin in an 1860 edition that no longer presented his tree-like "paleontological chart.". (shrink)

Hitchcock (2001a) argues that the distinction between singular and general causation conflates the two distinctions ‘actual causation vs. causal tendencies’ and ‘wide vs. narrow causation’. Based on a recent regularity account of causation I will show that Hitchcock’s introduction of the two distinctions is an unnecessary multiplication of causal concepts.

This essay is a return to the scene of a crime. In my recent book on Hitchcock I made an outrageously general argument for the affinity between Hitch’s narrativesand David Hume’s reasoning about human nature. For something so speculative, youexpect cracks to appear pretty soon. But my impulse since the book’s appearance has notbeen to feel I exaggerated – which I’m sure I did – but to sense that I did not go far enough.There was more to be said (...) about this oblique, long distance liaison down the centuries andI now feel it best said through a film which I had not discussed at all, partly because I sharedthe general feeling that this was not one of Hitch’s most auspicious films. The acting wasuneven, the tone whimsical, the plot often cluttered and it suffered, or so I thought, fromthat general uncertainty of touch that sometimes characterised Hitchcock’s return toEngland. But then again his short wartime film Bon Voyage has beenunderestimated, as were in different ways Under Capricorn , the remade The ManWho Knew Too Much and later Frenzy . As Michael Walker has pointed out, Stage Fright has a structural complexity, a narrative coherence anda textual density missing from his 1930s films like Young And Innocent . In otherwords, it brings back to London in 1950 the innovating aspects of Hitchcock’s Hollywoodaesthetic of the 1940s. (shrink)

David Hitchcock and Bart Verheij (eds): Arguing on the Toulmin Model. New Essays in Argument Analysis and Evaluation Content Type Journal Article Pages 1-13 DOI 10.1007/s10503-011-9214-y Authors Lester C. van der Pluijm, University of Amsterdam, Amsterdam, The Netherlands Jacky C. Visser, University of Amsterdam, Amsterdam, The Netherlands Journal Argumentation Online ISSN 1572-8374 Print ISSN 0920-427X.

The development of Vertigo’s main characters provides a detailed illustration of the dialectics of despair as analysed in Kierkegaard’s The Sickness unto Death, in particular of the so-called ‘masculine’ and ‘feminine’ types of failed selfhood. This article shows the relation of selfhood and despair to dizziness both in Kierkegaard’s work and in Hitchcock’s film, and it examines the religious subtext of Vertigo. The dramatis personae of Judy and Scottie are analysed by applying Kierkegaard’s phenomenology of despair. They display a (...) variety of failures to relate to their selves, like unconscious and conscious despair, possibility’s despair, despair over the earthly and despair of the eternal. Moreover, they epitomize the gendered types of despair as depicted in The Sickness unto Death: losing one’s self in relation to someone and obsessively striving for self-assertion at the cost of others. (shrink)

Although Alfred Hitchcock, Orson Welles, and Jean Renoir do not pontificate about "eternal verities or analytical niceties," as Irving Singer remarks in Three Philosophical Filmmakers, each expresses, through his work, his particular vision of reality. In this study of these great directors, Singer examines the ways in which meaning and technique interact within their different visions.Singer's account reveals Hitchcock, Welles, and Renoir to be not only consummate artists and inspired craftsmen but also sophisticated theorists of film and its (...) place in human experience. They left behind numerous essays, articles, and interviews in which they discuss the nature of their own work as well as more extensive issues. Singer draws on their writings, as well as their movies, to show the pervasive importance of what they did as dedicated filmmakers.Hitchcock used his mastery of contrived devices not as mere formalism divorced from content, Singer notes, but in order to evoke emotional responses that are meaningful in themselves and that matter greatly to millions of people. Singer's discussion of Hitchcock's work analyzes, among other things, his ideas about suspense, romance, and the comic. Singer also makes a detailed comparison of the original Psycho with Gus Van Sant's recent remake. Considering the work of Welles, Singer shows how and why the theme of vanished origins -- "the myth of the past" -- recurs in many of his films, starting with the Rosebud motif in Citizen Kane and continuing much later in his little-known masterpiece The Immortal Story. Expanding upon Renoir's comment that his own films were "always the same film," Singer studies his entire work as a coherent though evolving search for contact and "conversation" with the audience. While recognizing the primacy of technique, Renoir used cinematic artifice in the service of that humanistic aspiration. (shrink)

In Hitchcock as Philosopher, Robert Yanal argues that not only can we find illustrations of philosophical ideas in Hitchcock's films, but that Hitchcock does philosophy through his movies. This is a bold claim. It would be ambitious to merely assert that there are elements in Hitchcock's movies that can support rich philosophical interpretations. This sets the bar high and forces the interpreter to prove the point by supplying productive readings of the films. But Yanal accepts an (...) even more ambitious challenge -- to present Hitchcock as a philosopher in his own right, doing philosophy through his films. Unfortunately, Yanal fails to realize his project, but his book is nevertheless valuable, albeit for mostly non-philosophical reasons. (shrink)

- The gushing shower in the Bates motel suddenly becomes a shower of blood - The birds line up on the fence, watching and waiting - An airplane chases Cary Grant through a cornfield - James Stewart experiences vertigo in the church tower in ...

Christopher Hitchcocks discussion of my use of screening-off in analyzing the causal process of natural selection raises some interesting issues to which I am pleased to reply. The bulk of his article is devoted to some fairly general points in the theory of explanation. In particular, he questions whether or not my point that phenotype screens off genotype from reproductive success (in cases of organismic selection) supports my claim that the explanation of differential reproductive success should be in terms of (...) phenotypic differences, not genotypic differences. I will respond to this and show why the two supposed counter-examples to my position fail. (shrink)

On the surface, The Philosophical Hitchcock: Vertigo and the Anxieties of Unknowingness, is a close reading of Alfred Hitchcock’s 1958 masterpiece Vertigo. This, however, is a book by Robert B. Pippin, one of our most penetrating and creative philosophers, and so it is also much more. Even as he provides detailed readings of each scene in the film, and its story of obsession and fantasy, Pippin reflects more broadly on the modern world depicted in Hitchcock’s films. (...) class='Hi'>Hitchcock’s characters, Pippin shows us, repeatedly face problems and dangers rooted in our general failure to understand others—or even ourselves—very well, or to make effective use of what little we do understand. Vertigo, with its impersonations, deceptions, and fantasies, embodies a general, common struggle for mutual understanding in the late modern social world of ever more complex dependencies. By treating this problem through a filmed fictional narrative, rather than discursively, Pippin argues, Hitchcock is able to help us see the systematic and deep mutual misunderstanding and self-deceit that we are subject to when we try to establish the knowledge necessary for love, trust, and commitment, and what it might be to live in such a state of unknowingness. A bold, brilliant exploration of one of the most admired works of cinema, The Philosophical Hitchcock will lead philosophers and cinephiles alike to a new appreciation of Vertigo and its meanings. (shrink)

Although Alfred Hitchcock, Orson Welles, and Jean Renoir do not pontificate about "eternal verities or analytical niceties," as Irving Singer remarks in Three Philosophical Filmmakers, each expresses, through his work, his particular vision of reality. In this study of these great directors, Singer examines the ways in which meaning and technique interact within their different visions.Singer's account reveals Hitchcock, Welles, and Renoir to be not only consummate artists and inspired craftsmen but also sophisticated theorists of film and its (...) place in human experience. They left behind numerous essays, articles, and interviews in which they discuss the nature of their own work as well as more extensive issues. Singer draws on their writings, as well as their movies, to show the pervasive importance of what they did as dedicated filmmakers.Hitchcock used his mastery of contrived devices not as mere formalism divorced from content, Singer notes, but in order to evoke emotional responses that are meaningful in themselves and that matter greatly to millions of people. Singer's discussion of Hitchcock's work analyzes, among other things, his ideas about suspense, romance, and the comic. Singer also makes a detailed comparison of the original Psycho with Gus Van Sant's recent remake. Considering the work of Welles, Singer shows how and why the theme of vanished origins -- "the myth of the past" -- recurs in many of his films, starting with the Rosebud motif in Citizen Kane and continuing much later in his little-known masterpiece The Immortal Story. Expanding upon Renoir's comment that his own films were "always the same film," Singer studies his entire work as a coherent though evolving search for contact and "conversation" with the audience. While recognizing the primacy of technique, Renoir used cinematic artifice in the service of that humanistic aspiration. (shrink)

" L'argent est l'envers de toutes les images que le cinéma montre et monte à l'endroit " écrit Gilles Deleuze dans le deuxième volet de Cinéma. Le capital est toujours derrière le cinéma. Le Capital hante Cinéma du début à la fin. C'est donc une lecture marxiste du diptyque composé de L'Image-mouvement et L'Image-temps que propose Jun Fujita dans Ciné-capital. Comment fonctionne le mode de production ciné-capitaliste? Comment celui-ci fait-il produire de la plus-value aux images? Pourquoi et comment s'approprie-t-il le (...) travail même du spectateur? En quel sens peut-on soutenir qu'Eisenstein et Hitchcock ont anticipé l'arrivée de la New Economy des années 1990 (dématérialisation du travail et financiarisation de l'économie)? Quand et comment les images s'insurgent-elles contre l'exploitation ciné-capitaliste? Comment se mettent-elles à valoir pour elles-mêmes? Pourquoi le cinéma politique, depuis Straub et Huillet, a-t-il cessé de privilégier le tournage au bord de la mer? Qu'est-ce qui permet à Deleuze d'affirmer qu'Ozu est un cinéaste de gauche? Telles sont quelques-unes des questions abordées dans Ciné-capital. (shrink)

Christopher Hitchcock‘s discussion of my use of screening-off in analyzing the causal process of natural selection raises some interesting issues to which I am pleased to reply. The bulk of his article is devoted to some fairly general points in the theory of explanation. In particular, he questions whether or not my point that phenotype screens off genotype from reproductive success (in cases of organismic selection) supports my claim that the explanation of differential reproductive success should be in terms (...) of phenotypic differences, not genotypic differences. I will respond to this and show why the two supposed counter-examples to my position fail. (shrink)

Książka ukazała się jako drugi tom w nowo utworzonej serii Contemporary Debates in Philosophy, której patronuje wydawnictwo Blackwell Publishing Ltd, dobrze znane na rynku wydawnictw naukowych o charakterze przeglądowym czy quasi-encyklopedycznym. Ideą przewodnią serii jest udostepnienie studentom oraz wykładowcom forum filozoficznego, które dałoby im możliwość w pewien sposób włączyć się w dyskusje żywo podejmowane we współczesnej zachodniej filozofii. Jednakże autorzy są świadomi pewnej specyficznej trudności, jaką niesie dzisiaj filozofia, szczególnie, gdy chce się ją zaprezentować studentom. Chodzi tutaj o mniej lub (...) bardziej uzasadnione wrażenie, że każdy filozof rozumie terminy i problemy filozoficzne na swój sposób. To pociąga za sobą sytuacje, w których debaty wydają się tylko pozorne, 'gdyż jedni filozofowie atakują pozycje, których nikt nie broni, a drudzy bronią pozycji, których nikt nie atakuje'. Aby zapobiec takim paralelnym monologom i bezpośrednio zderzyć kontrastujące pozycje w ich całej mocy, autorzy przyjęli szczególną metodę. (shrink)

O que o grande cineasta Hitchcock tem a nos dizer sobre a pandemia que vivemos? Como a Covid-19 abriu uma possibilidade de assistir ao filme Os pássaros que não era evidente em sua época? Nessa via de mão-dupla, é como se Hitchcock pudesse nos ajudar a pensar a pandemia atual, mas apenas porque ela permitiu enxergar algo novo em Os pássaros. É o caso de pensar o que elementos da natureza não-humana, sejam pássaros ou vírus, dizem sobre o (...) antropocentrismo da civilização moderna. (shrink)

This article reconstructs and evaluates a debate between Pippin and Žižek over the proper interpretation of Hitchcock’s Vertigo, in relation to Hegel’s concept of reconciliation. Both Pippin and Žižek agree that Vertigo exemplifies Hegelian reconciliation: Scottie exhibits Hegel’s reconciliatory “negation of negation” when he realizes that his lost love Madeleine had really been Judy all along, thereby losing his original loss. Yet Pippin and Žižek disagree on the precise significance of the concept of reconciliation both for the film and (...) for the contemporary world. Žižek argues for a revolutionary reading of reconciliation in Vertigo: we learn from reconciliation that we must make a revolutionary break from the present world, in order to bring about a wholly new world. Pippin argues for a reformist reading of reconciliation in Vertigo: we learn from reconciliation that we must find the “traces of reason” latent in the present world, in order to gradually reform it for the better. Ultimately, I argue that Žižek’s reading offers the more authentically Hegelian approach to interpreting Hitchcock’s Vertigo. But if nothing else, the Pippin-Žižek debate demonstrates the profound intellectual fecundity of the intersections between film and philosophy for understanding our current historical moment. (shrink)

This book treats six beloved films of Hitchcock: The 39 Steps, Saboteur, and North by Northwest, plus Dial M for Murder, Rear Window, and To Catch a Thief. Padilla reviews their production histories with an eye to classical influences, and then analyzes their links with Greek art, poetry, and philosophy.

In this paper I manage a set of categories and intended to integratethem as a method to analyze film images in a conceptual level. I try anapplication of this methodological tool in the particular case of AlfredHitchcock’s Vertigo, which I consider as an image-concept of the untruthfulcharacter of r..

This article examines the concept of ‘event’ and the manner in which it has been neglected in both ecocriticism and Hitchcock studies. Using The Birds (1963) to rethink the premises of ecocritics’ discussion of nature, animals, and disasters in cinema and Hitchcock scholars’ emphasis on representation and symbolism, the article argues that it has become imperative to philosophically foreground ‘events’ in light of the numerous contemporary films that revolve around them. Hitchcock’s film is shown to propose a (...) renewed concept of event, a concept that significantly departs from the two most influential conceptualisations of the event in post-1960 continental philosophy: those of Gilles Deleuze and Alain Badiou. Eschewing philosophical theories that equate the event with pure becoming or conceptualisations that characterise events as rupture and break, the film reveals a particular form of bird-event that posits relationality to address becoming and rupture simultaneously. Indeed, what distinguishes Hitchcock’s concept of event, contra Deleuze’s and Badiou’s, is that it emphasises relationality instead of pure continuity or radical rupture in the characterisation of corporeal or embodied individuation. Emphasising relationality helps understand the film’s deployment of a concept of event that departs from the aforementioned theorisations that exclude the human body (and therefore affect) from the event’s experiential import. Closely aligning bodies prior to and after the bird-events, The Birds ultimately discloses the paradox of body and event at the heart of contemporary event theory by way of linking or relating bodies and events, thus tapping into debates over embodiment and affect in cultural and media theory. Centering around modalities of evental experience rather than the controversial and endlessly debatable signification of the bird attacks, the analysis purports that the bird-event configures materiality only to reveal its relational and interstitial volatility. (shrink)

Resumen La figura femenina en el arte cinematográfico ha sido mostrada mediante arquetipos y cumpliendo distintas funciones. Nos proponemos en este estudio analizar los personajes femeninos por medio de la narrativa audiovisual en dos películas emblemáticas de la cinematografía de Hitchcock: Recuerda y Vértigo, en las que la mujer se contempla como empoderada, pero también sometida, llegando a una negación de su propia identidad. Consideramos que la forma del tratamiento de la mujer en el cine de dicha época radica (...) en la situación social de la misma, sufriendo un tratamiento discriminatorio, que es admitido por los personajes femeninos justificándolo en un enamoramiento, que anula la propia personalidad. Abstract The female figure in cinematographic art has been shown through archetypes and performing different functions. We propose in this study to analyze female characters through the audiovisual narrative in two emblematic films of Hitchcock’s cinematography: Spellbound and Vertigo, in which women are seen as empowered, but also subjected to a denial of their own identity. We consider that the treatment of women in the cinema of that time lies in the social situation of the same, suffering a discriminatory treatment, which is admitted by the female characters justifying it in a crush, which annuls the own personality. (shrink)

he most worrisome skeptical doubt Descartes raises in the first of his Meditations is the hypothesis of an evil deceiver. While it might seem plainly certain and indubitable that he is “sitting by the fire, wearing a winter cloak, holding this paper” in his hands, and so on, it is possible that all these—fire, cloak, paper, even hands—are illusions. “I will suppose, then, not that there is a supremely good God, the source of truth; but that there is an evil (...) spirit, who is supremely powerful and intelligent, and does his utmost to deceive me. I will suppose that sky, air, earth, colors, shapes, sounds and all external objects are mere delusive dreams, by means of which he lays snares for my credulity.”. (shrink)

Alfred Hitchcock’s first cinematic success, The Lodger (1926, silent), provides a case study of contagious violence in the modern metropolis. The film is ostensibly a crime thriller centered on the search for the Avenger, a serial killer modeled on Jack the Ripper. But Hitchcock raises the stakes by introducing a love plot in which the detective and the suspected killer compete for the same woman, who may or may not be the slayer’s next target. In the course of (...) this triangular struggle, the hostility between rivals for the same object of desire escalates to the point of eroding any secure distinction between the cop and the killer, innocence and guilt, legal authority and criminal transgression. As if in homage to .. (shrink)