Impairments in executive functioning are prevalent in chronic pain conditions, with cognitive inflexibility being the most frequently reported. The current randomized, cross-over trial, piloted a computerized cognitive training program based on Relational Frame Theory, targeting improvement in cognitive flexibility. At baseline, 73 chronic pain patients completed testing on pre-selected outcomes of executive functioning, alongside IQ measures. When tested three times over the course of 5 months, there was a drop-out rate of 40% at the third time point, leaving 44 patients (...) who had data at all time points. The results showed that there was a substantial learning effect from the MINDFLEX training and a substantial time-dependent improvement on the primary outcomes of increased flexibility, but that this could not be tied to active training. In conclusion, this small study indicated a learning effect as well as improvement on primary outcomes. Based on the current results, a larger trial with improved feasibility of training is warranted. (shrink)

Chronic widespread pain is one of the most difficult pain conditions to treat due to an unknown etiology and a lack of innovative treatment design and effectiveness. Based upon preliminary findings within the fields of motivational psychology, integrative neuroscience, diaphragmatic breathing, and vagal nerve stimulation, we propose a new treatment intervention, motivational nondirective resonance breathing, as a means of reducing pain and suffering in patients with chronic widespread pain. Motivational nondirective resonance breathing provides patients with a noninvasive means of potentially (...) modulating five psychophysiological mechanisms imperative for endogenously treating pain and increasing overall quality of life. (shrink)

Chronic post-surgical pain (CPSP) represents a highly prevalent and significant clinical problem. Both major and minor surgeries entail risks of developing CPSP, and cancer-related surgery is no exception. As an example, more than 40% of women undergoing breast cancer surgery struggle with CPSP years after surgery. While we do not fully understand the pathophysiology of CPSP, we know it is multifaceted with biological, social, and psychological factors contributing. The aim of this review is to advocate for the role of response (...) outcome expectancies in the development of CPSP following breast cancer surgery. We propose the Cognitive Activation Theory of Stress (CATS) as an applicable theoretical framework detailing the potential role of cortisol regulation, inflammation, and inflammatory-induced sickness behavior in CPSP. Drawing on learning theory and activation theory, CATS offers psychobiological explanations for the relationship between stress and health, where acquired expectancies are crucial in determining the stress response and health outcomes. Based on existing knowledge about risk factors for CPSP, and in line with the CATS position, we propose the SURGEry outcome expectancy (SURGE) model of CPSP. According to SURGE, expectancies impact stress physiology, inflammation, and fear-based learning influencing the development and persistence of CPSP. SURGE further proposes that generalized response outcome expectancies drive adaptive or maladaptive stress responses in the time around surgery, where coping dampens the stress response, while helplessness and hopelessness sustains it. A sustained stress response may contribute to central sensitization, alterations in functional brain networks and excessive fear-based learning. This sets the stage for a prolonged state of inflammatory-induced sickness behavior – potentially driving and maintaining CPSP. Finally, as psychological factors are modifiable, robust and potent predictors of CPSP, we suggest hypnosis as an effective intervention strategy targeting response outcome expectancies. We here argue that presurgical clinical hypnosis has the potential of preventing CPSP in women with breast cancer. (shrink)

It is well known that Niels Bohr insisted on the necessity of classical concepts in the account of quantum phenomena. But there is little consensus concerning his reasons, and what he exactly meant by this. In this paper, I re-examine Bohr’s interpretation of quantum mechanics, and argue that the necessity of the classical can be seen as part of his response to the measurement problem. More generally, I attempt to clarify Bohr’s view on the classical/quantum divide, arguing that the relation (...) between the two theories is that of mutual dependence. An important element in this clarification consists in distinguishing Bohr’s idea of the wave function as symbolic from both a purely epistemic and an ontological interpretation. Together with new evidence concerning Bohr’s conception of the wave function collapse, this sets his interpretation apart from both standard versions of the Copenhagen interpretation, and from some of the reconstructions of his view found in the literature. I conclude with a few remarks on how Bohr’s ideas make much sense also when modern developments in quantum gravity and early universe cosmology are taken into account. (shrink)

During the last three decades, there has been a growing realization among physicists and cosmologists that the relation between particle physics and cosmology may constitute yet another successful example of the unity of science. However, there are important conceptual problems in the unification of the two disciplines, e.g. in connection with the cosmological constant and the conjecture of inflation. The present article will outline some of these problems, and argue that the victory for the unity of science in the context (...) of cosmology and particle physics is still far from obvious. (shrink)

Background: We define compassion as an enduring disposition that centers upon empathetic concern for another person's suffering and the motivation to act to alleviate it. The contribution of specific candidate genes to the development of dispositional compassion for others is currently unknown. We examine candidate genes in the oxytocin and dopamine signaling pathways.Methods: In a 32-year follow-up of the Young Finns Study, we examined with multiple indicators latent growth curve modeling the molecular genetic underpinnings of dispositional compassion for others across (...) the life span. We selected five single nucleotide polymorphisms whose functions are known in humans: rs2268498, rs3796863, rs1800497, rs4680, and rs1611115. Compassion was measured with Cloninger's Temperament and Character Inventory on three repeated observations spanning 15 years. Differences between gender were tested.Results: We did not find an effect of the five SNPs in oxytocin and dopamine pathway genes on the initial levels of dispositional compassion for others. Individuals who carry one or two copies of the T-allele of DBH rs1611115, however, tend to increase faster in compassion over time than those homozygotes for the C-allele, b = 0.063. This effect was largely driven by male participants, 0.206, and was not significant in female participants when analyzed separately.Conclusions: Men who are known to have, on average, lower compassion than women seem to reduce this difference over time if they carry the T-allele of DBH rs1611115. The direction of the association indicates that dopamine signaling activity rather than overall dopamine levels might drive the development of compassion. (shrink)

Scientific realism is a critical target of anti-representationalists such as Richard Rorty and Huw Price, who have questioned the very possibility of providing a satisfactory argument for realism or any other ontological position. I will argue that there is a viable form of realism which not only withstands this criticism but is vindicated on the antirepresentationalists’ own grounds. This realist position, largely drawn from the notion of the scientific method developed by the founder of philosophical pragmatism, Charles S. Peirce, will (...) further be compared with the accounts of truth and objectivity proposed by the contemporary pragmatists, Rorty, Price, and Robert B. Brandom. (shrink)

Scientific realism is a critical target of anti-representationalists such as Richard Rorty and Huw Price, who have questioned the very possibility of providing a satisfactory argument for realism or any other ontological position. I will argue that there is a viable form of realism which not only withstands this criticism but is vindicated on the antirepresentationalists’ own grounds. This realist position, largely drawn from the notion of the scientific method developed by the founder of philosophical pragmatism, Charles S. Peirce, will (...) further be compared with the accounts of truth and objectivity proposed by the contemporary pragmatists, Rorty, Price, and Robert B. Brandom. (shrink)

John Rawls argued that democracy must be justifiable to all citizens; otherwise, a democratic society is oppressive to some. In A Pragmatist Philosophy of Democracy (), Robert B. Talisse attempts to meet the Rawlsian challenge by drawing from Charles S. Peirce's pragmatism. This article first briefly canvasses the argument of Talisse's book and then criticizes its key premise concerning (normative) reasons for belief by offering a competing reading of Peirce's “The Fixation of Belief” (). It then proceeds to argue that (...) Talisse's argument faces a dilemma: his proposal of epistemic perfectionism either is substantive and can be reasonably disagreed about or is minimal but insufficient to ground a democratic society. Consequently, it suggests that the Rawlsian challenge can only be solved by abandoning Rawls's own notion of reasonableness, and that an interesting alternative notion of reasons can be derived from Peirce's “Fixation.”. (shrink)

This article argues that an ethic applying the technology assessment (TA)-method is only feasible as a risk ethic, since the consequences of technical action are ambivalent and uncertain. It first distinguishes possible strategies of justification for a risk ethic, that is (a) deontological, (b) teleological and (c) procedural approaches. On the basis of the critique of both (a) and (b), a central problem for the integration of discourse ethics in the TA-method is highlighted by reverting to a game theory modeling: (...) As it turns out, mechanisms of self-selection undermine the representativity of discourses and thus its legitimation. In view of this dilemma, the article pledges for a complementary approach selectively integrating (a)-(c) into a “provisional moral”. (shrink)

The core structures of d 111 ¢ screw dislocations in bcc metals are studied using density functional theory in the local-density approximation. For Mo and Fe, direct calculations of the core structures show the cores to be symmetric with respect to 180° rotations around an axis perpendicular to the dislocation line. The magnetic moment in the Fe core is shown to be reduced relative to the bulk value. Calculations of n surfaces and the elastic constants B , C ' and (...) c 44 are reported for Fe and all group VB and VIB metals. Using a criterion suggested by Vitek and Duesbery the calculations point to symmetric core structures for all the studied metals. (shrink)

Corporate social responsibility has long been an issue for research and practice. More recently, in response to growing public scrutiny, it has also gained importance in the agribusiness sector. Research has highlighted a growing gap between public perceptions of farming and food production processes and the realities of modern agriculture and the food industry. This can threaten the reputation and legitimacy of companies operating in this sector. One proactive means for companies to meet societal expectations is to make an active (...) commitment to society and its needs by implementing a CSR policy. However, there is still no clear definition of CSR, and what important stakeholders actually expect from companies remains largely unknown. This paper focuses on consumers’ perception of CSR. Its objective is to explore a CSR policy design for German agribusiness based on Archie B. Carroll’s famous pyramid model. A consumer survey was conducted to evaluate the CSR demands society places on agribusiness companies. An explorative factor analysis was employed to discover the outline of the construct in the German agribusiness context. The results reveal that Carroll’s model, which was developed from a U.S. point of view, cannot be confirmed for German agribusiness. Instead of Carroll’s four responsibility groups, three areas of responsibility were identified: economic, internal and external. These results have manifold implications for CSR strategies in agribusiness firms and represent an important origin for future investigations on CSR in other countries as well as in specific agribusiness subsectors. (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 cosmological constant problem arises at the intersection between general relativity and quantum field theory, and is regarded as a fundamental problem in modern physics. In this paper we describe the historical and conceptual origin of the cosmological constant problem which is intimately connected to the vacuum concept in quantum field theory. We critically discuss how the problem rests on the notion of physically real vacuum energy, and which relations between general relativity and quantum field theory are assumed in order (...) to make the problem well-defined. (shrink)

In this manuscript we initiate a systematic examination of the physical basis for the time concept in cosmology. We discuss and defend the idea that the physical basis of the time concept is necessarily related to physical processes which could conceivably take place among the material constituents available in the universe. As a consequence we motivate the idea that one cannot, in a well-defined manner, speak about time ‘before’ such physical processes were possible, and in particular, the idea that one (...) cannot speak about a time scale ‘before’ scale-setting physical processes were possible. It is common practice to link the concept of cosmic time with a space-time metric set up to describe the universe at large scales, and then define a cosmic time t as what is measured by a comoving standard clock. We want to examine, however, the physical basis for setting up a comoving reference frame and, in particular, what could be meant by a standard clock. For this purpose we introduce the concept of a `core' of a clock and we ask if such a core can - in principle - be found in the available physics contemplated in the various `stages' of the early universe. We find that a first problem arises above the quark-gluon phase transition where there might be no bound systems left, and the concept of a physical length scale to a certain extent disappears. A more serious problem appears above the electroweak phase transition believed to occur at $\sim 10^{-11}$ seconds. At this point the property of mass disappears and it becomes difficult to identify a physical basis for concepts like length scale, energy scale and temperature - which are all intimately linked to the concept of time in modern cosmology. This situation suggests that the concept of a time scale in `very early' universe cosmology lacks a physical basis or, at least, that the time scale will have to be based on speculative new physics. (shrink)

Illustrations: 24 B/w Illustrations Description: In the Hindu tradition Kapila is admired and worshipped as a philosopher, a divinity, an avatara of Visnu and as a powerful ascetic. This book is the first monographic study of this important figure. The book deals with Kapila in the Veda, the Sramana traditions, the Epics and the Puranas, in the Samkhya system of religious thought and in the ritual traditions of many contemporary Hindu traditions. Kapila is an important figure in the sacred geography (...) of India and the study of the rituals and narrative traditions of the tirthas of Kapila is an important contribution of this book. The book also contains a translation into English of the text Kapilasuri-samvada, Kapila's teaching of Asuri, found in a few manuscripts of the Southern recension of the Mahabharata. Kapila refers to a pluralistic phenomenon. The Kapilas in the Hindu tradition connot be reduced to a single figure. In general, pluralism characterises the religious traditions and religious life in South Asia, ancient, medieval, modern as well as contemporary. Openness for the greatest possible plurality is therefore often a good way to approach religion in South Asia. This is the case also with the study of Kapila. The approach of the book therefore is pluralistic. Contents Preface Chap. I : Kapila in the Hindu Tradition Chap. II : Kapila in the Veda, the Sramana-tradition, and the Mahabharata Chap. III : Kapila in Samkhya and Samkhya-Yoga Chap. IV : Kapila in the Puranas : The Visnu Avatara Chap. V : Kapilasurisamvada : Sanskrit Text and Translation Chap. VI : The Sacred Geography of Kapila Chap. VII : Worship of Kapila : Sanskrit Hymns Chap. VIII : Competing Interpretations of Kapila in the Hindu Tradition. (shrink)

A classical moral defense of profit seeking as the social responsibility of business in a competitive market is examined. That defense rests on claims about the directness of relationships between (a) profit seeking activity and standards of living and (b) standards of living and the quality of life. Responses to the classical argument tend to raise doubts about the directness of the first relationship. This essay challenges the directness of the second relationship, argues that the classical argument is invalid, and (...) claims that an alternative description of the social responsibility of business is entailed by the classical premisses. (shrink)

John Rawls' bog En teori om retfærdighed er blandt de absolut vigtigste værker i det 20. århundredes politiske filosofi. Det udkom første gang i 1971 og markerede et brud med en udbredt skepsis over for normative politiske teorier, det vil sige teorier, om hvorledes samfundet bør være indrettet. Med en sofistikeret version af klassisk kontraktteori argumenterer Rawls for en socialliberal vision om retfærdighed, hvor enhver sikres en frihed, der er forenelig med alles tilsvarende frihed, hvor de økonomisk dårligst stillede skal (...) stilles bedst muligt. I nærværende antologi diskuterer en række forskere vigtige temaer i såvel det nævnte hovedværk, som hans øvrige forfatterskab. Bidragene introducerer derved ikke blot til Rawls' politiske filosofi, men også til diskussioner, der står helt centralt i nyere politisk teori såsom vores forhold til fremtidige generationer, civil ulydighed og global retfærdighed. (shrink)

Ethics plays a key role in the normative analysis of the impacts of technology. We know that computers in general and the processing of data, the use of artificial intelligence, and the combination of computers and/or artificial intelligence with robotics are all associated with ethically relevant implications for individuals, groups, and society. In this article, we argue that while all technologies are ethically relevant, there is no need to create a separate ‘ethics of X’ or ‘X ethics’ for each and (...) every subtype of technology or technological property—e.g. computer ethics, AI ethics, data ethics, information ethics, robot ethics, and machine ethics. Specific technologies might have specific impacts, but we argue that they are often sufficiently covered and understood through already established higher-level domains of ethics. Furthermore, the proliferation of tech ethics is problematic because (a) the conceptual boundaries between the subfields are not well-defined, (b) it leads to a duplication of effort and constant reinventing the wheel, and (c) there is danger that participants overlook or ignore more fundamental ethical insights and truths. The key to avoiding such outcomes lies in a taking the discipline of ethics seriously, and we consequently begin with a brief description of what ethics is, before presenting the main forms of technology related ethics. Through this process, we develop a hierarchy of technology ethics, which can be used by developers and engineers, researchers, or regulators who seek an understanding of the ethical implications of technology. We close by deducing two principles for positioning ethical analysis which will, in combination with the hierarchy, promote the leveraging of existing knowledge and help us to avoid an exaggerated proliferation of tech ethics. (shrink)

The social sciences lack concepts and theories for an understanding of what new information technology is doing to our society. The article sketches the outlines of a broad historical and comparative approach to this issue: ‘an anthropology of information technology’. At the base is the idea ofexternalisation of knowledge as a historical process. Three main epochs are characterised by externalisation of knowledge through a) spoken language and a social organisation of specialists, b) writing and c) computer programming. The impact of (...) expert systems on learning is also discussed. (shrink)

Human nature is enigmatic. Are we cruel, selfish creatures or good merciful Samaritans? This book takes you on a journey into the complexities of human mind and kind, from altruism, sharing, and large-scale cooperation, to cheating, distrust, and warfare. What are the building blocks of morality and sociality? Featuring contributions from leading researchers, such as Christophe Boesch, Leda Cosmides and John Tooby, Azar Gat, Dennis Krebs, Ara Norenzayan, and Frans B. M. de Waal, this fascinating interdisciplinary reader draws on evolutionary (...) and comparative perspectives, and is essential reading for any students interested in the unique characteristics that define humanity and society. (shrink)

Resonance is a ubiquitous phenomenon in the world of physics and biology, emerging from energy exchanges between interrelated but distinct systems. Resonance experiences, by contrast, are widespread in the human and animal world but not ubiquitous. This essay discusses theological and ethical aspects of resonance theory, particularly pertaining to everyday human experiences of resonance in relation to the more-than-human world. Consistently, resonance experiences intersect the human and the non-human world, and the phenomenon of resonance may thus serve as a bridging (...) concept between science and theology. I argue that while the ubiquitous feature of physical resonance is particularly helpful for reformulating a contemporary creation theology, human resonance experiences are a source for religious experience, hence highly informative for theology and ethics. Resonance theory thus challenges the widespread view that nature is primarily mute, indifferent, or even hostile to human concerns. (shrink)

Replying to the variegated responses by theologian Langdon Gilkey, philosophers Richard McClelland and Robert Deltete, and biologist Rudolf B. Brun, I emphasize three elements of my theological use of autopoietic theory: (1) Autopoietic systems are less than self‐constitutive, since they do not create themselves from scratch, but more than self‐organizing, since they are capable of producing new elements inside the local system. Correspondingly, the theological importance of autopoietic theory is not found within the doctrine of a creation out of nothing (...) but within the doctrine of non‐uniform continuous creation. (2) Locating the concept of autopoiesis within third‐generation systems theory, I underline the pluriform character of type‐different systems; the possibility of giving a full causal account from the purview of any privileged single systems (including physics) is thus denied. (3) I distinguish between two complementary roles of theology in the dialogue between science and religion: whereas theology1 offers a participatory second‐order description of the internal meaning of particular traditions of faith, theology2 provides a third‐order inquiry into the external coherence between religious and nonreligious worlds of meaning. Theology2, however, always presupposes the internal descriptions of theology1. On this basis, my use of autopoietic theory is related to the theologies of creation and providence of Paul Tillich and Langdon Gilkey; likewise, I discuss various theological strategies for relating a theology of creation to standard interpretations of evolution. (shrink)

The paper defines the green education imperative as a normative proposition that expresses a fundamental norm – sustainable development. The proposition combines directions for action, i.e. the right to receive environmental training and education and the duty to provide it, with a specific situation, resulting in an individual norm-based assessment. The imperative has two main interpretations: The strong version, which in its strongest form consists of binding norms that guarantee definitive subjective rights to ecological and sustainable training and education services (...) and an obligation to provide them. The weak version signifies that students have a moral or non-mandatory right to receive environmental training and education, which is not related to any particular institution in any particular professional context at any particular point in time. (shrink)

"An astutely argued and elegantly written (and translated) book on the philosophical genealogy and logical implications of the work of Jacques Lacan."Choice.

Introduction -- Theses and discussions -- Analytical concepts -- General approach -- Moral philosophy in antiquity -- Christian moral philosophy -- Aristotle and Thomas Aquinas -- William of Ockham -- From William of Ockham to Francisco Suarez -- Protestant natural law -- John Locke -- The American and French declarations of rights -- Early critique of the Declaration of Rights -- Immanuel Kant and modern moral philosophy -- Human rights today.

This is a review of contemporary philosophical discussions of population policies. The focus is on normative justification, and the main question is whether population policies can be ethically justified. Although few analytical philosophers have directly addressed this question – it has been discussed more in other academic fields – many arguments and considerations can be placed in the analytical philosophical discourse. This article offers a comprehensive review and analysis of ethically relevant aspects of population policies evaluated on the basis of (...) the main ethical theories. This analysis is preceded by a brief historical contextualisation of when and how population policies became ethically contentious and how this relates to philosophical debates in environmental ethics, population ethics and political philosophy. The article also includes a conceptual analysis of population policies in which the empirical intricacies around individual fertility decisions are sorted out and the different ways in which they can be affected are categorised in a taxonomy which highlight the most relevant ethical aspects of population policies. The ethical analysis shows that while population policies can be justified on the basis of most ethical theories, it all depends on what prior assumptions are made about what is at stake. (shrink)

This book presents the first study of the development of the theory of modal syllogistic in the Middle Ages.