It is intuitively plausible that art and imagination are intimately connected. This chapter explores attempts to explain that connection. We focus on three areas in which art and imagination might be linked: production, ontology, and appreciation. We examine views which treat imagination as a fundamental human faculty, and aim for comprehensive accounts of art and artistic practice: for example, those of Kant and Collingwood. We also discuss philosophers who argue that a specific kind of imagining may explain some particular element (...) of the artistic domain: for example, Walton's ideas about representational art, and Kivy’s about reading. (shrink)

The terms "imagination'' and "imaginative'' can be readily applied to a profusion of attitudes, experiences, activities, and further phenomena. The heterogeneity of the things to which they're applied prompts the thoughts that the terms are polysemous, and that there is no single, coherent, fruitful conception of imagination to be had. Nonetheless, much recent work on imagination ascribes implicitly to a univocal way of thinking about imaginative phenomena: the imitation theory, according to which imaginative experiences imitate other experiences. This approach is (...) infelicitous. It issues in unhelpful descriptions of imaginative activities, experiences, and attitudes, and frustrates theorizing about imagination's applications and intensional characteristics. A better way of thinking about imagination is the lens theory, according to which the imagination is a set of ways to focus, refine, clarify or concentrate the matter of other experiences. This approach offers better characterizations of imaginative phenomena, and promises brighter theoretical illumination of them. (shrink)

According to the additive view of sensory imagination, mental imagery often involves two elements. There is an image-like element, which gives the experiences qualitative phenomenal character akin to that of perception. There is also a non-image element, consisting of something like suppositions about the image's object. This accounts for extra- sensory features of imagined objects and situations: for example, it determines whether an image of a grey horse is an image of Desert Orchid, or of some other grey horse. The (...) view promises to give a simple and intuitive explanation of some puzzling features of imagination, and, further, to illuminate imagination 's relation to modal knowledge. I contend that the additive view does not fulfil these two promises. The explanation of how images come to be determinate is redundant: the content constituting the indeterminate mental images on which the view relies is sufficient to deliver determinate images too, so the extra resources offered by the view are not required.. (shrink)

ABSTRACTIn ‘The Principles of Art’, R. G. Collingwood argues that art is the imaginative expression of emotion. So much the worse, then, for Collingwood. The theory seems hopelessly inadequate to the task of capturing art’s extension: of encompassing all the works we generally suppose should be rounded up under the concept. A great number of artworks, and several art forms, have nothing to do with emotion. But it would be surprising were Collingwood philistine enough to think that art is only (...) ever concerned with communicating quotidian affective states, like anger, fear or love. Surely he has some more sophisticated notion of emotion in mind, and quite probably of expression too. And it turns out that those sophisticated notions can be pushed towards a version of the expression theory that meets the extensional challenge. If we interpret Collingwood as saying that expression is a particular application of imagination, and that imagination is the faculty that refines ideas of emotions, and that ‘emotions’... (shrink)

What's aesthetically interesting or significant about electronic dance music? The first answer I consider here is that dancing is significant. Using literature on groove, dance and expression, I sketch an account of club dancing as expressive activity. I next consider the aesthetic achievements of DJs, introducing two conceptions of what they do. These thoughts lead to discussions of dance music's ontology. I suggest that the fundamental work of dance music is the mix and that mixes require their own ontology, distinct (...) from ontologies of recordings or improvisations. Finally, I explore two aspects of dance music's aesthetics: its connection with repetition and repetitiveness and its use of electronic sounds and technologies. I conclude with some speculative thoughts about the unique relation dance music bears to repetition and electronics. This article is Part II of two; in Part I, I consider the problem of defining dance music, via the framing question of authenticity. I explore history, genre, scenes and subcultures, and blackness. (shrink)

This chapter explores insights concerning the relations among imagination, imagined selves, and knowledge of one’s own self that are to be found in Fernando Pessoa’s The Book of Disquiet. The insights are explored via close reading of the text and comparison with contemporaries of Pessoa. First, a tempting account of the importance of imagination in The Book of Disquiet is set out. On this reading, Pessoa is immersed in miasmatic boredom, but able to temporarily rise above it through the restorative (...) powers of escapist imagination. But, it is suggested, Pessoa neither enjoys his prolific imaginings, nor returns from them restored. It is argued that Pessoa’s disquiet owes to failures of imagination; the book presents a sharp contrast between Pessoa’s keen awareness of the importance of a successful, active imaginative life, and his failure to maintain such a thing. It is further argued that these failures point us towards a better account of imagination’s importance to Pessoa, an account that both prefigures and goes beyond Sartre’s ideas about the relations between nothingness, imagination, and self-consciousness. (shrink)

Electronic dance music has much about it to interest philosophers. In this article, I explore facets of dance music cultures, using the issue of authenticity as a framing question. The problem of sorting real or authentic dance music from mainstream or commercial clubbing can be treated as a matter of history and genre-definition; as a matter of defining scenes or subcultures; and as a matter of blackness. In each case, electronic dance music, and critical discourse surrounding it, offers fresh illumination (...) of aesthetic questions. I briefly characterise the main genres of dance music, match conversations about the hardcore continuum with philosophers’ accounts of genre, survey sociologists’ ways of thinking about cultures and their connections to taste and personal identity, and link criticisms that dance music now lacks blackness to conceptions of black aesthetics. This article is Part I of two; Part II focusses on dancers, DJs, and the aesthetics and ontology of dance music itself. Video abstract. (shrink)

Films typically provide an experience that is very much like the experience of ordinary motion. It is for this reason that they are commonly known as moving pictures or, slightly more broadly, moving images. Our focus in this chapter is on making sense of that experience. We begin our chapter by exploring the centrality of the experience of movement to film. We turn then to various explanations of that experience. Perhaps film images are transparent and allow us to indirectly see (...) the movement of the objects they depict. Or perhaps certain theories of depiction can make sense of the experience of motion in cinema. In the final section, we address a range of ontological issues raised by the question of cinematic movement. Is the motion of images real movement or merely illusory? What is a cinematic image? (shrink)

This article offers five things: first, a description of the current status of aesthetics as a sub-discipline of philosophy, showing that it's currently not regarded as part of the field's core; second, a case history asserting that the particular interests and approaches of aestheticians active in the twenty years or so after 1945 started trends that have defined the sub-discipline ever since; third, a diagnosis arguing that this definition, which involves a narrow focus on certain questions about art, is responsible (...) for the marginal status of aesthetics, leading as it does to the estrangement of curious students and the devaluation of expertise in aesthetics; fourth, a prescription suggesting that we can reverse those trends, and so bring aesthetics toward the core of philosophy; and fifth, a prognosis demonstrating that, happily, just the approach prescribed is already starting to take hold in aesthetics. (shrink)

Review of Dominic Gregory's "Showing, Sensing, and Seeming".

Review of Walter Hopp's "Perception and Knowledge" and Charles Travis' "Perception".

Review of Harrison, "What is Fiction For?", and Miller, "Communities in Fiction".

Three thoughts strongly influence recent work on sensory imagination, often without explicit articulation. The image thought says that all mental states involving a mental image are imaginative. The attitude thought says that, if there is a distinctive imaginative attitude, it is a single, monolithic attitude. The function thought says that the functions of sensory imagination are identical or akin to functions of other mental states such as judgment or belief. Taken together, these thoughts create a theoretical context within which eliminativism (...) appears attractive. Eliminativism is the idea that we needn’t refer to a distinctive attitude in order to characterize sensory imagination: the attitudes involved in other states provide all the resources we need. Peter Langland-Hassan’s account of sensory imagination provides an example of such eliminativism. Via close examination of this account, I make manifest the three thoughts and their collective tendency to support eliminativism. I argue that all three are dubious, and that we should reject eliminativism; we need a distinctive imaginative attitude if we are to adequately explicate sensory imagination. (shrink)

What are the sensory individuals of audition? What are the entities our auditory system attributes properties to? We examine various proposals about the nature of the sensory individuals of audition, and show that while each can account for some aspects of auditory perception, each also faces certain difficulties. We then put forward a new conception of sensory individuals according to which auditory sensory individuals are composite individuals. A feature shared by all existing accounts of sounds and sources is that they (...) postulate sensory individuals that are non-composite. They identify the sensory individual of sound hearing or source hearing with one type of entity in the environment, be they sound waves, vibrations, or interactions. We question this assumption and argue that our perceptual systems represent two or more aspects of the environment as a single sensory individual. Finally, we show that taking auditory individuals to be composite sensory individuals allows for an account of audition that is less problematic than its existing alternatives. (shrink)

Beauty is an important part of our lives. Ugliness too. It is no surprise then that philosophers since antiquity have been interested in our experiences of and judgments about beauty and ugliness. They have tried to understand the nature of these experiences and judgments, and they have also wanted to know whether these experiences and judgments were legitimate. Both these projects took a sharpened form in the twentieth century, when this part of our lives came under a sustained attack in (...) both European and American intellectual circles. Much of the discourse about beauty since the Eighteenth century had deployed a notion of the ‘aesthetic’, and so that notion in particular came in for criticism. This disdain for the aesthetic may have roots in a broader cultural Puritanism, which fears the connection between the aesthetic and pleasure. Even to suggest, in the recent climate, that an artwork might be good because it is pleasurable, as opposed to cognitively, morally or politically beneficial, is to court derision. The twentieth century has not been kind to the notions of beauty or the aesthetic. Nevertheless, some thinkers — philosophers, as well as others in the study of particular arts — have persisted in thinking about beauty and the aesthetic in a traditional way. In the first part of this essay, I look at the particular rich account of judgments of beauty given to us by Immanuel Kant. The notion of a ‘judgment of taste’ is central to Kant's account and also to virtually everyone working in traditional aesthetics; so I begin by examining Kant's characterisation of the judgment of taste. In the second part, I look at the issues that twentieth century thinkers have raised. I end by drawing on Kant's accout of the judgement of taste to consider whether the notion of the aesthetic is viable. (shrink)

Thinking in Education Research examines the resources available from philosophy and theory that can be practically applied to any educational research project. Nick Peim argues that the current well-established divide between theory and the empirical in research methods is unhelpful to students. Instead, Thinking in Education Research looks at major lines of thinking in modern European philosophy, from Kant to Freud and Derrida to Malabou, and how they provide a rich resource for every stage of conducting research. By getting (...) students engaged in 'how to think' and 'how to do', Peim illustrates that thinking is in fact a vital part of how you do research and is not an aside. Essential aspects of the research endeavour are re-examined in the light of key philosophical positions to offer constructive potential, including: defining the object; giving an account of the field; the relation to truth; the process of writing and constructing a case; and the value attributed to formal knowledge. Thinking in Education Research does not try to resolve the unresolved issues of research thinking but rather encourages readers to productively engage with them so that we can enhance the possibilities of research practice and find opportunities for its expansion and refinement. Throughout the chapters, clear and concise summaries of key philosophical positions and ideas are complemented with boxed accounts of how the philosophical debates discussed can be applied to real research projects. These features encourage the reader to consider how they can develop thinking and apply theory at every stage of their own research. This is essential reading for any educational research methods student or practicing researcher for important ways of thinking afresh about research methodology"--Publisher's description. (shrink)

In aesthetics there is a long tradition according to which beauty is the object of love. One construal of this suggests a sentimentalist theory of beauty: beauty just is the object of an emotion aptly described as love. The first step toward such a view would be to discern whether we can make sense of at least some kind of aesthetic affect as at least some kind of love. I suggest that we can by taking up a thought from Frank (...) Sibley, according to whom aesthetic properties reflect non-aesthetic values that “go deep into human life and interests” or that “mean much to us” given the kinds of lives we live. I show how we might think that a variety of aesthetic affect represents its object as embodying life-affirming value and as such we can see a variety of aesthetic affect as a kind of love of life. It remains to be seen whether this can be leveraged into a theory of beauty narrowly construed. (shrink)

A dizzying trip through the mind(s) of the provocative and influential thinker Nick Land. During the 1990s British philosopher Nick Land's unique work, variously described as “rabid nihilism,” “mad black deleuzianism,” and “cybergothic,” developed perhaps the only rigorous and culturally-engaged escape route out of the malaise of “continental philosophy” —a route that was implacably blocked by the academy. However, Land's work has continued to exert an influence, both through the British “speculative realist” philosophers who studied with him, and (...) through the many cultural producers—writers, artists, musicians, filmmakers—who have been invigorated by his uncompromising and abrasive philosophical vision. Beginning with Land's early radical rereadings of Heidegger, Nietzsche, Kant and Bataille, the volume collects together the papers, talks and articles of the mid-90s—long the subject of rumour and vague legend (including some work which has never previously appeared in print)—in which Land developed his futuristic theory-fiction of cybercapitalism gone amok; and ends with his enigmatic later writings in which Ballardian fictions, poetics, cryptography, anthropology, grammatology and the occult are smeared into unrecognisable hybrids. Fanged Noumena gives a dizzying perspective on the entire trajectory of this provocative and influential thinker's work, and has introduced his unique voice to a new generation of readers. (shrink)

What is the purpose of art? What drives us to make it? Why do we value it? Nick Zangwill argues that the function of art is to have certain aesthetic properties in virtue of its non-aesthetic properties, and this function arises because of the artist's insight into the nature of these dependence relations and her intention to bring them about.

Yuval Harari believes that humans make myths, and that these can be powerful engines for social change. One of these myths, claims Harari, is the existence of ‘liberal rights’. This article challenges that claim and defends the idea of grounding rights in human nature.

In Solo: A Star Wars Story, the debonair Lando Calrissian is clearly in love with the artificially intelligent droid L3‐37. There are lots of friendships between droids and humans in Star Wars. This chapter looks at the relationship between Lando and L3‐37 in Solo and argues that they exhibit all the hallmarks not just of friendship, but of love. A friendship between people who both seek to gain from the relationship is one of utility, while a friendship between people who (...) simply enjoy each other's company is one of pleasure. Droids are the kinds of beings that can be good friends, as is clearly supported throughout the Star Wars canon. One potential concern is that droids smarter than humans might take advantage of an inferior organic life form by having a sexual relationship with them. (shrink)

Depersonalization disorder (DPD) is a psychiatric condition in which there is a pervasive change in the quality of subjective experience, in the absence of psychosis. The core complaint is a persistent and disturbing feeling that experience of oneself and the world has become empty, lifeless, and not fully real. A greatly reduced emotional responsivity, or “de-affectualization,” is frequently described. This article examines the phenomenology and neurobiology of DPD with a particular emphasis on the emotional aspects. It is argued that the (...) study of DPD may provide valuable insights into the relationship between emotion, experience, and identity. (shrink)

Why the West is different -- Religiously secular: the making of America -- Trouble with the law: Magna Carta and the limits of the law -- christianity and democracy: friend and foe -- Saving humanism from the humanists -- Christianity and atheism: a family affair -- The accidental midwife: the emergence of a scientific culture -- No doubts as to how one ought to act: Darwin's doubts and his faith -- The religion of Christianity and the religion of human rights (...) -- The secular self -- Always with you: capital, inequality and the absence of war -- The rise of Christian populism -- Not just mere rhetoric: the word in U.S. politics. (shrink)

There is, in some quarters, concern about high–level machine intelligence and superintelligent AI coming up in a few decades, bringing with it significant risks for humanity. In other quarters, these issues are ignored or considered science fiction. We wanted to clarify what the distribution of opinions actually is, what probability the best experts currently assign to high–level machine intelligence coming up within a particular time–frame, which risks they see with that development, and how fast they see these developing. We thus (...) designed a brief questionnaire and distributed it to four groups of experts in 2012/2013. The median estimate of respondents was for a one in two chance that high-level machine intelligence will be developed around 2040-2050, rising to a nine in ten chance by 2075. Experts expect that systems will move on to superintelligence in less than 30 years thereafter. They estimate the chance is about one in three that this development turns out to be ‘bad’ or ‘extremely bad’ for humanity. (shrink)

We begin by showing that every theory of the value of uncertain prospects must have one of three unpalatable properties. _Reckless_ theories recommend giving up a sure thing, no matter how good, for an arbitrarily tiny chance of enormous gain; _timid_ theories permit passing up an arbitrarily large potential gain to prevent a tiny increase in risk; _non-transitive_ theories deny the principle that, if A is better than B and B is better than C, then A must be better than (...) C. Having set up this trilemma, we study its horns. Non-transitivity has been much discussed; we focus on drawing out the costs and benefits of recklessness and timidity when it comes to axiology, decision theory, and normative uncertainty. (shrink)

To what extent should we use technological advances to try to make better human beings? Leading philosophers debate the possibility of enhancing human cognition, mood, personality, and physical performance, and controlling aging. Would this take us beyond the bounds of human nature? These are questions that need to be answered now.

Boycott Theory for Palestine aims to advance academic boycott, divestment, and sanctions (BDS) by presenting the fullest and most sophisticated justification for it yet given, demonstrating how the boycott relates to current debates within contemporary political and intellectual life.

The clash between atheism and religion has become the defining battle of the 21st century. Books on and about atheism retain high profile and popularity, and atheist movements on both sides of the Atlantic capture headlines with high-profile campaigns and adverts. However, very little has been written on the history of atheism, and this book fills that conspicuous gap. Instead of treating atheism just as a philosophical or scientific idea about the non-existence of God, Atheists: The Origin of the Species (...) places the movement in its proper social and political context. Because atheism in Europe developed in reaction to the Christianity that dominated the continent's intellectual, social and political life, it adopted, adapted and reacted against its institutions as well as its ideas. Accordingly, the history of atheism is as much about social and political movements as it is scientific or philosophical ideas."--book jacket. (shrink)

For the people who make them, music recommender systems hold a utopian promise: they can broaden listeners' horizons and help obscure musicians find audiences, taking advantage of the enormous catalogs offered by companies like Spotify, Apple Music, and their kin. But for critics, recommender systems have come to epitomize the potential harms of algorithms: they seem to reduce expressive culture to numbers, they normalize ever-broadening data collection, and they profile their users for commercial ends, tearing the social fabric into isolated (...) patches of atomized individuals. Drawing on years of ethnographic fieldwork, anthropologist Nick Seaver offers an account of how the makers of music recommendation navigate these tensions: how product managers understand their relationship with the users they want to help and to capture, how engineers imagine the abstract geography of the "world of music" as a space they control and care for, how scientists conceive of listening itself as a kind of data processing. The book rehumanizes the algorithmic systems that shape our world, foregrounding the ideas animating the people who build and maintain them. Seaver braids together the thinking of programmers and anthropologists, opening up the cultural world of computation in a vividly theorized book that ranges widely from cosmology to calculation, metaphor to myth, and captivation to care. (shrink)

Nietzsche’s perspectivism has aroused the perplexity of many a recent commentator, not least because of the doctrine’s apparent self-refuting character. If, as Nietzsche holds, there are no facts but only interpretations, then how are we to understand this claim itself? Nietzsche’s perspectivism must be construed either as a fact or as one further interpretation—but in the former case the doctrine is clearly self-refuting, while in the latter case any reasons or arguments one may have in support of one’s perspective are (...) rendered bothimpotent and superfluous. The unpalatable consequences of Nietzsche’s perspectivism are further highlighted by considering its effects on Nietzsche’s treatment of the fundamental laws of logic, such as the principle of non-contradiction. Finally, Nietzsche’s perspectivism, if not self-refuting, at least seems to be refuted by his own writings, where he confidently puts forward various doctrines and critiques, thus indicating that he does not think of his own beliefs as being true merely in a perspectival sense. There is every reason, I conclude, to be perplexed about Nietzsche’s perspectivism. (shrink)

Levinas and Adorno both refuse to translate their stringent ethical convictions into a programmatic social theory because translating their theories of non-identity into models of governance would necessarily perpetrate, en masse, the very subsumptive violence they denounce. Although Levinas and Adorno have come to provide ethical guidance to Continental philosophers, their outright refusal to be drawn into applied theory has caused innumerable difficulties for progressive theorists compelled by their critiques of instrumental reason but handcuffed by their skepticism toward practical reform. (...) I do not mean to suggest that Adorno and Levinas were not personally engaged with political causes or that numerous interpreters have not extrapolated political content from their work, but rather that Levinas and Adorno expressly blocked the conversion of ethics into political and legal programs on ethical grounds. This paper outlines the procedural and substantive questions that I find most worrisome for a "Jurisprudence of Alterity" motivated by Levinas or Adorno. (shrink)

A century ago the dominant philosophical outlook was not some form of materialism or naturalism, but idealism. However, this way of thinking about reality fell out of favour in the Anglo-American analytic tradition as well as the Continental schools of the twentieth century. The aim of this book is to restage and reassess the encounter between idealism and contemporary philosophy. The idealist side will be represented by the great figures of the 19th-century post-Kantian tradition in Germany, from Fichte and Schelling (...) to Hegel, followed by the towering Hegelians in Britain led by T.H. Green, F.H. Bradley and Bernard Bosanquet. Their 20th-century adversaries will be represented by the secular existentialists, especially the famous French trio of Sartre, Beauvoir and Camus, who sought to follow Nietzsche in philosophizing in light of the death of God. And the arena of encounter will be the philosophy of religion-more specifically, questions relating to the nature and existence of God, death and the meaning of life, and the problem of evil. The book argues that the existentialist critique of idealism enables an innovative as well as a more critical and adventurous approach that is sorely needed in philosophy of religion today. Idealism after Existentialism will be of interest to scholars and advanced students working in the history of 19th- and 20th-century philosophy and philosophy of religion. (shrink)

Why problematology? : a new philosophical approach to social science -- Problematology : a new foundation for reason -- The problematological critique of post-foundationalism -- Questioning in the philosophy of social science -- Questioning, contingency and meaning -- Problematology and the emotions -- Rhetoric and social distance -- Conclusion : problematology and social inquiry.

This article responds to recent debates in critical algorithm studies about the significance of the term “algorithm.” Where some have suggested that critical scholars should align their use of the term with its common definition in professional computer science, I argue that we should instead approach algorithms as “multiples”—unstable objects that are enacted through the varied practices that people use to engage with them, including the practices of “outsider” researchers. This approach builds on the work of Laura Devendorf, Elizabeth Goodman, (...) and Annemarie Mol. Different ways of enacting algorithms foreground certain issues while occluding others: computer scientists enact algorithms as conceptual objects indifferent to implementation details, while calls for accountability enact algorithms as closed boxes to be opened. I propose that critical researchers might seek to enact algorithms ethnographically, seeing them as heterogeneous and diffuse sociotechnical systems, rather than rigidly constrained and procedural formulas. To do so, I suggest thinking of algorithms not “in” culture, as the event occasioning this essay was titled, but “as” culture: part of broad patterns of meaning and practice that can be engaged with empirically. I offer a set of practical tactics for the ethnographic enactment of algorithmic systems, which do not depend on pinning down a singular “algorithm” or achieving “access,” but which rather work from the partial and mobile position of an outsider. (shrink)

Our paradigms of aesthetic value condition the philosophical questions we pose and hope to answer about it. Theories of aesthetic value are typically individualistic, in the sense that the paradigms they are designed to capture, and the questions to which they are offered as answers, center the individual’s engagement with aesthetic value. Here I offer some considerations that suggest that such individualism is a mistake and sketch a communitarian way of posing and answering questions about the nature of aesthetic value.

An enthusiastic review of Simon J. Evnine (Ed.) "A Certain Gesture: Evnine’s Meme Project and its Parerga! Volume 1.".

The problem of free will has fascinated philosophers since ancient times: Do we have free will, or at least the kind of free will that seems necessary for moral responsibility? Does determinism - the idea that everything that happens is necessitated to happen, given the past and the laws of nature - threaten the commonly held assumption that we are indeed free and morally responsible? Although these questions have been widely discussed in the past, the present volume offers a variety (...) of new perspectives from philosophers who have made significant contributions to this debate over recent years, including Derk Pereboom, Robert Kane, Ishtiyaque Haji, Michael McKenna, John Martin Fischer, David Widerker and Saul Smilansky. The emphasis in these essays is not merely on free will, but on allied notions such as moral responsibility, moral obligation, fairness and meaningfulness, and on whether any room can be made for these notions in a deterministic or an indeterministic universe. (shrink)

According to recent orthodoxy, imagination is best characterised in terms of distinctive imaginative states. But this view is ill-suited to characterisation of the full range of imaginative activities—creation, fantasy, conceiving, and so on. It would be better to characterise imagination in terms of a distinctive imaginative process, with the various imaginative activities as more determinate implementations of the determinable process.

Tasler teaches readers how to thrive when faced with difficult choices, provides a clear understanding of why you make the choices you do, and suggests the tools to make those decision change your business and your life.

Origin of seekers: from caveman to cage fighters -- Impulsivity's hidden side: the secret of being directionally correct -- Eat or be eaten: what politicians have learned from primates -- Bubblology: the plague of the $76,000 flower -- Common sense of ownership -- Factoring you into your decisions -- Potential seekers: directing your innovative impulses -- Risk managers: conquering the fear of big cats -- Striking a balance.