Objectives: The objectives of the study were to explore the effect of self-presentation and psychological needs on exercise dependence and to provide an essential reference for preventing and inhibiting the production of exercise dependence in overweight college students. Methods: The freshmen in two comprehensive universities accepted physical fitness tests, filled out the scales of self-presentation, psychological needs, and exercise dependence after obtaining their consent. A sample of 747 overweight college students who have regular exercise was screened using the formula of (...) Fox sports participation and the standard of overweight for Chinese adults. Multiple regression, exploratory factor, and confirmatory factor analyses were used to analyze the related data. Results: In overweight college students, compared with the lower peers, those with higher physical attractiveness were more likely to suffer from detoxification of emotion, physiology, and vitality, and compared with the lower peers, those with higher self-presentation were more likely to appear in physiological abstinence. The self-presentation of overweight male and female students has a significant positive influence on psychological needs and exercise dependence. In contrast, psychological needs have a significant negative influence on exercise dependence. The psychological needs of overweight male and female college students were established as the mediating effect of self-presentation and exercise dependence. The mediating effect of psychological needs of females was higher than that of males. The “ability display” of male and female students can affect “emotional distress” by “autonomy” and “competence.” The sense of relationship partially mediated the “attractiveness” of male and female students. Also, females on the one hand, rely on “weight control” by “competence” to produce some mediating effects on “physiological distress.” At the same time, the “ability display” by “competence” has a full mediating effect on “physiological distress.” Conclusion: In the self-presentation of the overweight college students, the higher scores in “attractiveness,” “weight control,” and “ability display,” the higher the psychological needs and exercise dependence; the higher the autonomy, competence, and relationship, the less the emotional, physiological, and dynamic distress. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Technology and Our Relationship with GodAnselm Ramelow O.P.God's Original Plan and the FallTechnology may appear to be a very secular thing, but to assume that technology can be understood without God would be a mistake. Technology is deeply involved in our relationship with God. This involvement is, moreover, profoundly ambivalent.1To begin with the positive side of this ambivalence: the growing awareness of the dangers of technology should not lead (...) Christians to think that technology is necessarily a bad thing. It is, in fact, not even merely a "necessary evil." Rather, we can find in the use of technology an unfolding of our God-given rational nature. If we believe that God "made us in his image and likeness," then this quite directly implies two things: (1) God is a maker (he made us), and (2) since he made us in his image and likeness, we are makers as well. The making of technology thus reflects our dignity as made in the image and likeness of God.2 Accordingly, the Church has been more positive towards the development of technology than one might expect, and some of our technologies (e.g., agricultural, architectural, and time-keeping technologies) have their roots in medieval monasteries.3 [End Page 159]We should therefore expect that Adam and Eve, had they not fallen, nevertheless would have become makers of technology in some form or other. They would have exhibited inventiveness and tool use, though perhaps not a tool use focused on warding off evil (which did not exist in Eden), but concerned with promoting positive forms life, such as tools of art and communication. Art and communication technologies are, like all tools, means to an end; but these in particular contain their ends in themselves. In Aristotelian terms, their making (poiesis) concerns a praxis (such as "making conversation"). That is why we sometimes forget to list such technologies among our typical examples of technologies. We forget, for example, that, among the technologies of communication, language as a physical tool (sounds or written marks) is an obvious example. And it is a prelapsarian feature: the book of Genesis has Adam naming things before the Fall. In doing so, Adam echoes God's own creative "technique" of speaking or calling things into being.4 Even in its oral form, language is a matter of human making and a technology of communication. In paradise, communication would not have been merely instrumental, not merely a means, but an intrinsic good, embodying knowledge and intersubjective communion.Other forms of prelapsarian technology, however, are a matter of speculation. And whether or not one agrees with Jacques Ellul's thesis that there was no such prelapsarian technology,5 the ambivalence of technology is clear from the very beginning as well. This is at least what we see in the book of Genesis. For, as a matter of biblical record, it was Cain and his descendants who founded cities and developed technology (e.g., Tubal-Cain as the "forger of all instruments of bronze and iron" in Gen 4:22). And the history [End Page 160] of these urban civilizations does not display the best part of human behavior. But if, as we have said, technology is not necessarily a bad thing, then this must be a corruption of technology. What might this corruption consist in?I want to suggest that it consists precisely in the corruption of our relationship with God, from which technology can never abstract and in which it is, for better or for worse, embedded. Unsurprisingly, therefore, as technology progresses, this relationship becomes more and more explicit, and it does so in a paradoxical way: initially, it is an attempt to put humanity in charge and control, to replace our need for reliance on God by allowing us to play God ourselves. But in our current situation, particularly with the emergence of artificial intelligence (AI) and machine learning, the roles appear reversed: rather than putting humanity in charge, technology in turn is increasingly in control—to the point of becoming itself a god or idol that rules human life. As a result, we only end up having replaced one God with another... (shrink)

Sexually signalling animals must trade off the benefits of attracting mates with the consequences of attracting predators. For male guppies, predation risk depends on their behaviour, colouration, environmental conditions and changing intensity of predation throughout the day. Theoretically, this drives diel patterns of display behaviour in native Trinidadian populations, where males display more under low-light conditions when their most dangerous predator is less active. Here, we observed Australian guppies in a laboratory setting to investigate their diel display (...) pattern, and if this pattern is controlled by ambient light intensity. We also quantified individual variation in both the daily frequency and diel pattern of displays, and if such variation relates to body size, colouration and a non-sexual behaviour. Under a typical daily light regime, male guppies displayed mostly in the first hour of observation. Extending the duration of dawn-like lighting, however, resulted in an extended period of high display, demonstrating that light intensity per se is an important cue for this behaviour. These findings mirror those obtained for Trinidadian populations, suggesting that male courtship timing is likely shaped by broad, potentially generalizable features of guppy ecology. The effect of acclimation to captive conditions on male behaviour is also discussed. Whereas the temporal pattern of display appeared consistent, individuals varied in their daily display frequency, and this was correlated with variation in colour phenotype and a measure of non-sexual risk acceptance behaviour. Such relationships pose promising avenues for integrating behavioural and sensory ecology with contemporary work on behavioural syndromes and animal personality. (shrink)

Recent technological advances have accelerated the use of artificial intelligence (AI) in the world. Public concerns over AI in ethical, legal, and social issues (ELSI) may have been enhanced, but their awareness has not been fully examined between countries and cultures. We created four scenarios regarding the use of AI: “voice,” “recruiting,” “face,” and “immigration,” and compared public concerns in Japan, the US, Germany, and the Republic of Korea (hereafter Korea). Additionally, public ELSI concerns in respect of AI were measured (...) using four items: ethics, tradition, law and social benefit. Respondents with AI knowledge tended to exhibit stronger concern about ELSI in various situations. In terms of law concerns, Japanese respondents displayed greater concerns. In contrast, the US, when compared Japan, expressed a relatively optimistic view of the current law landscape. Regarding social benefits, Korea, compared to Japan, exhibited a more positive outlook, whereas Germany, in comparison to Japan, expressed heightened concerns about it across different scenarios. (shrink)

We asked whether the influence of an invisible prime on movement is dependent on conscious movement expectations. Participants reached to a central target, which triggered a directional prime–mask arrow sequence. Participants were instructed that the visible arrows would most often signal a movement modification in a specific direction. Kinematic analyses revealed that responses to the visible mask were influenced by participants’ intentional bias, as movements were fastest when the more probable mask was displayed. In addition, responses were influenced by the (...) invisible prime without regard to its relationship to the more probable mask. Analysis of the time of initial trajectory modifications revealed that both primes influenced responses in a similar manner after accounting for participants’ bias. These results imply that invisible stimuli automatically activate their associated responses and that unconscious priming of the motor system is insensitive to the conscious expectations of the participant making the pointing movements. (shrink)

Burrowing mammals are ubiquitous on farms in South Africa and can hinder agricultural practices. This study explored farmer perspectives of these species, and specifically the factors that influence these perspectives. Forty-four farmers responded to a questionnaire that assessed their ecological knowledge of, tolerance towards and lethal management of burrowing mammals that occur on their farms. The results from generalised linear models showed that neither farmer age, nor level of education are accurate predictors of ecological knowledge, overall tolerance towards burrowers, or (...) their lethal management. Knowledge of burrowing mammals showed a significant relationship with tolerance, with more knowledgeable individuals displaying higher levels of tolerance. However, a farmer’s overall tolerance towards burrowing species did not affect the number of species managed. Our results also suggest that different values are attached to different species when it comes to lethal management. Thus, farmers commonly controlled the numbers of the problem rodent species, Highveld gerbil (Gerbilliscus brantsii) and Cape ground squirrel (Xerus inauris), but were less likely to manage black-backed jackal (Canis mesomelas) and warthog (Phacochoerus africanus), even when experiencing these as problematic. We suggest that the larger, more charismatic species possibly evoke more sympathy from farmers. Agro-ecosystems are likely to become increasingly important for conservation in the future, and we encourage continued studies on the environmental attitudes and approaches of agricultural practitioners as a means to understanding the current status and future trends in ecologically sustainable agriculture. (shrink)

Intra-individual variability (IIV) refers to within-person variability in behavioural task responses. Several factors can influence IIV, including aging and cognitive demands. The present study investigated effects of aging on IIV of response times during executive functioning tasks. Known age-related differences in cognitive control and emotion processing motivated evaluating how varying the design of emotional response inhibition tasks would influence IIV in older and younger adults. We also tested whether IIV predicted inhibitory control across task designs and age groups. (...) Older and younger adults (N = 237) completed one of three versions of a stop-signal task, which all displayed happy, fearful, or neutral faces in Stop trials. An independent group of older and younger adults (N = 80) completed a go/no-go task also employing happy, fearful and neutral faces. Results showed older adults had more consistent responses (lower IIV) than younger adults in the stop-signal task, but not the go/no-go task. Lower IIV predicted more efficient emotional response inhibition for fear faces in the stop-signal task, but only when attention to emotion was task-relevant. Collectively, this study clarifies effects of aging and task design on IIV and illustrates how task design impacts the relationship between IIV and emotional response inhibition in younger and older adults. (shrink)

There is scarce research on the interaction between psychosocial working conditions and being a target of workplace bullying with individual characteristics as a moderator. We therefore examined 3,363 employees from 60 Danish workplaces to test whether sense of coherence moderates the relationship between the job demand-control model and bullying. This work is exploratory in nature, as no previous study to assess this moderation was found. Hierarchical linear regressions showed that demand-control model was significantly associated with bullying. Sense of (...) coherence displayed a significant though practically negligible moderating effect. This suggests that negative psychosocial working conditions are associated with bullying independently of personal characteristics, at least in terms of sense of coherence. (shrink)

Background : An enhancement in recall of simple instructions is found when actions are performed in comparison to when they are verbally presented – the subject-performed task effect. This enhancement has also been found with older adults. However, the reason why older adults, known to present a deficit in episodic memory, have a better performance for this type of information remains unclear. In this article, we explored this effect by comparing the performance on the SPT task with the performance on (...) other tasks, in order to understand the underlying mechanisms that may explain this effect. Objective : We hypothesized that both young and older adult groups should show higher recall in SPT compared with the verbal learning condition, and that the differences between age groups should be lower in the SPT condition. We aimed to explore the correlations between these tasks and known neuropsychological tests, and we also measured source memory for the encoding condition. Design : A mixed design was used with 30 healthy older adults, comparing their performance with 30 healthy younger adults. Each participant was asked to perform 16 simple instructions and to only read the other 16 instructions. The test phase included a free recall task. Participants were also tested with a set of neuropsychological measures. Results : The SPT effect was found for both age groups; but even for SPT materials, group differences in recall persisted. Source memory was found to be preserved for the two groups. Simple correlations suggested differences in correlates of SPT performance between the two groups. However, when controlling for age, the SPT and VT tasks correlate with each other, and a measure of episodic memory correlated moderately with both SPT and VT performance. Conclusions : A strong effect of SPT was observed for all but one, which still displayed the expected aging deficit. The correlations and source memory data suggest that the SPT and VT are possibly related in respect to their underlying processes, and SPT, instead of being an isolated process, is in connection with both the episodic memory and executive function processes. Under these circumstances, the SPT seems to contribute to an enhancement of the episodic memory trace, presumably from the multimodality it provides, without involving a separated set of cognitive mechanisms. Future research using more pure measures of other cognitive processes that could be related to SPT is necessary. Keywords : aging; subject performed task; memory for actions; episodic memory Responsible Editor: Mathieu Hainselin, Université de Picardie Jules Verne, France. (shrink)

Executive functions (EFs) and impulsivity are dimensions of self-regulation that are both related to psychopathology. However, self-report measures of impulsivity and laboratory EF tasks typically display small correlations, and existing research indicates that impulsivity and EFs may tap separate aspects of self-regulation that independently statistically predict psychopathology in adulthood. However, relationships between EFs, impulsivity, and psychopathology may be different in childhood compared to adulthood. Here, we examine whether these patterns hold in the baseline assessment of the Adolescent Brain (...) and Cognitive Development (ABCD) sample, a national sample of over 11,000 children (including 749 twin pairs) ages 9–10 years. We examine the phenotypic and genetic relationships among latent variables for different components of EFs and multiple facets of impulsivity. Additionally, we assess how EFs and impulsivity relate to composite measures and latent variables of psychopathology derived from parent report. EFs were weakly correlated with impulsivity, and the strength varied by impulsivity facet, emphasizing their separability. We did not identify significant genetic and environmental correlations between EFs and impulsivity. Moreover, controlling for their small relationships with each other, both EFs and some facets of impulsivity statistically predicted an Externalizing factor, attention problems, and social problems, and twin analyses suggested these relationships were genetic in origin. These findings indicate that EFs and impulsivity represent phenotypically and genetically separable aspects of self-regulation that are both transdiagnostic correlates of psychopathology in childhood. (shrink)

This study explored the relationship between professional quality of life and emotion work and the major stress factors related to abortion care in Japanese obstetric and gynecological nurses and midwives. Between October 2011 and January 2012, questionnaires that included questions concerning eight stress factors, the Professional Quality of Life Scale, and the Japanese version of the Frankfurt Emotional Work Scale, were answered by 255 nurses and midwives working in abortion and childbirth services. Professional Quality of Life scores (compassion fatigue, compassion (...) satisfaction, burnout) were significantly associated with stress factors and emotion work. Multiple regression analysis revealed that of all the evaluated variables, the Japanese version of the Frankfurt Emotional Work Scale score for negative emotions display was the most significant positive predictor of compassion fatigue and burnout. The stress factors “thinking that the aborted fetus deserved to live” and “difficulty in controlling emotions during abortion care” were associated with compassion fatigue. These findings indicate that providing abortion services is a highly distressing experience for nurses and midwives. (shrink)

Facet analysis is an established methodology for building classifications and subject indexing systems, but has been less rigorously applied to thesauri. The process of creating a compatible thesaurus from the schedules of the Bliss Bibliographic Classification 2nd edition highlights the ways in which the conceptual relationships in a subject field are handled in the two types of retrieval languages. An underlying uniformity of theory is established, and the way in which software can manage the relationships is discussed. The (...) manner of displaying verbal expressions of concepts (vocabulary control) is also considered, but is found to be less well controlled in the classification than in the thesaurus. Nevertheless, there is good reason to think that facet analysis provides a sound basis for structuring a variety of knowledge organization tools. (shrink)

This study examines the relationship between Islam and democracy with emphasis on the issue of whether and how Islam has bearings on democratic adjustment speed. Using comprehensive data on 17 Asian countries from 1996 to 2010, the study demonstrates that religion is a significant factor for determining democracy. Results indicate that the level of democracy in Islamic countries is generally lower than that in non-Islamic countries. However, the level of democracy in Islamic countries exhibits an upward trend, whereas that in (...) non-Islamic countries displays a downward trend. Moreover, when benchmark variables are controlled, democratic adjustment in Islamic countries is faster than in non-Islamic countries. Hence, despite the current lower level of democracy in Islamic countries, the results of this study refute the conventional wisdom that Islam hinders democracy. Instead, Islamic countries are highly malleable and exhibit a potential for faster democratic development compared with non-Islamic countries. Results further suggest that Islamic countries can effectively promote democracy by improving education, minimizing the gender gap, controlling population growth, or becoming an oil exporter similar to non-Islamic countries. However, Islamic countries likely own an additional unique advantage in effectively improving democracy – that is, promoting urbanization. This aspect is in contrast to non-Islamic countries where urbanization plays no role in determining democracy.Export citation Request permission. (shrink)

In this paper, I argue against views that equate privacy with control over self-presentation and explore some of the implications of my criticism for the online world. In section 1, I analyze the relationship between control over self-presentation and privacy and argue that, while they are both tightly connected, they are not one and the same thing. Distinguishing between control over self-presentation and privacy has important practical implications for the online world. In section 2, I investigate self-presentation (...) online and argue that, while there might be an illusion that one can self-present on one’s own terms online, that mirage often reveals itself as unrealistic because of external and internal constraints. I further argue that what is most noteworthy about self-presentation online, in contrast to self-presentation offline, is the pressure to be on display at all times. In section 3, I argue that to combat some of the negative trends we are witnessing online we need, on the one hand, to cultivate a culture of privacy, in contrast to a culture of exposure. On the other hand, we need to readjust how we understand self-presentation online. I argue that in some cases we should understand it in similar terms to how we understand advertisement or fiction. By changing our conventions online, we would be taking away some of people’s control over self-presentation by not taking their online personae at face value. (shrink)

Visual aids can improve comprehension of risks associated with medical treatments, screenings, and lifestyles. Do visual aids also help decision makers accurately assess their risk comprehension? That is, do visual aids help them become well calibrated? To address these questions, we investigated the benefits of visual aids displaying numerical information and measured accuracy of self-assessment of diagnostic inferences (i.e., metacognitive judgment calibration) controlling for individual differences in numeracy. Participants included 108 patients who made diagnostic inferences about three medical tests on (...) the basis of information about the sensitivity and false-positive rate of the tests and disease prevalence. Half of the patients received the information in numbers without a visual aid, while the other half received numbers along with a grid representing the numerical information. In the numerical condition, many patients --especially those with low numeracy-- misinterpreted the predictive value of the tests and profoundly overestimated the accuracy of their inferences. Metacognitive judgment calibration mediated the relationship between numeracy and accuracy of diagnostic inferences. In contrast, in the visual aid condition, patients at all levels of numeracy showed high-levels of inferential accuracy and metacognitive judgment calibration. Results indicate that accurate metacognitive assessment may explain the beneficial effects of visual aids and numeracy --a result that accords with theory suggesting that metacognition is an essential part of risk literacy. We conclude that well-designed risk communications can inform patients about health-relevant numerical information while helping them assess the quality of their own risk comprehension. (shrink)

The study aimed to identify the relationship between correcting the deviations in the measurement of performance and achieving the objectives of control and the performance of the job at the Islamic University in the Gaza Strip. To achieve the objectives of the research, the researchers used the descriptive analytical approach to collect information. The questionnaire consisted of (20) statements distributed to three categories of employees of the Islamic University (senior management, faculty members, their assistants and members of the administrative (...) board). A random sample of 314 employees was selected and 276 responses were retrieved with a recovery rate of 88.1%. The Statistical Analysis Program (SPSS) was used to enter, process, and analyze the data. The results of the study showed a positive relationship between correcting deviations in performance measurement and achieving the control objectives represented by the functional performance in the Islamic University from the point of view of the members (senior management, faculty and their assistants, and the administrative board), where the relative weight of all the paragraphs was (74.25%). The study recommended the need to ensure that the actual performance of the planned performance is matched and decisions are taken to correct the serious deviations and take the necessary measures in terms of retraining and change in regulations, wages and bonuses and punishment of the culprit, neglect and negligence by mistake. (shrink)

This study examines why individuals who are deeply embedded in the organization may engage in unethical pro-organizational behavior (UPB). Drawing from social identity theory and self-affirmation theory, we propose that deeply embedded employees may engage in UPB as a way of promoting or maintaining their status in the organization. We further propose that this positive relationship between organizational embeddedness and UPB, mediated through status perceptions, is stronger for employees working under managers who display low levels of ethical leadership. Using (...) data gathered in a two-wave survey from 224 working adults, the results of the study lend support for the hypothesized relationships and remained significant even after controlling for affective commitment. The study advances our understanding of both contextual and individual factors motivating employees to engage in UPB and the boundary conditions under which UPB can be reduced. (shrink)

The contemporary design practice known as data sonification allows us to experience information in data by listening. In doing so, we understand the source of the data in ways that support, and in some cases surpass, our ability to do so visually. -/- In order to assist us in negotiating our environments, our senses have evolved differently. Our hearing affords us unparalleled temporal and locational precision. Biological survival has determined that the ears lead the eyes. For all moving creatures, in (...) situations where sight is obscured, spatial auditory clarity plays a vital survival role in determining both from where the predator is approaching or to where the prey has escaped. So, when designing methods that enable listeners to extract information from data, both with and without visual support, different approaches are necessary. -/- A scholarly yet approachable work by one of the recognized leaders in the field of auditory design, this book will -/- - Lead you through some salient historical examples of how non-speech sounds have been used to inform and control people since ancient times. -/- - Comprehensively summarize the contemporary practice of Data Sonification. -/- - Provide a detailed overview of what information is and how our auditory perceptions can be used to enhance our knowledge of the source of data. -/- - Show the importance of the dynamic relationships between hearing, cognitive load, comprehension, embodied knowledge and perceptual truth. -/- - Discuss the role of aesthetics in the dynamic interplay between listenability and clarity. -/- - Provide a mature software framework that supports the practice of data sonification design, together with a detailed discussion of some of the design principles used in various examples. -/- David Worrall is an internationally recognized composer, sound artist and interdisciplinary researcher in the field of auditory design. He is Professor of Audio Arts and Acoustics at Columbia College Chicago and a former elected president of the International Community for Auditory Display (ICAD), the leading organization in the field since its inception over 25 years ago. -/- Code and audio examples for this book are available at -/- https:// github. com/david-worrall/springer/. (shrink)

The present study investigated the lasting effects of sickness presenteeism on well-being and innovative job performance in the demanding Chinese work context compounded with the precarities of the post-pandemic business environment. Adopting the conservation of resources theory perspective, especially its proposition of compensation of resources, we incorporated social resources at work as joint moderators in the presenteeism–outcomes relationship. We employed a panel design in which all variables were measured twice with 6 months in between. Data were obtained from 323 Chinese (...) employees working in diverse industries in Taiwan. We found that after controlling for the baseline level of well-being, presenteeism did not have a lasting effect on employees' exhaustion. However, presenteeism did have a negative lasting effect on employees' innovative behavior 6 months later. Moreover, we found a significant three-way interaction of presenteeism, supervisory support, and collegial support on employees' innovative job performance, after controlling for the baseline level of performance. Specifically, when working under illness, employees displayed the best innovative performance with high levels of both supervisory and collegial support, the worst performance with both support being low, and the intermediate when any one of the support being high. This can be taken as the preliminary evidence to support the COR proposition of resource caravans, showing that supervisory support and collegial support compensated for each other as critical resources in alleviating the impact of working under sickness on employees' innovative performance. Theoretical implications of the findings are discussed, taking into account the macro-cultural context of the East Asian Confucian societies. We also reflected on the managerial implications of the lasting damages of sickness presenteeism and benefits of mobilizing social resources on employees' well-being and performance. (shrink)

Hutto and Satne identify three research traditions attempting to explain the place of intentional agency in a wholly natural world: naturalistic reduction; sophisticated behaviourism, and pragmatism, and suggest that insights from all three are necessary. While agreeing with that general approach, I develop a somewhat different package, offering an outline of a vindicating genealogy of our interpretative practices. I suggest that these practices had their original foundation in the elaboration of much more complex representation-guided control structures in our lineage (...) and the support and amplification of those control structures through external resources. Cranes became increasingly important in the explanation of systematically successful action. These more complex representational engines coevolved with selection to detect and respond to the control structures of others. Since much of that selection was driven by the advantages of cooperation and coordination, in part these control structures were co-opted as external signals and guarantees, in cooperation and coordination. As the time depth of cooperation and co-ordination extended, these public signals of belief and intent acquired secondary functions, as mechanisms to stabilise and structure control systems, making humans not just more transparent to one another at a time, but more predictable over time. Mindshaping, not just mindreading, became increasingly important in our lineage. (shrink)

Recent research has suggested that both the Honesty-Humility dimension, psychopathic traits and cheating attitudes are important predictors of academic dishonesty. The present study examined: a) the incremental role of triarchic psychopathic traits in academic cheating over the Honesty-Humility dimension; b) the incremental role of cheating attitudes over personality; c) the mediating role of cheating attitudes in the relationship between different psychopathic components and academic cheating. Two-hundred-and-ninty-seven students (59% female, 23 years on average) completed several questionnaires: the Triarchic Psychopathy Measure (TriPM), (...) The HEXACO-PI-R Honesty-Humility scale, Attitudes Toward Cheating Scale, and the Academic Cheating Behaviours Scale. As expected, triarchic psychopathy added incremental variance in explaining academic cheating, after controlling for Honesty-Humility. Cheating attitudes explained additional 24% after controlling for personality traits. Meanness lead to more lenient attitudes toward cheating, which lead to more academic cheating behaviours. On the other hand, the effects of boldness and disinhibition were not mediated by attitudes towards cheating. Overall, the results suggest that the psychopathic traits display the effects on the academic cheating via several different mechanisms. The findings have both important theoretical and practical implications. (shrink)

Despite the growing body of research on emotional labor, little has been known about the social consequences of emotional labor. Drawing on emotional dissonance theory, the authors investigate the relationship between the felt emotional dissonance and prosocial behavior (e.g., donation to a charity). Findings from multiple studies suggest that higher emotional dissonance serially influences perceived lack of control, emotional exhaustion, lowered sympathy for others’ feeling, and subsequently lower willingness to help others. when individuals are asked to recall their past (...) experiences of emotional dissonance, they expressed lack of control and emotional exhaustion (Study 3), lower sympathy for others’ feeling (Study 1, 3), and subsequently become less willing to help others both in their intention (Study 2A and 3) and with actual money (Study 2B). Further, this negative relationship is moderated by the display rules (i.e., surface acting vs. deep acting, Study 3). Managerial and public policy implications are discussed. (shrink)

Focused on the impact of stringent intellectual property mechanisms over the uses of plant agricultural biodiversity in crop improvement, the article delves into a systematic analysis of the relationship between institutional paradigms and their technological contexts of application, identified as mass selection, controlled hybridisation, molecular breeding tools and transgenics. While the strong property paradigm has proven effective in the context of major leaps forward in genetic engineering, it faces a systematic breakdown when extended to mass selection, where innovation often displays (...) a collective nature. However, it also creates partial blockages in those innovation schemes rested between on-farm observation and genetic modification, i.e. conventional plant breeding and upstream molecular biology research tools. Neither overly strong intellectual property rights, nor the absence of well delineated protection have proven an optimal fit for these two intermediary socio-technological systems of cumulative incremental innovation. To address these challenges, the authors look at appropriate institutional alternatives which can create effective incentives for in situ agrobiodiversity conservation and the equitable distribution of technologies in plant improvement, using the flexibilities of the TRIPS Agreement, the liability rules set forth in patents or plant variety rights themselves, and other ad hoc reward regimes. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Medical Ethics in a Time of De-CommunizationRobert Baker (bio)Ethics is often treated as a matter of ethereal principles abstracted from the particulars of time and place. A natural correlate of this approach is the attempt to measure actual codes of ethics in terms of basic principles. Such an exercise can be illuminating, but it can also obscure the circumstances that make a particular codification of morality a meaningful response (...) to specific historic circumstances. This is particularly true of the codes of medical ethics beginning to emerge from the post-Communist societies of Eastern Europe, which are, perhaps, best understood as artifacts of an era, rather than as expressions of abstract principles.The era in question is post-Communist. It is an era informed by a reaction to decades of Communism, which, of course, was more than an economic system or even an ideology; it was a form of life that permeated every aspect of civil society—advertising, art, literature, music. Medicine was not exempt. I recall entering an oncology ward in East Berlin and finding the patients seated around a large table making posters. Wondering whether this was a form of art therapy, I asked the head nurse what the patients were doing. She replied: it is "Party time—the portion of each week every citizen donates to the people and the Party." I looked again at the posters and saw that they honored Karl Marx on the 100th anniversary of his death: "1883-1983, The Struggle Goes On." The Party, the struggle, the people, were everywhere, and they penetrated and informed daily life even for terminal patients on a cancer ward.The interweaving of Communist practices into the warp and woof of daily life has profound implications for the post-Communist era. It means that East Europeans cannot simply rebuild; they must unweave Communist thought patterns—what might be called the ideostructure of Communism—from the fabric of their lives through a deliberate process of deCommunization. What remains after de-Communization depends upon [End Page 363] the historical relationship each country had with Communism. In Russia, removing Communist ideostructure sets the conceptual calendar back to 1918. For the Czechs, the calendar advances to the 1930s, leaving them with thought patterns that are Western, industrial, and democratic. In the rest of Eastern Europe the conceptual clock also tends to turn back to the 1930s, but at that time the conceptual frameworks were nationalist, anti-Western, and frequently fascist, or even Nazi.In Poland the situation is different. World War II opened with the Nazi invasion of the country—which Hitler (later joined by Stalin) subsequently occupied. After the war, the Soviet army controlled the country, which became a captive player in the Soviet sphere of influence (aptly denominated, "the Warsaw Pact"). Poland's pre-Communist thought patterns are nationalist, West-leaning, accepting of parliamentary structures, but also of authoritarian government. They are also Catholic.Catholicism to Poles is not merely a religion, it is a posture of opposition to their German (Nazi, antichristian) and Russian (Orthodox or atheist) occupiers. I toured Polish hospitals several times during the Communist period —always accompanied by one or more "tour guides." (Westerners were not allowed to roam Communist countries unescorted.) Almost all of my guides wore little pins adorned with the face of Lenin (not the hammer and sickle—a symbol of Soviet occupation). Most doctors and nurses, however, adorned themselves with Catholic icons—typically a crucifix. Their conspicuously displayed crosses symbolized less their embrace of Catholicism than their rejection of Communism. Catholicism, in the Polish context, was thus an affirmation of individual and national independence.De-Communizing Polish Medical Ethics: The Abortion ControversyIn Poland, de-Communization was initiated through a series of negotiations between Lech Walensa's Solidarity and the Communist Government. The Polish Code of Medical Ethics is an indirect consequence of these negotiations, which stipulated the dissolution of Communist medical organizations. They were to be replaced by a Polish Medical Chamber—a type of quasi-governmental body, common in Eastern Europe, which combines the functions of a governmental licensing agency with those of a national medical association. Medical chambers also set standards of professional conduct and (unlike... (shrink)

A recent study has reported that the successful implementation of cognitive regulation of emotion depends on higher-level cognitive functions, such as top-down control, which may be impaired in stressful situations. This calls for “cognition free” self-regulatory strategies that do not require top-down control. In contrast to the cognitive regulation of emotion that emphasizes the role of cognition, traditional Chinese philosophy and medicine views the relationship among different types of emotions as promoting or counteracting each other without the involvement (...) of cognition, which provides an insightful perspective for developing “cognition free” regulatory strategies. In this study, we examined two hypotheses regarding the modulation of anger and aggressive behavior: sadness counteracts anger and aggressive behavior, whereas fear promotes anger and aggressive behavior. Participants were first provoked by reading extremely negative feedback on their viewpoints (Study 1) and by watching anger-inducing movie clips (Study 2). Then, these angry participants were assigned to three equivalent groups and viewed sad, fear-inducing, or neutral materials to evoke the corresponding emotions. The results showed that participants displayed a lower level of aggressive behavior when sadness was later induced and a higher level of anger when fear was later induced. These results provide evidence that supports the hypothesis of mutual promotion and counteraction relationships among these types of emotions and imply a “cognition free” approach to regulating anger and aggressive behavior. (shrink)

Research over the past half century has produced extensive evidence that observers cannot report or retain all of the details of their visual world from one moment to the next. During the past decade, a new set of studies has illustrated just how pervasive these limits are. For example, early evidence for the failure to detect changes to simple dot patterns (Phillips, 1974) and arrays of letters (Pashler, 1988) generalizes to more naturalistic displays such as photographs and motion pictures (e.g., (...) Levin & Simons, 1997; Rensink, O’Regan, & Clark, 1997; see Rensink, 2002 for a recent review). This failure to report changes (change blindness) can be induced in both simple and naturalistic displays, whenever the change co-occurs with a visual disruption such as an eye movement (Currie, McConkie, Carlson-Radvansky, & Irwin, 1995; Hollingworth, Schrock, & Henderson, 2001), image shift (Blackmore, Brelstaff, Nelson, & Troscianko, 1995), flashed blank screen (Rensink et al., 1997), blink (O’Regan, Deubel, Clark, & Rensink, 2000), transient (O’Regan, Rensink, & Clark, 1999; Rensink, O’Regan, & Clark, 2000), movie cut or pan (Levin & Simons, 1997; Simons, 1996), or an occlusion event (Levin, Simons, Angelone, & Chabris, 2002; Simons & Levin, 1998). Change blindness can also occur in the absence of a disruption, provided the change occurs gradually enough that it does not attract attention (Simons, Franconeri, & Reimer, 2000). -/- Failures of visual awareness have been induced in a number of ways. For example, observers often fail to report a visible but unexpected stimulus when attention is focused on some other object or event in the display (inattentional blindness). As for change blindness, inattentional blindness occurs for both simple (Mack & Rock, 1998; Most et al., 2001) and naturalistic stimuli (Simons & Chabris, 1999). Similarly, repeated instances of an item often go undetected when embedded in a rapid sequence (repetition blindness), a phenomenon that occurs for both words and pictures (Kanwisher, 1987; Kanwisher & Potter, 1990). Observers can also fail to detect a stimulus in a rapid stream of stimuli provided they had to perform an attention-demanding task shortly before the stimulus appeared (Shapiro, Arnell, & Raymond, 1997). The surprisingly large variety of conditions that induce failures of conscious perception reinforces the broad conclusion that we are often unaware of what would otherwise be fully-visible stimuli. -/- Along with an increased appreciation of the limitations of visual awareness has come a renewed interest in using these limitations to explore the nature of the representations and processes underlying our visual experience. Are these limitations due to failures of perception? Of attention? Of memory? What is preserved with and without awareness? -/- The papers in this special issue of the Journal of Vision provide examples of exciting new work on induced failures of visual awareness and the mechanisms that underlie them. For example, several papers examine whether observers are drawn to parts of a display by the stimulus features or whether top-down control or semantic comprehension influence search through a display. Others investigate the nature of and limits on the information that is preserved from one view to the next and how much information needs to be retained for effective perception and action. As guest editors, we hope that this special issue will illustrate how studying the relationship between visual awareness and visual representations can lead to important new insights into the nature of seeing. (shrink)

Decision-making has a high practical relevance for daily performance. Its relation to other cognitive abilities such as executive control and memory is not fully understood. Here we asked whether training of either attentional filtering or memory storage would influence decision-making as indexed by repetitive assessments of the Iowa Gambling Task (IGT). The IGT was developed to assess and simulate real-life decision-making (Bechara et al., 2005). In this task, participants gain or lose money by developing advantageous or disadvantageous decision strategies. (...) On five consecutive days we trained 29 healthy young adults (20-30 years) either in working memory storage or attentional filtering and measured their IGT scores after each training session. During memory training (MT) subjects performed a computerized delayed match-to-sample task where two displays of bars were presented in succession. During filter training (FT) participants had to indicate whether two simultaneously presented displays of bars matched or not. Whereas in MT the relevant target stimuli stood alone, in FT the targets were embedded within irrelevant distractors (bars in a different color). All subjects within each group improved their performance in the trained cognitive task. For the IGT, we observed an increase over time in the amount of money gained in the FT group only. Decision-making seems to be influenced more by training to filter out irrelevant distractors than by training to store items in working memory. Selective attention could be responsible for the previously noted relationship between IGT performance and working memory and is therefore more important for enhancing efficiency in decision-making. (shrink)

Chapter III contains several puzzles and unexpected features. The first puzzle regards the chapter’s relationship to Chapter IV: Natural Selection. Both chapters treat of natural selection, so what distinguishes them? Is it that Chapter IV indicates the intelligence behind nature’s selections and Chapter III introduces the analog of intelligence? And is it that Chapter III suggests that natural selection performs an eliminative function, while Chapter IV shows the positive impact of selection? In Chapter IV, and in many subsequent chapters, natural (...) selection, Darwin says, operates only for the good of each individual creature, though Chapter III suggests it destroys most individuals. Darwin asserts that he uses the term “struggle” metaphorically, which raises the question of the explanatory weight his metaphors carry, such metaphors as "the face of nature.” There are a number of unexpected features of Darwin’s analysis displayed in the chapter: for example, his introduction of a new concept of the selective environment and the several experiments he performs to establish his theory, e.g., from mathematical and thought experiments to controlled empirical experiments. Chapter III is a rich though puzzling chapter. (shrink)

Many studies in Western societies show a pattern of discriminative grandparental investment as follows: maternal grandmothers (MGMs) > maternal grandfathers (MGFs) > paternal grandmothers (PGMs) > paternal grandfathers (PGFs). This pattern is in line with the expectation from evolutionary reasoning. Yet whether or not this pattern applies in China is in question. The present study was based on a questionnaire survey at a university in Central China (N = 1,195). Results show that (1) when grandparent–grandchild residential distance during grandchildren’s childhood (...) is controlled, in the case of grandsons and granddaughters as a whole and granddaughters only, both grandparental caregiving and grandchildren’s emotional closeness to grandparents display a rank order of MGM > MGF > PGM > PGF, but in the case of grandsons only, this order is not statistically significant. (2) There are stable relationships between grandparental caregiving/grandchildren’s emotional closeness and residential distance/similarity in appearance. (3) The effects of residential distance on either PGFs’ or PGMs’ caregiving exceed those on either MGFs’ or MGMs’. (4) The PGF and PGM prefer grandsons to granddaughters in their caregiving, whereas the MGF and MGM do not have a sex preference, and (5) the fact that the PGF and PGM invest more in grandsons than in granddaughters does not depend on grandsons’ duration of living in a rural area. Our results suggest that (1) in general, the Chinese display a pattern of differential grandparental investment predicted by an evolutionary perspective, (2) the evolutionary perspective that combines the two factors of paternal uncertainty and sex-specific reproductive strategies is applicable to grandparental investment in China, and (3) the traditional son-preference culture also plays some role in affecting grandparental investment in China, though the roles of culture and urban–rural cultural difference should not be exaggerated. (shrink)

Primary psychopathy in leaders, also referred to as successful psychopathy or corporate psychopathy, has been put forward as a key determinant of corporate misconduct. In contrast to the general notion that primary psychopaths’ destructiveness cannot be controlled, we posit that psychopathic leaders’ display of self-serving and abusive behavior can be restrained by organizational contextual factors. Specifically, we hypothesize that the positive relationship between leader primary psychopathy on the one hand and self-serving behavior and abusive supervision on the other will (...) be weaker to the extent that the organizational context (clear rules and policies, sanctionability of misconduct, and transparency of behavior) is stronger. Three studies (one experiment, one survey of leader–subordinate dyads, and one survey of teams) showed that clear rules in particular weakened the positive association between leader primary psychopathic traits and their self-serving and abusive behavior. Explanations for why clear rules rein in primary psychopathic leaders’ destructive behavior more than sanctionability of misconduct and transparency of behavior will be discussed. (shrink)

This paper proposes different approaches to design, referring to gambiarra practices and artifacts and their relation to complexity theory, evoking critical theorists that take undecidability into account in order to link gambiarra to operations that breed complexity and responsibility. The word gambiarra comes from Brazilian slang and describes an intervention or artifact meant to provide a provisory solution to an unexpected event or crisis. This kind of alternative design differs radically from conventional design because it does not come from formally (...) trained, engineer-minded, projects. Instead, it lacks control, stability and durability. As it offers no permanent solution, it opens room for further accidents and is messy, especially if compared to a conservative model for creation that praises human predominance, soundness and efficiency. Therefore, gambiarra often has negative connotations that this analysis aims to challenge, by relating it to principles of complexity theory. Complexity theory is a transdisciplinary field for research aimed at the organization of living systems, with a vast understanding of networks and what life and govern are. It gathers insights from different disciplines to explore the interconnectivity between individuals, their systems and environment. It unveils how ambivalent information/noise relationships are fundamental for the increase of diversity in a system. It also displays the intelligent dynamics resulting from seemingly insignificant neighborhood relations that collectively make it possible to adapt and continuously change structures. With that in mind, the “deficient” aspect of gambiarra becomes more valuable, as it hints at a potential to generate new information and structures beyond entropic models that perpetuate the same logics across time. Michel Serres’s information theory presented in the book The Parasite is brought up in comparison to gambiarra, in order to explore the potential of interdependent ambiguous relationships that may not fit in dominant forms of discourse. Concomitantly, Vilém Flusser’s notion of responsibility reinforces the argument that a fabric of dynamic differences can emerge out of mutual engagement and indeterminacy. Underlying, this paper concerns with drafting ecological discourses and practices that can embrace contradictions and the plurality of worlds, noticing complex phenomena that have been pushed to the margins, while also decentralizing from hegemonic models. It questions the predominance of the prevailing design paradigm in the search for non-eurocentric and non-anthropocentric human-environment relationships and forms of provision of human needs. (shrink)

Researches conducted so far within the project Spinning out of control: rhetoric and violent conflict. Representations of 'self' - 'other' in the Yugoslav successor states focused on exploring the relations towards the Other in a state of conflict. Moreover: most of the author's and coauthors' contributions were oriented towards discourse analysis in the context of violence. Except for the peaceful dismemberment of Montenegro and Serbia, proclamation of independence of other Yugoslav states did not go without violence, to a greater (...) or lesser extent. The Other in these situations was predominantly the ethnic Other, and usually treated as enemy. For that reason, the greater part of our past work was oriented towards analysing media reports of the most stiking war events. Also, some of the contributions intentionally targeted media reportings of tense situations and those bearing the unpredictable outcomes, such as referenda or meetings discussing war and peace matters; or, we focused our inquiries on radical standpoints expressed by certain media or political parties - all that in order to explore the essencial forms of constructing and manifesting the Otherness on a rhetoric level. From a broader perspective, the analysed period, marked by the wars of ex - Yugoslavia in the last decade of 20th century, could be comprehended as the preiod of a state of emergency, where the old order had been brutally and radically destroyed and the new one was installed. In such a process, as it was shown, the relation towards the Other was also usually extreme and ethnically motivated. Now, after the constitution of seven new states where once former Yugoslavia was, new questions emerge. We are interested, as we were before, in the identity constructions, especially in the relations toward the Other, and Otherness in general, now in the period of transition and normalization of mutual relationships that these societies are undergoing. Along with the theories of ethnicity and identity construction, the key perspective remains discursive analysis. Our main question is What is happening with the phenomenon of Otherness in public discourse, in the peaceful times, or in the post conflict state? Do the ways of representing Others from the conflict times disappear, or do they 'freeze', that is to say, remain the same, or get manifested on some other levels and by different rhetorical tools? In short, what is happening with the Others in discourses that do not 'spin out of control'? Are the Others stable, mutable or flexible category and where are the imagological boundaries of Otherness? Who are the Others now? Are there any Others among us in ethnical sense? What is the nature of relation towards the common Yugoslav past, in other words, has the common past also become the Otherness for the people of former Yugoslavia? Are the 'refugees', 'cast-outs', 'displaced persons', 'returnees'... only the new names for the old display of Otherness? (shrink)

In lieu of an abstract, here is a brief excerpt of the content:240 Feminist Studies 45, no. 1. © 2019 by Mary Anna Evans Mary Anna Evans Personal Continuum The scent of gasoline is neither attractive nor repulsive. It falls somewhere on the continuum between. It is medicinal, but without the acrid bitterness of medicine. It draws children like a drug, but only when their parents aren’t hovering to warn of danger. Adults know about fire and poisoning and long-range carcinogenic (...) doom. Children only know that the odor around gas pumps smells naughty and fun, until their lips open and the flavor of petroleum turns their stomachs. Why do some things smell so much better than they taste? Gasoline, unlike honey, draws humans but not flies. Sarah was not thinking of fire, poisoning, or doom when she fitted the long metal nozzle into the mouth of her car’s fuel tank. She was trying not to think at all, though the customary thoughts slipped in. None of them were about gasoline. The pump’s air pollution control system was working well but not perfectly, so it took a moment for the odor to reach her nose. Her body roused and snarled at her. The baby. What are you thinking? If you breathe those fumes, what will they do to the baby? A moment passed while her body checked itself, remembering what it already knew. There was no baby. Where is the baby? Mary Anna Evans 241 The frantic voice didn’t echo between her ears. It had nothing to do with her brain at all. It was more than thought. It came from a place deeper than thought, and it wasn’t hers. Her body said things she didn’t want to say, and it needed things she didn’t need. Her body wanted things that were not good for her. Again, Where is the baby? And then, the darker question. What did you do? “Nothing,” she said aloud, since there was no one to hear. I didn’t do anything but bleed. I’m still bleeding. She resisted the instinct to clap her hands over her ears to shut out the voice that couldn’t be shut out. Her defiant hold on the nozzle kept her upright. She listened to the rhythmic throb of the pump. Refusing to turn her face from the gasoline’s stench, she opened her mouth and let the fumes seep in. * * * “Hello, sweetheart,” Frederick said as he came in the door. His peck on the cheek didn’t linger, so Sarah knew there would be no more expressions of affection that day. He had read in a self-help book that it was important for couples to use terms of endearment as a form of bonding. Physical displays of affection were important, too, or so said the self-affirmed relationship expert who wrote the book. In public, displays of affection affirmed the pair bond. In private, even a quick smooch forced men and women to secrete an attachment chemical called oxy-whatever. Oh, hell. She was a chemist. She knew what oxytocin was. She was just mystified by the notion of reading a book to find out how to get some. He turned away and went into the kitchen to fetch the marinating chicken. He always grilled when it was his night to cook. She had come to wonder whether modern men were drawn to cook with fire by an ageold hunter instinct, or whether they were attracted to an activity that put a well-insulated exterior wall between them and the women who remained inside to toss the salads. All across America, every warm summer night, lonely women toss salads and hope for romance. His head poked in the back door. “I bought slivered almonds and croutons.” 242 Mary Anna Evans Her “Thanks for remembering, sweetheart,” bounced off the closing door. Shit. She could have spared herself that soulless term of endearment. Leaving the lettuce in the refrigerator, she thrust her soapy hands under warm running water, because even thinking the word “shit” made the idea of handling raw food appalling. Her body, which had forgotten again that she’d lost the baby, approved of her caution. She guarded her thoughts against disturbing its... (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

Signed languages employ finely articulated facial and head displays to express grammatical meanings such as mood and modality, complex propositions, information structure, assertions, content and yes/no questions, imperatives, and miratives. In this paper we examine two facial displays: an upper face display in which the eyebrows are pulled together called brow furrow, and a lower face display in which the corners of the mouth are turned down into a distinctive configuration that resembles a frown or upside-down U-shape. Our (...) analysis employs Cognitive Grammar, specifically the control cycle and its manifestation in effective control and epistemic control. Our claim is that effective and epistemic control are associated with embodied actions. Prototypical physical effective control requires effortful activity and the forceful exertion of energy and is commonly correlated with upper face activity, often called the “face of effort.” The lower face display has been shown to be associated with epistemic indetermination, uncertainty, doubt, obviousness, and skepticism. We demonstrate that the control cycle unifies the diverse grammatical functions expressed by each facial display within a language, and that they express similar functions across a wide range of signed languages. (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)

In lieu of an abstract, here is a brief excerpt of the content:THE PARTY'S OVER (ALMOST): TERMINAL CELEBRATION IN CONTEMPORARY FILM Tony Bartlett Syracuse University Movies are a universal language, and as we approach more and more integrated levels of global economy and communication they increasingly become a universal symbol system. At these levels a modern movie from China orNigeria will display swiftly recognizable sensibilities and situations to any viewer in Europe or the USA, and vice versa. But should (...) we not, therefore, also feel prompted to indicate a universal de-symbolization, if movies along with the modern world reflect constitutive elements of decomposition and collapse. For I would like to suggest in this essay that not only do movies constitute a kind ofplanetary envelope, literally a "film" of collective imaginai references wrapped around the world, but that this "film" is peculiarly apt to dismemberment, to breaking up before our eyes even as it still holds together, to abuilt-in "crisis" that is part ofits very nature. The two films that form a background to these remarks, Natural Born Killers and Pulp Fiction, are, I suggest, movies that set out actively to represent this cinematic crisis. In Adam Smith's The Wealth ofNations (Bk. 2, Vol. 5, 795-97), the grandfather ofmodern capitalism discusses the fate ofthe laborer who leaves arural village in which he is known and his life observed, or "attended to," by others. He moves to a great city where promptly "he is sunk in obscurity and darkness." Smith's concern is not directly to remedy this misery ofthe worker forced to seek employment in the anonymity ofthe city, but to avoid a possible course ofaction he might take. He wishes to divert him from the possibility of joining "a small religious sect," in whose company the newly depersonalized worker will achieve "a degree of consideration which he never had before." 2 Tony Bartlett Adam Smith does not relish the prospect ofthe mushroom growth ofclosed, "unsocial" religious factions within the heart of industrialized political economies, and he proposes two remedies by which the state, "without violence," might correct these tendencies. His proposals are remarkable both for their conjunction ofcertain themes and their prescience. The first is a plan for the imposition of the study of science and philosophy on the middle ranks ofthe poor, for science is "the great antidote to the poison of enthusiasm and superstition." Next to this classic Enlightenment nostrum comes the following: The second ofthose remedies is the frequency and gaiety of publick diversions. The state, by encouraging, that is by giving entire liberty to all those who for their own interest would attempt, without scandal or indecency, to amuse and divert the people by painting, poetry, musick, dancing; by all sorts ofdramatic representations and exhibitions, would easily dissipate, in the greater part of them, that melancholy and gloomy humour which is almost always the nurse ofpopular superstition and enthusiasm. Publick diversions have always been the object of dread and hatred, to all the fanatical promoters ofthose popular frenzies. Here are the movies before the fact. Adam Smith in his charter for emergent industrial capitalism sketches an alliance between education and entertainment that together will prevent any reversion to the darkness ofsmallscale society and its ready excrescence of religious fanaticism. All of the components of cinema aesthetic are assembled in Smith's prophetic vision: cinematography, script, score, choreography, plot, spectacle. The only thing lacking was the technology to capture them together on film, and with the release ofinventive energies attending division oflabor that would only be a matter of time. Cinema is the born ally ofrational modernity, and is in itself the child of industrial alienation and the need to find a mass aesthetic to substitute for the control exercised by the sacred in a traditionally local setting. But, ofcourse, there are several levels ofirony that are not lost on us here. First, Smith says explicitly that the state has a direct interest in such mass entertainment. What then is the relationship between the much prized freedom ofthe creative artist and the very concrete concern for self-preservation on the part ofthe state? He specifies that the people's entertainment must be without scandal or indecency: what now should be said when political leaders... (shrink)

The COVID-19 pandemic that began in 2019 has created an acute fear of economic crisis, and people have experienced the state of perceived job insecurity. Several measures were taken to control this deadly pandemic, but it still affected the majority of global operational activities. This study addresses the United Nation’s Sustainable Development Goal number 8 that relates to decent work and economic growth. This quantitative study examines the impact of fear associated with economic crisis and perceived job insecurity on (...) mental health with the moderating effect of surface and deep acting. Surface acting is displaying fake emotions, and deep acting is modifying inner feelings according to the required emotions. This study used sample data from private-sector employees and applied SmartPLS for structural model assessment. As many organizations took more challenging decisions to sustain their business operations, the study therefore analyzes the impact of the pandemic on private sector employees. The two main findings of the study are: surface acting moderates the relationships of fear of economic crisis and perceived job insecurity with mental health and declines the impact of both on mental health, while deep acting negatively moderates the relationships of fear of economic crisis and perceived job insecurity with mental health and improved mental health even in the presence of both. The study highlighted the importance of deep acting at workplaces to sustain employees’ mental and psychological stability. Organizations could introduce emotional labor strategies and strengthen the mental health of their employees against the underlying fear of economic crisis and perceived job insecurity. (shrink)

This book is an anthology with the following themes. Non-European Tradition: Bussanich interprets main themes of Hindu ethics, including its roots in ritual sacrifice, its relationship to religious duty, society, individual human well-being, and psychic liberation. To best assess the truth of Hindu ethics, he argues for dialogue with premodern Western thought. Pfister takes up the question of human nature as a case study in Chinese ethics. Is our nature inherently good (as Mengzi argued) or bad (Xunzi’s view)? Pfister ob- (...) serves their underlying agreement, that human beings are capable of becoming good, and makes precise the disagreement: whether we achieve goodness by cultivating autonomous feelings or by accepting external precepts. There are political consequences: whether government should aim to respect and em- power individual choices or to be a controlling authority. Early Greek Thinking: Collobert examines the bases of Homeric ethics in fame, prudence, and shame, and how these guide the deliberations of heroes. She observes how, by depending upon the poet’s words, the hero gains a quasi- immortality, although in truth there is no consolation for each person’s inevi- table death. Plato: Santas examines Socratic Method and ethics in Republic 1. There Socrates examines definitions of justice and tests them by comparison to the arts and sciences. Santas shows the similarities of Socrates’ method to John Rawls’ method of considered judgments in reflective equilibrium. McPherran interprets Plato’s religious dimension as like that of his teacher Socrates. McPherran shows how Plato appropriates, reshapes, and extends the religious conventions of his own time in the service of establishing the new enterprise of philosophy. Ac- cording to Taylor, Socrates believes that humans in general have the task of helping the gods by making their own souls as good as possible, and Socrates’ unique ability to cross-examine imposes on him the special task of helping others to become as good as possible. This conception of Socrates’ mission is Plato’s own, consisting in an extension of the traditional conception of piety as helping the gods. Brickhouse and Smith propose a new understanding of Socratic moral psychology—one that retains the standard view of Socrates as an intellectualist, but also recognizes roles in human agency for appetites and passions. They compare and contrast the Socratic view to the picture of moral psychology we get in other dialogues of Plato. Hardy also proposes a new, non-reductive understanding of Socratic eudaimonism—he argues that Socrates invokes a very rich and complex notion of the “Knowledge of the Good and Bad”, which is associated with the motivating forces of the virtues. Rudebusch defends Socrates’ argument that knowledge can never be impotent in the face of psychic passions. He considers the standard objections: that knowledge cannot weigh incom- mensurable human values, and that brute desire, all by itself, is capable of moving the soul to action. Aristotle: Anagnostopoulos interprets Aristotle on the nature and acquisition of virtue. Though virtue of character, aiming at human happiness, requires a complex awareness of multiple dimensions of one’s experience, it is not properly a cognitive capacity. Thus it requires habituation, not education, according to Aristotle, in order to align the unruly elements of the soul with reason’s knowledge of what promotes happiness. Shields explains Aristotle’s doctrine that goodness is meant in many ways as the doctrine that there are different analyses of goodness for different types of circumstance, just as for being. He finds Aristotle to argue for this conclusion, against Plato’s doctrine of the unity of the Good, by applying the tests for homonymy and as an immediate cons- equence of the doctrine of categories. Shields evaluates the issue as unresolved at present. Russell discusses Aristotle’s account of practical deliberation and its virtue, intelligence (phronesis). He relates the account to contemporary philo- sophical controversies surrounding Aristotle’s view that intelligence is neces- sary for moral virtue, including the objections that in some cases it is unnecessary or even impedes human goodness. Frede examines the advantages and disadvantages of Aristotle’s virtue ethics. She explains the general Greek con- ceptions of happiness and virtue, Aristotle’s conception of phronesis and compares the Aristotle’s ethics with modern accounts. Liske discusses the question of whether the Aristotelian account of virtue entails an ethical-psy- chological determinism. He argues that Aristotle’s understanding of hexis allows for free action and ethical responsibility : By making decisions for good actions we are able to stabilize our character (hexis). Hellenistic and Roman: Annas defends an account of stoic ethics, according to which the three parts of Stoicism—logic, physics, and ethics—are integrated as the parts of an egg, not as the parts of a building. Since by this analogy no one part is a foundation for the rest, pedagogical decisions may govern the choice of numerous, equally valid, presentations of Stoic ethics. Piering interprets the Cynic way of life as a distinctive philosophy. In their ethics, Cynics value neither pleasure nor tradition but personal liberty, which they achieve by self-suffi- ciency and display in speech that is frank to the point of insult. Plotinus and Neoplatonism: Gerson outlines the place of ordinary civic virtue as well as philosophically contemplative excellence in Neoplatonism. In doing so he attempts to show how one and the same good can be both action-guiding in human life and be the absolute simple One that grounds the explanation of everything in the universe. Delcomminette follows Plotinus’s path to the Good as the foundation of free will, first in the freedom of Intellect and then in the “more than freedom” of the One. Plotinus postulates these divinities as not outside but within each self, saving him from the contradiction of an external foundation for a truly free will. General Topics: Halbig discusses the thesis on the unity of virtues. He dis- tinguishes the thesis of the identity of virtues and the thesis of a reciprocity of virtues and argues that the various virtues form a unity (in terms of reciprocity) since virtues cannot bring about any bad action. Detel examines Plato’s and Aristotle’s conceptions of normativity : Plato and Aristotle (i) entertained hybrid theories of normativity by distinguishing functional, semantic and ethical normativity, (ii) located the ultimate source of normativity in standards of a good life, and thus (iii) took semantic normativity to be a derived form of normativity. Detel argues that hybrid theories of normativity are—from a mo- dern point of view—still promising. Ho ̈ffe defends the Ancient conception of an art of living against Modern objections. Whereas many Modern philosophers think that we have to replace Ancient eudaimonism by the idea of moral obligation (Pflicht), Ho ̈ffe argues that Eudaimonism and autonomy-based ethics can be reconciled and integrated into a comprehensive and promising theory of a good life, if we enrich the idea of autonomy by the central elements of Ancient eudaimonism. Some common themes: The topics in Chinese and Hindu ethics are perhaps more familiar to modern western sensibilities than Homeric and even Socratic. Anagnostopoulos, Brickhouse and Smith, Frede, Liske, Rudebusch, and Russell all consider in contrasting ways the role of moral character, apart from intellect, in ethics. Brickhouse / Smith, Hardy, and Rudebusch discuss the Socratic con- ception of moral knowledge. Brickhouse / Smith and Hardy retain the standard view of the so called Socratic Intellectualism. Shields and Gerson both consider the question whether there is a single genus of goodness, or if the term is a homonym. Bussanich, McPherran, Taylor, and Delcomminette all consider the relation between religion and ethics. Pfister, Piering, Delcomminette, and Liske all consider what sort of freedom is appropriate to human well-being. Halbig, Detel, and Ho ̈ffe propose interpretations of main themes of Ancient ethics. (shrink)

Whenever we analyze the issue of spiritual activities, we can never lay aside of the macro-background of “spirit service to life”. Spirit is” software” of life. It is essentially to carry out determination of self life and a nervous system which make the information processing and feedback between self life and outside world. It has reasonable structure system and systematical work mechanism. The basic structure system of the spirit of human beings is like this: self is the core and leading (...) of spirit running, which has properties in three aspects which are will, needs and motility. These properties formed a unity. Will mainly shows theessential property of self, which is in the domination and core position. Needs mainly shows the main part of life requesting and demanding for objective outside, which is in the conditional and secondary position. If we put the Needs in the key position, it will blaspheme the meaning of life and lose the value of life. Motility is a centralized reflection of life activity, which could be a means for the implementation of self Will and acquisition of self needs. In the tangible world, it is displayed as colorful life activity. In the intangible spiritual world, it is displayed as the information processing ability and information feedback ability of self life. Motility has four different levels: emotion, subconsciousness, consciousness, cognition. Correspondingly, the development of spirit could also be divided as four levels. In each level, self, activity, requested development degree, property characteristics and main content have certain of differences. In structure system of spirit, there is a correlation among each part and each element, which will interact with own characteristics to form an organic whole. In fact, it is an essential sublimation of tangible body and an intangible life existed with information form. The following figure shows the relationship of each element:[*Electronic Editor's Note: Figure in PDF of article*]This structure system of spirit, which isn’t a simple frame but an abstract mechanism of spirit running, is life active system of informatization. This system and mechanism make the changeable spiritual activity clear and orderly, and make the abundant and various life activities systematic and vivid. This system’s self isdeveloping, whose development still comply with the law of life development, symbolizing the development and extension of vitality. This development could be considered as continuance of life progress. In the low-grade life, it is mainly displayed as biological stress stage of promoting the favorable and avoiding the unfavorable as well as blind and instinctive affective response stage; in the highgrade animals, it is gradually displayed certain of psychological activity ability and study cognition ability. In human beings, it is gradually displayed awake of consciousness and mature of reason, making human beings to control themselves and change all things to become the soul of the world. Through this structure system and running mechanism, we could get a systematical explanation for theessence of emotion, mystery of psychological activity, process of consciousness awake, occurrence mechanism of dream. Meantime, we put forth that human beings must experience the second awakerational awake to become the true society human when human beings become the humans with souls after consciousness awake. (shrink)

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:preface This issue invites us to consider examples of feminist cultural production that use music, graphic art, and film to resist sexual conventions. Andrea Wood turns our attention to lesbian sex and romance in comics, a genre that has long captivated lay readers and is gaining popularity in academic circles. Rachel Lumsden analyzes Ethel Smyth’s 1913 musical composition “Possession,” an ode to same-sex intimacy displaying a “sonic meld” of (...) passion, desire, and political commitment. Sharmila Lodhia’s account of Nina Paley’s film Sita Sings the Blues considers how a sexually charged anitmated representation of a traditional epic can spur battles over cultural authenticity. Ariane Cruz examines how sexual pleasure presses against racist histories in a study on black women and BDSM. Whether sexuality is policed, as Chloë Taylor explores in her article, or the policing of sexuality is shunned, as Lynn Comella addresses in her review essay, it is clear that the grip of sexual politics on women ’s sexual lives is strong. Wang Zheng’s News and Views piece recounts recent global feminist tactics used to release five young feminists jailed in China, an urgent reminder about how women’s bodies are policed in violent ways. We begin this issue with Chloë Taylor’s essay reflecting on how sexology and psychiatry function to represent female desire in narrow ways. Taylor explores how female sexual dysfunction is constructed in sexology and psychiatric practice and locates this as part of a longer history of rendering selected bodies and sexual practices as deviant. Her analysis is a valuable rejoinder to the ever-expanding grip of psychiatry on the ordering—and disordering—of women’s bodies and sexuality. The line between normal and abnormal is always shifting, but its constant is how it maneuvers and is maneuvered to control female sexual desire. Taylor’s argument moves toward a non-normalizing feminist sexology that can interrogate sexual practice and function without rendering any as “right” or “wrong.” 256Preface Andrea Wood also turns to female sexuality, specifically lesbian sex, love, and romance, in her article on comics as a literary genre. Lesbian romance comics, Wood argues, offer a different discursive lens for “making the invisible visible.” Using queer theory to interrogate romantic depictions of lesbian sex and sexuality, she explores how the visual narrative form of comics allows for a different and politically compelling depiction of lesbian identity and sexual activity. Although lesbian romance and same-sex desire has been an interest of many feminist scholars, few have examined the visual field of lesbian comics—a genre, Wood insists, that demonstrates resistance to what Adrienne Rich identified as “compulsory heterosexuality.” Rachel Lumsden draws our attention to composer Ethel Smyth’s understudied song “Possession.” The song is a rumination on what it means to possess something or someone, and what it means to be possessed ; it is also a song that Smyth dedicated to Emmeline Pankhurst, her political comrade as well as her close friend and muse. Lumsden reads the song as a creative, strategically ambiguous “ode to an intimate female relationship,” a tribute to the respect, affection, and tenderness that Pankhurst and Smyth shared. Rather than reveal the “truth” of Smyth’s relationship with Pankhurst, Lumsden instead invites readers to consider the “sonic meld” of “Possession” as a space through which “themes of desire, activism, eroticism, solidarity, and sacrifice coalesce and congeal ” and as a site through which Smyth narrated her experiences, passions, desires, and political commitments. Sharmila Lodhia engages the controversy surrounding Nina Paley’s re-telling of the Ramayana in her film Sita Sings the Blues, which some critics have deemed “offensive,” “insulting,” and a “desecration of the Ramayana and the Hindu faith.” Lodhia treats Paley’s film—which positions Sita rather than Ram as the story’s protagonist, deploys animation and myriad narrator perspectives, fuses Paley’s own story with Sita’s story, and sets the story to a 1920s blues soundtrack—as a productive “body of critique about the epic’s central teachings on virtue, righteousness, and idealized gender roles.” By situating Paley’s retelling of the Ramayana in the context of numerous and varied Ramayana retellings, Lodhia reveals that Sita Sings the Blues is a “creative... (shrink)

Synesthetes can be distinguished from nonsynesthetes on a variety of experimental tasks because their concurrent synesthetic experiences can affect task performance if these experiences match or conflict with some aspect of the stimulus. Here, we tested grapheme‐color synesthetes and nonsynesthetic control participants using a novel perceptual similarity task to assess whether synesthetes’ concurrent color experiences influence perceived grapheme similarity. Participants iteratively arranged graphemes and, separately, their associated synesthetic colors in a display, such that similar items were placed close (...) together and dissimilar items further apart. The resulting relative inter‐item distances were used to calculate the pair‐wise (dis)similarity between items in the set, and thence to create separate perceptual representational dissimilarity matrices (RDMs) for graphemes and colors, on an individual basis. On the assumption that synesthetes’ similarity judgments for graphemes would be influenced by their concurrent color experiences, we predicted that grapheme and color RDMs would be more strongly correlated for synesthetes than nonsynesthetes. We found that the mean grapheme‐color RDM correlation was indeed significantly higher in synesthetes than nonsynesthetes; in addition, synesthetes’ grapheme‐color RDM correlations were more likely to be individually statistically significant, even after correction for multiple tests, than those of nonsynesthetes. Importantly, synesthetes’ grapheme‐color RDM correlations scaled with the consistency of their grapheme‐color associations as measured by their Synesthesia Battery (SB) scores. By contrast, the relationship between SB scores and grapheme‐color RDM correlations for nonsynesthetes was not significant. Thus, dissimilarity analysis quantitatively distinguished synesthetes from nonsynesthetes, in a way that meaningfully reflects a key aspect of synesthetic experience. (shrink)

Regression analysis using coded ethnographic data from a sample of 93 nonindustrial societies showed that patterns of child rearing and property control are significantly associated with outward displays of men's dominance. In societies in which women exercise significant control over property and men have close relationships with children, men infrequently affirm their manliness through boastful demonstrations of strength, aggressiveness, and sexual potency. Under these conditions, women show less deference to men, and husbands are less likely to dominate (...) wives. Displays of manliness are also prevalent in less complex societies with frequent warfare. An ideology of women's inferiority was found to be most common in complex societies with distant father-child relationships. Illustrative cases are presented, and theoretical explanations for observed correlations are discussed. (shrink)