Disjunctivism, as a theory of visual experience, claims that the mental states involved in a “good case” experience of veridical perception and a “bad case” experience of hallucination differ, even in those cases in which the two experiences are indistinguishable for their subject. Consider the veridical perception of a bar stool and an indistinguishable hallucination; both of these experiences might be classed together as experiences (as) of a bar stool or experiences of seeming to see a bar stool. This might (...) lead us to think that the experiences we undergo in the two cases must be of the same kind, the difference being that the former, but not the latter, is connected to the world in the right kind of way. Such a conjecture has been called a “highest common factor” or “common kind” assumption. At heart, disjunctivism consists in the rejection of this assumption. According the disjunctivist, veridical experiences and hallucinations do not share a common component. There are a host of interesting questions surrounding disjunctivism including: What is involved in the claims that good case and bad case experiences differ? Why might one might want to be a disjunctivist? What kinds of claims can the disjunctivist make about hallucination and illusion? These questions, and problems for the thesis, will be discussed as we proceed. (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)

A cofinitary group is a subgroup of Sym(ℕ) where all nonidentity elements have finitely many fixed points. A maximal cofinitary group is a cofinitary group, maximal with respect to inclusion. We show that a maximal cofinitary group cannot have infinitely many orbits. We also show, using Martin's Axiom, that no further restrictions on the number of orbits can be obtained. We show that Martin's Axiom implies there exist locally finite maximal cofinitary groups. Finally we show that there exists a (...) uniformly computable sequence of permutations generating a cofinitary group whose isomorphism type is not computable. (shrink)

Theodor W. Adorno was one of the foremost philosophers and social theorists of the post-war period. Crucial to the development of Critical Theory, his highly original and distinctive but often difficult writings not only advance questions of fundamental philosophical significance, but provide deep-reaching analyses of literature, art, music sociology and political theory. In this comprehensive introduction, Brian O’Connor explains Adorno’s philosophy for those coming to his work for the first time, through original new lines of interpretation. Beginning with an overview (...) of Adorno’s life and key philosophical views and influences, which contextualizes the intellectual environment in which he worked, O’Connor assesses the central elements of Adorno’s philosophy. He carefully examines Adorno’s distinctive style of analysis and shows how much of his work is a critical response to the various forms of identity thinking that have underpinned the destructive forces of modernity. He goes on to discuss the main areas of Adorno’s philosophy: social theory, the philosophy of experience, metaphysics, morality and aesthetics; setting out detailed accounts of Adorno’s notions of the dialectic of Enlightenment, reification, totality, mediation, identity, nonidentity, experience, negative dialectics, immanence, freedom, autonomy, imitation and autonomy in art. The final chapter considers Adorno’s philosophical legacy and importance today. Including a chronology, glossary, chapter summaries, and suggestions for further reading, _Adorno_ is an ideal introduction to this demanding but important thinker, and essential reading for students of philosophy, literature, sociology and cultural studies. (shrink)

I explore the critical significance of the phenomenological notion of intuition. I argue that there is no meaning that is originally formal-conceptual. The meanings of concepts function as symbolic approximations to original nonconceptual, intuitive givens. However, the meaning content originally intuitively given in lived experience has a tendency to be lost in pursuit of universalizability and communicability of conceptual content. Over time, conceptual approximations lose their reference to the experience that had given them their meaning in the first place. The (...) loss of an experiential reference makes for a vacuous set of concepts, giving way to ideologies, by which I mean the conscious prejudicial support for a set of ideas without the experiential, intuitive context that is necessary to see the value of those ideas. A critical phenomenology is a critique of ideological views by descriptively recovering the intuitive content whereby concepts can be adequately reevaluated. -/- This main aim of this work is to establish the methodological features of critical phenomenology by responding to the objections made against phenomenology and intuition by Frankfurt School critical theorists. Scheler’s phenomenology is used as a way forward due to his far-reaching critique of reason and emphasis on the phenomenological intuition of value. -/- Chapter 1 considers three Frankfurt School objections of Husserlian phenomenology, as (1) immanentist (Adorno), (2) idealist (Adorno), and (3) normatively empty (Habermas). Each fail to discern the subtle features of nonidentity with respect to Husserl’s notions of apperception and adumbrated phenomena. -/- Chapter 2 shows how Scheler’s original view of the phenomenological attitude makes more explicit Husserl’s subtle dialectical elements. Adequate and inadequate givenness is interpreted with respect to one’s intentional orientation and the moral attitudes carried within the world, influencing the content of the given. -/- Chapter 3 confronts the popular charge of idealism. Reality is a problem for phenomenology only to conscious modes of givenness. But through ecstatic modes of givenness (in resistances) Scheler’s phenomenology achieves an existential ground that is crucial for phenomenology to engage actually existing social structures and factors. -/- Chapter 4 concerns the charge that phenomenology is normatively empty. That Scheler had developed a theory of value is not enough to rebut the charge but his view of value-givenness as an attitude informed by the act of loving, opens an awareness of the values disclosed by that attitude. -/- Chapter 5 shows that Scheler’s sociology of knowledge, in contrast to Karl Mannheim’s interpretation, provides a unified picture of the interdependency of spirit and life needed for the realization of values in the world and society. -/- Chapter 6 suggests a way of framing a phenomenological critique of ideology. Scheler points to the attitudinal factors of loving and hating to disclose systemic devaluation and overvaluation. This awareness arises (1) from noticing how individual valuation reflects social valuation, and (2) by being attuned to how one’s own intuitions contradict prevailing social valuation and thought, thereby opening a space for a critique of those patterns. (shrink)

Joel Feinberg and Dan Brock have independently developed a solution to the Problem of Nonidentity as it occurs in cases where a mother's negligent act of conception causes her child to be born with a severe disability. I display three problems in the Feinberg‐Brock proposal and develop an alternative view that explains both cases of wrongful conception and additional instances of the Problem of Nonidentity presented by Derek Parfit and others.

Abstract:The “nonidentical” is Adorno’s term for anything that cannot be grasped by a concept or a system of concepts: sensual experience and events; emotions, understood as unconscious but influential layers of the psychic system; emergent results of interactions; the possibility of non-alienated and non-reified social circumstances. Within practices of music pedagogy, the nonidentical is relevant under all these aspects: the naming of musical issues does not encompass (let alone substitute for) the musical phenomenon (and it is not self-evident (...) how to conceptualize appropriate deictic actions). Emotionality should not be tamed (and it is an open question how to bring it to bear in a sensible way). Emergent results of the interaction in music lessons are a problem for planning classes, a planning which has to consider learning outcomes. The school system is almost completely shaped by economics of education (and cannot easily try to simulate processes of non-alienated and non-reified interactions between all participants). Corresponding research has to focus on identities constituting practices in music pedagogy; but it can develop a sensitivity to realizations of the nonidentical and induce new practices which are structured according to Critical Theory. The paper is concerned with the complementarity of identities and the nonidentical with regard to music pedagogy in a broader perspective, classifying practices of music pedagogy within a system of this discipline–on the basis of a logic of reflection. (shrink)

This paper argues that the nonidentity problem is really an artifact of faulty causal reasoning. In order to solve the nonidentity problem, we must determine that an agent causes a loss of happiness to another agent by means of an action that also causes the victim to exist. Woodward’s test for actual causation yields just this result. Equally crucial to solving the problem is the recognition that harms must be intentional and that intentionality is a function of norm-violation; this latter (...) position is defended by Holton. That the solution proposed is adequate is defended on the grounds that it yields intuitively correct judgments for a host of imaginary scenarios contemplated by theorists focused on determining what should count as harms. (shrink)

This paper contributes to the current academic debate on the nature of embodied, intentional consciousness, specifically the attempt to inaugurate a rapprochement between phenomenological existentialism and critical theory. This is accomplished through a critical comparison of the concepts of negative experience and nonidentity in Theodor Adorno's negative dialectics and Jean-Paul Sartre's early phenomenology. By comparing how each engages with Hegel, I suggest that Sartre offers a broad, anthropological account of negative experience and nonidentity helpful to critical theorists but that there (...) remains a critical deficit which Adorno's more restricted—and political—sense of nonidentity remedies. Sartre's anthropological portrayal of ‘persistent negation’ worries Adorno but I suggest that it can be understood as a pragmatic presupposition for problem-solving rather than as a transcendental condition of experience. (shrink)

The primary concern of the present paper is to answer the question, ‘What is the relation between non-identity and truth in Adorno’s Negative Dialectics?’ It employs Adorno’s articulation of the ‘outside’ of philosophy, which underpins the need for conceptual constellations if we are to mimetically examine the non-conceptual thing. Following this a further question presents itself: how do these engagements inflict a critical mark on the Hegelian method of totalization – the dialectic of truth? The essay ends with an analysis (...) of two films, Metropolis and Primal Fear, aimed at separating out Hegelian conceptions of truth from Adornian unresolved truth; the former aimed at a universal, the latter indicative of a non-identical aporia. We must conclude with the possibility that to leave the unresolved nature of non-identity unresolved for truth is the ontological challenge par excellence that presented itself to Adorno’s negative dialectics as it presents itself to post-Kantian continental philosophy today. (shrink)

History is replete with false and unfulfilled promises, but also with singular acts of courage, resilience, and ingenuity. These episodes have led to significant changes in the way people think and act in the world, or have set the stage for such transformations in the form of rational expectations in theory and the hopeful anticipations of dialectical imagination. -/- Negative Dialectics and Event: Nonidentity, Culture, and the Historical Adequacy of Consciousness revisits some of Theodor W. Adorno’s most influential writings and (...) theoretical interventions to argue not only that his philosophy is uniquely suited to bring such events into sharp relief and reflect on their entailments, but also that an effective historical consciousness today would be a consciousness awake to the events that interpellate and shape it into existence. -/- More broadly, Vangelis Giannakakis presents a compelling argument in support of the view that the critical theory developed by the first generation of the Frankfurt School still has much to offer in terms of both cultivating insights into contemporary human experience and building resistance against states of affairs that impede human flourishing and happiness. (shrink)

ABSTRACT I motivate ‘Origin Conventionalism’—the view that which facts about one’s origins are essential to one’s existence depends partly on our person-directed attitudes. One important upshot is that the view offers a novel and attractive solution to the Nonidentity Problem. That problem typically assumes that the sperm-egg pair from which a person originates is essential to that person’s existence; in which case, for many future persons that come into existence under adverse conditions, had those conditions not been realized, the individuals (...) wouldn’t have existed. This is problematic because it delivers the counter-intuitive conclusion that it’s not wrong to bring about such adverse conditions since they don’t harm anyone. Origin Conventionalism, in contrast, holds that whether a person’s sperm-egg origin is essential to their existence depends on their person-directed attitudes. I argue that this provides a unique and attractive way of preserving the intuition that the actions in the ‘nonidentity cases’ are morally wrong because of the potential harm done to the individuals in question. (shrink)

What is justice? Questions of justice are questions about what people are due, but what that means in practice depends on context. Depending on context, the formal question of what people are due is answered by principles of desert, reciprocity, equality, or need. Justice, thus, is a constellation of elements that exhibit a degree of integration and unity, but the integrity of justice is limited, in a way that is akin to the integrity of a neighborhood rather than that (...) of a building. A theory of justice is a map of that neighborhood. (shrink)

I argue that, given certain prominent views of personal identity and prudence, the nonidentity problem, or a very similar problem, can arise postconception. I clarify and defend this claim by considering the implications of these views for prenatal injury.

Is the science of moral cognition usefully modelled on aspects of Universal Grammar? Are human beings born with an innate 'moral grammar' that causes them to analyse human action in terms of its moral structure, with just as little awareness as they analyse human speech in terms of its grammatical structure? Questions like these have been at the forefront of moral psychology ever since John Mikhail revived them in his influential work on the linguistic analogy and its implications for jurisprudence (...) and moral theory. In this seminal book, Mikhail offers a careful and sustained analysis of the moral grammar hypothesis, showing how some of John Rawls' original ideas about the linguistic analogy, together with famous thought experiments like the trolley problem, can be used to improve our understanding of moral and legal judgement. (shrink)

Leibniz denied, famously, that any possible individual exists in more than one possible world, so that a man who in fact never marries could not have married and still been himself. He claimed that this follows from his thesis that the predicate of every true affirmative proposition is contained in some way in the concept of its subject and his associated thesis that the definitive concept of each individual substance is complete. This chapter argues that the purely formal aims of (...) logical theory involved in the predicate containment and complete concept theses do not in fact require the denial of counterfactual or transworld identity. (shrink)

Argues that Leibniz's denial of counterfactual or transworld identity is grounded in metaphysical considerations – specifically in his belief in a coalescence of conceptual connections and causal connections, which is marked by his revival and adaptation of the Scholastic Aristotelian notion of substantial form. Exploration of Leibniz's views about miracles and about perceptual relations leads to the conclusion that his denial of counterfactual identity does not claim intrinsic metaphysical necessity, but appeals to considerations of God's wisdom and goodness; and that (...) he can deny transworld identity only on the assumption that only aggregates of mutually harmonious substances count as worlds. (shrink)

Elements of Episodic Memory is a classic text in the psychology literature. It had a significant influence on research in the area has been much sought after in recent years. Finally, it has now been made available again with this reissue, the text unchanged from the original.

Introduction -- What is journalism for? -- Truth: the first and most confusing principle -- Who journalists work for -- Journalism of verification -- Independence from faction -- Monitor power and offer voice to the voiceless -- Journalism as a public forum -- Engagement and relevance -- Make the news comprehensive and proportional -- Journalists have a responsibility to conscience -- The rights and responsibilities of citizens.

Elements of Mind provides a unique introduction to the main problems and debates in contemporary philosophy of mind. Author Tim Crane opposes those currently popular conceptions of the mind that divide mental phenomena into two very different kinds (the intentional and the qualitative) and proposes instead a challenging and unified theory of all the phenomena of mind. In light of this theory, Crane engages students with the central problems of the philosophy of mind--the mind-body problem, the problem of intentionality (...) (or mental representation), the problem of consciousness, and the problem of perception--and attempts to find solutions to these problems. A fresh and engaging exploration of the main issues in the philosophy of mind, Elements of Mind is easily accessible to students with no background in the subject. (shrink)

Cet article se propose de mettre en lumière les dynamiques interactionnelles mises en œuvre par la pratique comique de l’onomasti kômôidein, à travers le recours à certaines instruments théoriques fournis par la socio-linguistique (analyse interactionnelle et conversationnelle). En soulignant l’analogie existante entre les injures que les acteurs adressent contre des citoyens réels appelés par leur nom et la calomnie, la diabolè, il propose de nuancer l’opposition, qui domine la critique aristophanienne, entre les interprétations « ritualistes » et les interprétations « (...) politiques » de ce phénomène dramatique. (shrink)

Journal of Social Philosophy, EarlyView.

Thomas Hobbes' timeless account of the human condition, first developed in The Elements of Law (1640), which comprises Human Nature and De Corpore Politico, is a direct product of the intellectual and political strife of the seventeenth century. His analysis of the war between the individual and the group lays out the essential strands of his moral and political philosophy later made famous in Leviathan. This first ever complete paperback edition of Human Nature and De Corpore Politico is also (...) supplemented by chapters from Hobbes' later work De Corpore and "The Three Lives," never before published together in English. (shrink)

Mit dieser Edition wird erstmals ein Vorlesungszyklus aus Helmuth Plessners wissenschaftlichem Nachlaß der Öffentlichkeit zugänglich gemacht. Das klar und übersichtlich gegliederte Kolleg "Elemente der Metaphysik" präsentiert in leicht verständlicher Sprache und gut nachvollziehbarer Gedankenentfaltung die Grundzüge von Plessners Anthropologie, die dieser in seinem nur schwer rezipierbaren Hauptwerk, den "Stufen des Organischen und der Mensch" von 1928, entwickelt hatte, und stellt sie in einen umfassenden philosophischen Kontext. Die Vorlesung umfaßt drei Hauptteile: Im 1. Teil, der "Metaphysik des Bewußtseins", zeigt Plessner, daß (...) der klassische bewußtseinsphilosophische Ansatz zur Beantwortung zentraler metaphysischer Probleme nicht in der Lage ist. Die entscheidende Frage nach dem Sein des Bewußtseins ist - wie Plessner nachweist - im Rahmen der Bewußtseinsproblematik, wie sie von der neuzeitlichen Philosophie seit Descartes entfaltet wurde, nicht zu beantworten. Die Bewußtseinsphilosophie muß daher - so Plessners Grundthese - durch einen lebensphilosophischen Ansatz überwunden werden. Dieser Übergang zur Problematik des Lebens und die breite Ausführung des neuen philosophischen Zugriffs steht im Mittelpunkt des 2. Teils ("Metaphysik des Lebens"). Plessner unternimmt hier vor allem den Versuch, das Wesen des Lebens durch das Verhältnis des Körpers zu seiner Grenze zu bestimmen und hält fest, daß solche Körper, die ihre Grenzen realisiert haben, "Positionaliät" besitzen. Dieser Begriff der Positionalität wird zum Zentralbegriff von Plessners Biophilosophie, die im Fortgang dieses Teils der Vorlesung ausführlich dargestellt wird. Im Zentrum der Darlegung, die Plessner im engen, kritischen Kontakt mit der biologischen Forschung hält, steht u.a. die Beziehung von Organismus und Umwelt, die Organisationsformen des Lebens (Pflanze und Tier), die Struktur der tierischen Umwelt, die Bestimmung des Bewußtseins, das Verhältnis von Bewußtsein und körperlichem Sein und das Problem des Gedächtnisses. Im abschließenden 3. Teil ("Der Mensch") skizziert Plessner die Grundzüge seiner philosophischen Anthropologie, wobei er den Menschen als dasjenige Lebewesen bestimmt, das - in Abhebung vom Tier, dem eine zentrische Organisationsform zukommt - eine "exzentrische Positionalität" besitzt, und das in einem dreifachen Bezug zur Außenwelt, zur Innenwelt und zur Mitwelt steht. Die besondere Bedeutung dieser Vorlesung liegt einerseits in ihrem Charakter als leicht nachvollziehbare Hinführung zu Plessners Philosophie des Lebendigen. Andererseits enthält sie neue Inhalte - insbesondere im 1. und 2. Teil - und trägt dadurch zur Erweiterung unserer Kenntnis von Plessners Philosophie bei. (shrink)

Tous les élèves d'Alain ont gardé un souvenir ineffaçable de son enseignement. Dans les Eléments de philosophie, on retrouve le grand professeur qui a marqué tous ses disciples : ses cours constituent l'introduction à la fois la plus claire et la plus profonde aux problèmes essentiels de la philosophie. Des principes fondamentaux de la connaissance aux questions de morale, de la philosophie des sciences à la métaphysique, Alain donne une vue d'ensemble de ce qu'est la philosophie.

After the success of the hardback, students and academics will welcome the publication of this book in paperback. The aim of the book is to explore the connection between two perspectives that have had a profound effect upon contemporary thought: post–modernism and feminism. Through bringing together and systematically analysing the relations between these, Hekman is able to make a major intervention into current debates in social theory and philosophy. The critique of Enlightenment knowledge, she argues, is at the core of (...) both post–modernism and feminism. Each also offers a basis for critical reflections about the other. In particular, post–modern philosophy provides a means of criticizing aspects of contemporary feminism and thus contributing to the development of a more sophisticated approach to current feminist issues. (shrink)

Moral philosophy is the study of what morality is and what it requires of us. As Socrates said, it's about "how we ought to live"-and why. It would be helpful if we could begin with a simple, uncontroversial definition of what morality is. Unfortunately, we cannot. There are many rival theories, each expounding a different conception of what it means to live morally, and any definition that goes beyond Socrates's simple formula-tion is bound to offend at least one of them. (...) This should make us cautious, but it need not paralyze us. In this chapter, I will describe the "minimum conception" of morality. (shrink)

This book is a translation of a classic work of modern social and political thought. Elements of the Philosophy of Right, Hegel's last major published work, is an attempt to systematize ethical theory, natural right, the philosophy of law, political theory, and the sociology of the modern state into the framework of Hegel's philosophy of history. Hegel's work has been interpreted in radically different ways, influencing many political movements from far right to far left, and is widely perceived as (...) central to the communitarian tradition in modern ethical, social, and political thought. This edition includes extensive editorial material informing the reader of the historical background of Hegel's text, and explaining his allusions to Roman law and other sources, making use of lecture materials which have only recently become available. The new translation is literal, readable, and consistent, and will be informative and scholarly enough to serve the needs of students and specialists alike. (shrink)

This paper will provide an immanent critique of the political theory of Herbert Marcuse. I argue that Marcuse’s politics are often inadequate when considered from the standpoint of his theory of socialism, the latter being understood as the realization of the negative human capacity for creation in all those fields within which the human being is active. Although Marcuse’s politics often reveals itself as instrumental and managerialist in orientation, I will argue that there nevertheless remains a certain countertendency in his (...) philosophy, one which can be seen as affirming a negative and nonidentitarian politics of overcoming that looks always toward creation. (shrink)

Recent studies indicate that mammalian chromosomes contain discretecis‐acting loci that control replication timing, mitotic condensation, and stability of entire chromosomes. Disruption of the large non‐coding RNA gene ASAR6 results in late replication, an under‐condensed appearance during mitosis, and structural instability of human chromosome 6. Similarly, disruption of the mouse Xist gene in adult somatic cells results in a late replication and instability phenotype on the X chromosome. ASAR6 shares many characteristics with Xist, including random mono‐allelic expression and asynchronous replication timing. (...) Additional “chromosome engineering” studies indicate that certain chromosome rearrangements affecting many different chromosomes display this abnormal replication and instability phenotype. These observations suggest that all mammalian chromosomes contain “inactivation/stability centers” that control proper replication, condensation, and stability of individual chromosomes. Therefore, mammalian chromosomes contain four types ofcis‐acting elements, origins, telomeres, centromeres, and “inactivation/stability centers”, all functioning to ensure proper replication, condensation, segregation, and stability of individual chromosomes. (shrink)