On the basis of general characteristics, comparative studies can be restricted by cross-cultural comparison in a narrow sense. In this paper, I take Chinese philosophy as an example to investigate the current problems within comparative studies. However, it is possible to embark on comparative study. Lun Liujia Yaozhi 论六家要旨 ( Discussion on the Main Points of the Six Schools ) conducts a successful comparison, from which we can extract the comparative method of Problem and Method, and it points directly (...) to the basic structure of survival activities, and furnishes the possibility for cross-cultural comparisons. (shrink)

Resumen: El presente artículo intenta explorar en dos tiempos de indagación del método estructural de Claude Lévi-Strauss. El primero de ellos se ubica en torno de los criterios epistemológicos y metodológicos que cifran el análisis del parentesco y del mito. El segundo tiempo pretende indagar en el alcance de estos criterios para definir la categoría de sujeto y de pensamiento al interior de la antropología estructural. Finalmente, una ilustración de estos problemas es elaborada mediante el tratamiento que el método estructural (...) asigna a la teoría psicoanalítica.: This article attempts an exploration in two inquiry stages of Claude Lévi-Strauss structural method. The first stage will be focused on the epistemological and methodological criteria that encrypt the analysis of kinship and myth. The second stage intends to investigate the scope of these criteria to define the category of subject and thought within the structural anthropology. Finally, an illustration of these problems is elaborated through the treatment that the structural method assigns to psychoanalytic theory. (shrink)

Movies can serve valuable didactic purposes teaching clinical ethics to medical students. However, using film sequences as means to develop critical thinking is not a straightforward task. There is a significant gap in the literature regarding how to analyse the ethical content embedded in these clips systematically, in a way that facilitates the students’ transition from anecdotal reflections to abstract thinking. This article offers a pedagogical proposal to approach the ethical analysis of film sequences in a systematic fashion. This structured (...) stepwise method encourages students to identify the main ethical problem of a selected scene and to reflect on the theoretical principles involved, emphasizing the application of these norms and values in a contextually situated analysis. We believe this method in film studies both reinforces the students’ comprehension of the theoretical framework of an ethical topic, and casts light on its pertinence and limitations under the circumstances of the scene, thus proving a constructive tool to strengthen the bridge between the theoretical teaching of clinical ethics and clinical practice. (shrink)

Theories of skill acquisition have made radically different predictions about the role of general problem‐solving methods in acquiring rules that promote effective transfer to new problems. Under one view, methods that focus on reaching specific goals, such as means‐ends analysis, are assumed to provide the basis for efficient knowledge compilation (Anderson, 1987), whereas under an alternative view such methods are believed to disrupt rule induction (Sweller, 1988). We suggest that the role of general methods in (...) learning varies with both the specificity of the problem solver's goal and the systematicity of the strategies used for testing hypotheses about rules. In the absence of a specific goal people are more likely to use a rule‐induction learning strategy, whereas provision of a specific goal fosters use of difference reduction, which tends to be a non‐rule‐induction strategy. We performed two experiments to investigate the impact of goal specificity and systematicity of rule‐induction strategies in learning and transfer within a complex dynamic system. The results of Experiment 1 indicated that during free exploration of a problem space, greater learning occurred if participants adopted more systematic strategies for rule induction, and that participants come to favor such strategies. Experiment 2 revealed that participants who were provided with a specific goal performed well on the initial problem but were impaired on a transfer test using a similar problem with a different goal. Instruction on a systematic rule‐induction strategy facilitated solution for both the initial and transfer problems, but participants' use of this strategy declined if they had a specific goal. Our results support Sweller's (1988) proposal that general problemsolving methods applied to a specific goal foster acquisition of knowledge about an isolated solution path but do not provide an effective way of learning the overall structure of a problem space. We interpret these results in terms of dualspace theories of search through problem space. (shrink)

This article deals with the methodologies commonly used in the framework of the structural approach to social representations. It concerns free and hierarchical evocations, the characterization questionnaire, the similarity analysis, the basic cognitive schemes model, the attribute-challenge technique and the test of context independence. More than a simple review of these methodologies, it offers a critical approach concerning the problems encountered and related to: thresholds or “cutoff points” used to diagnose the structure and the accuracy of the structural diagnosis, grouping (...) methods employed to reduce the corpus of verbal associations, the dilemma between reliability and feasibility, especially in field research, the adequacy and number of modalities of response in the framework of the structural diagnosis. Following this evaluation, this article suggests potential solutions to overcome these methodological limitations. Moreover, as methodological issues are closely related to theoretical questions, the link between social representation theory and identity approaches is discussed. (shrink)

In the first full-length study in any modern language dedicated to the Meteorologica, Malcolm Wilson presents a groundbreaking interpretation of Aristotle's natural philosophy. Divided into two parts, the book first addresses general philosophical and scientific issues by placing the treatise in a diachronic frame comprising Aristotle's predecessors and in a synchronic frame comprising his other physical works. It argues that Aristotle thought of meteorological phenomena as intermediary or 'dualizing' between the cosmos as a whole and the manifold world of terrestrial (...) animals. Engaging with the best current literature on Aristotle's theories of science and metaphysics, Wilson focuses on issues of aetiology, teleology and the structure and unity of science. The second half of the book illustrates Aristotle's principal concerns in a section-by-section treatment of the meteorological phenomena and provides solutions to many of the problems that have been raised since the time of the ancient commentators. (shrink)

One merit claimed for john rawls's coherence method, Wide reflective equilibrium, Is that it transcends the traditional two tiered approach to moral inquiry according to which one must choose as one's starting points either particular moral judgments or general moral principles. The two tiered conception of philosophical method is not limited to ethics. The most detailed exposition of the conception can be found in r m chisholm's various discussions of the problem of the criterion. While chisholm's work has played (...) a major role in structuring the way epistemologists think about method, It has not similarly influenced the deliberations of moral theorists. But moral philosophers are not the only ones with myopia, For neither rawls's coherentist method nor classical moral intuitionism figure in chisholm's taxonomy. One aim is to correct the vision of both parties by expanding chisholm's taxonomy in order to make clear how intuitionism and rawls's coherentist method are related to the methods identified by chisholm. My other aim is to argue for coherentism of the sort defended by rawls against the other non-Skeptical methods I consider. (shrink)

The aim of this study was to investigate the consequences of the use of text-matching software on teachers’ and students’ conceptions of plagiarism and problems in academic writing. An electronic questionnaire included scale items, structured questions, and open-ended questions. The respondents were 85 teachers and 506 students in a large Finnish university. Methods of analysis included exploratory factor analysis, t-test, and inductive content analysis. Both teachers and students reported increased awareness of plagiarism and improvements in writing habits, as well (...) as concerns and limitations related to the system. The results suggest that teachers are inclined to think of plagiarism as part of a learning process rather an issue of morality, which may have consequences for how they understand the role of text matching. The introduction of text-matching software has supported teachers’ work, but at the same time teachers emphasized their own responsibility in detecting problems in student writing. The survey provides a limited sample of “Case Finland,” where implementation of text-matching software nationwide has been remarkably rapid; it offers a glimpse into one institution’s implementation of a newly introduced policy for mandatory plagiarism detection. (shrink)

This thesis describes a method to control rare events in non-equilibrium systems by applying physical forces to those systems but without relying on numerical simulation techniques, such as copying rare events. In order to study this method, the book draws on the mathematical structure of equilibrium statistical mechanics, which connects large deviation functions with experimentally measureable thermodynamic functions. Referring to this specific structure as the "phenomenological structure for the large deviation principle", the author subsequently extends it to time-series statistics that (...) can be used to describe non-equilibrium physics. The book features pedagogical explanations and also shows many open problems to which the proposed method can be applied only to a limited extent. Beyond highlighting these challenging problems as a point of departure, it especially offers an effective means of description for rare events, which could become the next paradigm of non-equilibrium statistical mechanics. (shrink)

In this paper we argue that data science is a coherent and novel approach to empirical problems that, in its most general form, does not build understanding about phenomena. Within the new type of mathematization at work in data science, mathematical methods are not selected because of any relevance for a problem at hand; mathematical methods are applied to a specific problem only by `forcing’, i.e. on the basis of their ability to reorganize the data for (...) further analysis and the intrinsic richness of their mathematical structure. In particular, we argue that deep learning neural networks are best understood within the context of forcing optimization methods. We finally explore the broader question of the appropriateness of data science methods in solving problems. We argue that this question should not be interpreted as a search for a correspondence between phenomena and specific solutions found by data science methods; rather, it is the internal structure of data science methods that is open to precise forms of understanding. (shrink)

We discuss the possibility of applying the compactness theorem to the study of finite structures. Given a class of finite structures, it is important to determine whether it can be expressed by a particular category of sentences. We are interested in this type of problem, and use nonstandard method for showing the non‐expressibility of certain classes of finite graphs by an existential monadic second order sentence.

Many of the problems studied in cognitive science are inductive problems, requiring people to evaluate hypotheses in the light of data. The key to solving these problems successfully is having the right inductive biases—assumptions about the world that make it possible to choose between hypotheses that are equally consistent with the observed data. This article explores a novel experimental method for identifying the biases that guide human inductive inferences. The idea behind this method is simple: This article uses the responses (...) produced by a participant on one trial to generate the stimuli that either they or another participant will see on the next. A formal analysis of this “iterated learning” procedure, based on the assumption that the learners are Bayesian agents, predicts that it should reveal the inductive biases of these learners, as expressed in a prior probability distribution over hypotheses. This article presents a series of experiments using stimuli based on a well-studied set of category structures, demonstrating that iterated learning can be used to reveal the inductive biases of human learners. (shrink)

The study was carried out in order to reveal the problems of hearing-impaired students, who have an important place in our society and the reli-gious coping methods they use to cope with their problems. In the first part of the study, the problems of the hearing impaired students and their religious coping methods were examined. In the second part, the findings obtained as a result of the interviews were interpreted under two headings as the participants' problems and religious (...) coping methods. In accordance with the purpose of the study, semi-structured interview technique, which is one of the qualitative research methods, was used. The study group of the research, which was designed according to the phenomenology method, one of the qualitative research methods, consisted of 11 students, 9 boys and 2 girls, studying at the 9th, 10th, 11th and 12th grades of Çorum Special Education Vocational High School. The data obtained in the study were analyzed by content analysis method. As a result of the study, it was seen that hearing-impaired students frequently resort to positive religious coping methods to overcome their problems. It is also concluded that the students are willing to share their problems; religious thoughts, feelings and behaviors have an important effect on coping with their problems; they use religious coping methods such as trust in Allah, prayer and worship while coping with their problems but they are open to support from the environment; they try to overcome the problems not with complaints but with patience. It has been observed that hearing-impaired students sometimes question why they are disabled rather than others, and they feel uneasy in this situation. For hearing-impaired individuals to protect their mental health, necessary training should be provided without neglecting the religious aspect of their problems. (shrink)

L’objectif de cet article est de montrer que la réflexion engagée par Jules Vuillemin sur les structures algébriques dans les années 1960 lui permettra de dégager une conception structurale de l’abstraction, dont il tirera une compréhension nomologique de l’objectivité. Ces deux concepts seront alors convoqués bien des années plus tard pour proposer une construction de l’espace représentatif, que Vuillemin conçoit comme une réfutation de l’idéalisme matériel de Berkeley. La possibilité de retracer la genèse de nos notions spatiales et de leur (...) garantir une certaine objectivité serait ainsi rendue possible par un emprunt aux méthodes de l’algèbre moderne, conformément à l’esprit de La Philosophie de l’algèbre. (shrink)

We study active set methods for optimization problems in Block Angular Form (BAF). We begin by reviewing some standard basis factorizations, including Saunders' orthogonal factorization and updates for the simplex method that do not impose any restriction on the pivot sequence and maintain the basis factorization structured in BAF throughout the algorithm. We then suggest orthogonal factorization and updating procedures that allow coarse grain parallelization, pivot updates local to the affected blocks, and independent block reinversion. A simple parallel environment (...) appropriate to the description and complexity analysis of test procedures is defined in Section 5. The factorization and updating procedures are presented in Sections 6 and 7. Our update procedure outperforms conventional Updating procedures even in a purely sequential environment. (shrink)

This paper seeks to highlight the French philosopher Michel Foucault's contributions regarding his analysis of power. In this sense, the text proposes a conceptual transition around the ideas that could have interested the author within a digital context, integrating some notes and examples from the 2019 Chilean mobilizations.The article has an initial section that exposes genealogy as a way of approaching social reality. Then, it shows the social behaviors anticipation possibilities and their relationship with the information available on the web. (...) Later, it renders an account of the algorithmic governmentality notion as a key to reading it in both normative structure and a political possibility to final state reflections. (shrink)

We conducted three studies aimed at showing that one-to-one translations between emotion terms might be comparing independent or barely overlapping categories of emotional experience. In Study 1 we found that the speakers' most accessible features of two supposedly equivalent emotions terms (shame and vergüenza) were very different. In Study 2, American and Spanish speakers' typicality ratings of 25 out of 29 constitutive features of “shame” or “vergüenza” were significantly different. In Study 3, these important differences in the content and internal (...) structure of “shame” and “vergüenza” were also reflected in the affective meaning of their corresponding terms. We conclude that “shame” and “vergüenza” do not share the same cluster of central features, and cannot be treated as identical categories of emotional experience. This finding raises serious questions about the one-to-one translation practices not only of most cross-cultural studies on “shame”, but also of other emotion concepts. We suggest an alternative method of translation based on Diachronic Prototype Semantics (Geeraerts, 1997). (shrink)

We establish that the isomorphism problem for the classes of computable nilpotent rings, distributive lattices, nilpotent groups, and nilpotent semigroups is \-complete, which is as complicated as possible. The method we use is based on uniform effective interpretations of computable binary relations into computable structures from the corresponding algebraic classes.

Kant’s transcendental philosophy of Kant is the metaphysics of possible experience related to the solution of the [semantic] problem set in his famous letter to M. Hertz (02.21.1772): “What is the ground of the relation of that in us which we call 'representation' to the object?” There are two possible ways to solve it: empiricism and apriorism, – and Kant chooses the second of them, thus making his “Copernican Revolution”. In the Preface to the 2nd ed. Critique Kant correlates (...) his Copernican turn/revolution with "altered method of our way of thinking [in metaphysics]" [BXVIII] and considers it as an analogue of the hypothetico-deductive scientific method of Copernicus – Galileo – Newton. The analysis of structure of the Copernican Revolution shows that it is possible to pick out two vectors: the empirical (from the thing-in-itself to representations) and the noumenal ones (from the transcendental unity of apperception [or transcendental object] to objects of experience). The introduction of an a priori vector (resp. a priori forms) means that Kant's conception is not empirical, but Kant’s keeping empirical vector says that it is compatible with empirical realism [A370–1]. Thus, Kantian transcendentalism is a synthesis of realism (basic level) and transcendental idealism (as a meta-level superstructure above it), whose task is to find out and analyze the transcendental conditions [possibility] of our knowledge of objects. (shrink)

Having entered into the problem structuring methods, system dynamics (SD) is an approach, among systems’ methodologies, which claims to recognize the main structures of socio-economic behaviors. However, the concern for building or discovering strong philosophical underpinnings of SD, undoubtedly playing an important role in the modeling process, is a long-standing issue, in a way that there is a considerable debate about the assumptions or the philosophical foundations of it. In this paper, with a new perspective, we have (...) explored theory of knowledge in SD models and found strange similarities between classic epistemological concepts such as justification and truth, and the mechanism of obtaining knowledge in SD models. In this regard, we have discussed related theories of epistemology and based on this analysis, have suggested some implications for moderating common problems in the modeling process of SD. Furthermore, this research could be considered a reword of system dynamics modeling principles in terms of theory of knowledge. (shrink)

Usual narratives among prehistoric archaeologists consider typological approaches as part of a past and outdated episode in the history of research, subsequently replaced by technological, functional, chemical, and cognitive approaches. From a historical and conceptual perspective, this paper addresses several limits of these narratives, which (1) assume a linear, exclusive, and additive conception of scientific change, neglecting the persistence of typological problems; (2) reduce collective developments to personal work (e.g. the “Bordes’” and “Laplace’s” methods in France); and (3) presuppose (...) the coherence and identity of these “methods” over time. It explores the case of the “Structural and analytical typology” method, developed in France, Spain, and Italy from the 1950s to the 2000s by Georges Laplace and his collaborators for lithic implements. This paper (1) provides a detailed historical account of the evolving content of this collective endeavour over five decades; (2) it addresses the epistemological question of what makes the identity and unity of a scientific method, demonstrating that the core component of the “analytical typology” lies in its particular way to represent real-world phenomena through its notation system; and (3) it reveals how this little known but significant episode of advances in the methods and theory of archaeology, contemporary but independent of the “New Archaeology” trend in English-speaking archaeology, was instrumental in the continuation of evolutionary perspectives in France and in the development of quantitative and formal methods in archaeology in southwestern Europe, foreseeing crucial knowledge representation issues raised today by digital methods in archaeology and data curation. (shrink)

RésuméĽauteur propose ?illustrer et ?expliquer le concept de comprehension en reprenant le probleme de I'asymetrie des sujets et des predicats tel que P. F. Strawson ľa posé et partiellement résolu. II s'agit de comprendre, en un sens fort, le phénomene de ľasymétrie. Un rapprochement entre philosophie logique et sémantique linguistique permet de généraliser la solution strawsonienne: ?une part, on peut traiter simultanément le cas de la predication monadique et celui des relations dyadiques; ?autre part et surtout, la cause profonde de (...) ľasymetrie ainsi généralisée semble se trouver dans une autre asymétrie que ľauteur identifie sous le nom ? asymétrie quantitative ≪. Ce résultat confirme que, tant en philosophie logique qu'en linguistique, une methode informelle est féconde, et en même temps aussi rigoureuse que la méthode formelle.SummaryBy way of illustrating and clarifying the concept of understanding in the theoretical sense in which to understand something is tantamount to being able to explain it, the author takes up the problem of the asymmetry of subjects and predicates with regard to negation in philosophical logic. How much explanation can we hope achieve in such a field? If we bring to bear on the problem of the asymmetry recent results in linguistic semantics, we get a generalization of P. F. Strawson's proposed solution: an abstract structure is shown to be common to monadic predication and dyadic relations, and the cause of the asymmetry which is characteristic of that structure is identified as a new, probably “quantitative” asymmetry between subjects and predicates. These results contribute to substantiate the case for an informal method, both in philosophical logic and in general linguistics. (shrink)

Structural completeness properties are investigated for a range of popular t-norm based fuzzy logics—including Łukasiewicz Logic, Gödel Logic, Product Logic, and Hájek's Basic Logic—and their fragments. General methods are defined and used to establish these properties or exhibit their failure, solving a number of open problems.

The text considers the impossibility of abstracting away from the sense of formal con­structions in logical and mathematical researches. The validity of the application of the “formal methodology” is allowed only after some system of conventional notations and agreements has been accepted. The context determined by such agreements is called formal. A correlation of constructions and results obtained by formal methods within sev­eral formal contexts is impossible without a consideration of the various semantic aspects of the correlated formal constructions. (...) The author calls such correlations intercontextual. The paper examines two examples of such intercontextual comparisons to demonstrate the necessity of taking into account different semantic components of the compared for­mal constructions. In the context of these conclusions, the author raises the question of the structure and origin of some senses of the “symbols” used in formal constructions and of the “sequences of symbols” constructed from them. The author identifies three main sources of the semantic load carried by formal constructions. Firstly, these are the various aspects of semiotic usage: first of all, the general cultural and general profes­sional semiotic skills of the “interpreter”. Secondly, it is the sense given to formal con­structions by verbal comments, descriptions of the construction process and the associ­ated knowledge of the “interpreter”. Thirdly, these are the senses set by the formal con­structions themselves: at the stage of defining a formal language and at the stage of con­structing a formal deductive or semantic system. The author also considers the fallacy of the assumption of the existence of some universal “global intuition” associated with the very possibility of formal methodology. (shrink)

The encounter between two fundamentally different approaches in seminal research in molecular biology-the problems, aims, methods and metaphysics - is delineated and analyzed. They are exemplified by the microbiologist Oswald T. Avery who, in line with the reductionist mechanistic metaphysics of Jacques Loeb, attempted to explain basic life phenomena through chemistry; and the theoretical physicist Max Delbrück who, influenced by Bohr’s antimechanistic views, preferred to explain these phenomena without chemistry. Avery’s and Delbrück’s most important studies took place concurrently. Thus (...) analysis of their contrasting approaches lends itself to examination of the Weltanschauungen view concerning the role of fundamental (metaphysical) assumptions in scientific change, that is, the view that empirical research cannot be neutral in regard to the worldviews of the researchers. This study shows that the initial ostensible disparity (non-integratibility) of the two approaches lasted for just a short time. Ironically it was a student of Delbrück’s school, James Watson, who (with Crick) proposed a chemical model, the DNA double helix, as a solution to Delbrück’s problem. The structure of DNA has not been seriously challenged over the past half century. Moreover, Watson’s and Crick’s work did not call into question the validity of Delbrück’s research, but opened it up to entirely new approaches. The case of Avery and Delbrück demonstrates that after initial obstacles were overcome the different fundamental attitudes and the resulting research practices were capable of integration. © 2008 Stazione Zoologica Anton Dohrn. (shrink)

The aim of the study was to identify the organizational structure and its relation to the prevailing pattern of communication in the Palestinian universities. The researchers used the analytical descriptive method through a questionnaire randomly distributed among Palestinian university workers in the Gaza Strip. The study was conducted on a sample of (274) administrative staff from the three universities, and the response rate was (81.87%). The study found that there is a high satisfaction with the nature of the organizational structure (...) in the Palestinian universities from the point of view of the administrative staff, which reached 68.05%. And that there is a high level of communication pattern prevailing from the point of view of administrative staff, where the percentage (71.32%), there is a direct correlation between the nature of the organizational structure and the prevailing pattern of communication, the absence of differences between the sample according to the gender variable in their perception of the nature of the organizational structure and the prevailing pattern of communication, the absence of differences in the perception of employees of the nature of the organizational structure and the pattern of communication prevailing according to the variable age. There are differences of statistical significance in the perception of the nature of the organizational structure and the pattern of communication depending on the variable of scientific qualification in the organizational structure, and the pattern of communication. Differences were in favor of diploma holders compared to other practical qualifications. There is an absence of differences in the perception of employees of the nature of the organizational structure and the pattern of communication depending on the variable years of service. There is absence of differences in the perception of employees of the nature of the organizational structure and the pattern of communication depending on the variable level of career (Director, Head of Department, and Administrative Officer). There is absence of differences in the perception of employees of the nature of the organizational structure and the pattern of communication depending on the variable of the workplace. And the existence of differences in the perception of the employees of the nature of the organizational structure and pattern of communication depending on the university in which they work. And that there are statistically significant differences between the Islamic University and Al-Azhar University, the nature of the organizational structure and the pattern of communication in favor of the Islamic University. And that there are statistically significant differences between Al-Azhar University and Al-Aqsa University in the prevailing pattern of communication in favor of Al-Azhar University. The study reached a number of recommendations, the most important of which is that the departments of the Palestinian universities in the Gaza Strip in general, Al-Aqsa University and Al-Azhar Universities should be given greater attention to the prevailing organizational structure and the staff, the need to improve the pattern of communication prevalent in universities. Solving workers' problems and giving them the opportunity to contribute to solving their own problems. Strengthening the democratic leadership style and empowering university staff. (shrink)

What does it look like when a group of scientists set out to re-envision an entire field of biology in symbolic and formal terms? I analyze the founding and articulation of Numerical Taxonomy between 1950 and 1970, the period when it set out a radical new approach to classification and founded a tradition of mathematics in systematic biology. I argue that introducing mathematics in a comprehensive way also requires re-organizing the daily work of scientists in the field. Numerical taxonomists sought (...) to establish a mathematical method for classification that was universal to every type of organism, and I argue this intrinsically implicated them in a qualitative re-organization of the work of all systematists. I also discuss how Numerical Taxonomy’s re-organization of practice became entrenched across systematic biology even as opposing schools produced their own competing mathematical methods. In this way, the structure of the work process became more fundamental than the methodological theories that motivated it. (shrink)

With this third edition of Nelson Goodman's The Structure of Appear ance, we are pleased to make available once more one of the most in fluential and important works in the philosophy of our times. Professor Geoffrey Hellman's introduction gives a sustained analysis and appreciation of the major themes and the thrust of the book, as well as an account of the ways in which many of Goodman's problems and projects have been picked up and developed by others. Hellman also (...) suggests how The Structure of Appearance introduces issues which Goodman later continues in his essays and in the Languages of Art. There remains the task of understanding Good man's project as a whole; to see the deep continuities of his thought, as it ranges from logic to epistemology, to science and art; to see it therefore as a complex yet coherent theory of human cognition and practice. What we can only hope to suggest, in this note, is the b. road Significance of Goodman's apparently technical work for philosophers, scientists and humanists. One may say of Nelson Goodman that his bite is worse than his bark. Behind what appears as a cool and methodical analysis of the conditions of the construction of systems, there lurks a radical and disturbing thesis: that the world is, in itself, no more one way than another, nor are we. It depends on the ways in which we take it, and on what we do. (shrink)

The problems of referential opacity in psychological contexts require a solution, of which three types are indicated, that contains a profound theory of predication, identity, and individuation. a radical theory, not in the spirit of the current fashions, is outlined. it is called the guise-consubstantiation, conflation, and consociation theory. this theory was first expounded in "thinking and the structure of the world," "philosophia" (1974) and "critica" (1972). the present paper is an introduction to this essay, motivated by two criticisms of (...) romane clark in "not every object of thought has being," "nous" (1978). it is shown that clark's arguments rest on equivocations, one involving the data and the theory, and the other within the theory itself. thus, a discussion of philosophical method turns out to be crucial, and an analysis of expression 'true of' is offered. (shrink)

Time underlies many interesting human behaviors. Thus, the question of how to represent time in connectionist models is very important. One approach is to represent time implicitly by its effects on processing rather than explicitly (as in a spatial representation). The current report develops a proposal along these lines first described by Jordan (1986) which involves the use of recurrent links in order to provide networks with a dynamic memory. In this approach, hidden unit patterns are fed back to themselves: (...) the internal representations which develop thus reflect task demands in the context of prior internal states. A set of simulations is reported which range from relatively simple problems (temporal version of XOR) to discovering syntactic/semantic features for words. The networks are able to learn interesting internal representations which incorporate task demands with memory demands: indeed, in this approach the notion of memory is inextricably bound up with task processing. These representations reveal a rich structure, which allows them to be highly context‐dependent, while also expressing generalizations across classes of items. These representations suggest a method for representing lexical categories and the type/token distinction. (shrink)

The article presents the philosophical and linguistic conception of Friedrich Waismann – the theory of many-level-structure of language. The key point of this theory is that each language stratum has its own logic: different concepts of truth, the methods of verifiability and the completeness of description are used in different strata. All this has an influence on the structure of logic itself. This approach suggests that all homogeneous statements (identical in a logical sense) are grouped in one stratum. The (...) relations between the different strata are of a most complicated, peculiar and elusive nature and that does not allow to reduce statement of one stratum to another. According to Waismann, these considerations lead to a new picture of the language, naturally divided into strata. (shrink)

The central aim of the inquiry begun in this text is to reach a semantic characterisationof philosophical discourse, that is, to describe the »language«, or the code, ofphilosophy. This inquiry contains an examination of the views on the nature andpurpose of philosophy held by Immanuel Kant and Ludwig Wittgenstein, but manyother philosophers, semioticians, linguists and literary theorists are brought into thediscussion.In the first part of the text, the view is expressed that, with regard to the peculiarphenomena that characterize philosophy , (...) a theory of philosophy itself is needed, but such that would notitself be caught in the same kind of discourse. Then some methodological restrictionsare introduced: mainly, that the »philosophy« to be dealt with is the classicalcontinental philosophy, which is percieved as a body of texts. The aim of the inquiryis then formulated as the description of the code by which these texts are organized;the method of the inquiry is specified as a deductive-hypothetical one. In the end,an outline of a semantic theory is offered, as a basis for this description.The second part of the text starts the examination of Kant’s and Wittgenstein’sphilosophical views and their views on philosophy. Kant’s theory of knowledge ispresented as one which asserts the primary role of subjective a priori forms whichshape what we know as »reality«, and is therefore opposed to Wittgenstein’s picturetheory of language, where language simply mirrors what is given. The conclusion isreached, however, that both Kant and Wittgenstein propose a parallel dichotomybetween that which can be known/said, and the thing-in-itself or the mystical, andwith regard to this they both claim that the aims of philosophy as seen traditionallymust be reconcieved to a great extent.The inquiry is continued in an another article. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Masafumi Ogawa, “Music Teacher Education in Japan: Structure, Problems, and Perspectives”Christina HornbachMasafumi Ogawa cares deeply about improving music teacher education and has grave concerns about Japan's current music education and teacher training system. He notes reduced instructional time, cuts in teaching positions, and classroom [End Page 201] management issues resulting in the devaluing of music education by administrators, students, and the general public. He proposes that one (...) solution to these problems involves changing curriculum requirements for music education and student teaching.Ogawa notes that in the Japanese teacher preparation system, performance requirements significantly outnumber music education class requirements, something he regards as a weakness in the system. According to his data, a similar survey of the American university system revealed that music education classes receive high priority in course requirements. Though the data sample was rather small in this instance (five major state universities) and may not truly reflect course requirements for the majority of music education majors nationwide, in my experience most of the undergraduate coursework does divide fairly equally between music education methods courses, history/theory, and performance requirements. Though the National Association of Schools of Music does have guidelines for professional and teaching competencies, the actual percentages for course requirements (basic musicianship and methods courses, 50%; general studies, 30% to 35%; professional education and student teaching, 15% to 20%) provide each individual school with discretion and leeway.1 Although the American music education system may be stronger in certain areas than the Japanese system, as Ogawa presents it, it is by no means perfect. Thus, the American system needs examination too, not necessarily for the quantity of courses, but rather to determine course content and quality. Due to time limitations, I will focus on only one aspect, but one that is of the utmost importance: classroom management.It can be argued that undergraduate music education majors in America just as in Japan need more time to discuss and experience the "real" world before they teach. Though some programs incorporate pre-student teaching practica into elementary and secondary methods courses, more instructional time should be devoted to discussing classroom management and behavior issues. Classroom management is usually touched upon briefly in methods courses, and perhaps even in philosophy or psychology classes, but not to the depth it should be. There are a myriad stressful conditions that may be associated with teacher attrition and burnout, including budgets, salaries, lack of administrative and parental support, and classroom discipline, to name a few.2 However, one of the leading causes of stress is student attitudes and behavior.3Some educators believe that teaching is a natural ability and a person either possesses the innate qualities to succeed or does not; others believe that anyone can be taught to teach. Perhaps it is a little bit of both. Bright, young teachers who have a drive to teach and care about the future of their students will be more successful if armed with classroom management skills and experience in a variety of teaching contexts; for instance, urban and rural. Without guidance and increased knowledge, most young teachers emulate mentors; they teach how they [End Page 202] were taught. Depending on the personality and/or skills of the novice teacher, these techniques may or may not work when he/she is faced with teaching in an unfamiliar context. Regardless, young educators need to be taught how to teach, not just what to teach.It is necessary for a course or courses to be added to college and university music education curricula that address classroom management, emotional concerns of students, and the teaching of special student populations. At best, these topics are covered in a cursory manner in methods courses, and a cooperating teacher may model and discuss classroom management during student teaching. Providing instructional strategies for dealing with emotionally volatile adolescents and discussing available resources, responsibilities, and rights of teachers are important for new teachers' professional growth. Music educators should have the skills to recognize and deal with inappropriate classroom behaviors in a manner that focuses the student and the class back on learning.Managing anger and resistance in the classroom can be a daunting task if one is... (shrink)

The advent of deep sequencing technology has unexpectedly advanced our structural understanding of molecules composed of nucleic acids. A significant amount of progress has been made recently extrapolating the chemical methods to probe RNA structure into sequencing methods. Herein we review some of the canonical methods to analyze RNA structure, and then we outline how these have been used to probe the structure of many RNAs in parallel. The key is the transformation of structural biology problems into (...) sequencing problems, whereby sequencing power can be interpreted to understand nucleic acid proximity, nucleic acid conformation, or nucleic acid‐protein interactions. Utilizing such technologies in this way has the promise to provide novel structural insights into the mechanisms that control normal cellular physiology and provide insight into how structure could be perturbed in disease. (shrink)

The focus in the literature on scientific explanation has shifted in recent years towards model-based approaches. In recent work, Alisa Bokulich has argued that idealization has a central role to play in explanation. Bokulich claims that certain highly-idealized, structural models can be explanatory, even though they are not considered explanatory by causal, mechanistic, or covering law accounts of explanation. This paper focuses on Bokulich’s account in order to make the more general claim that there are problems with maintaining that a (...) structural criterion can capture the way that highly-idealized models explain. This paper examines Bokulich’s claim that the structural model explanation of quantum wavefunction scarring, featuring semiclassical mechanics, is deeper than the explanation provided by the local quantum model. The challenge for Bokulich is to show that the semiclassical model answers a wider range of w-questions, as this is her method of assessing structural information. I look at two reasonable approaches employing w-questions, and I argue that neither approach is ultimately satisfactory. Because structural similarity has preferences for more fundamental models, I argue that the local quantum model provides explanations that at least as deep as the semiclassical ones. The criterion either wrongly identifies all models as explanatory, or prefers models from fundamental theory. Either way, it cannot capture the way that highly-idealized models explain. (shrink)

Against the background of Gestalt psychology, the author argues that the phenomenological method is not a generic plea for philosophical innocence or the appeal to a conscious dismantling of every kind of unconscious prejudices, but rather the uncovering of a set of well-determined opinions, with precise theoretical consequences, mostly inspired by psychological associationism. The theoretical core of phenomenology as a philosophical method and Husserl’s attempt to use it for responding to the appeals and tensions of his historical moment have therefore (...) to be sharply distinguished. For Husserl, the problem of method became entangled with ethical tasks, while phenomenology took more and more the shape of a philosophy of subjectivity, until the idea of phenomenology was presented as the only answer to the concept of crisis. While the rhetoric of the crisis gets poorer the more it is iterated outside of its historical horizon, the theoretical core of phenomenology as a method can be grasped in its validity only beyond it as the analytic task driven by a theory of the intentionality of conscious acts. In the line of this analytic interpretation of phenomenology, the first goal of philosophy is bringing order into thinking: phenomenology is a – rather complex and sophisticated – intuitionistic method. In this respect, intuition consists in a method to trace modes of being by describing structural modes of manifestation. The goal is not to describe phenomenological givens, but phenomenological rules or structures: it is to sketch a phenomenologically grounded ontology. Accordingly, philosophical analysis deals with the process of “concept formation” from the inner structures of experience up to more independent idealities, from general regularities that are directly graspable in the configuration of what is given to more abstract concepts. (shrink)

Objectives: Mindful parenting, measured by the Interpersonal Mindfulness in Parenting scale, is beneficial for parents and children. However, the IMP has not been validated in English-speaking parents. Further, little is known about whether mindful parenting is similar in parents of children vs. infants, or how it reduces child internalizing problems. We sought to validate the IMP in English-speaking mothers of children and infants, and to examine relationships between the facets of mindful parenting, child internalizing problems and parent variables related to (...) internalizing.Methods: Using confirmatory factor analyses, we examined the fit of various models of mindful parenting in English-speaking community-recruited mothers of children aged 3–18 years and infants aged 0–2 years. We used regression analyses to investigate relationships between the facets of mindful parenting, child internalizing problems, and parent variables including parental experiential avoidance, unhelpful beliefs about child anxiety and accommodation of child anxiety.Results: Mindful parenting can be measured in English-speaking mothers, using either a 5- or 6-factor, 29-item version of the IMP. These versions of the IMP operate similarly for mothers of children and infants. Child internalizing problems and related parent variables were best predicted by non-judgmental acceptance of parenting in mothers of children, and emotional self-awareness and non-reactivity in mothers of infants.Conclusions: The IMP is a valid measure of mindful parenting in English-speaking mothers of children and infants. Mindful parenting predicts child internalizing problems and related parent variables, suggesting that mindful parenting programs could benefit families of children with internalizing problems, potentially by reducing parental experiential avoidance, unhelpful beliefs about or accommodation of child anxiety. (shrink)

Building on Philip Tagg’s timely intervention (2011), I investigate four things in relation to three dominant Anglophone popular music studies journals (Popular Music and Society, Popular Music, and the Journal of Popular Music Studies): 1) what interdisciplinarity or multidisciplinarity means within popular music studies, with a particular focus on the sites of research and the place of ethnographic and/or anthropological approaches; 2) the extent to which popular music studies has developed canonic scholarship, and the citation tendencies present within scholarship on (...) both Western and non-Western popular musics; 3) the motivations for two scholarly groups, Dancecult and ASARP, to breakaway from popular music studies; 4) the forms of music analysis and the kinds of musical material commonly employed within popular music studies. I suggest that the field would greatly benefit from a true engagement with anthropological theories and methods, and that the “chaotic conceptualization” of musical structuration and the critical discourse would likewise benefit from an attention to recorded sound and production aesthetics. (shrink)

This paper presents a preliminary analysis of homeopathy from the perspective of the demarcation problem in the philosophy of science. In this context, Popper, Kuhn and Feyerabend’s solution to the problem will be given respectively and their criteria will be applied to homeopathy, aiming to shed some light on the controversy over its scientific status. It then examines homeopathy under the lens of demarcation criteria to conclude that homeopathy is regarded as science by Feyerabend and is considered as (...) pseudoscience by Popper and Kuhn. By offering adequate tools for the analysis of the foundations, structure and implications of homeopathy, demarcation issue can help to clarify this medical controversy. The main argument of this article is that a final decision on homeopathy, whose scientific status changes depending on the criteria of the philosophers mentioned, cannot be given. (shrink)

To make progress on the problem of consciousness, we have to confront it directly. In this paper, I first isolate the truly hard part of the problem, separating it from more tractable parts and giving an account of why it is so difficult to explain. I critique some recent work that uses reductive methods to address consciousness, and argue that such methods inevitably fail to come to grips with the hardest part of the problem. Once (...) this failure is recognized, the door to further progress is opened. In the second half of the paper, I argue that if we move to a new kind of nonreductive explanation, a naturalistic account of consciousness can be given. I put forward my own candidate for such an account: a nonreductive theory based on principles of structural coherence and organizational invariance, and a double-aspect theory of information. (shrink)

The structural-parametric synthesis of neural networks of deep learning, in particular convolutional neural networks used in image processing, is considered. The classification of modern architectures of convolutional neural networks is given. It is shown that almost every convolutional neural network, depending on its topology, has unique blocks that determine its essential features, Residual block, Inception module, ResNeXt block. It is stated the problem of structural-parametric synthesis of convolutional neural networks, for the solution of which it is proposed to use (...) a genetic algorithm. The genetic algorithm is used to effectively overcome a large search space: on the one hand, to generate possible topologies of the convolutional neural network, namely the choice of specific blocks and their locations in the structure of the convolutional neural network, and on the other hand to solve the problem of structural-parametric synthesis of convolutional neural network of selected topology. The most significant parameters of the convolutional neural network are determined. An encoding method is proposed that allows to repre- sent each network structure in the form of a string of fixed length in binary format. After that, several standard genetic operations were identified, i.e. selection, mutation and crossover, which eliminate weak individuals of the previous generation and use them to generate competitive ones. An example of solving this problem is given, a database of patients with thyroid disease was used as a training sample. (shrink)

The aim of the paper is to assess the relative merits of two formal representations of structure, namely, set theory and category theory. The purpose is to articulate ontic structural realism. In turn, this will facilitate a discussion on the strengths and weaknesses of both concepts and will lead to a proposal for a pragmatics-based approach to the question of the choice of an appropriate framework. First, we present a case study from contemporary science—a comparison of the formulation of quantum (...) mechanics in the language of Hilbert spaces and abstract C* algebras. It is then shown how the method of structural representation can be determined based on the pragmatics of goal-oriented research, not a dogmatic choice. We investigate a hypothesis stating that the use of the interplay between the powers of abstraction and detail of different representational methods results in adopting a pluralistic, as opposed to standard, unificatory, perspective on the role of structural representation in OSR. (shrink)

In The Structures of History Christopher Lloyd questions whether narration on its own can provide a real understanding of history, and addresses in philosophical and practical terms the fundamental problems of whether it is possible to know and to explain the history of human societies, and if so how these tasks might be approached. The book revolves around an inquiry into the general nature of historical structures, how these have been studied by historians, anthropologists, sociologists and philosophers, and how they (...) relate to events, actions and beliefs. The author draws upon a wide range of reference in the philosophy of history and science, and in the writings of historians and social scientists during the last two centuries. The thrust of his account is against the relativism of such as Rorty, Foucault and Derrida, and for the complex socio-historical realism exemplified in the writings of Geertz, Gellner, Ladurie and Mann. Christopher Lloyd concludes that an objective understanding of the past is not an impossible ambition, and he provides a searching analysis of the framework and methods necessary to its realization. (shrink)

An experiment was conducted to test the effectiveness of brief instruction in information structuring (i.e., representing and integrating information) for improving the coherence of probability judgments and binary choices among intelligence analysts. Forty-three analysts were presented with comparable sets of Bayesian judgment problems before and immediately after instruction. After instruction, analysts’ probability judgments were more coherent (i.e., more additive and compliant with Bayes theorem). Instruction also improved the coherence of binary choices regarding category membership: after instruction, subjects were more (...) likely to invariably choose the category to which they assigned the higher probability of a target’s membership. The research provides a rare example of evidence-based validation of effectiveness in instruction to improve the statistical assessment skills of intelligence analysts. Such instruction could also be used to improve the assessment quality of other types of experts who are required to integrate statistical information or make probabilistic assessments. (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)

Background In neonatal intensive care, a child's death is often preceded by a medical decision. Nurses, social workers and pastors, however, are often excluded from ethical case deliberation. If multiprofessional ethical case deliberations do take place, participants may not always know how to perform to the fullest. Setting A level-IIID neonatal intensive care unit of a paediatric teaching hospital in the Netherlands. Methods Structured multiprofessional medical ethical decision-making (MEDM) was implemented to help overcome problems experienced. Important features were: all (...) professionals who are directly involved with the patient contribute to MEDM; a five-step procedure is used: exploration, agreement on the ethical dilemma/investigation of solutions, analysis of solutions, decision-making, planning actions; meetings are chaired by an impartial ethicist. A 15-item questionnaire to survey staff perceptions on this intervention just before and 8 months after implementation was developed. Results Before and after response rates were 91/105 (87%) and 85/113 (75%). Factor analysis on the questionnaire suggested a four-factor structure: participants' role; structure of MEDM; content of ethical deliberation; and documentation of decisions/conclusions. Effect sizes were 1.67 (p<0.001), 0.69 (p<0.001) and 0.40 (p<0.01) for the first three factors respectively, but only 0.07 (p=0.65) for the fourth factor. Nurses' perceptions of improvement did not significantly exceed those of physicians. Conclusion Professionals involved in ethical case deliberation perceived that the process of decision-making had improved; they were more positive about the structure of meetings, their own role and, to some extent, the content of ethical deliberation. Documentation of decisions/conclusions requires further improvement. (shrink)

The problem of evil is the problem of reconciling the world's afflictions with the fundamental attributes and justice of God. Throughout their lives people encounter painful events originating from nature and other individuals. Furthermore, it is believed that God created everything, particularly in divine religions. Scholars and thinkers have debated for centuries why an omniscient, omnipotent, just, and compassionate God would create evil. The problem of evil is sometimes employed by atheists as evidence against religion, and at (...) times as philosophical proof for the absence of God. Nowadays, it exerts a profound impact on people's beliefs within social media platforms. This article aims to address doubts and objections surrounding the problem of evil. Numerous studies have been conducted on this current issue. The subject, which is basically examined as natural and moral evil in the philosophy of religion, has been examined under the titles such as justice and cruelty, goodness and evil, will and power in classical theology. In this study, the subject is examined in terms of the relationship between the subject of evil and its object, and attention is drawn to the role of man in the formation of evil. In this context, a general overview of the problem of evil is presented in the introduction. The second section delves into how the problem of evil is approached in philosophical and theological traditions, specifically examining the viewpoints of classical kalam schools. In the later parts of the study, the subject has been tried to be reinterpreted under different titles. Within this framework, it is suggested that some doubts and questions about the problem of evil arise from a lack of understanding of religion, while others stem from interpretations perceived as religious within the tradition. To propose a solution to the problem, the concept of God, known for its power and authority in classical times, should be reevaluated. In the context of Islam, God should be considered as an entity possessing complete knowledge, absolute will and power, and creating the universe for goodness, possesses justice and mercy and bestows numerous blessings upon humanity. This perspective finds ample support in the verses of the Qur'an. The problem of evil sometimes emerges from misconceiving the relationship between God and nature as equivalent to a God-human relationship. However, God designed the universe's order to support the emergence of life in nature and make it conducive to the lives of all living beings, particularly humans. Natural phenomena and events unfold by the laws set by Allah. Evils such as diseases, fires, earthquakes, floods, storms, volcanic eruptions, rain, and lightning are not events directly orchestrated by God to harm humans. The harm they cause is primarily a result of humans' negative interactions with nature. Precautions can mitigate these harms. Yet, humans who pollute air, water, and forests and build poorly located structures hastily attribute the resulting evils to God. A careful examination of the numerous blessings in nature underscores that the universe was created by God as a benevolent order. God created humanity to undergo tests within such a world, aiming for human happiness in both this world and the hereafter. Thus, the entirety of God's will be goodness. Evil, conversely, arises from humanity's exercise of free will and the potential to commit malevolent acts. Consequently, evil stems from human interactions with nature and fellow beings. Destiny is another frequently misconstrued aspect. It refers to the natural and moral laws established by Almighty Allah to govern the order of nature and human existence. Destiny presents a realm of possibilities and does not coerce anyone's actions. To address the problem of evil, the portrayal of God, whose sole intent is good, must be reconstructed. Additionally, concepts like testing, fate, death, and sustenance need to be reinterpreted in alignment with this conception. Furthermore, methods that facilitate the acquisition of accurate religious information through social media should be developed to suit contemporary requirements. (shrink)