With the advent of the era of artificial intelligence, deep reinforcement learning has achieved unprecedented success in high-dimensional and large-scale artificial intelligence tasks. However, the insecurity and instability of the DRL algorithm have an important impact on its performance. The Soft Actor-Critic algorithm uses advanced functions to update the policy and value network to alleviate some of these problems. However, SAC still has some problems. In order to reduce the error caused by the overestimation of SAC, we (...) propose a new SAC algorithm called Averaged-SAC. By averaging the previously learned action-state estimates, it reduces the overestimation problem of soft Q-learning, thereby contributing to a more stable training process and improving performance. We evaluate the performance of Averaged-SAC through some games in the MuJoCo environment. The experimental results show that the Averaged-SAC algorithm effectively improves the performance of the SAC algorithm and the stability of the training process. (shrink)

The human masticatory system is a complex functional unit characterized by a multitude of skeletal components, muscles, soft tissues, and teeth. Muscle activation dynamics cannot be directly measured on live human subjects due to ethical, safety, and accessibility limitations. Therefore, estimation of muscle activations and their resultant forces is a longstanding and active area of research. Reinforcement learning (RL) is an adaptive learning strategy which is inspired by the behavioral psychology and enables an agent to learn the dynamics of (...) an unknown system via policy-driven explorations. The RL framework is a well-formulated closed-loop system where high capacity neural networks are trained with the feedback mechanism of rewards to learn relatively complex actuation patterns. In this work, we are building on a deep RL algorithm, known as the Soft Actor-Critic, to learn the inverse dynamics of a simulated masticatory system, i.e., learn the activation patterns that drive the jaw to its desired location. The outcome of the proposed training procedure is a parametric neural model which acts as the brain of the biomechanical system. We demonstrate the model’s ability to navigate the feasible three-dimensional (3D) envelope of motion with sub-millimeter accuracies. We also introduce a performance analysis platform consisting of a set of quantitative metrics to assess the functionalities of a given simulated masticatory system. This platform assesses the range of motion, metabolic efficiency, the agility of motion, the symmetry of activations, and the accuracy of reaching the desired target positions. We demonstrate how the model learns more metabolically efficient policies by integrating a force regularization term in the RL reward. We also demonstrate the inverse correlation between the metabolic efficiency of the models and their agility and range of motion. The presented masticatory model and the proposed RL training mechanism are valuable tools for the analysis of mastication and other biomechanical systems. We see this framework’s potential in facilitating the functional analyses aspects of surgical treatment planning and predicting the rehabilitation performance in post-operative subjects. (shrink)

One of the most efficient nondestructive methods for pipeline in-line inspection is magnetic flux leakage inspection. Estimating the size of the defect from MFL signal is one of the key problems of MFL inspection. As the inspection signal is usually contaminated by noise, sizing the defect is an ill-posed inverse problem, especially when sizing the depth as a complex shape. An actor-critic structure-based algorithm is proposed in this paper for sizing complex depth profiles. By learning with more information (...) from the depth profile without knowing the corresponding MFL signal, the algorithm proposed saves computational costs and is robust. A pinning strategy is embedded in the reconstruction process, which highly reduces the dimension of action space. The pinning actor-critic structure helps to make the reward for critic network more efficient when reconstructing the depth profiles with high degrees of freedom. A nonlinear FEM model is used to test the effectiveness of algorithm proposed under 20 dB noise. The results show that the algorithm reconstructs the depth profile of defects with good accuracy and is robust against noise. (shrink)

During this age of globalisation, the law is characterised by an ever diminishing hierarchical framework, with an increasing role played by non-state actors. Such features are also pertinent for the international enforceability of human rights. With respect to human rights, TNCs seem to be given broadening obligations, which approach the borderline between ethics and law. The impact of soft law in this context is also relevant. This paper aims to assess whether, and to what extent, this trend could be (...) a proper path to enforce the legal accountability of transnational corporations for human rights. It will be argued that the interplay between law and ethics should be assessed differently depending on which kind of correlative duty is at stake. With regard to negative duties, soft law tools concerning TNCs’ conduct may weaken the impact of hard law. By contrast, when positive duties are concerned, insofar as the horizontal effect of rights cannot be assumed, soft law turns out to be much more useful. (shrink)

There are a number of things which I cannot correctly say about myself but which another person can correctly say about me. For example, ‘I am now lying’, ‘I am trying to do something that cannot be done’, and ‘My action is materially wrong but it is formally right ’. By making appropriate changes from ‘I’ to ‘he’ or by changing the tense, straightforward true or false sentences result.

The article addresses the issue of massive open online courses (MOOCs) which are based on the topics of humanities, social sciences and liberal arts. MOOCs developers promote them as the means of open and accessible education. Such courses target at the global audience and they can be efficient in dissemination of knowledge worldwide. Such courses have the capability of becoming a powerful tool for the emerging digital diplomacy. MOOCs can significantly increase the soft power of a political actor: (...) state or non-state. (shrink)

This paper discusses and criticizes Joseph Nye’s account of soft power. First, we set the stage and make some general remarks about the notion of social power. In the main part of this paper we offer a detailed critical discussion of Nye’s conception of soft power. We conclude that it is too unclear and confused to be of much analytical use. However, despite this failure, Nye is aiming at explaining an important but also neglected form of social power: (...) the power to influence the will and not just the behavior of other agents. In the last part of this paper we briefly discuss Steven Lukes’ alternative view of a “third dimension” of power and end with a sketch of a more promising way to account for this neglected form of power. (shrink)

This paper discusses and criticizes Joseph Nye’s account of soft power. First, we set the stage and make some general remarks about the notion of social power. In the main part of this paper we offer a detailed critical discussion of Nye’s conception of soft power. We conclude that it is too unclear and confused to be of much analytical use. However, despite this failure, Nye is aiming at explaining an important but also neglected form of social power: (...) the power to influence the will and not just the behavior of other agents. In the last part of this paper we briefly discuss Steven Lukes’ alternative view of a “third dimension” of power and end with a sketch of a more promising way to account for this neglected form of power. (shrink)

The relationship between descriptive representation and substantive representation is an issue that has been widely discussed by women’s studies scholars. In general, it is assumed that there exists a positive relationship between the two, but the literature and empirical analysis show that substantive representation also depends on the action of other critical actors, such as gender agencies and the women’s social movement. Comparative research has shown the existence of a common pattern in post-industrial democracies: the development of women-friendly policies depends (...) on the existence of coalitions between these critical actors. However, the analysis usually focuses on the national or regional level, and there is very little analysis at the local level, despite this being a political arena in which these processes can be developed. The aim of this article is to analyse the effect of coalitions of critical actors on the responsiveness to the demands of women’s groups in the case of Spanish municipalities using a representative survey. The objective, therefore, is to apply advances in the women’s substantive representation literature to the local level in Spain. Main results show that responsiveness is higher in municipalities where women’s coalitions exist. (shrink)

Tekst je posvecen dometima teorijskog opusa Bruna Latura i njegovom odnosu prema savremenom pojmu kritike. U prvom delu je prikazana teorija aktera-mreze, preko svojih kljucnih pojmova, zajedno s teorijom modernosti. U drugom delu se razmatraju razliciti aspekti Laturovog odnosa prema kritici - najpre njegov kriticki tretman drugih, potom kriticki tretman kojem je sam podvrgnut, da bi se zakljucilo politickim ambivalencijama Laturovog pokusaja razvijanja jedne "akriticne" drustvene teorije..

The article aims to assess a change in the EU’s soft power in the Western Balkan and Eastern Partnership states in the light of the crises the bloc has undergone in recent years. Generally agreeing with the common argument that the EU’s attractiveness for those countries has decreased, the author challenges the popular wisdom that such a decrease is likely to reverse those states’ pro-EU foreign policy orientations. To prove it, the author applies Joseph Nye’s and Alexander Vuving’s “power (...) currencies” approach to operationalize soft power, considering the bloc’s attraction as a combination of “brilliance” (the actor’s relationship with its work), “benignity” (the actor’s relationship with other actors) and “beauty” (the actor’s relationship with values and ideas). Elaborating on the crises’ influence on each of these currencies, the author shows that their lessening, first, has mainly taken place in absolute rather than relative terms, so the EU’s attractiveness remains strong compared to that of its competitors, and second, it has primarily affected the bloc’s soft power potential rather than its actual behavior towards the target countries. (shrink)

Soft robots promise an exciting design trajectory in the field of robotics and human–robot interaction (HRI), promising more adaptive, resilient movement within environments as well as a safer, more sensitive interface for the objects or agents the robot encounters. In particular, tactile HRI is a critical dimension for designers to consider, especially given the onrush of assistive and companion robots into our society. In this article, we propose to surface an important set of ethical challenges for the field of (...) soft robotics to meet. Tactile HRI strongly suggests that soft-bodied robots balance tactile engagement against emotional manipulation, model intimacy on the bonding with a tool not with a person, and deflect users from personally and socially destructive behavior the soft bodies and surfaces could normally entice. (shrink)

This article explores the elective affinities between Actor-Network Theory (ANT) and the sociology of critical capacities. It argues that these two research programmes can be understood as symmetrical twins. We show the extent to which the exchange between Bruno Latour and Luc Boltanski has influenced their respective theoretical developments. Three strong encounters between the twin research programmes may be distinguished. The first encounter concerns explanations for social change. The second encounter focuses on the status of objects and their relationship (...) to places. The third encounter is about the concept of critique. Drawing on their long-term mutual readings, we gain insight into how pleas for symmetrical analysis raised in response to Bourdieu’s theory of fields have evolved within both ANT and the sociology of critical capacity. We conclude by relating the development of the respective research programmes to the issue of disciplinary boundaries. (shrink)

In this study, I examine the effectiveness of a national board gender diversity disclosure requirement, which is, arguably, on the “soft” end of the continuum of boardroom interventions. Using a panel dataset of 1847 hand-collected corporate disclosures from 2015 to 2018, I perform a post-event, historical trend analysis of the efficacy of Canada's 2014 intervention. I find evidence of real progress in the 4 years following intervention against several benchmarks. Specifically, improvements in critical mass are documented, with the proportion (...) of boards with three of more women reaching 18.8% in 2018. Tokenism remains an issue with very little change in the number of Canadian boards with only one woman. Further analyses using a sorting methodology and panel regression analysis reveal that progress toward board gender diversity is achieved by those with board gender targets, board seat renewal policies, and written board diversity policies. In addition, I find that larger companies achieve greater progress and that progress is clustered by industry. (shrink)

Pleiotropically acting eukaryotic corepressors such as retinoblastoma and SIN3 have been found to physically interact with many widely expressed “housekeeping” genes. Evidence suggests that their roles at these loci are not to provide binary on/off switches, as is observed at many highly cell‐type specific genes, but rather to serve as governors, directly modulating expression within certain bounds, while not shutting down gene expression. This sort of regulation is challenging to study, as the differential expression levels can be small. We hypothesize (...) that depending on context, corepressors mediate “soft repression,” attenuating expression in a less dramatic but physiologically appropriate manner. Emerging data indicate that such regulation is a pervasive characteristic of most eukaryotic systems, and may reflect the mechanistic differences between repressor action at promoter and enhancer locations. Soft repression may represent an essential component of the cybernetic systems underlying metabolic adaptations, enabling modest but critical adjustments on a continual basis. (shrink)

It is common to criticize the idea of objectivity by claiming that we cannot make sense of any cognitive contact with the world that is not constituted by the very materials of our thinking, and to conclude that the idea must be abandoned and that the world is ‘well lost’. We resist this conclusion and argue for a notion of objectivity that places its source within the domain of thoughts by proposing a conception of facts, akin to McDowell’s, as thinkable (...) while independent of any act of thinking. However, we do so without any empiricist commitment. (shrink)

Prominent recent scholarship in global political justice has focused on creating conceptual space for international NGOs ? and sometimes also corporations and states ? as fully-fledged participants in global governance. While acknowledging the achievements of international non-state actors, I argue that core global governance tasks ? of global distribution, regulation or administration ? should not be assigned to them. Drawing from neo-republican theory, I contend that such actors fall short of the formal criteria that are necessary for constituting a global (...) public actor, because they do not have a global function and orientation. The distinction between public and private actors matters, since it conditions our expectations for them: both categories of actors are asked to avoid dominating individuals, but public actors must, in addition, protect individuals from third-party domination. (shrink)

ABSTRACTThis article addresses the identity of the legitimate actors of international law-making from the perspective of democratic theory. It argues that both states or state-based international organisations, and civil society actors should be considered complementary legitimate actors of international law-making. Unlike previous accounts, our proposed model of representation, the Multiple Representation Model, is based on an expanded, democratic understanding of the principle of state participation: it is specifically designed to palliate the democratic deficits of more common versions of the Principle (...) of State Consent. Second, it endorses a qualified version of the Principle of Civil Society Participation, one that is much more restrictive and more critical of the democratic defects of civil society actors than most of its current supporters. Finally, it reveals how the democratic strengths and deficits of both models are best approached as mirroring one another and need to be combined in a complex ac... (shrink)

One of the strikingly iconoclastic features of actor-network theory is its juxtaposition of the claim to be a realist perspective with denials that supposedly natural phenomena existed before scientists “made them up.” This paper explains and criticizes such arguments in the work of Bruno Latour. By combining referent and reference in the concept of assemblages, Latour provides a superficially viable way to reconcile these apparently incompatible claims. This paper will argue, however, that this conflation of referent and reference leads (...) Latour’s ontology into difficulties that can only be resolved by abandoning it in favor of a more conventional—critical—realism. (shrink)

This paper analyzes two contemporary,?third-generation? perspectives within critical theory - Nancy Fraser?s and Axel Honneth?s - with the aim of examining the degree to which the two authors succeed in grounding the normative criteria of social critique in the perspectives of?ordinary? social actors, as opposed to speculative social theory. To that end, the author focuses on the influential debate between Fraser and Honneth Redistribution or Recognition? which concerns the appropriate normative foundations of a?post-metaphysical? critical theory, and attempts to reconstruct the (...) fundamental 29 disagreements between Fraser and Honneth over the meaning and tasks of critical theory. The author concludes that both critical theorists ultimately secure the normative foundations of critique through substantive theorizations of the social, which frame the two authors??reconstructions? of the normativity of everyday social action, but argues that post-metaphysical critical theory does not have to abandon comprehensive social theory in order to be epistmologically?non-authoritarian?. (shrink)

The neo‐Gramscian framework offers one of the more innovative contributions to a discipline long embedded in the self‐same verities of behaviouralism, positivism and neo‐Realism. As with conventional wisdom, however, neo‐Gramscians reproduce either assumptions of liberal neutrality or cultural thickness in relation to the ‘peripheral zones’ of the global political economy. These tendencies produce a variant that can be likened to ‘soft Orientalism’. In the first instance, cultural difference is not much of an impediment to the establishment of (West‐centred) global (...) hegemony. In the second instance, otherness becomes the principal source of counter‐hegemonic movements or resistance. This article provides a Gramscian rereading of these antinomies in relation to the apparent consolidation of a natural attitude towards Islam in the wake of recent dramatic events. (shrink)

The aim of this paper is to argue that the utilitarian principle of criminalization is sounder than its poor reputation suggests. The paper begins by describing three possible answers to the research question: To what extent should the consequences of criminalization matter morally in a theory of criminalization? Hereafter I explain why I shall discuss only two of these answers. Then follows a detailed and critical specification of UPC. Furthermore, I will argue why criticisms of UPC made by philosophers such (...) as Douglas Husak and Victor Tadros in their recent work are far from convincing. Finally, I will present a positive reason for accepting UPC as a principle of criminalization, namely: that UPC is consistent with what I call the Counterproductive Criminalization Principle, while non-consequentialist theories of criminalization are not. (shrink)

Recent critiques of normative universalism have helped entrench a dichotomy between formalist universal egalitarian claims (typical of the liberal tradition) and particularist attention to cultural difference (in contemporary communitarianism, and in more or less postmodernist approaches). Focusing on the work of Richard Rorty and Iris Marion Young, this article explores whether, and how, we might find space for a universalism which avoids problems encountered by the formalist model. I argue that, while both Rorty and Young reject ‘Enlightenment’ universalism, the approaches (...) of both contain covert universalist assumptions. They thus represent different forms of ‘soft’ universalism: approaches which are fallibilist about current moral knowledge but which hold out the possibility of genuinely inclusive pan‐human normative frameworks. The trouble with both is that neither, in the end, provides a persuasive basis for their own position – one which avoids an ultimate arbitrariness about the winning out of one normative conception (be it humanitarian or not) over another. I suggest that recourse to ontology, and the kinds of metaphysical claim deemed outmoded in the mainstream of social and moral philosophy, provide such a basis. I argue too that a conception of human being as relational, and of the flourishing of the individual as requiring relations with others, is the best‐placed candidate to do the work required. (shrink)

This paper aims to understand the kind of activities that industrial actors develop in order to protect their enterprises during industrial crisis conditions. A series of political unrest, insurgency, economic turmoil, deadly earthquakes, and economic embargo at the Indo- Nepal boarder escalated the industrial crisis in Nepal. The quest for sustainability of enterprises during the enduring nature of the crisis stimulated for a more detail conversation and survey. A perceptual survey of industrial actors accompanying conversation therein indicates that trade union (...) and association leaders develop positive attitude and advance specific activities for protecting their enterprises during industrial crisis conditions. The study finds that an empathic nature helps to develop a positive attitude among the industrial actors, which seems contributory for enterprises to survive during crisis conditions. The actors tend to positively perceive significance of specific activities under the conditions of difficulties and hardships and enhance immunity to the industrial crisis. This paper argues that the empathic nature of the industrial actors becomes more effective to safeguard the pluralistic interests of the stakeholders of the enterprise than the self- centric nature of the actors. The actors are not only engaged in safeguarding their claims on the industry but are also contributing—beyond their routine work—positively to strengthen the enterprise immunity during difficulties. This paper concludes with an insight of shifting managerial attention from the generic concepts like cost minimisation and product differentiation to the concepts of regularity in supply of goods and services in the business network by expanding the scope of industrial relations vertically and horizontally. The empathic nature of industrial actors enhances the effectiveness of the general system theory and social network theory by developing understanding of the role of industrial actors’ relations in sustaining and operationalizing a business network under organizational crisis conditions. (shrink)

The question of judgment has become one of the central problems in recent social, political and ethical thought. This paper explores Hannah Arendt's decisive contribution to this debate by attempting to reconstruct analytically two distinctive perspectives on judgment from the corpus of her writings. By exploring her relation to Aristotelian and Kantian sources, and by uncovering debts and parallels to key thinkers such as Benjamin and Heidegger, it is argued that Arendt's work pinpoints the key antinomy within political judgment itself, (...) that between the viewpoints of the political actor and the political spectator. The paper concludes by highlighting some lacunae and difficulties in the development of Arendt's account, difficulties that set challenges for those theorists (such as Seyla Benhabib and Alessandro Ferrara) who wish to appropriate and extend Arendt's contribution into the field of contemporary critical theory. Key Words: action • aesthetics • community • freedom • history • judgment • reflection. (shrink)

. In a number of papers I have sought to discuss and cast some doubt on a certain strategy of response to an argument that purports to show that God's foreknowledge is incompatible with human freedom. This argument proceeds from the alleged ‘fixity of the past’ to the conclusion that God's foreknowledge is incompatible with human freedom. William Lane Craig has criticized my approach to these issues. Here I should like to respond to some of Craig's claims. My goal is (...) to attempt to achieve a clearer, more penetrating view of some of the issues pertaining to the relationship between God's foreknowledge and human freedom. The focus here will be on a strategy of response to the incompatibilist's argument which is associated with William of Ockham. (shrink)

The paper problematizes the national soft power strategies of authoritarian states arguing that many of their features stem from those countries’ political regime. In particular, the author focuses on such features as actors involved in soft power policies, the public media’s international and domestic rhetoric, the presence or absence of ideological commitments, strategies’ proactiveness/reactiveness as well as their long- and short-termness. The author presents his argumentation in a fashion similar to what is called theory-building process tracing: first, he (...) shows causal links between an autocratic political regime and each of those features, and then illustrates them with relevant examples taken from case studies and media publications on the soft power strategies of contemporary Russia and China. (shrink)

This paper presents a report on the first Swiss Master Class in Corporate Social Responsibility, which was held between the 8th and 9th December 2006 at HEC Lausanne in Switzerland. The first section of the report introduces the topic of the master class – ‚Corporations as Political Actors – Facing the Postnational Challenge’ – as well as the concept of the master class. The second section gives an overview of papers written by nine young scholars that were selected to present (...) their research. The brief summary of each paper also includes a summary of comments from the masters, practitioners, and NGO representatives at the event. The third section brings in the perspectives of one master and one NGO representative on the discussed issues. The final section offers a brief wrap-up of the discussed topics and outlines ways to structure future conceptual and empirical research. (shrink)

This article calls for a rethinking of critical sociology. Representing classical critical sociology, the Bourdieusian paradigm illustrated domination, but its negative foundation removed actors’ power, privileging sociological knowledge as capable of identifying (social) transcendental categories of thought. Latour’s constructivism challenged this privilege, giving actors the political power of aggregating collectives around their common concerns at the cost of emphasizing domination and critique. We propose a critical approach that evades a transcendental perspective reliant on pure negation, producing a more positive critical (...) sociology founded on processualist phenomenological and pragmatic perspectives, principally Merleau-Ponty and Dewey. Actors and researchers can collectively ruminate on their perspectives and concerns to challenge power structures and transform their worlds. At the center of this is the social-mien, a creative reimagination of habitus. A brief discussion of the protests and scholarship surrounding the Notre-Dame-des-Landes activists’ practice of democracy highlights the utility of the approach and serves as a model for future application. (shrink)

Many philosophers distinguish between "hard" paternalism, which supposedly violates autonomy, and "soft" paternalism, which does not. This chapter begins by critically assessing Joel Feinberg's account of the distinction, according to which hard paternalism interferes with voluntary self-regarding choices while soft paternalism interferes with substantially nonvoluntary self-regarding choices. It then considers several other ways to draw the hard/soft distinction. Ultimately, the chapter concludes that although the hard/soft distinction is a crucially important component of most antipaternalist views, it (...) is surprisingly difficult to draw in a satisfying way. (shrink)

This article understands codes of ethics as written documents that represent social actors in specific ways through the use of language. It presents an empirical study that investigated the codes of ethics of the German Dax30 companies. The study adopted a critical discourse analysis-approach in order to reveal how the code-texts produce a particular understanding of the various internal social groups for the readers. Language is regarded as social practice that functions at creating particular understandings of individuals and groups, how (...) they are interrelated, and how they should behave. Findings show that codes of ethics do not represent employees as a group that is empowered or morally enlightened; instead they are positioned as passive receivers of rules and regulations. Furthermore, codes of ethics classify employees as having a need to be monitored and controlled by the higher levels of the corporate hierarchy. Overall, code language enforces compliance through maintaining existing and building new asymmetries between the different groups within a company. As a consequence, the article discusses a somewhat different understanding of code effectiveness. Reproducing and reemphasizing hierarchical relations could also lead to code compliance, perhaps without any need for developing the moral employee that is committed to ethical values. (shrink)

What's Critical About Critical Realism?: Essays in Reconstructive Social Theory draws together 4 major articles that are situated at the intersection of philosophy and sociology. Preceded by a general presentation of Bhaskar ́s work, critical realism is used to reconstruct the generative structuralism of Pierre Bourdieu, warn about the dangers of biocapitalism, theorize about social movements and explore the hermeneutics of internal conversations. Together, the essays form a logical sequence that starts with a search for a solid conception of social (...) structure through a realist critique of Bourdieu ́s rationalist epistemology, proceeds to an ideology critique of posthumanism through an investigation of Actor-Network Theory, extends critical realism to social movements through an investigation of the constitution of collective subjectivities and engages in a sustained dialogue with Margaret Archer through an attempt to reconnect hermeneutics and pragmatism to critical realism. The result is an ongoing dialogue between British critical realism, French historical epistemology, German critical theory and American pragmatism. As suits a collection of essays in social theory, this book will address a broad audience of sociologists, philosophers, social psychologists and anthropologists who are interested in contemporary social theory at the cutting edge. Academics and advanced students who relate to critical realism and critical theory, epistemology and philosophy of the social sciences, hermeneutics and pragmatism, or anyone else who follows the work of Roy Bhaskar, Pierre Bourdieu, Bruno Latour or Margaret Archer will find a keen interest in some of the theoretical questions the book raises. (shrink)

ABSTRACTAnalytic philosophy is often associated with a physicalistic naturalism that privileges natural-scientific modes of explanation. Nevertheless there has since the 1980s been a heterodox, somewhat subterranean trend within analytic philosophy that seeks to articulate a more expansive, ‘non-reductive‘ conception of nature. This trend can be traced back to P.F. Strawson’s 1985 book Skepticism and Naturalism: Some Varieties. However, Strawson has long been ignored in the literature around ‘soft naturalism’ – especially in comparison to John McDowell. One of the reasons (...) for this is that Strawson’s account of soft naturalism is not often viewed as particularly plausible – it has come in for heavy criticism from the likes of Sebastian Gardner and Robert Stern. In this paper, I argue that Strawson’s soft naturalism ought to be re-assessed: that his critics can be refuted, and that his naturalism remains a compelling alternative to the likes of McDowell’s. I attempt this through a ‘radicalisation’ of the modest Strawson’s position, demonstrating that his naturalism has implicit in it something like Marx’s conception of human ‘species-being’. (shrink)

I argue that Japanese noise could only become meaningful and articulate at a time when thought and language have become somehow inarticulate. I very briefly recount T.W. Adorno's controversial claims that we live in a wholly abstract and instrumental world, where each object we encounter holds meaning only as 1) a representative of the class to which it belongs and 2) a tool for our use. As is now the convention in Adorno scholarship and cultural studies generally, I name ordering (...) principles of such life identity thinking and the object of its inarticulacy the non-identical. Rather than devoting this paper to debating the veracity of these principles, once I unpack modern art's predicament within the confines of identity thinking I make a case for the utter sensibility of the prima facie senselessness of Japanese noise. But this ultimate sensibility of Japanese noise, I argue, exemplifies the crisis of all modern art: despite its efforts to frustrate sense and stall the prevailing cultural logic, it becomes sensible as a commodified cultural product. Japanese noise therefore provides a case study of the process by which a critique of a consumer culture becomes a commercial product of that culture, thereby neutralizing the critical power of the work. Within such structures the critical capacity of art in general is under threat. (shrink)

The paper defends the theoretical strength and consistency of Rawls's constructivism, showing its ability to articulate and convincingly weave together several key ethical ideas; yet it questions the political relevance of this admirable normative architecture. After having illustrated Rawls's conception of moral agency and practical reason, the paper tackles two criticisms raised by Scheffler. First the allegation of naturalism based on Rawls's disdain of common sense ideas on desert is rebutted. It is then shown that, contrary to Scheffler's contention, Rawls (...) takes proper account of our moral sentiments in the process of constructing his normative theory. Finally, the second criticism is assessed, namely the inability of Rawls's theory to increase consent around liberal policies. Despite disagreement with details of Scheffler's argument, it is suggested that the failure of recent normative liberal theories to have a political impact belies their inability to take into proper consideration the reality of politics. A more realistic appraisal of political life and of historical events and developments are called for if political philosophy wants to be something more than an academic exercise. (shrink)

Research in ecology and evolutionary biology (evo-eco) often tries to emulate the “hard” sciences such as physics and chemistry, but to many of its practitioners feels more like the “soft” sciences of psychology and sociology. I argue that this schizophrenic attitude is the result of lack of appreciation of the full consequences of the peculiarity of the evo-eco sciences as lying in between a-historical disciplines such as physics and completely historical ones as like paleontology. Furthermore, evo-eco researchers have gotten (...) stuck on mathematically appealing but philosophi- cally simplistic concepts such as null hypotheses and p-values defined according to the frequentist approach in statistics, with the consequence of having been unable to fully embrace the complexity and subtlety of the problems with which ecologists and evolutionary biologists deal with. I review and discuss some literature in ecology, philosophy of science and psychology to show that a more critical methodological attitude can be liberating for the evo-eco scientist and can lead to a more fecund and enjoyable practice of ecology and evolutionary biology. With this aim, I briefly cover concepts such as the method of multiple hypotheses, Bayesian analysis, and strong inference. (shrink)

For more than 20 years, sustainable development has been advocated as a way of tackling growing global environmental and social problems. The sustainable development discourse has always had a strong technological component and the literature boasts an enormous amount of debate on which technologies should be developed and employed and how this can most efficiently be done. The mainstream discourse in sustainable development argues for an eco-efficiency approach in which a technology push strategy boosts efficiency levels by a factor 10 (...) and more in industrialised and developing countries. A minority argues for a socio-cultural lifestyle switch, relying on new values, quality of life, sufficiency and redistribution strategies, with calls for appropriate and soft technologies. It is remarkable, however, that the articles, books and policy debates on sustainability seldom explicitly draw in a discussion of the nature of technology, how technology influences and is influenced by society, and what this implies for sustainable development. The mainstream interprets technology as neutral and instrumental: technology is no more than an instrument to reach a goal; it cannot be judged on its intrinsic characteristics, only on its use. The alternative view often builds on an autonomous and substantive interpretation of technology: technology is an autonomous, almost uncontrollable power that fundamentally reshapes our culture. A more balanced approach seems to be growing in the research on socio-technical sustainability transitions where the focus shifts to the co-evolution of technology and society, and to the networks, seamless webs and complex multi-actor processes that may carry a sustainability transition forward. This approach builds on insights from recent traditions in the philosophy and sociology of technology, in particular the social construction of technology (SCOT) and actor-network theory (ANT). While this provides for a better understanding of the nature and potential role of technology in sustainability policies, it remains to be seen whether it will actually influence the choice between technologies. This article investigates the different conceptualisations of technology in the sustainability debate. It first distinguishes between different approaches of sustainability and how these are related to differing views on technology. It then moves on to how the socio-technical transitions research incorporates insights from contemporary philosophy and sociology of technology. It reflects on the potential of transitions research to give guidance in technology choices, suggesting that the transition approach might be strengthened by drawing in insights from critical theory of technology and by taking a more political stance in defining sustainable development. (shrink)

Agency without Actors? New Approaches to collective Action is rethinking a key issue in social theory and research: the question of agency. The history of sociological thought is deeply intertwined with the discourse of human agency as an effect of social relations. In most recent discussions the role of non-humans gains a substantial impact. Consequently the book asks: Are nonhumans active, do they have agency? And if so: how and in what different ways? The volume offers a critical state-of-the-art debate (...) of internationally and nationally leading scholars within Sociology, Social Anthropology and STS on agency (Latour, Law, Michael, Rammert etc.). It fosters the productive exchange of empirical settings and theoretical views by outlining a wide range of novel accounts that link human and non-human agency. It tries to understand social-technical, political and environmental networks as different forms of agency that produce discrete and identifiable entities like humans, animals, technical artifacts. It also asks how different types of (often conflicting) agency and agents actors are distinguished in practice, how they are maintained and how they interfere with each other. (shrink)

The role of external actors in shaping education policy has received considerable critical attention (Ball and Junemann, 2012; Ball, 2012; Henry et al., 2001; Reckhow, 2013). Offering a significant...

Critical development and food studies scholars argue that the current food security paradigm is emblematic of a ‘New Green Revolution’, characterized by agricultural intensification, increasing reliance on biotechnology, deepening global markets, and depeasantization. High-profile examples of this model are not hard to find. Less examined, however, are food-security programs that appear to work at cross-purposes with this model. Drawing on the case of Feed the Future in Guatemala, I show how USAID engages in activities that valorize ancestral crops, subsistence production, (...) and agroecological practices. Rather than the result of macro-level planning—of either the New Green Revolution or a greener reform regime—I argue that nonconforming food security projects can be traced to individual actors and their interactions on the ground. I draw on an ‘interface approach’ (Long 1990 ), focusing on the lifeworlds of development workers, their interfaces with each other, and with the to-be-developed. Doing so reveals how food security projects are significantly shaped by the relationships and interests of development actors enmeshed in particular organizational and national settings. This research contributes a fresh perspective on the food security paradigm and its role within the ‘corporate food regime’. (shrink)

Responsibility is a moral quality of caring that is central to child health policies. In contemporary UK these policies are based on behavioural psychology and underpinned by individualism, an ideology central to neoliberal governance. Amid the complexities of “obesity” and inequalities, there is a multi-layered stigmatisation of parents as moral associates. Few studies consider the lived realities of food policy processes from the standpoint of class. This critical qualitative research draws on theorists who explain processes of power and class: Foucault, (...) Gramsci, Bourdieu and Marx. Its objectives are: (a) to understand the lived experience of parents as they interact with food policy; (b) to explore how parents resist stigmatisation; and (c) to reflect on implications for policy and practice. Methods: Using purposive sampling, 31 ethnographically-informed interviews were carried out in a London borough, with policy actors: policymakers, implementers and parents as policy recipients, including 12 working-class mothers. Results: A core theme of “responsibilities” emerged with four interconnecting sub-processes that provide insight into how stigmatisation and resistance evolve through policy. Discussion: As have others, this study reveals the idea of responsibility as fundamental to the processes of soft power. Child health is a priority for participants and a “ruling idea”. The diffusion of responsibility throughout policy leads to confusion about where it lies. New subjectivities are formed in line with ideas of governmentality. Parents engage with policy at multiple sites that elicit symbolic violence, and stigma sows social divisions. Against this background, working-class parents are left in a state of cognitive dissonance between being made responsible (responsibilisation), and feeling responsible (self-blaming) for their children’s weight while lacking the material resources to provide an optimal nutritious diet. Resistance is interwoven and is essentially found in parents’ policy alternatives that diverge from UK government policy. Conclusion: Critical qualitative research using multiple theorists is valuable in understanding how parents interact with policy in a complex social world. With UK policy failing, useful insights are provided into how involving parents in policymaking might determine a meaningful collective responsibility, with a political ethic of care and unity between parents that would advance health equity. (shrink)

The following is excerpted from Sean Gurd’s translation of Euripides’ Hippolytus published with Uitgeverij this year. Though he was judged “most tragic” in the generation after his death, though more copies and fragments of his plays have survived than of any other tragedian, and though his Orestes became the most widely performed tragedy in Greco-Roman Antiquity, during his lifetime his success was only moderate, and to him his career may have felt more like a failure. He was regularly selected to (...) have his plays performed in the annual festival of Dionysus at Athens. But the plays were performed in a competition, and in the competitions he lost and lost, winning first place only five times in a career that spanned more than forty years. His corpus reads like the remains of a life spent trying to get a few things right and never being quite satisfied: scenes and schematized combinations of elements recur again and again, each time slightly changed. Hippolytus itself is an example: it contains two scenes in which a sick or dying character lies on a couch or a stretcher and is surrounded by silence and grief; he had experimented with such scenes in Alcestis, and would work with them again in Herakles and Orestes. Nor, judging from appearances, was he immune to the desire to score a hit, or to satisfy the audiences and the judges at the competition. Hippolytus is a rewrite of another Hippolytus, performed several years earlier, which scandalized the audience and certainly did not take first place. In that earlier Hippolytus (called by later writers Hippolytus Veiled), Euripides fashioned a Phaedra who was neither ashamed of loving her stepson nor incapable of taking steps to satisfy her desire. The forwardness of her approach to Hippolytus so outraged him that he covered his head with a robe (hence the play’s later title). Euripides liked to write energetic and self-confident women like this. He staged his Medea in 431, just three years before he revised Hippolytus, and in it the jilted title character murders her children in revenge for Jason’s new marriage to a more politically advantageous wife. Another flop: the play came in third of three. Evidently the judges did not like their women showing agency, especially when the consequences were transgressive. “The ornament of women,” wrote another great Athenian a little earlier, “is silence.”i Euripides’ Medea and his first Phaedra had other decorations. So three years after Medea crashed and burned and some time after the first Hippolytus suffered the same fate, he produced another Hippolytus play with a different setting and story. How could this one not have been a reaction to the failure of the first? “Second thoughts are always better,” he has one of his characters say, as though he were offering an apology for his first thoughts on the same story. In this new version, Phaedra is suicidally ashamed of her love, choosing to die rather than have it discovered, and willing to bring down her beloved Hippolytus in the service of the same end. Now it is Phaedra herself who covers her head in shock and horror at her desire. Only an intermediary, a slave of the house and an old crone with her fingers in all sorts of illicit pots, communicates Phaedra’s secret – against orders – and in consequence brings about the demise of two resolutely moral figures. It worked. For his tale of two well-born nobles with an unswerving commitment to moral action, destroyed by the meddling of a slave (and by the hostility of some particularly uncaring divinities), the judges crowned Euripides winner. It was the first time he had won, after almost thirty years of work. *** What Hippolytus wants more than anything else, as he protests with outrage just before leaving Trozen for the last time, is the benefit of due process – oaths, witnesses, an investigation that would reveal who really lusted after whom. Ironic, given that in the first Hippolytus, as far as we can make out, he did get a trial – but too late, and Theseus’ successful processing of Hippolytus failed to prevent his death. I cannot help hearing in the second Hippolytus’ complaints the anger of his authorial semblable who lost year after year by a process of judging that might have seemed brutal to him. Judges took no cognizance of how he worked, how long or hard or why; they just voted, and Euripides lost. But then I hear, in the fate of the first Hippolytus, an even grimmer commentary. Processed or not, we lose. We run aground. At the very least, this might cast a darker shadow on the business of watching or reading a play: in that twilight, things move too fast to make a fair assessment and, in any case, the reasonably high definition of what you see and hear belies the truth of indistinction, the multiplicities just below the surface. Watching is a constrained activity, a form of captivity, but reading is plastic. This translation was begun to supply the script for an audio version of the play, recorded in the spring of 2012, and here and there it sacrifices literalness for sayability and the voices and passions of the actors on that occasion. But it was finished to be read, and engineered to create a reading caught between the poles of specificity and non-specificity that the play itself conjures and relies on at its generative core. Thus two texts: the one clear, perhaps overprecise, respectably modern in its presentation, and the other ancient, a reasonable approximation of the classical reading process, and indistinct in vital ways. Like early modern dramatic texts, the exact provenance and original function of the scripts that have made it down to us are unknown. We do know that the ultimate survival of Hippolytus was thanks to its wide-spread use as a school text. But its relation to the first performance in 428 BCE is a matter only of speculation. Euripides presumably had a fair copy before production began; it was probably modified during rehearsals. The actors may have had copies, too (probably the young men who served in the chorus did not). The chor?gos, a wealthy Athenian who paid for the production, might have been presented with or just made sure to get his hands on a high-quality text, to commemorate the play’s success. Fans might have been able to buy copies. Any one of these sources might have provided the ultimate progenitor of our text. Several of them might have, in fact, if later editors compared and conflated traditions. The plays toured extensively in the Greek-speaking world, and were restaged as repertoire for centuries afterwards. In the process they were subjected to enough modifications by producers and actors that in the later fourth century the Athenian statesman Lycurgus had a law passed prohibiting performances at Athens from deviating from the official “city” text of the tragedies (which he had commissioned). It is unlikely that the city text was the last word; but it marks an important moment in Athens’ role in their dissemination, since after this the major sites of textual curatorship moved overseas, to Alexandria, Pergamum, Rome, Antioch, Constantinople. Any single text of any single play is thus no more than a moment of clarity and stability, crossed and subtended by multiple vectors of change, including that of textual flux (from Euripides’ first drafts to the latest printed text) and that of Euripides’ life work as a writer, in the light of which the Hippolytus is just one attempt to produce something exactly right, to win the prize or finally satisfy himself or prove to himself that all this longing for perfection was a waste of time. I am intrigued by the possibility that a single text might somehow serve as a lens onto this wider zone of indistinction, representing a small region clearly but nonetheless containing a blurred image of the whole, like a Leibnizian monad. After all, no text is a witness: it is, rather, a perception and a performance, and what every Hippolytus must perform is the awkward overlay of singular and plural, social practise and subliminal drive, that structures the tragedy. Modern critical editions can do this by juxtaposing a (relatively) clean and simple text with a textual apparatus reporting variants and theorizing the relationship between textual instantiations. A translation lacks the resolution to catch the fine variations which feed into the construction of an apparatus. But there are other means to hand. Guessing at the exact words of the original text is always just that – guessing – though Hippolytus is less problematic than plays like Iphigenia at Aulis. But we can make a pretty secure guess at what such a text looked like. Texts read by fifth-century readers were fundamentally different from what is presented in the best medieval MSS and printed in modern publications. The texts of Euripides’ time and for many centuries afterwards did not indicate word division with spaces (or by any other means) and were extremely sparing in punctuation, often avoiding it altogether. There was only one “case” of letters – what we call “capitals.” Musical sections were inscribed as though they were prose, without line endings to reflect their rhythm or their rhetorical structure. There was no indication of the speakers within a dramatic text, either. The earliest surviving dramatic texts, which come from over a century after Euripides’ death and a time which was much more elaborate and precise in its textual culture, indicated speaker-change with a little line or paragraphos below the line and a double-point [:] at its end. This convention almost certainly does not date back to Euripides’ own time; it may not even date to Lycurgus. In any case, such indications were understood to be readers’ marks: they did not have the same authority as the text and they were subject to readers’ revisions. At least ideationally, if not in concrete and distinguishable fact, a dramatic text was understood as containing no indication of speaker-change (and certainly none of who was saying what). The reader had to figure that out for him-/herself. The clear, legible, easy texts we are accustomed to reading are the fabrications of medieval and modern reading cultures. The first text, then, presents the translation as the text would have been in the mid-fourth century, perhaps decades after Euripides’ death. The second text processes Hippolytus, makes sense of it and makes it “readable.” That is: too distinct, dangerously so. It gets in your way, conjures fantoms, tries to make you see. Fragments of the Hippolytus Veiled, otherwise almost entirely lost, are juxtaposed with similar passages in the text – not to suggest a reconstruction, but a dialogue and a complex set of reassessments. I have not tried to represent the full variety of textual variants, but I have signalled where, for one reason or another, the text is soft and different editions propose excisions or changes. The two texts must be read together: you, reader, form the bridge between the distinctly seen and the indistinct invisible. You, in the end, will be its mask. *** illsandhateddiseaseswhatcanidoforyouwhatshouldinotdohereisthelightandthebrightairyoursickbedisnowout s idethehouseyoureverywordwastocomeherebutyouwillrushbacktoyourbedroomagainyoufadequicklyyoudelig htinnothingyoudislikewhatyouhaveyoulovewhatyoudontitsbettertobesickthantendthesickthefirstissimpleto the secondattachesheartspainandhandsworkeveryhumanlifeispainfulthereisnoendtotoildarknesshidesbehindclo udswhateverisdearerthanlifeweproveunhappyloversofwhatshineshereforlackofknowledgeofanotherlifethere isnoproofforthingsbeneaththeearthonlystoriessustainus liftmybodystraightenmyheadthebondsofmylimbsareloosenedtakemyhandsandmypalearmsthishatistooheavy formyheadtoweartakeitoffspreadmyhairovermyshoulders couragechilddonttossandturnsoviolentlyyouwillbearyoursicknessmoreeasilywithpeaceandanoblemindallmort alssuffer aiaiiwanttodrinkpurewaterfromadewyspringiwanttoliebackandrestunderthetreesinsomegrassymeadowchildw hycrydontsaythesethingsnearthecrowdhurlingwordsmountedonmadness sendmetothemountainiwillgototheforestwherebeastkillingdogspressthespotteddeergodsilongtoshouttothedo gstoshootthethessalianjavelinpastmyblondhairtoholdthebarbeddartinmyhandwhythisanxietychildwhatdoyouc areabouthuntingwhydoyoulustforflowingspringstheresahillwithwaterjustnexttothetowerwecangetyouadrinkt h ereartemismistressofthesaltlakeandthecoursethunderingwithhorseshoovesiwishiwereonyourplainsbreakings t uds whythrowthesefrenziedwordsaboutjustnowyouweresettingoutforthemountaintohuntandnowyoulongforhorses onthewavelesssand thesethingsneedanoracletotellwhichgodreinsyouinanddrivesyoufromyoursenseschild whathaveidonehowfarhaveibeendrivenfromgoodthoughtsiwascrazyiwascursedbysomepowerpheupheualasn ursecovermyheadagainimashamedofwhativesaidcovermeatearmovesdownfrommyeyeanditembarrassesm eithurtstostraightenourmindanditisterribletobeinsanebesttodiebeforeyoubecomelucidagain illcoveryoubutwhenwilldeathcovermeimoldivelearnedalotmortalsshoulddrinkoffriendshipmoderatelynotfrom th edeepestmarrowofthesoulamindslovecharmsshouldbeeasytoundoorthrustawayortiemoretightlyitisaverydiffic ultweightforonesoultolaborovertwopeopleasiamwrackedbypainforhertoomuchdisciplinecausesmoreharmthan pleasureandwarswithhealthipraisetoomuchlessthannothinginexcessandthewiseagreewithme *** Scene 1 Enter Phaedra and the Nurse; the former is recumbent on a couch while the latter bustles about her with gestures that might be those of a caregiver or a guard. NURSE Ills and hated diseases! What can I do for you? What should I not do? Here is the light, and the bright air; your sick bed is now outside the house. Your every word was to come here, but you will rush back to your bedroom again. You fade quickly. You delight in nothing. You dislike what you have. You love what you don’t. It’s better to be sick than tend the sick – the first is simple. To the second attaches heart’s pain and hand’s work. Every human life is painful. There is no end to toil. Darkness hides behind clouds whatever is dearer than life. We prove unhappy lovers of what shines here for lack of knowledge of another life. There is no proof for things beneath the earth. Only stories sustain us. PHAEDRA Lift my body, straighten my head: the bonds of my limbs are loosened. Take my hands and my pale arms. This hat is too heavy for my head to wear. Take it off, spread my hair over my shoulders. NURSE Courage, child; don’t toss and turn so violently. You will bear your sickness more easily with peace and a noble mind. All mortals suffer. PHAEDRA Aiai. I want to drink pure water from a dewy spring. I want to lie back and rest under the trees in some grassy meadow. NURSE Child, why cry? Don’t say these things near the crowd, hurling words mounted on madness. PHAEDRA Send me to the mountain. I will go to the forest where beast-killing dogs press the spotted deer. Gods! I long to shout to the dogs, to shoot the Thessalian javelin past my blond hair, to hold the barbed dart in my hand. NURSE Why this anxiety, child? What do you care about hunting? Why do you lust for flowing springs? There’s a hill with water just next to the tower; we can get you a drink there. PHAEDRA Artemis, mistress of the salt lake and the course thundering with horse’s hooves: I wish I were on your plains breaking studs! NURSE Why throw these frenzied words about? Just now you were setting out for the mountain to hunt – and now you long for horses on the waveless sand. These things need an oracle to tell which god reins you in and drives you from your senses, child. PHAEDRA What have I done? How far have I been driven from good thoughts? I was crazy, I was cursed by some power. Pheu pheu. Alas. Nurse, cover my head again. I’m ashamed of what I’ve said. Cover me – a tear moves down from my eye and it embarrasses me. It hurts to straighten your mind and it is terrible to be insane. Best to die before you become lucid again. NURSE I’ll cover you. But when will death cover me? I’m old; I’ve learned a lot. Mortals should drink of friendship moderately, not from the deepest marrow of the soul. A mind’s love-charms should be easy to undo, or thrust away, or tie more tightly. It is a very difficult weight for one soul to labor over two people, as I am wracked by pain for her. Too much discipline causes more harm than pleasure and wars with health. I praise “too much” less than “nothing in excess,” and the wise agree with me. ***. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

The paper questions the compatibility of critical realism with ecological economics. In particular, it is argued that there is radical dissonance between ontological presuppositions of ecological economics and critical realist perspective. The dissonance lies in the need of ecological economics to state strict causal regularities in socio-economic realm, given the environmental intuitions about the nature of economy and the role of materiality and non-human agency in persistence of economic systems. Using conceptual apparatus derived from Andrew Brown’s critique of critical realism (...) and Bruno Latour’s actor-network theory, the paper refuses ontological nature/society dualism employed by critical realism, and stresses the role of non-humans in practical production and reproduction of socio-economic networks on the one hand, and in broadly defined ecological economic research on the other hand. (shrink)

Critical constructivism adds a dimension of collective action to postphenomenology. This paper explains the intervention of collective subjects into technological design. That intervention presupposes communication between lay and expert actors which is made possible by the dependence of technical disciplines on the lifeworld. Understanding the public processes of intervention requires a notion of multiple types of rationality and a social account of technological design.