Almost all countries and fertility clinics impose age limits on women who want to become pregnant through Assisted Reproductive Technologies (ART). Age limits for aspiring fathers, however, are much less common and remain a topic of debate. This article departs from the principle of reproductive autonomy and a conditional positive right to receive ART, and asks whether there are convincing arguments to also impose age limits on aspiring fathers. After considering three consequentialist approaches to justifying age (...) class='Hi'>limits for aspiring fathers, we take in a concrete normative stance by concluding that those are not strong enough to justify such cut-offs. We reinforce our position by drawing a comparison between the case of a 39-year-old woman who wants to become a single mother via a sperm donor on the one hand, and on the other hand the same woman who wants to have a child with a 64-year-old man who she loves and who is willing to care for the child as long as he is able to. We conclude that, as long as appropriate precautions are taken to protect the welfare of the future child, couples who want to receive fertility treatment should never be limited on the basis of the age of the (male) partner. An absence of age limits for men would respect the reproductive autonomy of both the man and the woman. (shrink)

Should there be a female age limit on public funding for assisted reproductive technology (ART)? The question bears significant economic and sociopolitical implications and has been contentious in many countries. We conceptualise the question as one of justice in resource allocation, using three much-debated substantive principles of justice—the capacity to benefit, personal responsibility, and need—to structure and then explore a complex of arguments. Capacity-to-benefit arguments are not decisive: There are no clear cost-effectiveness grounds to restrict funding to those older women (...) who still bear some capacity to benefit from ART. Personal responsibility arguments are challenged by structural determinants of delayed motherhood. Nor are need arguments decisive: They can speak either for or against a female age limit, depending on the conception of need used. We demonstrate how these principles can differ not only in content but also in the relative importance they are accorded by governments. Wide variation in ART public funding policy might be better understood in this light. We conclude with some inter-country comparison. New Zealand and Swedish policies are uncommonly transparent and thus demonstrate particularly well how the arguments we explore have been put into practice. (shrink)

It seems interesting to find out how the situation of the Polish ART practice is reflected in the medical students’ opinions. To answer this question we carried out a two-stage research adopting a data-driven methodology based upon the grounded theory, in which we collected a mixture of quantitative and qualitative data. Our study has revealed students’ high acceptance of IVF and most of the additional procedures, except for IVF in the case of women over 40 and postmenopausal ones. The students’ (...) main concerns were to be compatible with what is presented in medical literature and commonly accepted in medical practice, so the core categories they focused on in their argumentation were medical evidence and medical standards. Whereas the students were consistently trying to ground their reasoning on medical knowledge, their opinions reflected not only statements based on hard data, but also some gender stereotypes hidden in medical literature. (shrink)

This study investigated potential risk factors (coping, perfectionism and self-regulation) for substantial injuries in contemporary dance students using a prospective cohort design, as high-quality studies focusing on mental risk factors for dance injuries are lacking. Student characteristics (age, sex, BMI, educational program and history of injury) and psychological constructs (coping, perfectionism and self-regulation) were assessed using the Performing artist and Athlete Health Monitor (PAHM), a web-based system. Substantial injuries were measured with the Oslo Sports Trauma Research Center (OSTRC) Questionnaire on (...) Health Problems and recorded on a monthly basis as part of the PAHM system. Univariate and multivariate logistic regression analyses were conducted to test the associations between potential risk factors (i.e. student characteristics and psychological constructs) and substantial injuries. 99 students were included in the analyses. During the academic year 2016-2017, 48 students (48.5%) reported at least one substantial injury. Of all factors included, coping skills (OR: 0.91; 95% CI: 0.84–0.98), age (OR: 0.67; 95% CI: 0.46–0.98) and BMI (OR: 1.38; 95% CI: 1.05–1.80) were identified as significant risk factors in the multivariate analysis. The model explained 24% of the variance in the substantial injury group. Further prospective research into mental risk factors for dance injuries with larger samples sizes is needed to develop preventive strategies. Yet, dance schools could consider including coping skills training as part of injury prevention programs and, perhaps, providing special attention to younger dancers and those with a higher BMI through transitional programs to assist them in managing the stress they experience throughout their (academic) career. (shrink)

Tzvetan Todorov, one of Europe’s leading intellectuals, explores the complex relations between art, politics, and ethics in the essays that make up _The Limits of Art_. In one essay, “Artists and Dictators,” Todorov traces the intimate relationship between avant-garde art and radical politics in pre-revolutionary Russia, pre-fascist Italy, and pre-Nazi Germany. Todorov sets forth the radical idea that the project of totalitarian dictators and avant-garde artists actually “emerged from the same womb”: both artists and dictators set out to make (...) it new—be it art or society. Further troubling the role of art in the world at large, in “Art and Ethics” Todorov re-examines the age-old question of what can be expected from art and whether it should be emancipated from ethics. Must art be morally instructive, or should it be self-sufficient and concept-free? The answer is not an either/or to Todorov, who believes, like Baudelaire, that art has both cognitive and ethical aspects to it—even if it is presented as art for art’s sake. Throughout the essays in _The Limits of Art_, Todorov insists on the essential need for artists to recognize, understand, and even love the world outside. “Todorov harbors no illusions about the mix of good and bad that enters into the fabric of all that is human.... He speaks throughout in his own voice, with rare breadth of sympathy and with a fine eye for the complexities of human experience.”—_New Republic_ “Like the authors he focuses on, Todorov is tolerant, understanding and wise.”—_Observer_. (shrink)

Abstract…observations of skylfull pylotts is the onlye waye to bring it in rule; for it passeth the reach of naturall philosophy. – Michael Gabriel, 1576 (Collinson, 1867, p. 30)Abstract The tension between empirical data and formal theory pervades the entire history of geomagnetism, from the Middle Ages up to the present day. This paper explores its early-modern history (1500–1800), using a hybrid approach: it applies a methodological framework used in modern geophysics to interpret early-modern developments, exploring to what extent formal (...) conjectures shaped observation and vice versa. A range of pertinent case studies supports classification of this entire period as proto-scientific, characterised by the initial formation of theories being largely disconnected from observational constraints, and their subsequent evolution being advanced primarily by their empirical falsification, and not necessarily associated with the introduction of an alternative. The few exceptional instances of purely data-driven discovery were essentially due to an improved signal-to-noise ratio. (shrink)

The editorial introduces issue 21.1 of Technoetic Arts via a critical reflection on the artificial intelligence hype (AI hype) that emerged in 2022. Tracing the history of the critique of Large Language Models, the editorial underscores that there are substantial ethical challenges related to bias in the training data, copyright issues, as well as ecological challenges which the technology industry has consistently downplayed over the years. -/- The editorial highlights the distinction between the current AI technology’s reliance on extensive pre-existing (...) human-generated data for pattern recognition and the performative process inherent in art practice. Patterns of creative output can be replicated without a thorough understanding of underlying concepts. In contrast, the performative process of art practice, as explored through the conceptual frameworks of creativity by Noam Chomsky, Charles Sanders Peirce, and Roger T. Ames and with reference to an earlier publication of the editorial’s author, creates concepts and continually ‘strives to extend itself towards the unknown.’ -/- Following this introductory section, the editorial provides an overview of the ten articles featured in this issue of Technoetic Arts. The first four texts engage with emerging technologies from various perspectives in art and design. The subsequent six articles, part of a special section titled 'Perspectives from Chandigarh,' reflect a quest for meaningful existence within colonial, patriarchal, and biopolitical structures that frame everyday practices of exclusion and oppression. (shrink)

Aristotle listed moderation as one of the moral virtues. He also defined virtue as the mean between extremes, implying that moderation plays a vital role in all forms of moral excellence. But moderation's protean character—its vague and ill-defined omnipresence in judgment and action—makes it exceedingly difficult to grasp theoretically. At the same time, moderation seems to be the foundation of many contemporary democratic political regimes, because the competition between parties cannot properly function without compromise and bargaining. The success of representative (...) government and its institutions depends to a great extent on the virtue of moderation, yet the latter persists in being absent from both the conceptual discourse of many political philosophers and the campaign speeches of politicians fearful of losing elections if they are perceived as moderates. Aurelian Craiutu aims to resolve this paradox. Examining the writings of prominent twentieth-century thinkers such as Raymond Aron, Isaiah Berlin, Norberto Bobbio, Michael Oakeshott, and Adam Michnik, he addresses the following questions: What does it mean to be a moderate voice in political and public life? What are the virtues and limits of moderation? Can moderation be the foundation for a successful platform or party? Though critics maintain that moderation is merely a matter of background and personal temperament, Craiutu finds several basic norms that have consistently appeared in different national and political contexts. The authors studied in this book defended pluralism, of ideas, interests, and social forces, and sought to achieve a sound balance between them through political trimming. They shared a preoccupation with political evil and human dignity, but refused to see the world in Manichaean terms that divide it neatly into the forces of light and those of darkness. Faces of Moderation argues that moderation remains crucial for today's encounters with new forms of extremism and fundamentalism across the world. (shrink)

Tracing the broad outline of European art history means presenting the different methods considered essential to the formation of this discipline. Historiographical research arrives quite naturally at a criticism of the methods themselves and at a search for a broader horizon.To the extent that the historian is involved with the thinking and the problems of his age, his methods reveal personal and conjunctural concepts and ideas which will guide the reflections of his successors ; these successors will modify and correct (...) the concepts received in order to adapt them to new experiences and questions. Or they will add others which are more apt to supply the answers sought. The means of analysing art history today are the fruit of four centuries of discussion during which certain normative criteria, traditional theories and underlying concepts were called into question while at the same time, though being sometimes exported to other areas of the world, they have demonstrated a tenacious degree of longevity. But perhaps a brief recapitulation might be helpful here. (shrink)

There is a growing trend in European countries for childbearing to occur later in women’s lives. The recent increase in the use of ART, together with the long-term trend towards later childbearing, raises questions as to the acceptable age of childbearing in contemporary society. ART legislation varies considerably across Europe and age limits for access to fertility treatment are rarely defined. The legislation takes into account the preferences of potential parents; children’s preferences, however, are not ascertained. The article discusses (...) a research method used in a survey of older children and young adults. The objective of the survey was to answer the following questions: What age would children prefer their parents to be if they could choose? What are their reasons? Respondents were asked the following question: “How old would you like your mother and father to be when you are 20 (version for respondents younger than 16) or 25 (version for those older than 16) if you could wave a magic wand?” Furthermore, their reasons for wishing a change were identified through an open question, “Why would you like to change the age of your parents?”. (shrink)

The mobility restrictions related to COVID-19 pandemic have resulted in the biggest disruption to individual mobilities in modern times. The crisis is clearly spatial in nature, and examining the geographical aspect is important in understanding the broad implications of the pandemic. The avalanche of mobile Big Data makes it possible to study the spatial effects of the crisis with spatiotemporal detail at the national and global scales. However, the current crisis also highlights serious limitations in the readiness to take the (...) advantage of mobile Big Data for social good, both within and beyond the interests of health sector. We propose two strategical pathways for the future use of mobile Big Data for societal impact assessment, addressing access to both raw mobile Big Data as well as aggregated data products. Both pathways require careful considerations of privacy issues, harmonized and transparent methodologies, and attention to the representativeness, reliability and continuity of data. The goal is to be better prepared to use mobile Big Data in future crises. (shrink)

LIMITS OF HUMAN SENSES, Consciousness and Awareness -/- ULRICH DE BALBIAN -/- Meta-Philosophy Research Center My art makes the invisible visible, limits of human awareness -/- 1 Human consciousness and awareness is restricted by stereotypes and notions that cause philosophers and artists to exist in the dark ages as far as their perception and understanding of human inner and outer senses are concerned. Humans perceive 7 colors of rainbows with 16 to 37 or more colors, that are perceived (...) by other organisms, for example certain sea creatures. (shrink)

Throughout the 2016 US presidential election, pundits repeatedly described Donald Trump as a performance artist and his campaign as performance art. Meanwhile, his alt-right supporters were mounting performance art shows, debating the meaning of Marina Abramović’s work, and developing their own theories of political performance. For experts in performance theory, such punditry and provocation is like the image in a funhouse mirror. It’s hard to make sense of such bizarre, distorted images—let alone to recognize ourselves in them. This article insists (...) that, nonetheless, we should try. Trump and his movement pose special challenges to American political culture—and also to academic performance theory. His rise has revealed the limitations of a politics (and performance theory) based on norms and their transgression. It has also given the lie to politicians’ false belief that they (and only they) are not performing their politics. The challenge now—for academics, activists, citizens, and journalists alike—is to articulate how performance works, how it provides models of cultural power. (shrink)

This paper discusses Hans-Georg Gadamer’s account of what he sees as a major change in the approach to the Western philosophical and aesthetic traditions that began in the second half of the eighteenth century, and the results of this change today. According to Gadamer, these traditions ceased to be binding at this time and became objects of historical research. Instead of being seen even as potential sources of insight, traditional knowledge claims and works of art were subjected to historical and (...) aesthetic analysis. And Gadamer holds that these approaches have partially come to encompass the present as well. Thus, modern art has often downplayed cognitive and pedagogical tasks in proceeding in a purely aesthetic, playful way. And the study of history has been seen as providing insight into the contextually determined nature of presuppositions, those of the modern age included. According to Gadamer, this unduly limits the possibilities of both art and history to provide learning. (shrink)

Since the end of the 1990s, creativity has become a growing area of interest once more within education and wider society. In England creativity is now named within the school curriculum and in the curriculum for children aged 3-5. There are numerous government and other initiatives to foster individual and collective creativity, some of this through partnership activity bringing together the arts, technology, science and the social sciences. As far as education is concerned, this growth in emphasis and value placed (...) on encouraging creativity can be seen as being in stark contrast with the government policy prevalent from the late 1980s onward. One of the underpinning themes and justifications for this re-kindling of interest in fostering creativity is that the individual and collective empowerment which is fostered by the development of creative skill is seen to be a good thing at the social and economic level in particular (Craft, 2002). These justifications have been discussed elsewhere (Jeffrey and Craft, 2001). But an important question to ask is, how desirable are the cultural norms of continual change and innovation in Western society? This paper examines some possible social, environmental, cultural and ethical limits to creativity, in the context of educating for creativity (NACCCE, 1999). It argues that the notion of creativity may be value- and culture-specific and that this poses the so-called liberal educator with various dilemmas of principle and pedagogy, which are explored. (shrink)

Philosophy is an art.--On right designation.--On the art of oratory.--The mystery of polarisation.--On concentration.--On polyphony.--Utopians and prophets.--Fruitful disorder.--The conflict between youth and age.--The individual and the spirit of the age.--The limited number of important cultural forms.--The significance of Chinese art.--Death and re-birth.--On the future of the Mediterranean civilisations.--Life is and art.--The culture of beauth.

Objective: To systematically analyze the effects of art therapy on the levels of depression, anxiety, blood glucose, and glycated hemoglobin in diabetic patients.Methods: We searched Cochrane Library, PubMed, Embase, and ClinicalTrials.gov databases from inception to January 24, 2021. The language of publication was limited to English. Randomized controlled trials that used art therapy to improve mental disorders in diabetic patients were involved. After selection of eligible studies, data were extracted, including the first author's full-name, year of publication, the first author's (...) country of residence, number of intervention and control groups, the mean age of participants, method of intervention, duration of follow-up, and outcome measures. Assessment of quality of the included studies and data extraction were independently carried out by two researchers. RevMan 5.3 software was used to perform statistical analysis.Results: A total of 396 samples from five studies were included, and the eligible studies were RCTs with a parallel design. Methods of art therapy included music therapy and painting therapy. The results showed that compared with the control group, art therapy could positively affect the levels of depression [standardized mean difference, −1.36; 95% confidence interval, ; P < 0.00001] and blood glucose in diabetic patients [mean difference, −0.90; 95% CI, ; P < 0.0001], while it had no influence on the levels of anxiety [SMD, −0.31; 95% CI, ; P = 0.32] and glycated hemoglobin [MD, 0.22; 95% CI, ; P = 0.07].Conclusion: Art therapy may have significant effects on the levels of depression and blood glucose for diabetic patients. (shrink)

In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...) depth. (shrink)

In Western countries today, a growing number of women delay motherhood until their late 30s and even 40s, as they invest time in pursuing education and career goals before starting a family. This social trend results from greater gender equality and expanded opportunities for women and is influenced by the availability of contraception and assisted reproductive technologies. However, advanced maternal age is associated with increased health risks, including infertility. While individual medical solutions such as ART and elective egg freezing can (...) promote reproductive autonomy, they entail significant risks and limitations. We thus argue that women should be better informed regarding the risks of advanced maternal age and ART, and that these individual solutions need to be supplemented by a public health approach, including policy measures that provide women with the opportunity to start a family earlier in life without sacrificing personal career goals. (shrink)

In the fall of 1957 the University of California Press expanded Arnheim’s 1933 book _Film_ by four essays and brought that landmark work back into print as _Film as Art._ Now nearly fifty years after that re-edition, the book continues to occupy an important place in the literature of film. Arnheim’s method, provocative in this age of technological wizardry, was to focus on the way art in film was derived from that medium’s early limitations: no sound, no color, no three-dimensional (...) depth. (shrink)

Baudelaire's response to Delacroix's art and theories provides a particularly fruitful focus for a study of the new rapport between the former sister arts. There is little similarity between Delacroix's action-filled exotic subjects and Baudelaire's more intimate and private poetry; their arts must therefore be related in some domain apart from content. We are aided in deciphering this domain by Baudelaire's extensive commentary on Delacroix. Moreover, perhaps because of its subtlety, the relationship between these arts has not received the attention (...) it deserves.1 Yet no sooner is the possibility for such a study recognized than the problems it entails become apparent. Without the focus of common subjects, where does one begin? The dangers of impressionistic comparisons of study are readily apparent in the tendency of Geistesgeschichte studies to transfer stylistic terms from one art form to another, creating such bizarre transpositions as "the visible chamber music of the bent furniture" or the "Titian style of the madrigal" in Spengler's Decline of the West or Wylie Sypher's suggestion that a Shakespearean play is like a Renaissance painting because it makes use of "perspective" to create a real and believable world.2 And indeed it would be misleading to look for particular stylistic similarities between Delacroix and Baudelaire. Delacroix's dissolution of solid color masses into separate strokes of different colors, for example, would appear to be closer to Rimbaud's disjointed language than to Baudelaire's carefully interwoven sentences. Only by viewing the two art forms as interconnected systems can we determine their relationship. If the new affiliation of poetry and painting in the Romantic period derives from the expression of imaginative unity, a critical approach to their relationship must be attuned to different ways of expressing unity. The theoretical framework that accounts most completely for the kind of relationship existing between Delacroix and Baudelaire is provided by the structuralists, although, as we shall see, even this approach has limitations. · 1. There are several studies of Baudelaire's aesthetics and criticism, such as André Ferran's L'Esthétique de Baudelaire , Margaret Gilman's Baudelaire the Critic , and Jean Prévost's Baudelaire: essai sur l'inspiration et la création poétiques , which contain sections on the influence of Delacroix but do not extend their analysis into Baudelaire's poetry as a whole. More specific works, such as Lucie Horner's Baudelaire critique de Delacroix , provides a detailed study of their relationship based on their correspondence and references to one another, but no analysis of the relationship between their two art forms. Some studies of Baudelaire's poetry, such as Lloyd James Austin's L'Univers poétique de Baudelaire: symbolisme et symbolique and Martin Turnell's Baudelaire: A Study of His Poetry , point out aspects of Baudelaire's poems that appear relevant to the relationship with Delacroix, but they do not make these connections themselves. Most commentary on the relationship of Delacroix to Baudelaire's poetry is limited to those few poems that Baudelaire wrote on Delacroix's paintings.· 2. Wellek and Warren quote the comments on Spengler in Theory of Literature, p. 131. Sypher's comments are in Four Ages of Renaissance Style: Transformations in Art and Literature 1400-1700 , pp. 79-80. Elizabeth Abel is an assistant professor of English at the University of Chicago. A coeditor of Critical Inquiry, she is currently writing a book on literary and psychoanalytic representation of female identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art in Social Studies: Exploring the World and Ourselves with RembrandtIftikhar Ahmad (bio)IntroductionRembrandt’s art lends itself as a fertile resource for teaching and learning social studies. His art not only captures the social studies themes relevant to the Dutch Golden Age, but it also offers a description of human relations transcending temporal and spatial frontiers. Rembrandt is an imaginative storyteller with a keen insight for minute details. His narrative (...) of the culture, society, economy, geography, and contemporary events of seventeenth-century Dutch life is as vivid and perceptive as a historian’s eloquent text. How people lived in community, how the city of Amsterdam functioned, how important religion was to people, how diverse and cosmopolitan the culture was, how interdependent the world was in the seventeenth century, and what the social and civic ideals of the Dutch people were during the Golden Age—Rembrandt’s paintings, etchings, and drawings neatly organize these and other social studies themes into visual messages. More importantly, our appreciation and interpretation of Rembrandt’s work helps us learn about not just Dutch society and culture of four hundred years ago but also about ourselves. The passion, emotions, conflicts, and inspirations of his subjects are essentially human and eternal, arousing empathy in every generation and cross-section of society. In this article I look at Rembrandt’s art for the purpose of teaching and learning social studies in our contemporary interdependent world—a world that is chronologically and geographically distant from the Dutch Golden Age but in many respects shares its enduring values, norms, ideals, pursuits, challenges, and possibilities. To do so, I employ a conceptual lens—the curriculum thematic strands of the National Council for the Social Studies (NCSS)—to examine Rembrandt’s art in order to explore life and make meaning of the story that is being told about the human condition, and to seek out its relevance to ourselves and [End Page 19] our world in the early twenty-first century. Although Rembrandt’s oeuvre is extensive, including the diverse genres of self-portraits, group portraits, drawings, etchings, landscapes, and religious themes, for our limited purpose I have selected only those works that, in my judgment, correspond with the following seven of the ten thematic curriculum strands of the NCSS:CultureTime, Continuity, and ChangePeople, Places, and EnvironmentIndividual Development and IdentityProduction, Distribution, and ConsumptionGlobal ConnectionsCivic Ideals and PracticesThese thematic curriculum strands are derived from the foundational disciplines of the social sciences and humanities such as anthropology, history, geography, sociology, political science, psychology, economics, philosophy, and law, but they are conceptually interrelated.1 For example, culture is a core concept in anthropology but it is also relevant to Time, Continuity, and Change, which is the main concept in the history discipline. Similarly, culture is relevant to the theme of People, Places, and Environment, which is the central focus of geography. More importantly, since social studies is about human experiences, there is a general consensus among the social studies educators that classroom teachers should draw content knowledge not just from the social sciences as mentioned here but from wide sources “to construct curricular experiences enabling students to actively relate new knowledge to existing understanding.”2 That is to say all fields of knowledge that are related to human civilization and that help in developing students’ skills in reflective thinking, decision making, and problem solving are relevant to social studies education. Those fields also include art. Rembrandt’s art is especially relevant because his themes are universal and the social, political, and economic contexts in which he created his work—globalization, individualism, and free enterprise—are more or less similar to our age.It needs to be mentioned that by looking at Rembrandt’s art from the social studies perspective it is not my intention to strip his work of its aesthetic scope and value. On the contrary, by looking at Rembrandt in the social studies classroom I seek to humanize social studies education itself. That [End Page 20] is to say I wish to step back from the conventional view of social studies to feel free from the bonds of traditionalism and discover, describe, analyze... (shrink)

The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution (...) of the perceived object, but also in the context of the deconstruction of representation or in the genealogy of “de-representation” (Lyotard). By following Merleau-Ponty’s interpretation of the works of Cézanne and Klee, we are going to see how his theory of the experience of body and the formation of their works of art meet up in his consideration of the reversibility of the visible and the invisible. When Merleau-Ponty quotes Valéry’s phrase “the painter brings his body with him,” the body of the artist is no longer “subject-body” perceiving the world in a prosaic way; rather, the body is implicated in the anonymous vision at the source from which the painter’s expression emerges. Just as nature is recounted through the poet, it has the faculty of seeing itself through the painter. In the “Methods of Natural Research,” Klee says “the resonance surpasses all the optical foundations between myself and that which opposes me,” “the united anti-optic way of the root going out of the earth, which looks at me from down below all the way up to my eyes” and of the “united non-optic way of the universe come from above.” He demonstrates that this non-optic resonance, rather than a mirror and a black screen separating the light, allows the eye to be seen as a point of junction of non-optical things and thereby it constitutes a part of the circle created by the new nature of works (eine neue Natürlichkeit des Werkes). Following what is particular to Merleau-Ponty’s thought in which the body is conceived as a principle of de-representation, one sees, by means of his intention of assessing modern artistic creation as the deconstruction of classical ontology, the overcoming of the ontology of the object. In conclusion, we note that the theory of body and of painting in Merleau-Ponty brings to light the limit of the possibility of representation in modern art, by emphasizing especially the non-perception or the transcendence that one can discern in the perceptual field. By interrogating the body of the painter and the poet, that is, the poetic body or the body as symbolism, prior to its being diverted into being a result of the brain and of the libido where the body is no longer the body visible in the world, by doing this, Merleau-Ponty has found a way of placing the body beyond representation. Poièsis is no longer mimèsis in the banal sense of imitation, and the poetic body is not the representational body. But, he has found a way of placing it still in Visibility, as if there were a hinge in this border between the visible and the invisible, in this border between representation and de-representation, a border that one cannot definitively overcome by structuring it as a dichotomy. (De-representation, but the visible. Therefore the possibility of visible de-representation in the artistic creation, in poièsis.) This hinge, which denies us an alternation, is the body, the flesh, which is the condition of thought as ontological interrogation: an ontological interrogation in the age of ir-representation, in the age of the impossibility of representation (Vorstellung) and of poem (Dichtung), in the age of crowds where the image appears as one of my fellow creatures just like the shadow cast by existence.Il corpo ai limiti della rappresentazione. La teoria del corpo e della pittura di Merleau-PontyNe L’occhio e lo spirito Merleau-Ponty cita una frase di Valéry: “il pittore si dà con il suo corpo”. Egli interpreta l’esperienza corporea dell’artista non solo come il centro di un orientamento percettivo o cinestesico, ma anche come motivo d’ispirazione per poeti e per pittori. In questo senso, si può collocare la sua teoria del corpo non solo all’interno della problematica della costituzione fenomenologica dell’oggetto percepito, ma anche nel contesto della decostruzione della rappresentazione o nella genealogia della “derappresentazione” (Lyotard). Seguendo l’interpretazione merleaupontiana delle opere di Cézanne e di Klee, vedremo come la sua teoria dell’esperienza del corpo e la formazione delle loro opere d’arte convergano nella considerazione della reversibilità del visibilee dell’invisibile. Quando Merleau-Ponty cita la frase di Valéry “il pittore si dà con il suo corpo”, il corpo dell’artista non è più un corpo soggettivo che percepisce il mondo in modo prosaico; il corpo è piuttosto implicato nella visione anonima dell’origine dalla quale emerge l’espressione del pittore. In Wege des Naturstudiums, Klee afferma che “la risonanza sorpassa tutti i fondamenti ottici tra me e ciò che mi si oppone”. Egli dimostra che questa risonanza non-ottica, piuttosto che essere uno specchio o uno schermo nero che separa la luce, permette di vedere l’occhio come un punto di giunzione di cose non ottiche e ciò costituisce una parte del circolo creato dalla nuova natura delle opere (eine neue Natürlichkeit des Werkes). Seguendo la particolarità del pensiero merleaupontiano, secondo il quale il corpo è concepito come un principio di de-rappresentazione, si nota, in virtù della sua intenzione di interpretare la creazione nell’arte moderna come la decostruzione dell’ontologia classica, il superamento dell’ontologia oggettivistica. In conclusione, osserviamo come la teoria del corpo e della pittura di Merleau-Ponty chiarisca i limiti della possibilità della rappresentazione nell’arte moderna, enfatizzando l’impercezione o la trascendenza che si può distinguere nel campo percettivo. Interrogando il corpo del pittore e del poeta – il corpo poetico o il corpo come simbolismo, a monte del suo porsi come risultato della mente o della libido, là dove il corpo non è ancora corpo visibile nel mondo – Merleau-Ponty ha trovato il mondo di collocare il corpo al di là della rappresentazione. Poièsis non è più mimesis nel senso banale d’imitazione, e il corpo poetico non è il corpo rappresentativo. Egli ha trovato il modo di posizionare il corpo nella Visibilità, come se esistesse un punto di rovesciamento situato sul confi ne tra visibile ed invisibile, ovvero sul confine tra rappresentazione e de-rappresentazione: un confine che non si può definitivamente superare se lo si continua a strutturare come dicotomia. Questo punto, che ci nega un’alternativa, è il corpo, la carne, che è condizione del pensiero come interrogazione ontologica: un’interrogazione ontologica nell’era dell’ir-rappresentazione, nell’era dell’impossibilità di rappresentare (Vorstellung) o di creare poemi (Dichtung), nell’era delle masse, in cui l’immagine appare come uno dei miei simili, come l’ombra proiettata dall’esistenza. (shrink)

The Body at the Limits of Representation. The Theory of the Body and Painting in Merleau-PontyIn Eye and Mind,” Merleau-Ponty quotes a phrase from Valéry: “the painter brings his body with him.” He interprets the corporeal experience of the artist, not only as the center of a perceptual orientation or kinesthesis, but also as the inspiration for poets and for painters. In this sense, one can place his theory of body not only within the problematic of the phenomenological constitution (...) of the perceived object, but also in the context of the deconstruction of representation or in the genealogy of “de-representation” (Lyotard). By following Merleau-Ponty’s interpretation of the works of Cézanne and Klee, we are going to see how his theory of the experience of body and the formation of their works of art meet up in his consideration of the reversibility of the visible and the invisible. When Merleau-Ponty quotes Valéry’s phrase “the painter brings his body with him,” the body of the artist is no longer “subject-body” perceiving the world in a prosaic way; rather, the body is implicated in the anonymous vision at the source from which the painter’s expression emerges. Just as nature is recounted through the poet, it has the faculty of seeing itself through the painter. In the “Methods of Natural Research,” Klee says “the resonance surpasses all the optical foundations between myself and that which opposes me,” “the united anti-optic way of the root going out of the earth, which looks at me from down below all the way up to my eyes” and of the “united non-optic way of the universe come from above.” He demonstrates that this non-optic resonance, rather than a mirror and a black screen separating the light, allows the eye to be seen as a point of junction of non-optical things and thereby it constitutes a part of the circle created by the new nature of works (eine neue Natürlichkeit des Werkes). Following what is particular to Merleau-Ponty’s thought in which the body is conceived as a principle of de-representation, one sees, by means of his intention of assessing modern artistic creation as the deconstruction of classical ontology, the overcoming of the ontology of the object. In conclusion, we note that the theory of body and of painting in Merleau-Ponty brings to light the limit of the possibility of representation in modern art, by emphasizing especially the non-perception or the transcendence that one can discern in the perceptual field. By interrogating the body of the painter and the poet, that is, the poetic body or the body as symbolism, prior to its being diverted into being a result of the brain and of the libido where the body is no longer the body visible in the world, by doing this, Merleau-Ponty has found a way of placing the body beyond representation. Poièsis is no longer mimèsis in the banal sense of imitation, and the poetic body is not the representational body. But, he has found a way of placing it still in Visibility, as if there were a hinge in this border between the visible and the invisible, in this border between representation and de-representation, a border that one cannot definitively overcome by structuring it as a dichotomy. (De-representation, but the visible. Therefore the possibility of visible de-representation in the artistic creation, in poièsis.) This hinge, which denies us an alternation, is the body, the flesh, which is the condition of thought as ontological interrogation: an ontological interrogation in the age of ir-representation, in the age of the impossibility of representation (Vorstellung) and of poem (Dichtung), in the age of crowds where the image appears as one of my fellow creatures just like the shadow cast by existence.Il corpo ai limiti della rappresentazione. La teoria del corpo e della pittura di Merleau-PontyNe L’occhio e lo spirito Merleau-Ponty cita una frase di Valéry: “il pittore si dà con il suo corpo”. Egli interpreta l’esperienza corporea dell’artista non solo come il centro di un orientamento percettivo o cinestesico, ma anche come motivo d’ispirazione per poeti e per pittori. In questo senso, si può collocare la sua teoria del corpo non solo all’interno della problematica della costituzione fenomenologica dell’oggetto percepito, ma anche nel contesto della decostruzione della rappresentazione o nella genealogia della “derappresentazione” (Lyotard). Seguendo l’interpretazione merleaupontiana delle opere di Cézanne e di Klee, vedremo come la sua teoria dell’esperienza del corpo e la formazione delle loro opere d’arte convergano nella considerazione della reversibilità del visibilee dell’invisibile. Quando Merleau-Ponty cita la frase di Valéry “il pittore si dà con il suo corpo”, il corpo dell’artista non è più un corpo soggettivo che percepisce il mondo in modo prosaico; il corpo è piuttosto implicato nella visione anonima dell’origine dalla quale emerge l’espressione del pittore. In Wege des Naturstudiums, Klee afferma che “la risonanza sorpassa tutti i fondamenti ottici tra me e ciò che mi si oppone”. Egli dimostra che questa risonanza non-ottica, piuttosto che essere uno specchio o uno schermo nero che separa la luce, permette di vedere l’occhio come un punto di giunzione di cose non ottiche e ciò costituisce una parte del circolo creato dalla nuova natura delle opere (eine neue Natürlichkeit des Werkes). Seguendo la particolarità del pensiero merleaupontiano, secondo il quale il corpo è concepito come un principio di de-rappresentazione, si nota, in virtù della sua intenzione di interpretare la creazione nell’arte moderna come la decostruzione dell’ontologia classica, il superamento dell’ontologia oggettivistica. In conclusione, osserviamo come la teoria del corpo e della pittura di Merleau-Ponty chiarisca i limiti della possibilità della rappresentazione nell’arte moderna, enfatizzando l’impercezione o la trascendenza che si può distinguere nel campo percettivo. Interrogando il corpo del pittore e del poeta – il corpo poetico o il corpo come simbolismo, a monte del suo porsi come risultato della mente o della libido, là dove il corpo non è ancora corpo visibile nel mondo – Merleau-Ponty ha trovato il mondo di collocare il corpo al di là della rappresentazione. Poièsis non è più mimesis nel senso banale d’imitazione, e il corpo poetico non è il corpo rappresentativo. Egli ha trovato il modo di posizionare il corpo nella Visibilità, come se esistesse un punto di rovesciamento situato sul confi ne tra visibile ed invisibile, ovvero sul confine tra rappresentazione e de-rappresentazione: un confine che non si può definitivamente superare se lo si continua a strutturare come dicotomia. Questo punto, che ci nega un’alternativa, è il corpo, la carne, che è condizione del pensiero come interrogazione ontologica: un’interrogazione ontologica nell’era dell’ir-rappresentazione, nell’era dell’impossibilità di rappresentare (Vorstellung) o di creare poemi (Dichtung), nell’era delle masse, in cui l’immagine appare come uno dei miei simili, come l’ombra proiettata dall’esistenza. (shrink)

An active engagement with arts in general and visual arts in particular has been hypothesized to yield beneficial effects beyond arts itself. So-called cognitive and socio-emotional “transfer” effects into other domains have been claimed. However, the empirical basis of these hopes is limited. This is partly due to a lack of experimental comparisons, theory-based designs, and objective measurements in the literature on transfer effects of arts education. Therefore, the aim of the present study was to design and experimentally investigate a (...) theory-based visual-arts education program for adolescents aged between 12 and 19 years. The program was delivered in a museum context in three sessions and was expected to yield specific and objectively measurable transfer effects. To conduct a randomized field trial, three strictly parallelized and standardized art courses were developed, all of which addressed the topic of portrait drawing. The courses mainly differed regarding their instructional focus, which was either on periods of art history, on the facial expression of emotions, or on the self-perception of a person in the context of different social roles. In the first and more “traditional” course portrait drawing was used to better understand how portraits looked like in former centuries. The two other courses were designed in a way that the artistic engagement in portrait drawing was interwoven with practicing socio-emotional skills, namely empathy and emotion recognition in one course and understanding complex self-concept structures in the other. We expected positive socio-emotional transfer effects in the two “psychological” courses. We used an animated morph task to measure emotion recognition performance and a self-concept task to measure the self-complexity of participants before and after all three courses. Results indicate that an instructional focus on drawing the facial expressions of emotions yields specific improvements in emotion recognition, whereas drawing persons in different social roles yields a higher level of self-complexity in the self-concept task. In contrast, no significant effects on socio-emotional skills were found in the course focussing on art history. Therefore, our study provides causal evidence that visual-arts programs situated in an art-museum context can advance socio-emotional skills, when designed properly. (shrink)

Among the literary arts of the Middle Ages, the creation of texts within strict parameters held a fascination for many poets. Acrostic poems, tricky meters, frequent rhyme, and other limitations often spurred those who sought expression in words.

... explores the limitations of the transnationalist approach to feminism and questions the neoliberal emphasis on individual freedom and consumer choice as the central goals of feminist activism.... All chapters proceed from the belief in the continued usefulness of intersectionality as a valuable category of critical analysis that is particularly necessary at the time when the effects of neoliberal globalization are undermining many familiar categories of critical inquiry.

Artificial intelligence (AI) technology has brought new opportunities and challenges to the judicial field, which dramatically improves judicial efficiency and may even change the judiciary's way. The concept of judicial justice in the information age has a natural affinity with artificial intelligence. As artificial intelligence continues to make breakthroughs in judicial data sorting and deep learning knowledge, judicial artificial intelligence has gradually become a reality. Artificial intelligence can conduct legal argumentation, interpret calculation results, human–computer collaboration, and judicial judgment. At the (...) same time, the development of artificial intelligence technology also has potential risks, such as algorithm black boxes, algorithm discrimination, etc., to help judges achieve judicial justice, the value of judicial justice should be pursued to the limit of its judicial application. Therefore, artificial intelligence justice should be constrained by social relations, legal rationality, and code operation. (shrink)

The problem of insufficient usage of research results devoted to the development and teaching a person in multi-aged in pedagogical theory and practice is considered. The occurrence of ‘invisible assets‘ as a phenomenon of human activity results is also reviewed. These results show the synergic effect that considerably exceeds the index relative to the effort sum of separate components. The results of the emergent effect of invisible assets manifestation in multi-aged unions studied in Russian pedagogical science are represented. The systemic (...) factors defining the magnitude, power and limit of educative potential of a multi-aged union are singled out. The necessity of using the results of rich Russian pedagogical experience of G. V. Radetskiy, S. T. Shatskiy, A. S. Makarenko, I. P. Ivanov, V. P. Krapivin and their followers of the 21st century in studying social development of adolescents based on the historical-genetic analysis is shown in the paper. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Zen and the Art of DeathMaja Milcinski*When reflecting on immortality, longevity, death, and suicide, or taking into consideration some of the central concepts of the Sino-Japanese philosophical tradition, such as impermanence (Chinese: wuchang; Japanese: mujo), we see that the philosophical methods developed in the Graeco-Judeo-Christian tradition might not be very suitable. On the other hand it is instructive to contrast them with the similar themes developed in the Graeco-Judeo-Christian (...) tradition, since these problems present a challenge for a redefinition of philosophy, which has traditionally regarded itself as a European (and in an even less acceptable variation as a Western) phenomenon. As such the very borders of philosophical discourse known in European history as philosophia are today being reconsidered. Although the notion of philosophy (love of wisdom) is distinctly Greek in origin, this does not mean that Asia failed to cultivate activities similar to that. The absence of this notion in China and Japan does not necessarily imply a lack of the cultivation of wisdom within their traditions. Could this mean that, paradoxically, the “philo-“ limits this complex activity primarily to rationally mastered undertakings?By rethinking the history of philosophy as a single narrative, one might come closer to the movements related to the levels of consciousness that were activated in philosophical undertakings in various Asian philosophical schools. In this regard Japanese and Chinese Buddhist philosophical traditions might be instructive since, through the various stages of their development, they have attempted to put the inexpressible into words. The awareness of the insufficiency of words resulted in many original solutions. In the Song dynasty, for instance, China produced a variety of diagrams (tu), by which philosophers and practitioners represented their theories. These formulations, often arose on the basis of meditation techniques and could not therefore be fully transmitted by means of language alone. The illustration of the nine-step process (known in [End Page 385] Japan as kuso) is one such representation, and it is taken here as a point of departure for approaching the concept of impermanence and death in the Japanese philosophical context.One possible means of approaching the discussed topic is to contrast it with the ways in which impermanence, particularly with the phenomenon of death as one of its aspects, has been perceived in the European tradition. It would be naive to generalize and stress the impression that fear of death is much more central and influential in the Euro-American life style than in the Asian one, since it is rooted in human biological and subconscious mechanisms. This paper, however, tries to point at the subtle difference which exists in the spiritual realm.Europe and ImpermanenceThe European Middle Ages developed the so-called ars moriendi, the art of dying. It was this tradition which produced sayings such as “My Lord, it is a great art to die well, and one to be learned by men in health” 1 and the many variations of the dance of death (danse macabre). This awareness of human mortality was also spread by texts, of which the following inspired thought is characteristic: “The one who has not learned how to die, will die against his will. Learn how to die and you will know how to live, since nobody will learn how to live, who has not learned how to die. He shall be y-cleped a wretch that cannot live and dare not die.” 2 These undertakings, however, did not succeed in building any kind of permanent discipline in Europeans connected with the idea of impermanence and death. Rather, it left them caught up in the dizziness of everyday life. The ars moriendi vanished from their consciousness and only became manifest when actual circumstances provoked it, if indeed at all, since often at the moment of impending death people are completely terrified in the light of the prospect of losing their Ego. Although in Christianity there is a tradition of seeing death as a new beginning, some Christians remain skeptical of this “new beginning.” Beginning of what? Is it an illusion of “heaven,” a reflection of this world without suffering and frustrations? In this respect the ars moriendi was cultivating something else: impermanence... (shrink)

I offer an interpretation of Hegel's account of the essential differences between the original epic and the modern epic which supports two claims that have been made on the basis of the available student transcripts of Hegel's lectures on the philosophy of art: Hegel never asserted that art had come to an end in the sense of its having no further significance or interest in the modern world; and Hegel was keen to understand art as a cultural and historical phenomenon, (...) with the result that he came to limit the significance of art in the modern world on account of its no longer being able to perform the same historical function that it performed in the ancient world. While I seek to illustrate these two points through my interpretation of Hegel's account of the original epic and his remarks on the modern epic, I also argue that, given certain other aspects of his thought, Hegel could have accorded the modern epic a greater potential than he does; moreover, I argue that this suggests a greater continuity between the original epic and its modern day counterpart than Hegel himself appears to allow. (shrink)

Physical activities are generally accepted as promoting important psychological benefits. However, studies examining martial arts as a form of physical activity and mental health have exhibited many methodological limitations in the past. Additionally, recent philosophical discussion has debated whether martial arts training promotes psychological wellbeing or illness. Self-efficacy has an important relationship with mental health and may be an important mechanism underpinning the potential of martial arts training to promote mental health. This study examined the effect of martial arts training (...) on the psychological construct of self-efficacy. A total of 283 secondary school students with a mean age of 12.76 (SD = 0.68) years were recruited to complete a time-limited (10-session) martial arts intervention, which was examined using a randomised controlled trial. Univariate ANOVAs found that the intervention improved the experimental group’s self-efficacy compared to the control group, which was sustained at follow-up. Regression analysis indicated that socio-educational status moderated this outcome. These findings support the martial arts-based intervention’s potential to improve self-efficacy and promote wellbeing through physical activity. Martial arts training may be an efficacious psychosocial treatment that can be used as a complementary approach to promote mental health. (shrink)

La figure de Dieu dans l’art chrétien passe pour avoir été exclusivement masculine, voire masculiniste, en particulier au Moyen Âge. L’article examine et tente de corriger cette vision simplifiée en présentant un échantillon d’images de la Trinité (miniatures, sculptures, fresques des xie-xve siècles) où ont été convoqués des motifs caractéristiques de l’iconographie mariale ou maternelle (« joue à joue », enveloppement dans le manteau, gestes de tendresse, etc.). Une méthode d’analyse est ainsi suggérée, qui permet d’apprécier au cas par cas, (...) sur des critères vérifiables, ce qu’il en est de la part féminine de Dieu. La comparaison entre les images de la Trinité et celles de la Vierge à l’Enfant et les évolutions respectives de ces sujets sur un demi-millénaire donnent finalement à penser que celles-ci ont submergé celles-là et progressivement cantonné la figure occidentale du Dieu chrétien dans les strictes limites du masculin. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Enchantment of Art: Abstraction and Empathy from German Romanticism to ExpressionismDavid MorganA familiar tradition since the eighteenth century has invested art with the power to heal a decadent human condition. Inheriting this ability from religion—the romantic enthusiast Wilhelm Wackenroder considered artistic inspiration to originate in “divine inspiration” in the case of his hero, Raphael 1 —art eventually replaced institutionalized belief in an evolutionary schedule of cultural development determined (...) by German idealism. Hegel, for instance, theorized the evolution of spirit from religion to art as a qualitative advancement over time. Rejecting the metaphysics of German idealism, Friedrich Nietzsche nevertheless contended that “Art raises its head where religions decline.” By assuming the “feelings and moods” of religion which had been dismantled by enlightenment, Nietzsche claimed that art gave new form to the life of feeling and imbued human endeavors with a “loftier, darker coloration.” 2 In the early twentieth century Wassily Kandinsky believed that the “spiritual in art” was the historical manifestation of an “inner necessity” that was in itself timeless and universal. Kandinsky portrayed the “life of the spirit” as “a large acute-angled triangle divided horizontally into unequal parts.” In a kind of “trickle down” aesthetic, the compartments of the triangle move slowly upward toward the apex, which is inhabited by the solitary genius of an age whose vision gradually elevates all those who occupy the lower stages. 3 [End Page 317]The point for proponents of the spiritual in art from romanticism to expressionism (and beyond) was to find in works of art what can best be described as an enchantment. 4 As the negotiation of the gaps or disjunctures separating human beings from complete power over their lives, enchantment conjoins the plane of immediate human experience to a desirable state of affairs through the mediation of such symbolic devices as rituals, incantations, or charms. Thus, evil can be warded off by the use of an apotropaic amulet, and fertility can be enhanced by the recitation of a suitable prayer or the performance of a certain ritual. In a modern analogy a sense of impotence is often alleviated by a trip to the mall where the bored therapeutically lose themselves in symbolic acts of self-renewing consumption. In the traditions of philosophy and science, systems of representation such as astrology, the microcosm, the harmony of the spheres, the great chain of being, the celestial hierarchies, or the mechanisms of theurgy and divination situate humanity within a cosmos that follows a particular order accessible to and in some degree manipulable by human beings. Enchantment consists of an apparatus of belief whose form of representation or enactment is thought to exert influence over the realities it configures.But enchantment is not limited to the spells and magic of premodern metaphysics (or modern consumerism). By means of religion, morality, and aesthetics, Nietzsche once averred, “man likes to believe that... he is touching the heart of the world.” 5 This study will focus on the manner in which art as constructed within the idealist tradition of German art theory functioned as an enchantment. Specifically, it will explore what the history of ideas about abstraction and empathy has to tell us about the spiritualization or enchantment of art. After identifying the philosophical and aesthetic wherewithal of enchantment in nineteenth-century Germany, attention focusses on Franz Marc’s early twentieth-century theorization of abstraction. It is certainly more customary to study Kandinsky, whose writings and early efforts at abstraction are much better known, but Marc’s ideas offer more immediate connections to German intellectual history and clarify the aims of his abstract art as a strategy of enchantment. Moreover, Marc was unusually articulate and wrote often, exploring ideas and artistic efforts with great insight. Focusing on Marc therefore offers a corrective to the historiography that has favored Kandinsky’s writings. Finally, Marc differed from his Russian friend over the cause of the war. Manifesting a difference that is portentous for this study, Kandinsky left Germany for Russia in 1914, while Marc enthusiastically took up arms for the fatherland. Given these circumstances and the unfortunate tendency of art historians to valorize expressionist art rather than situate it in the ideological context of... (shrink)

Comment définir l’homme d’un point de vue médical, sans tomber dans un pur matérialisme? Voilà la question que se posèrent les médecins italiens de la fin du Moyen Âge lorsqu’ils élaborèrent une théorie complète de la notion de complexion, conçue comme « qualité substantielle » propre à l’homme, mais variant dans certaines limites en fonction de l’hérédité, du régime, de l’âge ou encore des climats et des moeurs. Dès lors, certains de ces médecins pouvaient envisager d’améliorer, par leur art, non (...) seulement la santé, mais aussi l’humanité de chaque individu. (shrink)

Intergenerational storytelling (IGS) has recently emerged as an arts- and humanities-focused approach to aging research. Despite growing appeal and applications, however, IGS methods, practices, and foundational concepts remain indistinct. In response to such heterogeneity, our objective was to comprehensively describe the state of IGS in aging research and assess the critical (e.g., conceptual, ethical, and social justice) issues raised by its current practice. Six databases (PsycINFO, MEDLINE, PubMed, Scopus, AgeLine, and Sociological Abstracts) were searched using search terms relating to _age_, (...) _intergenerational_, _story_, and _storytelling_. Peer-reviewed, English-language studies conducted with participants residing in non-clinical settings were included. One thousand one hundred six (1106) studies were initially retrieved; 70 underwent full review, and 26 fulfilled all inclusion criteria. Most studies characterized IGS as a practice involving older adults (> 50 years old) and conventionally-aged postsecondary/college students (17–19 years old). Typical methodologies included oral and, in more recent literature, digital storytelling. Critical issues included inconsistently reported participant data, vast variations in study design and methods, undefined key concepts, including _younger_ vs. _older_ cohorts, _generation_, _storytelling_, and whether IGS comprised an intentional _research method_ or a retrospective _outcome_. While IGS holds promise as an emerging field of arts- and humanities-based aging research, current limitations include a lack of shared data profiles and comparable study designs, limited cross-cultural representation, and insufficiently intersectional analysis of widespread IGS practices. To encourage more robust standards for future study design, data collection, and researcher reflexivity, we propose seven evidence-based recommendations for evolving IGS as a humanities-based approach to research in aging and intergenerational relations. (shrink)

This article is about professional skill and what happens when work is instrumented with technology. The purpose is to contribute to the understanding of the professional skill, its role and development in an increasingly digitalized working life. The article also argues that more research is needed to understand what is at stake in terms of professional skill in the age of digital technology. The research on which the article is based shows that people adapt their way of thinking and perceiving (...) reality to the technology they use. This means that people are gradually becoming more and more like machines. There is an ongoing intellectual inner mechanization, which can be contrasted with the outer mechanization of human muscle power that the industrial revolution entailed. The intellectually mechanized man observes and describes reality in the terms of technology and loses the ability to discern nuances and make qualified judgments gradually. The concepts of Turing’s man and functional autism capture these phenomena. Tacit engagement is a concept that captures the tacit knowledge that can only be expressed when people share physical space. The concept draws attention to the importance of the physical space and the body and what is at stake in terms of interpersonal knowledge in the wake of digital communication technology. It is not machines with supposedly human abilities and characteristics that we need to pay attention to when working life becomes increasingly digitalized, but people who gradually become like machines. What is required to safeguard the knowledge that is unique to man is bildung, i.e., to see the limits of the technology and the abstract theoretical models one uses. Art, classical literature, and drama, with their more plastic language, can reach areas where mathematics and natural science cannot reach. (shrink)

This article offers a critical discussion in the form of debate among experts in the fields of networks, human behaviour, and social analysis about key issues that arguably affect the human nature and society in the digital age. Based on the responses of Nicholas Christakis to an interview given to the authors, some key questions, applications, and limitations regarding the research on digital networks are discussed, together with hot issues related to the nature of digital data and experimentation in contemporary (...) social science. Finally, current and future prospects are presented in relation to data science and society in the light of the Fourth Industrial Revolution. (shrink)

Online audiovisual interaction (AVOI), though minimal, constitutes a form of embodiment. This implies that empathy can be fostered even in non-co-located individuals through online platforms. To address both the limitations and potential of online embodied interaction the article develops a framework for comprehending and cultivating empathy in the virtual realm. It argues that empathy is a skill that is fundamentally tied to our physical and sensory experiences, and therefore, dismisses the Theory of Mind (ToM) model for reducing empathy to mere (...) mental constructs with inherent limitations. Instead, it draws upon Embodied Cognitive Science (ECS) to show that the feeling of disembodiment experienced in AVOI can be conceptualised as a “shrinking of” the social space. With the aim of both widening and deepening this space, the article introduces concrete guidelines that can help enrich the embodied and interactive experience in AVOI. Thereby, highlighting ways of integrating spatiality and physical engagement in the audiovisual online sphere, in addition to nurturing awareness and digital tact. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Tolstoy’s Art and Thought, 1847–1880John GoodliffeTolstoy’s Art and Thought, 1847–1880, by Donna Tussing Orwin; viii & 296 pp. Princeton: Princeton University Press, 1993, $35.00.In the opening words of the introduction, “this book is an attempt to reconstruct the ideas that led Tolstoy to write the masterpieces of his youth and middle age” (p. 3). Covering the first three decades of Tolstoy’s creative life, it focuses first on his (...) “initial vision” in the 1850s, principally derived from Rousseau’s belief in the superiority of natural morality over the artificial values created by so-called civilization. Then, by way of an analysis of The Cossacks (1863), it seeks to show how Tolstoy came to see that “natural morality was not enough” (p. 96). So, in War and Peace, he tried to depict a world in which human beings were at one with nature, where everything, even war, was natural and part of God’s purpose, so that there was no dichotomy between what is natural and what is civilized. The key word for War and Peace is thus sopriaganie—“linkage.”By the 1870s, when Tolstoy was writing Anna Karenina, he no longer saw God as directly involved in human affairs. Now God was “farther away, but higher and more indubitable” (from a letter to the poet Fet). From this shift in thinking is derived the “drama” of Anna Karenina, as distinct from the “epic” oneness of War and Peace. Whereas in the latter work Tolstoy wanted to see all aspects of life, human or otherwise, in harmony, in Anna Karenina, partly under the baleful influence of Schopenhauer, he came to depict an essential disharmony in life, which he and Levin sought vainly to resolve. Having reached this impasse, Tolstoy abandoned fiction as a medium for his ideas and turned to direct expression of them in essays, tracts, and the like.In writing her book Orwin set herself the virtually impossible task of presenting Tolstoy’s work “as he may have understood it himself” (p. 5). She succeeds in this as well as may be reasonably expected, largely through a detailed analysis of the relevant works of fiction and by drawing on Tolstoy’s correspondence with, for example, N. N. Strakhov. This type of approach is a risky one, since it inevitably treats the fictional texts principally as vehicles for philosophy, when clearly they are much more than that. It is to her credit that, in spite of this, Orwin generally succeeds in her task, although her bias is evident in the bold statement that without “moral law,” Anna Karenina would be Dallas (p. 207)! The other risk is that of treating the fictional texts as though they are somehow separate from Tolstoy the human being, as opposed to Tolstoy the thinker. In her conclusion Orwin refers belatedly and almost incidentally to Tolstoy’s marriage, his family and his growing older. But these factors were surely more crucial for the development of his ideas than she seems to have allowed for; the optimism of War and Peace reflecting the harmony of the early years of his marriage and the darker notes of Anna [End Page 166] Karenina indicating growing disillusion as the relationship between him and his wife lost its early bloom and Tolstoy approached his fifties.Deserving of fuller treatment too were the currents of thought in Russian intellectual circles in the 1860s and 70s which formed an essential background for Tolstoy’s ideas. These too are accorded only quite brief mention. In fact, the commentary on the fictional works, impressive in its depth, tends to be almost too detailed, in places verging on the repetitious. The book could have been more satisfactory if the detailed textual commentary had been more concise and the broader considerations given more extensive analysis. But Orwin’s decision to use a comparatively narrow focus was clearly deliberate and, if we accept its limitations, we can still recognize the importance of her book for Tolstoy studies.John GoodliffeUniversity of Canterbury, New ZealandCopyright © 1995 The Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Painting Outside the Lines: Patterns of Creativity in Modern ArtMatthew ZiffPainting Outside the Lines: Patterns of Creativity in Modern Art, by David W. Galenson. Cambridge: Harvard University Press, 2001, 272 pp., $29.95.The relationship between the market value of paintings and the chronological point in an artist's working life when the paintings were produced is the driving mechanism for exploring creativity and innovation in David W. Galenson's book "Painting (...) Outside the Lines: Patterns of Creativity in Modern Art. The working thesis of this book is that Modern artists have worked creatively and innovatively in one of two distinctly different manners. The terminology Galenson uses to describe these distinct ways of working are "finders" and "seekers." Finders are artists like Pablo Picasso, who at age 26, make startling and important innovations with little advance indication that such a burst is about to take place. Seekers are artists like Paul Cezanne, whospend their entire working lives engaged in the pursuit of a singular approach or achievement. The differences between these methodologies are carefully presented through the details of the working lives of a variety of Modern artists. French nineteenth century and early twentieth-century artists and mid-twentieth-century American artists are used as the source data for these comparisons.Early in the book Galenson presents lists of chronological events within the lives of artists and market valuation of their work within this chronology. The dramatic clarity of the relationships presented in this data sets the stage for the detailed information that follows. Factors that in some cases only partly, and in others nearly completely, explain an artist's way of working are offered through biographic information, information about the aesthetic and cultural milieu, and about the economic and educational structures that are predominant during the relevant time in the life of the artist.The relationship between the aesthetic and cultural milieu surrounding an artist and the capacity or inclination of an artist to be innovative is an important aspect of the book's analysis. The scope of the book is limited to Modern artists because of the shift that took place at the outset of Modern art, during the mid 1860s, that brought a strong emphasis on innovation and change for their own sake as an important characteristic within a work of art. This emphasis "created incentives for painters to produce new approaches to art" (p. 111). Prior to the time of Modern art, innovation and change were often unnecessary for an artist to be successful. Modern art introduced the demand that innovation and change be necessary ingredients in art, and therefore the search for innovation became a significant element within the work of many artists. The manner in which this search took place, as presented through the data at hand, reveals how individual artists viewed the need for innovation and change within their own [End Page 123] work. Paul Cezanne, for example, was aware of the impact that his painting was having on the art world, but he insisted that he was not yet finished with discoveries that would reveal the truest expression of his beliefs about aesthetic expression.In the American movement, "Abstract Expressionism," Galenson finds a useful counter example to the art scene in Paris. In the United States, especially during the 1940s and 1950s — the peak years of creative output by Abstract Expressionist artists — the demand for their work was quite low. There were few economically viable outlets for the work of de Kooning, Pollack, Rothko, and the others of this group. Consequently there is a shift in the chronological point at which these artists achieve market value success. Nearly all of these artists receivedrecognition at an older age than the French artists of the late nineteenth and early twentieth centuries.The thesis of the book, that there are two fundamentally different ways of working to produce works of art, is directly applicable to, and useful in, exploring issues of teaching and learning in design education. As a teacher of interior architecture I was interested to follow the details that Galenson presented in support of his analysis of the careers of numerous Modern artists. The methodological differences between seeking and... (shrink)

This essay is an attempt to plumb the conventions which exist at a specific historical moment in both the aesthetic and scientific spheres. I will assume the existence of a web of conventions within the world of the aesthetic—conventions which have elsewhere been admirably illustrated—but will depart from the norm by examining the synchronic existence of another series of conventions, those of medicine. I do not mean in any way to accord special status to medical conventions. Indeed, the world is (...) full of overlapping and intertwined systems of conventions, of which the medical and the aesthetic are but two. Medicine offers an especially interesting source of conventions since we do tend to give medical conventions special “scientific” status as opposed to the “subjective” status of the aesthetic conventions. But medical icons are no more “real” than “aesthetic” ones. Like aesthetic icons, medical icons may iconographic in that they represent these realities in a manner determined by the historical position of the observers, their relationship to their own time, and to the history of the conventions which they employ. Medicine uses its categories to structure an image of the diversity of mankind; it is as much at the mercy of the needs of any age to comprehend this infinite diversity as any other system which organizes our perception of the world. The power of medicine, at least in the nineteenth century, lies in the rise of the status of science. He conventions of medicine infiltrate other seemingly closed iconographic systems precisely because of this status. In examining the conventions of medicine employed in other areas, we must not forget this power.One excellent example of the conventions of human diversity captured in the iconography of the nineteenth century is the linkage of two seemingly unrelated female images—the icon of the Hottentot female and the icon of the prostitute. In the course of the nineteenth century, the female Hottentot comes to represent the black female in nuce, and the prostitute to represent the sexualized woman. Both of these categories represent the creation of classes which correspondingly represent very specific qualities. While the number of terms describing the various categories of the prostitute expanded substantially during the nineteenth century, all were used to label the sexualized woman. Likewise, while many groups of African blacks were known to Europeans in the nineteenth century, the Hottentot remained representative of the essence of the black, especially the black female. Both concepts fulfilled an iconographic function in the perception and the representation of the world. How these two concepts were associated provides a case study for the investigation of patterns of conventions, without any limitation on the “value” of one pattern over another. Sander L. Gilman is professor of Humane Studies in the Department of German Literature and Near Eastern Studies and professor of Psychiatry in the Cornell Medical College, Cornell University. He is the author or editor of numerous studies of European cultural history with a focus on the history of stereotypes. In addition, he has coedited Degeneration with J. E. Chamberlin. His study Jewish Self-Hatred is forthcoming. (shrink)

Bloch, known as the 20th century "utopian philosopher." In his view, an important 20th century utopian philosophy - Marxist categories, utopia is far from limited in the social sphere, it also exists in the art, especially present in the affected by the Expressionist poets and painters. Utopia is a specific principle of the struggle, a social force, it indicates that the political future vision, the new state of things not found. A better life not only illuminate the utopian future, but (...) also illuminate the present. Should not be a Marxist, spread pessimism. (shrink)

This book examines the performance of Bauls 'folk' performers from Bengal, in the context of a rapidly globalizing Indian economy and against the backdrop of extreme nationalistic discourses. Recognizing their scope beyond the musical and cultural realm, Sukanya Chakrabarti engages in discussing the subversive and transformational potency of Bauls and their performances. In-Between Worlds argues that the Bauls through their musical, spiritual, and cultural performances offer 'joy' and 'spirituality', thus making space for what Dr. Ambedkar in his famous 1942 speech (...) had identified as 'reclamation of human personality'. Chakrabarti destabilizes the category of 'folk' as a fixed classification or an origin point, and fractures homogeneous historical representations of the Baul as a 'folk' performer and a wandering mendicant exposing the complex heterogeneity that characterizes this group. Establishing 'folk-ness' as a performance category, and 'folk festivals' as sites of performing 'folk-ness', contributing to a heritage industry that thrives on imagined and recreated nostalgia, Chakrabarti examines different sites that produce varied performative identities of Bauls, probing the limits of such categories while simultaneously advocating for polyvocality and multifocality. While this project has grounded itself firmly in performance studies, it has borrowed extensively from fields of postcolonial studies and subaltern histories, literature, ethnography and ethnomusicology, and cosmopolitan studies. (shrink)

This paper argues that Michael Polányi’s account of how science, as an institution, establishes knowledge can provide a structure for a future institution capable of countering misinformation, or fake news, and deepfakes. I argue that only an institutional approach can adequately take up the challenge against the corresponding institution of fake news. The fact of filtering news and information may be bothering. It is the threat of censorship and free speech limitation. Instead, I propose that we should indicate reliable information (...) with a trademark and news signing-approved information and brand equity. I offer a method of creating a standard for online news that people can rely on (similar to high-quality shopping products). (shrink)