He occasionally made photographs until his death in poverty there in 1884, leaving behind some of the most dazzling photographic images of his era.".

This article proceeds to describe in detail the expression forms (“Formes de l’expression”) particular to two photographs by Henri Cartier-Bresson. The investigation of the specificities of the plastic dimension of these photographs leads us to discover some of the formal features liable to raise photographic language to the level of artistic composition. We thereby demonstrate how Photography may take on astonishingly deep and complex sensations and significations.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art (...) being a case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.1 (2004) 78-88 [Access article in PDF] Remembering Beauty:Reflections on Kant and Cartier-Bresson for Aspiring Photographers Stuart Richmond In the past few decades beauty has become something of an endangered species in the Western art world. Indeed, beauty has never been a central aim of contemporary art, which has tended to focus on meaning and politics rather than formal values, conceptual art (...) being a case in point. Feminist artists and critics, reacting to the objectification of women in society have rendered attention to women's beauty, especially the nude, impolitic. This is perhaps understandable given the persuasive emphasis on beauty in marketing, that many argue socializes an unhealthy self-image in young people and distracts attention from important social issues. As well, techno-global-business practices increasingly invade our lives and private spaces with a virtual culture of information and efficiency. We do not know how this retreat from the sensual, concrete present will affect human sensibilities and values in the long run, although there are some disturbing signs. Seen as un-cerebral and allied with pleasure, beauty and its alter ego, appreciation, have acquired a decided regressive air. Having said that, for many people at the level of ordinary life — in human relationships, arts activities, and love of nature, for example — beauty never really went away because beauty is a source of pleasure and well-being that we cannot help wanting. As Plato pointed out, beauty is the only visible quality that inspires love. 1 A life of beauty in a free and ethical environment is an invitation to a life worth living. Though I cannot pursue the matter here, it is noteworthy that we often call a person of courage, goodness, and humility, a beautiful human being. Around the world people find many paths to beauty and of late in the Western artistic and academic worlds, beauty seems to be making a comeback. But beauty is a difficult thing to talk about, partly due to its being an experiential concept, partly because it has a long and complex philosophical history, and also because there is the risk in analysis of reducing it to something small and formulaic. Words in the end cannot replace the experience [End Page 78] of beauty. Despite these concerns, however, I believe that now, more thanever in the arts and education, we need to develop capacities for creating and appreciating beauty, if only to bring us back into contact with what is sensual and intrinsically worthwhile after so much arid theorizing, conflict in the world, and technocratic obsession. Through beauty we might be able to regain a stronger sense of human values and pleasure in living. Therefore, my aim here is to re-examine beauty in order to strengthen its role in aesthetic education. I do not expect to develop any precise definitions but I shall aim for a few signposts. Background to the Concept of Beauty "Beauty," "beautiful," or "the beautiful" refer primarily to a quality found pleasing to the senses. Here I shall restrict discussion to the visual domain, and later principally to art. As noted, beauty has a long philosophical history but the concept remains vague. From classical times on, beauty has been defined or associated with such properties as symmetry, balance, variety, harmony, proportion, order, unity, and perfection. And indeed, these features have long provided normative guidelines for the creation and appreciation of beauty. Over time we have learned the shape and proportions of a beautiful pot or supporting column. The golden section, a ratio of 1:1.6, has been used to good effect in design for millennia, the Parthenon being a prime example, the 35 mm negative another. However, as is well known, differences in beauty in individual cases tend to elude definition on account of this or that property or collection of properties. Exceptions can always be found. A painting may be well balanced but lacking in a certain élan vital, or unbalanced but beautiful. The variability of beautiful things seems to rule out a... (shrink)

Juxtaposing distinct approaches to gesture in order to explore the ways in which they at once shape and are influenced by culture, the contributors examine the works of writers Henri Michaux and Stphane Mallarm, photographers Henri Cartier ...

Promettant à la fois la capture de l’instant et son dépassement vers l’intemporel, le medium photographique voit son destin intimement lié à la catégorie du temps. L’article suggère cependant que cette inclusion du temps dans l’image s’est acquise, au cours de l’histoire de la photographie, au prix d’une essentialisation du momentané. À rebours d’une telle approche, il s’agit de repenser l’instantané photographique comme découlant de l’accident, si bien que la photo figure non plus l’instant fécond, mais bien le temps de (...) l’accident, qui correspond, dans tous les sens du terme, à un arrêt de mort. (shrink)

This retrospective of photographs spans a period of forty years. Each photograph, each act of photographing, has been an attempt to stop time, to capture what is happening in the moment, and to preserve the moment for posterity. The photographer frames the subject and gives witness to an order in the universe. But the photographer knows that, as Henri Cartier-Bresson has reminded us, nothing can really bring back the moment of things fixed in the photograph. And nothing can (...) bring back that moment in the life of the photographer. In the wisdom of Buddhism, “all things are impermanent.” Photographs are a reminder of the impermanence of all things. But what the photographer once saw and caught on film may be given another life when others see the photographs. For the photographer, the act of photographing has been an intimate part of the process of living a life. This body of work, accompanied by journal notes, is a record of what the photographer once saw, and is a window to the life once lived. (shrink)

This paper focuses on whether static images can depict motion. It is natural to say that pictures depicting objects caught in the middle of a dynamic action—such as Henri Cartier-Bresson’s (1932) Behind the Gare St. Lazare—are pictures of movement, but, given that pictures themselves do not move, can we make sense of such an idea? Drawing on results from experimental psychology and cognitive sciences, I show that we can. Psychological studies on implicit motion and representational momentum indicate that (...) motion is really perceived in some static images: our visual system is built in order to detect motion, even where it is only implied, and to anticipate the probable outcomes of others’ actions—even when the ‘others’ are only the subject matters of pictures’. I argue that, consequently, a range of popular depiction theories—perceptualist theories of depiction—can accommodate depicted motion. (shrink)

From the earliest silver-chloride calotypes of inventor of photography William Henry Fox-Talbot to developments in digital photography and the tiny but surprisingly capable cameras that are a component of every smartphone today, photography has changed dramatically over the past 150 years. As technology has advanced, so too has photography as a living, dynamic art form, as evidenced by the innovative techniques and compositions of contemporary photographic artists. Drawing on a diverse collection of historical and contemporary photographs held by Bank Austria (...) and on display at the Museum der Moderne Salzburg, Focus on Photography provides a rich visual record of the history of photography. The photographs reproduced here date from the 1840s to the 1970s and include works by Julia Margaret Cameron, Lewis Carroll, André Kertész, Josef Sudek, Eadweard Muybridge, Alexander Rodchenko, Lászlo Moholy-Nagy, Man Ray, Henri Cartier-Bresson, Diane Arbus, and Arnulf Rainer, among others, and range from landscapes and portraits to cutting-edge modern compositions. Together, they offer readers a series of invaluable reference points for thinking about of the important trends and developments throughout the history of photography. A stunning, kaleidoscopic portfolio featuring nearly two centuries of photographic art with representation from among many major movements and figures, Focus on Photography will be welcomed by all with an interest in this powerful medium. (shrink)

The first art of photography best aligns with the production of photographers like Henri Cartier‐Bresson, Edward Weston, Andre Kertesz, and Diane Arbus. Modernism is the moniker that tends to be applied to these photographers and their peers in retrospect, usually by art historians, especially in connection with the writings of John Szarkowski. As curator of photography at the Museum of Modern Art in New York from the 1960s through the 1980s, Szarkowski commanded attention and used it to lead (...) the cheer for modernist photography. A recurring theme of photography writing is that looking at photographs enables one to experience bits of the world that are distant in time or space‐the past or the far away. Confidence in the epistemic power of photography amplifies the revelation: what is revealed is reality, not an artist's fancy or a side effect of the mechanical imaging process. (shrink)

The ubiquity of camera phones today has made us all photographers, and as these nano-devices attest, the history of photography, perhaps more so than any other art, is also a history of technology, one best revealed in the very vehicle that makes it possible—the camera. Through brief, illustrated chapters on fifty landmark cameras and the photographers who used them, Michael Pritchard offers an entertaining look at photography as practiced by professionals, artists, and amateurs. A History of Photography in Fifty Cameras (...) is organized chronologically, beginning with William Henry Fox Talbot’s wooden “Mousetrap” camera of 1835. Other entries include the Brownie, the Coronet Midget, the Kodak Instamatic 100, and, of course, the Polaroid SX-70. Photographs within each chapter show not only the cameras themselves but also samples of the images made with them. Pritchard uses each camera as a point of entry for talking about the people who used them and the kind of photos they produced, from Weegee and his Speed Graphic to Cartier-Bresson and the Leica’s role in the invention of photojournalism. In the hands of individual photographers, he reveals, cameras came to represent unique styles of depiction. Together, the stories of the fifty cameras gathered here present an approachable and informative take on a medium that continues to fire the imagination, whether we’re perfecting the selfie or longing for the days of Fotomat. (shrink)

He tells us the inside stories behind dozens of famous pictures like these, which are reproduced in this book, and provides intimate and revealing portraits of the men and women who shot them, including Robert Capa, Henri Cartier-Bresson, ...

Emmet Gowin à la fondation Henri Cartier-Bresson (14 mai-27 juillet 2014) / Lewis Baltz au Bal (23 mai-24 août 2014) Depuis quelques semaines, les Parisiens ont la chance de pouvoir découvrir deux figures légendaires de la photographie américaine contemporaine, deux géants incontournables et pourtant peu exposés en France jusque-là : Lewis Baltz, au Bal, et Emmet Gowin à la fondation Henri Cartier-Bresson. De la même génération (ils sont nés dans les années 1940), ces deux artistes ont (...) en commun (...) - Arts plastiques et autres – GALERIE – Nouvel article. (shrink)

From Detroit Red to El-Hajj Malik El-Shabazz, the man best known as Malcolm X restlessly redefined himself throughout a controversial life. His transformations have appeared repeatedly in books, photographs, paintings, and films, while his murder set in motion a series of tugs-of-war among journalists, biographers, artists, and his ideological champions over the interpretation of his cultural meaning. This book marks the first systematic examination of the images generated by this iconic cultural figure--images readily found on everything from T-shirts and hip-hop (...) album covers to coffee mugs. Graeme Abernethy captures both the multiplicity and global import of a person who has been framed as both villain and hero, cast by mainstream media during his lifetime as "the most feared man in American history," and elevated at his death as a heroic emblem of African American identity. As Abernethy shows, the resulting iconography of Malcolm X has shifted as profoundly as the American racial landscape itself. Abernethy explores Malcolm's visual prominence in the eras of civil rights, Black Power, and hip-hop. He analyzes this enigmatic figure's representation across a variety of media from 1960s magazines to urban murals, tracking the evolution of Malcolm's iconography from his autobiography and its radical milieu through the appearance of Spike Lee's 1992 biopic and beyond. Its remarkable gallery of illustrations includes reproductions of iconic photographs by Richard Avedon, Eve Arnold, Gordon Parks, Henri Cartier-Bresson, and John Launois. Abernethy reveals that Malcolm X himself was keenly aware of the power of imagery to redefine identity and worked tirelessly to shape how he was represented to the public. His theoretical grasp of what he termed "the science of imagery" enabled him both to analyze the role of representation in ideological control as well as to exploit his own image in the interests of black empowerment. This provocative work marks a startling shift from the biographical focus that has dominated Malcolm X studies, providing an up-to-date--and comprehensively illustrated--account of Malcolm's cultural afterlife, and addressing his iconography in relation to images of other major African American figures, including Martin Luther King, Jr., Angela Davis, Kanye West, and Barack Obama. Analyzing the competing interpretations behind so many images, Abernethy reveals what our lasting obsession with Malcolm X says about American culture over the last five decades. (shrink)

A staff photographer for the Ketchikan Daily News, Hall Anderson counted among his early influences photographers like Robert Frank and Henri Cartier-Bresson, who understood the visual bounty to be found in photographing the candid side of life. For more than twenty-five years, Anderson has brought this perspective to his photographic endeavors, both personal and professional, in the small town of Ketchikan in southeast Alaska. Still Rainin' Still Dreamin' showcases one hundred of Anderson's prize-winning black-and-white images, which collectively chronicle (...) three decades of life in Ketchikan, spanning its transition from a timber- and fishing-based economy to one built on a booming tourism industry. From timber carnivals to election coverage to Fourth of July parades, Still Rainin' Still Dreamin' is a poignant celebration of the uncanny juxtapositions found in everyday life. (shrink)

Key writings by artists and theorists chart the shifting relationship between film and photography and how the rise of cinema forced photography to make a virtue of its stillness. The cinematic has been a springboard for the work of many influential artists, including Victor Burgin, Philip-Lorca diCorcia, Stan Douglas, Nan Goldin, Douglas Gordon, Cindy Sherman, and Jeff Wall, among others. Much recent cinema, meanwhile, is rich with references to contemporary photography. Video art has taken a photographic turn into pensive slowness; (...) photography now has at its disposal the budgets and scale of cinema. This addition to Whitechapel's Documents of Contemporary Art series surveys the rich history of creative interaction between the moving and the still photograph, tracing their ever-changing relationship since early modernism. Still photography—cinema's ghostly parent—was eclipsed by the medium of film, but also set free. The rise of cinema obliged photography to make a virtue of its own stillness. Film, on the other hand, envied the simplicity, the lightness, and the precision of photography. Russian Constructivist filmmakers considered avant-garde cinema as a sequence of graphic "shots"; their Bauhaus, Constructivist and Futurist photographer contemporaries assembled photographs into a form of cinema on the page. In response to the rise of popular cinema, Henri Cartier-Bresson exalted the "decisive moment" of the still photograph. In the 1950s, reportage photography began to explore the possibility of snatching filmic fragments. Since the 1960s, conceptual and postconceptual artists have explored the narrative enigmas of the found film still. The Cinematic assembles key writings by artists and theorists from the 1920s on—including László Moholy-Nagy, Pier Paolo Pasolini, Victor Burgin, Jeff Wall, and Catherine David—documenting the photography-film dialogue that has enriched both media. (shrink)

The role of chance in producing a picture by snapping a shutter release before a complex and quickly changing scene weakens the bond between the historic action photograph and the meanings it is routinely asked to bear. To appreciate this problem and to understand the array of popular notions that have been marshaled to finesse or suppress the role of chance in photographic production, I consider the case of Joe Rosenthal’s 1945 photograph of American servicemen raising a flag on Iwo (...) Jima. The analysis pushes the production of this famous photograph through a series of zoological analogies: Is it like a fisherman reeling in a trophy catch? Like a cat pouncing on a mouse or a spider setting a trap for a fly? Like a pig pushing its snout through the dirt? Like chimpanzees banging at typewriters? These analogies are playful but also serious. We need new models for understanding the production of the historic action photograph because the predominant modern and postmodern approaches to that production have suppressed the role of chance. Whereas the modern regime tends to understand the historic action photograph as an inspired flash of history, the postmodern regime tends to understand it as a discursive effect. Entertaining the notion that such a photograph is instead a stochastic result leads to a new conception of photography and its relationship to history. Chance emerges as a third kind of photographic madness, alongside the industrial madness decried by Charles Baudelaire and the indexical madness that moved Roland Barthes. (shrink)

Several studies describe intersectoral collaboration in Western healthcare as hampered by lack of coordination of care and treatment and incoherent patient pathways. We performed an ethnographic study following elderly patients from admission to an emergency unit (EMU) to discharge and further treatment and care at other facilities in the healthcare system. The aim was to explore how health professionals work together across sectors in the Danish healthcare system and how they create patient pathways for elderly patients (+65) with multiple chronic (...) illnesses. Intersectoral collaboration was identified as distant relations between large numbers of health professionals, where communication was conveyed by electronic health record (EHR) formats which promoted information delivery that focused on patients’ immediate symptoms. Other significant ‘mediators’ of communication were the telephone that seemed to resemble face‐to‐face communication and the patient who delivered information from one professional to another. We suggest that the communication among professionals at various facilities interacts with the format and functionalities of the EHRs, which typically fall short in delivery of information across sectors, because the often complex needs of patients with multimorbidity do not fit in with the available functionalities of the EHR. (shrink)

We recently reported strong, replicable (i.e., replicated) evidence for lexically mediated compensation for coarticulation (LCfC; Luthra et al., 2021), whereby lexical knowledge influences a prelexical process. Critically, evidence for LCfC provides robust support for interactive models of cognition that include top‐down feedback and is inconsistent with autonomous models that allow only feedforward processing. McQueen, Jesse, and Mitterer (2023) offer five counter‐arguments against our interpretation; we respond to each of those arguments here and conclude that top‐down feedback provides the most parsimonious (...) explanation of extant data. (shrink)

The Oxford Encyclopedia of Literary Theory presents a broad and in-depth overview of every aspect of literary theory, both traditional and contemporary. Around 180 full-length essays written by international experts illustrate the problems, the concepts, and the methodologies that arise when we discuss literary criticism, offering the most comprehensive exposition and analysis currently available of literary theory in all its many dimensions.

ABSTRACTIn this paper I defend a form of epistocracy I call limited epistocracy – rule by institutions housing expertise in non-political areas that become politically relevant. This kind of limited epistocracy, I argue, isn't a far-off fiction. With increasing frequency, governments are outsourcing political power to expert institutions to solve urgent, multidimensional problems because they outperform ordinary democratic decision-making. I consider the objection that limited epistocracy, while more effective than its competitors, lacks a fundamental intrinsic value that its competitors have; (...) namely, political inclusion. After explaining this challenge, I suggest that limited epistocracies can be made compatible with robust political inclusion if specialized institutions are confined to issuing directives that give citizens multiple actionable options. I explain how this safeguards citizens’ inclusion through rational deliberation, choice, and contestation. (shrink)

Purpose – The purpose of this paper is to explore artificial moral agency by reflecting upon the possibility of a Moral Turing Test and whether its lack of focus on interiority, i.e. its behaviouristic foundation, counts as an obstacle to establishing such a test to judge the performance of an Artificial Moral Agent. Subsequently, to investigate whether an MTT could serve as a useful framework for the understanding, designing and engineering of AMAs, we set out to address fundamental challenges within (...) the field of robot ethics regarding the formal representation of moral theories and standards. Here, typically three design approaches to AMAs are available: top-down theory-driven models and bottom-up approaches which set out to model moral behaviour by means of models for adaptive learning, such as neural networks, and finally, hybrid models, which involve components from both top-down and bottom-up approaches to the modelling of moral agency. With inspiration from Allen and Wallace as well as Prior, we elaborate on theoretically driven approaches to machine ethics by introducing deontic tense logic. Finally, within this framework, we explore the character of human interaction with a robot which has successfully passed an MTT. Design/methodology/approach – The ideas in this paper reflect preliminary theoretical considerations regarding the possibility of establishing a MTT based on the evaluation of moral behaviour, which focusses on moral reasoning regarding possible actions. The thoughts reflected fall within the field of normative ethics and apply deontic tense logic to discuss the possibilities and limitations of artificial moral agency. Findings – The authors stipulate a formalisation of logic of obligation, time and modality, which may serve as a candidate for implementing a system corresponding to an MTT in a restricted sense. Hence, the authors argue that to establish a present moral obligation, we need to be able to make a description of the actual situation and the relevant general moral rules. Such a description can never be complete, as the combination of exhaustive knowledge about both situations and rules would involve a God eye’s view, enabling one to know all there is to know and take everything relevant into consideration before making a perfect moral decision to act upon. Consequently, due to this frame problem, from an engineering point of view, we can only strive for designing a robot supposed to operate within a restricted domain and within a limited space-time region. Given such a setup, the robot has to be able to perform moral reasoning based on a formal description of the situation and any possible future developments. Although a system of this kind may be useful, it is clearly also limited to a particular context. It seems that it will always be possible to find special cases in which a given system does not pass the MTT. This calls for a new design of moral systems with trust-related components which will make it possible for the system to learn from experience. Originality/value – It is without doubt that in the near future we are going to be faced with advanced social robots with increasing autonomy, and our growing engagement with these robots calls for the exploration of ethical issues and stresses the importance of informing the process of engineering ethical robots. Our contribution can be seen as an early step in this direction. (shrink)

The environmental crisis is the most prominent challenge humanity has ever had to battle with, and humanity is currently failing. The Anthropocene—or so called ‘age of humans’—is indeed a period when the survival of humanity has never been so much at risk. This book locates itself in the field of critical green political theory. Fremaux's analysis of the current environmental crisis calls for us to embrace radical shifts in our modes of being; or, in other words, socially progressive innovations that (...) will be described within the unique framework of "Green Republicanism." In offering a constructive and emancipatory delineation of what could be considered an ecological civilization that is respectful of its natural environment and social differences, this book describes how to shift from an ‘arrogant speciesism’ and materialistic lifestyle to a post-anthropocentric ecological humanism focusing on the ‘good life’ within ecological limits. This new political regime calls for a radical reinvention of our societies, a decentering of the humans within our metaphysical worldview, and a withdrawal of the capitalist technosphere at the benefit of the biosphere. It will require a new economic paradigm that replaces the unsustainable capitalist logic of growth by sustainable degrowth and steady economics. Rooted in ethical thinking and political philosophy, this book seeks to offer a concrete roadmap of how sustainable societies can be fostered. (shrink)

This Element has two aims. The first is to discuss arguments philosophers have made about the difference God's existence might make to questions of general interest in metaethics. The second is to argue that it is a mistake to think we can get very far in answering these questions by assuming a thin conception of God, and to suggest that exploring the implications of thick theisms for metaethics would be more fruitful.

Stimuli that resemble humans, but are not perfectly human-like, are disliked compared to distinctly human and nonhuman stimuli. Accounts of this “Uncanny Valley” effect often focus on how changes in human resemblance can evoke different emotional responses. We present an alternate account based on the novel hypothesis that the Uncanny Valley is not directly related to ‘human-likeness’ per se, but instead reflects a more general form of stimulus devaluation that occurs when inhibition is triggered to resolve conflict between competing stimulus-related (...) representations. We consider existing support for this inhibitory-devaluation hypothesis and further assess its feasibility through tests of two corresponding predictions that arise from the link between conflict-resolving inhibition and aversive response: 1) that the pronounced disliking of Uncanny-type stimuli will occur for any image that strongly activates multiple competing stimulus representations, even in the absence of any human-likeness, and 2) that the negative peak of an ‘Uncanny Valley’ should occur at the point of greatest stimulus-related conflict and not (in the presence of human-likeness) always closer to the ‘human’ end of a perceptual continuum. We measured affective responses to a set of line drawings representing nonhuman animal-animal morphs, in which each continuum midpoint was a bistable image (Exp. 1), as well as to sets of human-robot and human-animal computer-generated morphs (Exp. 2). Affective trends depicting classic Uncanny Valley functions occurred for all continua, including the nonhuman stimuli. Images at continua midpoints elicited significantly more negative affect than images at endpoints, even when the continua included a human endpoint. This illustrates the feasibility of the inhibitory-devaluation hypothesis and the need for further research into the possibility that the strong dislike of Uncanny-type stimuli reflects the negative affective consequences of cognitive inhibition. (shrink)

Is there a link between how a firm manages its internal and external stakeholders? More specifically, are firms that give employees stock ownership and more say in running the enterprise more likely to engage with external stakeholders? This study seeks to answer these questions by elaborating on mechanisms that link employees to external stakeholders, such as the community, suppliers, and the environment. It tests these relationships using a sample of 347 private, mostly small-to-medium size firms, which completed a stakeholder impact (...) assessment organized by the non-profit B Lab. The results support the hypotheses that both employee ownership and employee involvement are positively associated with external stakeholder engagement. Further, we found that certification plays a role, as employee ownership contributes to external stakeholder engagement only in certified B Corporations, and not in firms that merely completed the B Lab Impact assessment. Our findings have import for stakeholder engagement frameworks, as we show that there is interplay between internal employee stakeholders and external stakeholders that may be important to overall firm–stakeholder management. (shrink)

Freadman uses the term genre to access Peirce’s work, and expands this original theoretical approach by proposing that “genre” interacts with “sign” and that this interaction is central to the study of the semiotic in general.

Decades ago, several authors have proposed that disorders in automatic processing lead to intrusive symptoms or abnormal contents in the consciousness of people with schizophrenia. However, since then, studies have mainly highlighted difficulties in patients’ conscious experiencing and processing but rarely explored how unconscious and conscious mechanisms may interact in producing this experience. We report three lines of research, focusing on the processing of spatial frequencies, unpleasant information, and time-event structure that suggest that impairments occur at both the unconscious and (...) conscious level.We argue that focusing on unconscious, physiological and automatic processing of information in patients, while contrasting that processing with conscious processing, is a first required step before understanding how distortions or other impairments emerge at the conscious level. We then indicate that the phenomenological tradition of psychiatry supports a similar claim and provides a theoretical framework helping to understand the relationship between the impairments and clinical symptoms. We base our argument on the presence of disorders in the minimal self in patients with schizophrenia. The minimal self is tacit and non-verbal and refers to the sense of bodily presence. We argue this sense is shaped by unconscious processes, whose alteration may thus affect the feeling of being a unique individual. This justifies a focus on unconscious mechanisms and a distinction from those associated with consciousness. (shrink)

Eudaimonists deny that eudaimonism is objectionably egoistic, but the way in which they do so commits them to eschewing an important insight that has been a central motivation for eudaimonism: the idea that an individual must, in the end, organize her life in such a way that it is good for her. In this paper I argue that the egoism objection prods eudaimonists to make a choice between (what we might roughly call) welfare-prior and excellence-prior eudaimonism, and I make some (...) preliminary remarks on behalf of welfare-prior eudaimonism. (shrink)

Disorders of consciousness and the self are at the forefront of schizophrenia symptomatology. Patients are impaired in feeling themselves as the authors of their thoughts and actions. In addition, their flow of consciousness is disrupted, and thought fragmentation has been suggested to be involved in the patients’ difficulties in feeling as being one unique, unchanging self across time. Both impairments are related to self disorders, and both have been investigated at the experimental level. Here we review evidence that both mechanisms (...) of motor control and the temporal structure of signal processing are impaired in schizophrenia patients. Based on this review, we propose that the sequencing of action and perception plays a key role in the patients’ impairments. Furthermore, the millisecond time scale of the disorders, as well as the impaired sequencing, highlights the cooperation between brain networks including the cerebellum, as proposed by Andreasen (1999). We examine this possibility in the light of recent knowledge on the anatomical and physiological properties of the cerebellum, its role in timing, and its involvement in known physiological impairments in patients with schizophrenia, e.g., resting states and brain dynamics. A disruption in communication between networks involving the cerebellum, related to known impairments in dopamine, glutamate and GABA transmission, may help to better explain why patients experience reduced attunement with the external world and possibly with themselves. (shrink)

Résumé À partir d’expériences concrètes, les auteurs montrent les dimensions politiques des démarches micro-urbaines et d’une reconstruction de l’espace de proximité à partir des marges, des bords et des interstices de la ville capitaliste. Ces interventions permettent la constitution d’une subjectivité collective et synaptique capable d’appropriations territoriales poreuses et de transformations politiques à partir du quotidien. Une démocratisation continue de l’espace de proximité par « agencement jardinier », un agir interstitiel et biopolitique « en bas de chez soi ».

The general typology for the dialogue between religion and science is built on the assumption that there is an objective world, one reality that can be described. In this paper, I present an alternative epistemological framework for the dialogue that understands all descriptions of reality as symbolic. Therefore, this understanding creates a new possibility for mutual enrichment between the two dialogue partners. I demonstrate the usefulness of this framework by applying it to the dialogue between artificial intelligence (AI) and theology. (...) I discuss an advanced AI project: Cog, a humanoid robot. After briefly describing this project, its assumptions, and the emotions it creates (mainly hope and fear), I show how the project can be enriched by theological insight. The concept ofimago Dei—the understanding of humans created in the image of God—can be applied to the Cog project especially when it is presented in a way that takes the metaphorical character of both theological and scientific theories seriously. (shrink)

ABSTRACTIn three experiments we investigated whether memory-independent evaluative conditioning and other memory-independent contingency learning effects occur in the valence contingency...

ABSTRACTAccumulating evidence suggests that emotional information is often recognised faster than neutral information. Several studies examined the effects of valence and arousal on word recognition, but yielded partially diverging results. Here, we used two alternative versions of a constructive recognition paradigm in which a target word is hidden by a visual mask that gradually disappears, to investigate whether the emotional properties of words influence their speed of recognition. Participants were instructed either to classify the incrementally appearing word as emotional or (...) non-emotional or to decide whether the appearing letter string is an existing word or not. Results from both tasks revealed faster recognition times for high- compared to low-arousing words, and for positive compared to negative or neutral words. These findings indicate a recognition advantage for emotionally positive and highly arousing stimuli that persists even when visua... (shrink)

Translational research is a buzzword which dominates discussions about the quality, the utilization, and the benefits of medical research. Yet, although translational research has become a prominent topic, no commonly agreed definition of this terminology exists. Instead, experts from different contexts such as biomedical research, clinical practice or nursing discuss translational research in multiple ways depending on how they define the problem that translational research is supposed to be the solution to. In this paper, we do not seek to find (...) a ‘correct’ definition of translational research, but instead ask how actors using this terminology for describing their own research make sense of it. To do so, we asked three questions: Which actors are engaged in the debate about translational research? What kind of different meanings of translational research exist? And, which actors refer to which meaning of translational research when using the term? In answering these questions, we highlight the role this terminology plays in defining what medical science is about today. (shrink)

Translational research is a buzzword which dominates discussions about the quality, the utilization, and the benefits of medical research. Yet, although translational research has become a prominent topic, no commonly agreed definition of this terminology exists. Instead, experts from different contexts such as biomedical research, clinical practice or nursing discuss translational research in multiple ways depending on how they define the problem that translational research is supposed to be the solution to. In this paper, we do not seek to find (...) a ‘correct’ definition of translational research, but instead ask how actors using this terminology for describing their own research make sense of it. To do so, we asked three questions: Which actors are engaged in the debate about translational research? What kind of different meanings of translational research exist? And, which actors refer to which meaning of translational research when using the term? In answering these questions, we highlight the role this terminology plays in defining what medical science is about today. (shrink)

Translational research is a buzzword which dominates discussions about the quality, the utilization, and the benefits of medical research. Yet, although translational research has become a prominent topic, no commonly agreed definition of this terminology exists. Instead, experts from different contexts such as biomedical research, clinical practice or nursing discuss translational research in multiple ways depending on how they define the problem that translational research is supposed to be the solution to. In this paper, we do not seek to find (...) a ‘correct’ definition of translational research, but instead ask how actors using this terminology for describing their own research make sense of it. To do so, we asked three questions: Which actors are engaged in the debate about translational research? What kind of different meanings of translational research exist? And, which actors refer to which meaning of translational research when using the term? In answering these questions, we highlight the role this terminology plays in defining what medical science is about today. (shrink)

Parmi les déesses du monde mésopotamien, deux figures féminines se dégagent : les soeurs Ištar et Ereškigal. Ištar agit dans la sphère des relations amoureuses, et surtout de la bataille. Elle joue dans la guerre comme elle le ferait « avec une corde à sauter ». Ereškigal règne sur le monde des morts : elle est celle « qui n’a pas connu le jeu des jeunes filles ». Cette contribution s’appuie sur les documents écrits (hymnes, narrations mythologiques) en cunéiformes (sumérien (...) – akkadien et textes bilingues) des iie et ier millénaire av. n. è. Elle prend pour angle d’approche les relations conflictuelles entre ces grandes déesses pour mieux saisir leurs rapports respectifs au jeu : où et quand jouent-elles? À quoi et avec qui jouent-elles? Quelles sont les informations que l’on peut en tirer pour les femmes et jeunes filles humaines? Diverses problématiques sont abordées à la lumière des études de genre : celles des rapports intergénérationnels et interfamiliaux, de la définition des espaces privé-public, de la séduction et de l’érotisme. (shrink)