Lower extremity non-contact soft tissue injuries are prevalent in elite futsal. The purpose of this study was to develop robust screening models based on pre-season measures obtained from questionnaires and field-based tests to prospectively predict LE-ST injuries after having applied a range of supervised Machine Learning techniques. One hundred and thirty-nine elite futsal players underwent a pre-season screening evaluation that included individual characteristics; measures related to sleep quality, athlete burnout, psychological characteristics related to sport performance and self-reported perception of chronic (...) ankle instability. A number of neuromuscular performance measures obtained through three field-based tests [isometric hip strength, dynamic postural control and lower extremity joints range of motion ] were also recorded. Injury incidence was monitored over one competitive season. There were 25 LE-ST injuries. Only those groups of measures from two of the field-based tests, as independent data sets, were able to build robust models [area under the receiver operating characteristic curve score ≥0.7] to identify elite futsal players at risk of sustaining a LE-ST injury. Unlike the measures obtained from the five questionnaires selected, the neuromuscular performance measures did build robust prediction models. The inclusion in the same data set of the measures recorded from all the questionnaires and field-based tests did not result in models with significantly higher performance scores. The model generated by the UnderBagging technique with a cost-sensitive SMO as the base classifier and using only four ROM measures reported the best prediction performance scores. The models developed might help coaches, physical trainers and medical practitioners in the decision-making process for injury prevention in futsal. (shrink)

I will begin by considering how the social world appears to the scientific observer and ask the question of whether the world of scientific research, with all its categories of meaning interpretation and with all its conceptual schemes of action, is identical with the world in which the observed actor acts. Anticipating the result, I may state immediately that with the shift from one level to the other, all the conceptual schemes and all the terms of interpretation must be modified.Proceeding (...) in this direction, I encounter several problems overlapping with the problem of rational action and the “rational act unit” in Professor ParsonsParsons, Talcott’ sense. First: The conceptual scheme of rational action presupposes a more or less definite knowledge of, or orientation within, the world in which this action is performed. In this sense the term, “rationality”, is not specific to the conceptual scheme of action; it embraces the conceptual scheme of the world in general and is only one element in it. Therefore, we also must examine the problem of orientation in this world. Second: We ought to keep in mind that all interpretation of the social world has to start from the actor’s subjective point of view. Therefore, we cannot accept the term, “unit act”, as such, without trying to reduce it to its subjective meaning. Here I have to discuss in general terms why I insist on the subjective point of view. This is more than the whim of a few social scientists; social science cannot be built up except by taking cognizance of the subjective meaning the actor connects with his acting. Finally, I have to discuss the fact that there are social sciences operating on high theoretical levels that, like economics, apparently prefer to deal with statistical curves and mathematical formulae rather than with actions of human beings in the social world, yet they use the term, “rational action”, as an indispensable element of their systems. I will have to show what modification this term undergoes in these types of social sciences..). (shrink)

The history of research on the genetics of intelligence is fraught with social bias. During the eugenics era, the hereditary theory of intelligence justified policies that encouraged the proliferation of favored races and coercively stemmed procreation by disfavored ones. In the 1970s, Berkeley psychologist Arthur Jensen argued that black students’ innate cognitive inferiority limited the efficacy of federal education programs. The 1994 controversial bestseller The Bell Curve, by Richard J. Herrnstein and Charles Murray, rehashed the claim that race and class (...) disparities stem from immutable differences in inherited intelligence, which could not be eliminated through social interventions. Today most scientists studying the genetics of intelligence distance themselves from this history of social bias by arguing that their research need not investigate intellectual differences between social groups. Rather, they argue, examining the heritability of intelligence can be socially neutral and may even help to reduce social inequities. I argue, however, that research on the genetics of intelligence cannot be socially neutral. Even if we divorce the heritability of intelligence from a eugenicist mission, measuring intelligence remains useful only as a gage of individuals’ appropriate positions in society. Research into the genetics of intelligence ultimately helps to determine individuals’ inherited capacity for particular social positions, even when researchers aim to modify the effects of inheritance. (shrink)

The following Glossary lists Kant's most important technical terms, toÂgether with a simple definition of each. (The terms 'judicial', 'perspective' and 'standpoint' are the only ones Kant himself does not use as technical terms.) It was originally written as a study aide to help make the intricate web of Kant's termiÂnology comprehensible to students who had little or no faÂmilÂiarÂiÂty with Kant's writings. Where relevant, the opposite term is given in curved brackets at the end of the definition. When (...) a word defined herein (or a slightÂly different form of such a word) is used in the course of defining some other word in this Glossary, its first occurrence in that definition will be in italics. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Spinoza's Argument for Substance Monism: Why There Is Only One Thing interprets and defends Spinoza's God/Nature argument using speculative metaphysics as a method and illustrates the practice and potential of metaphysics at work. These features work together to strengthen Spinoza's argument that only one substantial being exists.

Female customers are an important market for fitness centers. This study aims to examine successful fitness training health models used by female fitness clubs. A case study approach and the interview method were used to collect data regarding the marketing strategies of female fitness clubs. Purposive sampling was employed to select executives working at the headquarters of a female-only gym, and semi-structured interviews were conducted to provide a context for fitness behaviors and to discuss the business’ marketing mix. Six (...) managers at Curves across six different positions were interviewed. This study found that Curves’ most significant difference compared to other private fitness clubs is that it makes women feel comfortable. Through charitable activities combined with promotions, women feel as if the gym empathizes with them. This study is unique in that it is one of the first studies to explore the business model of the female fitness club. In particular, this research suggests that sports organizations should focus their services strategies on female exercise demands. The findings of this study will support the development of marketing strategies to promote the growth of women’s health as a priority within the fitness industry. (shrink)

BackgroundWhereas the majority of bereaved persons recover from their grief without professional assistance, a minority develops pathological grief reactions. Etiological models postulate that dysfunctional cognitions may perpetuate such reactions. The Grief Cognitions Questionnaire assesses thoughts after bereavement in nine interrelated domains. A short form with four domains is often used. However, an evaluation of the psychometric properties of the GCQ-SF and its utility compared to the GCQ is lacking and these instruments have not been validated in German.MethodGerman bereaved persons responded (...) to an online survey containing the GCQ, measures of grief severity, grief rumination, symptoms of depression and anxiety, and optimism and pessimism. 585 participants were included. Item analyses and confirmatory factor analyses were conducted. Correlations between the GCQ and GCQ-SF and grief rumination, optimism and pessimism assessed construct validity. Criterion-related validity was assessed by comparing whether the correlation of the GCQ with grief severity was higher than with anxious and depressive symptoms. Logistic regression and receiver-operator characteristics compared the questionnaires on their ability to predict probable prolonged grief ‘caseness’.ResultsInternal consistencies for both questionnaires were identical and excellent. Confirmatory factor analyses obtained a satisfactory fit for models with nine and four correlated subscales and respective higher-order factor models. The GCQ and the GCQ-SF correlated higher with grief severity than with other measures of psychopathology. The logistic regression showed a significant association between the GCQ-SF and prolonged grief ‘caseness’. Of the remaining subscales of the GCQ, only one subscale contributed to the prediction. The ROC analyses showed nearly identical areas under the curve.ConclusionThe translated GCQ and GCQ-SF demonstrated very good psychometric properties. The correlations with grief severity highlight the questionnaires’ clinical relevance. The questionnaires possessed identical diagnostic specificity and sensitivity. Whenever a timesaving assessment of the most typical grief-specific cognitions is important, the GCQ-SF represents an alternative to the GCQ. The original GCQ may still be superior when a more detailed description of a bereaved person’s cognitions is desirable. (shrink)

We investigate the evolution of linear density contrasts obtained with respect to a homogeneous spatially flat Friedman-Lemaître–Robertson–Walker background by solving the density contrast equations governed by Newtonian and MONDian force laws using symmetry-based approach. We find eight-parameter Lie group symmetries for the linear order density perturbation equation for the Newtonian case whereas the density contrast equation follows only one parameter Lie group symmetry in MONDian case. We use Lie symmetries to find the group invariant solutions from invariant curve (...) condition. The physical features of the evolution for various mode of density contrast with respect to the global cosmic background density in homogeneous isotropic cosmological models have been investigated using analytical group invariant solutions along with their numerical solutions. An account for cosmological density contrast and mass fluctuation also have been provided. We also have shown that the MONDian force law generates higher amplitudes in the density fluctuation, results in a more rapid structure formation that cannot be possible under the Newtonian force law. (shrink)

Angiogenesis plays an essential role in tumor growth, invasion and metastasis. After initial pessimism about the usefulness of the antiangiogenic therapeutic approach for cancer, interest has increased in the development of antiangiogenic compounds after the first clinical approval of an antiangiogenic therapy. The anti‐vascular endothelial growth factor (VEGF) antibody bevacizumab has recently been approved for use in combination with chemotherapy for the treatment of metastatic colorectal and non‐small cell lung cancer patients. However, no survival benefit has been demonstrated in anti‐VEGF (...) monotherapy trials, probably due to the high complexity of tumor angiogenesis regulation. Experimental and clinical data, including the approval of the multitargeted drugs sunitinib and sorafenib, indicate that exciting results, including tumor regression, can be expected from the combined targeting of different pathways in the tumor angiogenesis scenario. Several obstacles, including the high cost of new molecular targeted drugs make this therapeutic approach difficult. BioEssays 29:1159–1168, 2007. © 2007 Wiley Periodicals, Inc. (shrink)

The modification of Frege's semantics that consists in using only one reference (Bedeutung, denotate) truth instead of two references truth and falsity is proposed. According to Frege 1) every true sentence stands for truth, 2) every false sentence stands for falsity. We modify the second statement: 2*) every false sentence doesn't stand for truth. The modification of sentential logic interpretation will consist in change of semantic rules: a) every formula A stands either for truth or falsity, b.1) the (...) formula A has value T iff the formula A stands for truth, b.2) the formula A has value F iff the formula A stands for falsity. Let’s change rules a) and b.2) on: a*) every formula A either stands or doesn't stand for truth, b.2*) the formula A has value F iff the formula A doesn't stand for truth. So, we have only one reference but still two values. The proposed approach can be extended to non-classical cases, for which the bivalence principle doesn't take place. An ordered pair of the sentences A, ~A is put in correspondence to the sentence A. Each sentence of ordered pair can either stands or doesn't stand for truthindependently from the other. Thus for each pair of sentences we have four possible variants of reference which are generate four functional values. (shrink)

In this paper, by using the adaptive dynamics approach, we investigate how the adaptive evolution of defense ability promotes the diversity of prey species in an initial one-prey–two-predator community. We assume that the prey species can evolve to a safer strategy such that it can reduce the predation risk, but a prey with a high defense ability for one predator may have a low defense ability for the other and vice versa. First, by using the method of critical (...) function analysis, we find that if the trade-off is convex in the vicinity of the evolutionarily singular strategy, then this singular strategy is a continuously stable strategy. However, if the trade-off is weakly concave near the singular strategy and the competition between the two predators is relatively weak, then the singular strategy may be an evolutionary branching point. Second, we find that after the branching has occurred in the prey strategy, if the trade-off curve is globally concave, then the prey species might eventually evolve into two specialists, each caught by only one predator species. However, if the trade-off curve is convex–concave–convex, the prey species might eventually branch into two partial specialists, each being caught by both of the two predators and they can stably coexist on the much longer evolutionary timescale. (shrink)

After a chapter which is an introduction to and summary of the rest of the book, chapter 2 begins by criticizing various attempts to do away with theories, such as the Reichenbach-Salmon conception of theoretical truth in terms of observational consequences, and the Ramsey strategy of replacing first-order theoretical sentences by second-order nontheoretical ones; it then argues against hypothetico-deductivist theories of confirmation on the grounds that they are unable to handle the relevance of evidence to theory, whether or not other (...) formal constraints or even nonformal ones such as simplicity and explanatory power are added to those theories; it ends with an exposition of the Reichenbach-Carnap conventionalist thesis that the confirmation of hypotheses with evidence presupposes analytic principles connecting hypothetical and empirical concepts. Chapter 3 criticizes Bayesian theories of confirmation on such grounds as that the a priori arguments for Bayesian restrictions on beliefs are insufficient; that the Bayesian explanations of notions like variety of evidence, ad hocness, and simplicity are inadequate; and that they cannot account, without drastic revisions, for the relevance of evidence to theory, especially old evidence to new theory. Chapter 4 is an unsympathetic account of historically oriented philosophies of science; Lakatos’s notion of progressive research programs and Laudan’s theory of problem-solving effectiveness are found to be insufficiently precise and dubbed examples of "new fuzziness", while the Sneed-Stegmüller dynamics of theories is regarded as "a paradigm of misplaced rigor" ; and all three are criticized as unable to explicate the concept of evidential relevance. Chapter 5 is a formal and informal elaboration of the basic idea in Glymour’s account of theory and evidence, namely that confirmation or support is a three-term relation among evidence, hypothesis, and theory, so that evidence confirms an hypothesis only relative to a theory, and such that evidence e confirms hypothesis h relative to T if T with e implies, but T without e does not imply, an instance of h, and T with e does not imply a comparable hypothesis h’ different from h; the most interesting part of this chapter is a series of discussions showing how such an idea makes sense of the "methodological truisms" that it is possible selectively to test certain parts of a theory but not others, that a theory is supported better by a greater variety of evidence, that redundant or physically meaningless quantities are an undesirable feature of theories, that there are no inviolable rules, that a "white shoe" does not confirm "all ravens are black," that a theory is more useful and better supported than the set of its observational consequences, and that the hypothetico-deductive method often works. Since Glymour claims no originality for the conception of this general account, but only for its description, he plausibly thinks it necessary to apply it to some important historical cases of actual science; he does so in the next chapter by discussing at some length the structure and merits of Ptolemaic and Copernican astronomy, of Newton’s universal gravitation, of nineteenth century atomism, of Freud’s Rat Man, and of general relativity. For example, he argues convincingly that Copernicanism was better supported by the evidence available even before the telescope because it alone, and not the Ptolemaic theory, can determine some planetary properties which are presupposed by both theories, can test and confirm some common hypotheses, and can be confirmed in an essential rather than incidental manner; and though Glymour admits that the Copernicans tended to argue in terms of explanatory rather than confirmatory superiority, he sketches an interesting account of the relation between explanation and confirmation which strengthens his case. He also analyzes the text at the beginning of book 3 of Newton’s Principia and compiles a reconstruction of the intricate details of the inferential structure of the argument to universal gravitation; his impressive reconstruction clearly shows that Newton’s method is neither the inductivist one he himself thought he was following, nor the one attributed to him by Pierre Duhem, but rather one in accordance with Glymour’s so-called "bootstrap strategy" of repeatedly using the evidence from Kepler’s second and third laws, from lunar data, and from falling bodies, together with the theory consisting of the second and third laws of motion, to arrive at increasingly general instances of the principle of universal gravitation. Glymour’s account of arguments for and against the atomic theory from Thomson to Cannizzaro is his longest historical example, but he himself admits that this illustration of the bootstrap strategy is "certainly not the neatest", and rather "diffuse, and perhaps disconnected". Chapter 7 is a detailed application of the same principles to the technique known among social scientists as "causal modeling"; since such "causal models" are essentially systems of algebraic equations, Glymour’s account shows indirectly that the bootstrap strategy is applicable to any scientific theory presented as a set of algebraic equations; this, of course is not surprising, since the formal considerations with which Glymour begins the exposition of his theory in chapter 5 involve systems of algebraic equations. Chapter 8 is an attempt to apply Glymour’s theory of evidence to the very common scientific practice of curve-fitting, where one measures values of two or more quantities and then infers a functional relationship; Glymour argues that simpler polynomials are preferred because they are tested more frequently and more severely by the data and because they are more informative; but then he criticizes his own explanation and concludes that "the bootstrap procedures of chapter 5 do not seem to help the problem much more than a whit" ; this is admirably honest, but if one wants an additional logical or methodological rationale, then one would perhaps have to go to the meta-level and say that Glymour is here testing his own theory, and he is more interested in a further illustration of the bootstrap methodology even with a failed test, than he is to claim universal or exclusive validity for it. In chapter 9 Glymour uses his bootstrap theory of confirmation to criticize geometrical conventionalism; he considers the alternative theories of space or space-time proposed by conventionalists to show the radical undetermination of geometries by evidence, for example, a non-Euclidean geometry with no universal force instead of Newtonian gravitation with Euclidean geometry; he argues that such alternatives are simply not as well tested as the originals and that their equivalence to the originals is questionable. The last chapter is a brief discussion of further problems worthy of future investigation. (shrink)

‘Is being one only one? – The Argument for the Uniqueness of Platonic Forms’ Abstract: Each Form is unique in number; no two numerically distinct Forms can share the same nature. Plato argues for this claim in Republic X. I identify the metaphysical principles Plato presupposes in the premises of the argument, by examining the reasoning behind them, and offer a reconstruction of the argument showing the principles in use. I argue that the metaphysical significance of the argument’s conclusion (...) is to establish that if a Form F were not unique, if there were many Forms F, their nature would alter along with their number: a Form cannot recur without change in its constitution. This is why there can be only one Form for each character in the world. (shrink)

Previous studies suggested that facial attractiveness perception can be increased with facial skin homogeneity improving; and human’s facial change detection increases along with facial skin homogeneity increases. However, it’s unknown whether a face can be perceived prettier than it did before while still being considered as physically the same. It is possible that these two kinds of cognitive-aesthetic processing may have separate mathematical functions in psychophysical studies. In other words, human’s facial attractiveness differentiation may be more sensitive than facial change (...) detection. In this current study, we explored the above questions. Using three types of psychophysical techniques to manipulate facial skin homogeneity, we measured how participants’ sensitivity to facial skin homogeneity and attractiveness change. Results showed a linear function curve for facial physical change detection and a logarithmic function curve was drawn in the forced-choice technique, which was the most sensitive one, indicating that participants can judge a face prettier than before without being aware of it has physically changed. Besides, two linear function curves were shown in the same/different technique and a rating technique. Taken together, this current study revealed that facial attractiveness can be enhanced and discriminated by improving facial skin homogeneity, without being realized by people with conscious awareness that the face has been changed. (shrink)

The lambda model provides a physiologically grounded terminology for describing muscle function and emphasizes the important influence of environmental and reflex-mediated effects on final states. However, lambda itself is only a convenient point on the length-tension curve; its importance should not be overemphasized. Ascribing movement to changes in a lambda-based frame of reference is generally valid, but it leaves unanswered a number of questions concerning mechanisms.

This paper investigates the following question: when can one reliably infer the existence of an intersection point from a diagram presenting crossing curves or lines? Two cases are considered, one from Euclid's geometry and the other from basic real analysis. I argue for the acceptability of such an inference in the geometric case but against in the analytic case. Though this question is somewhat specific, the investigation is intended to contribute to the more general question of the extent and (...) limits of reliable diagrammatic reasoning in mathematics. (shrink)

In recent years, the growing number of persons to whom basic human rights have been explicitly denied—stateless persons, refugees, undocumented workers, sans papiers and unlawful combatants—has evidenced the logic of contemporary nation-state politics. According to this logic, the state defines itself by virtue of what it excludes while what is excluded is given no other recourse than the state for its protection. Hannah Arendt elucidates this logic when she observes that the stateless and the refugee can only be recognized (...) as human beings when they have already been recognized as citizens. Their appeal to human rights for protection was fruitless because they needed to have citizen rights, the recognition of a government, or of other citizens who can appeal to that government, in order to invoke these rights. In the terms Arendt uses to name political action, one needs to be seen and heard already, the privileges of those who are citizens, in order to appeal to be seen and heard. Just as political life (bios), in order to be free, was only possible once the necessities were accounted for in natural life (zoē), so citizenship is recognized to the exclusion of the non-citizen, that is, the merely human. -/- . (shrink)

Many of our spoken languages are endangered and rapidly becoming extinct. Due to this, there are attempts to preserve as many of those languages as possible. One preservation approach is combining data collection and artificial intelligence‐based language models. However, current data collection methods may only capture static data from a dynamic cognitive process. If data are not genuinely capturing the dynamic process, it raises questions about whether they capture all the essential knowledge about how a language functions. Here, we (...) discuss the implications of this issue and its importance in preserving endangered languages. (shrink)

Implementing sustainable development is one of the essential tasks in the current human activity in managing our planet's natural resources. It is a challenge not only for ecology, demography, anthropology and philosophy but also turns out to be a challenge for other disciplines supporting research on the nature of the human species and its changes. The practical implementation of this idea assumes a detailed knowledge of the factors determining the development of civilisation, as well as the factors that disturb (...) this development. In this article, we present arguments that, through modelling, illustrate the historical regularities of the development of the human race, starting from the Neolithic Age through the Bronze Age, Iron Age, and early Middle Ages (models 2–5), to the contemporary image of civilisation development (model 6). These arguments show that in the past, the history of civilisation was fundamentally influenced by three factors: biological, social and cultural. However, in the modern era, an important fourth factor emerges, which is the cognitive factor. Moreover, the historical approach to development (models 2–5) fits into the so-called Malthusian pattern of development, which follows an exponential curve (models 2–5). In contrast, the development of modern civilisation (model 6) follows the Volterra pattern, which is modelled on a logarithmic curve. We hypothesise that the transition from the Malthusian to the Volterra pattern took place precisely due to a new development factor—the cognitive factor. The increase in its rank in the history of civilisation development is presented using a four-factor model. We present the characteristics of this factor and place it in our model, showing how it will fundamentally determine the optimisation of the principles of sustainable civilisation development. In the conclusion of the given argumentation, we emphasise the need to promote various forms of education as the primary tool of humanity in pursuit of sustainable development. (shrink)

§1. Introduction. I dedicate this essay to the two-dozen-odd people whose refutations of Cantor's diagonal argument have come to me either as referee or as editor in the last twenty years or so. Sadly these submissions were all quite unpublishable; I sent them back with what I hope were helpful comments. A few years ago it occurred to me to wonder why so many people devote so much energy to refuting this harmless little argument—what had it done to make them (...) angry with it? So I started to keep notes of these papers, in the hope that some pattern would emerge.These pages report the results. They might be useful for editors faced with similar problem papers, or even for the authors of the papers themselves. But the main message to reach me is that there are several points of basic elementary logic that we usually teach and explain very badly, or not at all.In 1995 an engineer named William Dilworth, who had published a refutation of Cantor's argument in the Transactions of the Wisconsin Academy of Sciences, Arts and Letters, sued for libel a mathematician named Underwood Dudley who had called him a crank. (shrink)

The suggestion of seeking specificity in a higher-order array is attractive, but Stoffregen & Bardy fail to provide a compelling empirical basis to their claim that specificity exists solely in the global array. Using the example of relative motion, the alternate hypotheses that must be considered are presented.

Two experiments investigated whether infants represent goal‐directed actions of others in a way that allows them to draw inferences to unobserved states of affairs (such as unseen goal states or occluded obstacles). We measured looking times to assess violation of infants' expectations upon perceiving either a change in the actions of computer‐animated figures or in the context of such actions. The first experiment tested whether infants would attribute a goal to an action that they had not seen completed. The second (...) experiment tested whether infants would infer from an observed action the presence of an occluded object that functions as an obstacle. The looking time patterns of 12‐month‐olds indicated that they were able to make both types of inferences, while 9‐month‐olds failed in both tasks. These results demonstrate that, by the end of the first year of life, infants use the principle of rational action not only for the interpretation and prediction of goal‐directed actions, but also for making productive inferences about unseen aspects of their context. We discuss the underlying mechanisms that may be involved in the developmental change from 9 to 12 months of age in the ability to infer hypothetical (unseen) states of affairs in teleological action representations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Retention, Reliability, and DedicationRenee J. TillmanI love what I do. I am a Hospice and Palliative Nurse Assistant. I have been for 16 years. I have worked in this field for 37 years—in long term care, private duty and home health. I still like getting up and going to work. I have a great work ethic. I think it came about when I started working for Leader Nursing and (...) Rehabilitation Center. My plans were to become a nurse, just like my mother. This employer believes that if he contributed to his employees by way of educating them he would accomplish two things. Loyal employees and highly skilled nurse aides. He knew we were the backbone of his center and believed in his strategy to give the very best care his employee's could provide.I was one of the first nursing assistants in the building. I started on the 11-7 shift, myself and a licensed vocational nurse (LVN). She was a gem. In a four story building. They had security for us. They started from the top and filled the building up. I was never so proud to be a nurse aide. Pretty soon we were filled. I worked the night shift for three years and decided to go to the day shift, 7 to 3. [End Page 154]It was then that I decided this profession was for me, and I was going to be the best. Everything we did was a learning experience. We received report at the beginning of our shift. We were asked to be on the job 15 minutes before shift, and we did so without pay. We felt it was important to get information to care for the residents. The incentives were what they called the Leader Ladder. This Ladder was there for you to climb to the highest occupation in the nursing field you wanted to go, with the help from the scholarship program in place. The goals of the employer were retention, reliability, support, and dedication from the employees.That is not in place today, especially in the long-term care settings. There is a revolving door in most places. In most places employees don't even have nametags. If they do have them, they're in the pockets just to swipe the clock. Uniforms are not decent, I mean wrinkle-free and clean. Even hair and faces are not groomed. Yes I see this today. We are the forgotten, the invisible. Shame on those watch dogs. When I was with Leader, I would watch my nurse do everything—catheters, suctioning, wound care—everything. We used to do wound care and finger sticks. In some places, they don't even let the aides do vital signs.One of the cases I will never forget, this was at a rehabilitation center with a floor that was skilled. This lady was admitted. She was only 60. She had the biggest tumor I had ever seen on the side of her neck; it was cancerous. The tumor was growing outside her neck. I was just 25. When we received report that morning, we were told of physical and history, where she was with her disease, and that she had come there to die. She had no family. We quickly became her family. She was tall and skinny with dark hair. We were also told how she would die and to be prepared so it would not be scary for her or for us. She was going to bleed to death from the tumor. But, our biggest challenge, you see, was not to show that there was an odor when in her room or where ever she was. The cancer was very foul-smelling. I think that is why she loved us; we acted like there was no smell. The day she died, her tumor started a steady flow of blood. She knew it was the end. We had dark towels for her, she lay in her bed, she was never left alone. We had our work to do, but she was never left alone. What I remember the most is her eyes; you see, she could not speak that day. She... (shrink)

François Viète is often regarded as the first modern mathematician on the grounds that he was the first to develop the literal notation, that is, the use of two sorts of letters, one for the unknown and the other for the known parameters of a problem. The fact that he achieved neither a modern conception of quantity nor a modern understanding of curves, both of which are explicit in Descartes’ Geometry, is to be explained on this view “by an (...) incomplete symbolization rather than by any obstacle intrinsic in the system.” Descartes’ Geometry provides only a “clearer expression” of themes already sounded in Viète’s work, one that perfects Viète’s literal calculus and gives it “its modern form”; it merely continues the “‘new’ and ‘pure’ algebra which Viète first established as the ‘general analytic art’.” It can seem, furthermore, that this must be right, that had there been some obstacle intrinsic to Viète’s system that barred the way to a modern conception of quantity and a modern understanding of curves, then Descartes’ Geometry would have had to have taken a very different form than it did. As it was, Descartes had only to improve Viète’s symbolism, free himself of the last vestiges of the ancient view of geometrical and arithmetical objects, and apply the new symbolism to the study of curves in order to achieve what Viète did not but could have. But what, really, is the status of this “could have”; what would it actually have taken for Viète to achieve Descartes’ results in the Geometry? The interest of the question lies in its potential to better our understanding of the nature of modern mathematics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.2 (2001) 193-210 [Access article in PDF] Zeno Against Mathematical Physics Trish Glazebrook Galileo wrote in The Assayer that the universe "is written in the language of mathematics," and therein both established and articulated a foundational belief for the modern physicist. 1 That physical reality can be interpreted mathematically is an assumption so fundamental to modern physics that chaos and super-strings are examples (...) of physical theories developed on the basis of success in mathematics. The mathematics came first, then the physical theory. Quantum theory is an awkward and similar case in point. Despite the fact that there is much agreement among physicists about the mathematical theory, its physical interpretation remains a matter of controversy. There are several interpretations, all of which challenge our everyday assumptions about reality. This led Bohr in 1935 to call for "a radical revision of our attitude towards the problem of physical reality." 2 Arthur Fine, originally a staunch defender of realist interpretations of quantum theory, saw the success of Bohr's Copenhagen interpretation as the end of Einsteinian realism, and subsequently Fine declared that "realism is well and truly dead." 3 Mathematical operators simply do not correspond with real entities in any conceivable way.Ilkka Niiniluoto has argued convincingly, however, that realism is alive and well in quantum theory. 4 The problem is that Bohr is right: quantum theory can be considered to concern the real only upon radical revision of ordinary conceptions of reality. Quantum theory does not describe the real in any meaningful sense of "the real." Rather, it is mathematical projection: ideal rather than real. [End Page 193]Aristotle did not hold that the physicist deciphers nature mathematically. He distinguished the physicist from the mathematician at Physics 2.2 by analogy to the definitions of "snub nose" and "curved." 5 The definition of "snub nose" requires the mention of a nose, that is, of matter which is inseparable from motion, whereas "curved" and other mathematical concepts like " 'odd' and 'even', 'straight'... 'number,' 'line,' and 'figure,' " which are separable from matter and from motion, are investigated by the mathematician. 6 Aristotle claims that physics is different from mathematics because the mathematician investigates physical lines, but not qua physical, and the physicist investigates mathematical lines "but qua physical, not qua mathematical." 7A peculiar consequence of my argument is that it establishes a common principle between two thinkers whose beliefs are otherwise so fundamentally in opposition. Zeno's paradoxes are commonly read as a denial of motion. For Aristotle, that move is axiomatic to the physicist. At 185a15 he considers arguments against this assumption outside the realm of objections to which the physicist must reply. If I am right that Zeno's paradoxes of motion challenge the very notion of mathematical physics, then he and Aristotle agree, contra Galileo, that the universe is not written in the language of mathematics. They simply come to this point from opposite directions, Zeno from an Eleatic thesis that physical reality is illusion, Aristotle from the natural scientist's pragmatic commitment to a truth about nature.I intend to use Zeno's paradoxes of motion to argue that the application of mathematical concepts to the physical world results in paradox. Zeno's arguments are limited within mathematics to geometry. This paper is accordingly a beginning from which I hope more work can be done later. Furthermore, Zeno's paradoxes are standardly read as directed against anyone who disagrees with Parmenides' thesis that there is but one thing which is motionless and indivisible. The paradoxes achieve this end by means of a reductio against the possibility of dividing space and time. That there are four paradoxes is accordingly explicable by the fact that there are four possibilities for the divisibility of space and time. The Achilles argues against the possibility that space and time are both infinitely divisible; the Dichotomy, against the infinite divisibility of space and finite divisibility of time; the Arrow, against the infinite divisibility of time and the finite divisibility of space; and finally, the Stadium shows that time and space cannot both... (shrink)

Two experiments investigated whether infants represent goal‐directed actions of others in a way that allows them to draw inferences to unobserved states of affairs (such as unseen goal states or occluded obstacles). We measured looking times to assess violation of infants' expectations upon perceiving either a change in the actions of computer‐animated figures or in the context of such actions. The first experiment tested whether infants would attribute a goal to an action that they had not seen completed. The second (...) experiment tested whether infants would infer from an observed action the presence of an occluded object that functions as an obstacle. The looking time patterns of 12‐month‐olds indicated that they were able to make both types of inferences, while 9‐month‐olds failed in both tasks. These results demonstrate that, by the end of the first year of life, infants use the principle of rational action not only for the interpretation and prediction of goal‐directed actions, but also for making productive inferences about unseen aspects of their context. We discuss the underlying mechanisms that may be involved in the developmental change from 9 to 12 months of age in the ability to infer hypothetical (unseen) states of affairs in teleological action representations. (shrink)

In this paper we challenge the notion of ‘normativity’ used by some enactive approaches to cognition. We define some varieties of enactivism and their assumptions and make explicit the reasoning behind the co-emergence of individuality and normativity. Then we argue that appealing to dispositions for explaining some living processes can be more illuminating than claiming that all such processes are normative. For this purpose, we will present some considerations, inspired by Wittgenstein, regarding norm-establishing and norm-following and show that attributions of (...) normativity to non-social agents are deeply paradoxical. The main conclusions of our discussion are: (1) circular and internal explanations centred on the stability of living systems are insufficient to account for processes where the environment plays an important role, such as adaptation. Enactivism is not an explanatory alternative to evolutionary biology but needs it as a complement to accounts focused on the internal self-assembly of organisms; (2) though we share enactivism’s anti-representational spirit, we argue that ecological psychology can offer a better account of perception. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:My Gratifying Testimonial of My Extended Warranties of LifeDanette RaginMy name is Danette Ragin. I am a 2-time kidney recipient who has been diagnosed with ESRD (End Stage Renal Disease). Both transplants were performed in Baltimore, Maryland. I am also a 3-time Donor Family Member and the proud Mom of a living donor.I received the first kidney from a deceased donor on June 22, 2008. The donor was traveling (...) thru Maryland with her family on vacation and experienced heart complications. My second kidney was donated to me by my youngest daughter Angel on December 20. 2016. I am thankful to God for both of my extended warranties. I’d like to share a little about my journey with you.Around the year 2002, I started seeing my PCP (Primary Care Physician) for terrible migraine headaches, which on occasions lasted for weeks. After several tests, she expressed her concerns. I had been spilling protein in my urine and my kidney function was showing some abnormalities. My PCP sent me to see a neurologist after several failed attempts to gain some type of reprieve from the nerve-racking headaches. My nephrologist confirmed my PCP’s diagnosis, and I had visits with the nephrologist every 6 months until they noticed a substantial change.“Ah, Mrs. Ragin, you’re in the beginning stage of End Stage Renal Disease”. Boom! (That hit me like a ton of bricks.) “Umm, you mean I have kidney failure! No! Not me. I’ve worked in dialysis. That can’t happen to me!”Of course, I was in complete denial. Both my PCP and nephrologist were very supportive mentally, physically, emotionally, and even spiritually. This information was so devastatingly painful that I started working harder and longer. I turned into a Superwoman with my family, work, and church. I was trying to drown out the fact that my health was being compromised, refusing to believe this could happen to me. I started to slow down in my daily functions, my appetite decreased, and I lost weight as a result. I thought that my weight loss was bringing my “Sexy Back,” only to realize that I am not exempt from sickness. My nephrologist assured me of a possible solution. He advised me to have my name placed on the waitlist of one of the transplant centers in Maryland.In October 2006, I had surgery to have an A/V fistula placed in my left arm to prepare for possible dialysis treatments in the future. In January 2007, I went to be evaluated for a kidney transplant. I was given 6 weeks to complete all required tests to secure a place on the transplant waiting list. Determination allowed me to complete all tests within 2 weeks.In April 2007, I was approved to be placed on the transplant list. In October, I had a PDC (Peritoneal Dialysis Catheter) placed in my abdomen so that I could dialyze myself at home. I loved it but it didn’t love me. It was removed in January 2008. Right afterward, I received my first unsuccessful call to be transplanted. (The kidneys were cystic and could not be used.) “Bummer.” I also received another call in April 2008 (Easter Sunday). Those kidneys were [End Page 134] at another hospital in Maryland, so if the waiting patient at their facility refused the kidney, I would be next in line. The patient accepted the donation. It wasn’t my turn yet.In the meantime, I had already started hemo-dialysis in mid-March 2008. On Saturday, June 21, 2008, while enjoying the weekend with my family, I received a call around 2:30 p.m. My youngest daughter and I were out shopping. We were in a crowded store that was going out of business, and I felt my phone vibrate. I noticed a slightly familiar number. I stepped out of the store to retrieve the call.“Mrs Ragin...Me: Yes.“Danette Ragin...Me: Yes.“We are calling from the University with an organ offer for you!”I told them they had me at the sight of the first few digits of the phone number they were calling from!In June... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Vagaries and Vicissitudes of WarRichard W Sams III remember standing in the kitchen of our home on Camp Pendleton—a United States Marine Corps base in Southern California—listening to National Public Radio (NPR) and doing dishes in the fall of 2002. President Bush announced to the world that he was considering a pre-emptive invasion of Iraq on the pretext of Saddam Hussein harboring weapons of mass destruction (WMD). Three (...) months later, as a Navy Family Physician, I deployed with a surgical company in support of Operation Iraqi Freedom. Reflecting on the situation with a like-minded close friend, I was not sure— would this be a just war? A necessary war? In my mind, it did not rise to the level of conscientious objection, yet the rightness of invading another country with all the anticipated death and destruction was not clear.En route to Kuwait, we laid over in Spain. While fixed to a TV in a holding area, I watched the Secretary of State make a case to the United Nations (UN) and the world that removing Hussein from power would protect us from mobile anthrax labs that could kill tens of thousands. I thought to myself, Either he is absolutely right, and we are protecting our country and the rest of the free world, or he is terribly mistaken and we are embarking on a disaster.As we trained, prepared, and waited in our tents to invade, we listened to the news on “Voice of America” with a hand crank radio. Thousands of citizens from nations around the world protested. Pope John Paul II, a man well acquainted with the tragedy of war, even spoke out about the planned invasion. “War is not inevitable. It is always a defeat for humanity.” He admonished our leaders that war needed to be the very last option. As a man of faith, I was troubled by his resolute, thoughtful opposition to the crusade I was embarking on. As the day of the invasion approached, scud missiles flew over our camp and we scurried into bunkers, day and night, with our gas masks donned to protect us from possible WMD attacks. In March, with the announcement of a “shock and awe” missile attack on Hussein’s palace, the invasion commenced.Within a day of flying by helicopter into enemy territory to set up a surgical company, the fog of war set in. A series of mass casualties streamed in from nearby Nasiriya. We received dozens of injured enemy combatants and American soldiers. Most troubling were the civilians. An entire extended family fleeing for their lives stumbled into an Iraqi minefield meant for us: a mother dead, the men with shrapnel wounds, and an aunt lost both of her legs. Then there was the little boy. By doctrine, our leaders reassured us we would not care for children. Yet, out of instinct, the field corpsmen scooped up all injured, including children, and [End Page 170] brought them to us. The five-year-old’s legs were blown to bits. We had no pediatric supplies. The anesthesiologist heroically intubated the child’s tiny airway with a urinary catheter and placed an adult IV. The surgeons corrected the wounds the best they could. Hours later, in futility, we performed chest compressions on his tiny mangled body.A day later, the worst sandstorm in a decade struck the area. We struggled to keep the patient-filled tents erect. A Marine appeared on the scene out of the darkness (you could not see beyond your nose in the storm) exclaiming we were going to condition one—lock and load our weapons due to an imminent threat. As healthcare professionals, Geneva Conventions dictated we were to use weapons only in self-defense. We chambered our 9-millimeter pistols to defend our patients and ourselves while Marines formed a defensive perimeter. I thought to myself, Great I’m gonna be shot up and die during a freaking sandstorm in Iraq. Hours later, we were told to stand down. The threat was not from approaching enemy combatants but from shepherds running from the crossfire. I had a small nervous breakdown, sleep deprived and under duress... (shrink)

My title refers to a very modern problem, for what else is modernization than a process of rational differentiation of society in autonomous, mutually isolated sub-spheres, to the point where no one any longer knows what the unity of it all is? We differentiate, we specialize, we hyperspecialize, and then we get puzzled over the fragmentation we have produced around us, between ourselves and even within ourselves. Look at our own area. You cannot even specialize in practical ethics any more. (...) You have to limit your attention to medical ethics, for example, the ethics of engineering, or business ethics. And within business ethics, my own field of research, the homo universalis is also threatened with extinction. You can do marketing ethics, ethics of finance or computer ethics, until you finally become the typical ‘expert’: someone who knows almost everything about almost nothing.From the despair over hyper-differentiation, the call for integration arises: the call for meaning, for reconfiguration, for making sense of our world and our lives again, the call for reconnection with the great traditions of our culture, the call for community.If we read the great theorists of modernization — Weber, Durkheim, Parsons, Habermas, Münch — we learn that the quest for integration is in fact an equally important aspect of modernization as is differentiation. They are two sides of the same coin. In this sense, I think, the integrative endeavour of the EEN can still be considered a modern one.We are presently facing an escalation, or a climax, of modernity. We live in a state of hypermodernity, in which technological, economic and cultural forces dynamize our society on an unprecedented scale. We are really living high up on the dazzling slopes of the exponential growth curves that the Club of Rome predicted over 25 years ago. Everyone speaks of change. Everything is changing, and with institutionalized change, everything has become uncertain. Within uncertainty, however, social disintegration is lurking. Does not the structural uncertainty that we are introducing in our society bring us back to a state of nature, to a state outside the hypothetical social contract on which modern social communities are based? Is not the life of the individualized, flexible wanderers on the labour market again resembling the pledge of man which Hobbes described as ‘solitary, nasty and brutish’ . Has not the life of many in our society again become ‘very unsafe and very insecure, full of fears and continual dangers’, in the way that Locke depicted the state of nature .I understand business ethics as an integrative undertaking in our society, integrative in particular with respect to the economy and the realm of formal organization, integrative also at the interface between life-world and system, to use the terminology of Habermas.Integrative endeavours in our society have an ambiguous relation to change. Change is a key challenge to business ethics. Should we accept disruptive forms of change as inevitable, in order to remain on speaking terms with the economy and its spokesmen? Or should we fiercely resist certain changes? Is change on our side, perhaps? Business ethics is sometimes presented as a way to help managers cope with the many paradoxes of our time. One-dimensional technological rationality, we say, is no longer adequate to grasp the complexities, ambiguities and paradoxes of our world. Successful management requires more flexible, more creative forms of thinking. Philosophy and ethics are then presented as alternatives. But then aren’t we, the philosophers, simply promoting ourselves as the new masters of change for our time? Isn’t the so-called postmodern consciousness in fact an ideological underpinning of hyper differentiation, and in this sense the ultimate self-realization of the spirit of modernity? What sense of direction do we offer, as business ethicists?I would like to speak about the integration of micro, meso and macro-levels in business ethics, from the perspective of social change. My basic thesis is that only an adequate ethics of responsibility can integrate a highly differentiated and ultra-complex society like ours. This integration through responsibility opens up new directions of social change, that proceed simultaneously at the micro, meso and macro-level.In order not to complicate matters too much, I will limit myself to two dimensions of change which are important for business ethics at the moment: economic change ; organizational change . In relation to these changes, I will conclude with some reflections on changes in business ethics itself, the ones that I think are needed. (shrink)

This review addresses the 100-year-old Hill equation (published in January 22, 1910), the first formula relating the result of a reversible association (e.g., concentration of a complex, magnitude of an effect) to the variable concentration of one of the associating substances (the other being present in a constant and relatively low concentration). In addition, the Hill equation was the first (and is the simplest) quantitative receptor model in pharmacology. Although the Hill equation is an empirical receptor model (its parameters have (...) only physico-chemical meaning for a simple ligand binding reaction), it requires only minor a priori knowledge about the mechanism of action for the investigated agonist to reliably fit concentration-response curve data and to yield useful results (in contrast to most of the advanced receptor models). Thus, the Hill equation has remained an important tool for physiological and pharmacological investigations including drug discovery, moreover it serves as a theoretical basis for the development of new pharmacological models. (shrink)

According to general relativity, we live in a four-dimensional curved universe. Since the human mind cannot visualize those four dimensions, a popular analogy compares the universe to a two-dimensional rubber sheet distorted by massive objects. This analogy is often used when teaching GR to upper secondary and undergraduate physics students. However, physicists and physics educators criticize the analogy for being inaccurate and for introducing conceptual conflicts. Addressing these criticisms, we analyze the rubber sheet analogy through systematic metaphor analysis of textbooks (...) and research literature, and present an empirical analysis of upper secondary school students’ use and understanding of the analogy. Taking a theoretical perspective of embodied cognition allows us to account for the relationship between the experiential and sensory aspects of the metaphor in relation to the abstract nature of spacetime. We employ methods of metaphor and thematic analysis to study written accounts of small groups of 97 students who worked with a collaborative online learning environment as part of their regular physics lessons in five classes in Norway. Students generated conceptual metaphors found in the literature as well as novel ones that led to different conceptions of gravity than those held by experts in the field. Even though most students showed awareness of some limitations of the analogy, we observed a conflict between students’ embodied understanding of gravity and the abstract description of GR. This conflict might add to the common perception of GR being counterintuitive. In making explicit strengths and weaknesses of the rubber sheet analogy and learners’ conceptual difficulties, our results offer guidance for teaching GR. More generally, these findings contribute to the epistemological implications of employing specific scientific metaphors in classrooms. (shrink)

In this study, we analyze choice in the presence of some conflict that affects the decision time, a subject that has been documented in the literature. We axiomatize a multiattribute decision time representation, which is a dynamic extension of the classic multiattribute expected utility theory that allows potentially incomplete preferences. Under this framework, one alternative is preferred to another in a certain period if and only if the weighted sum of the attribute-dependent expected utility induced by the former alternative (...) is larger than that induced by the latter for all attribute weights in a closed and convex set. MDT uniquely determines the decision time as the earliest period at which the ranking between alternatives becomes decisive. The comparative statics result indicates that the decision time provides useful information to locate indifference curves in a specific setting. MDT also explains various empirical findings in economics and other relevant fields. (shrink)

The main aim of this paper is to revisit the curve fitting problem using the reliability of inductive inference as a primary criterion for the ‘fittest' curve. Viewed from this perspective, it is argued that a crucial concern with the current framework for addressing the curve fitting problem is, on the one hand, the undue influence of the mathematical approximation perspective, and on the other, the insufficient attention paid to the statistical modeling aspects of the problem. Using goodness-of-fit (...) as the primary criterion for ‘best', the mathematical approximation perspective undermines the reliability of inference objective by giving rise to selection rules which pay insufficient attention to ‘accounting for the regularities in the data'. A more appropriate framework is offered by the error-statistical approach, where (i) statistical adequacy provides the criterion for assessing when a curve captures the regularities in the data adequately, and (ii) the relevant error probabilities can be used to assess the reliability of inductive inference. Broadly speaking, the fittest curve (statistically adequate) is not determined by the smallness if its residuals, tempered by simplicity or other pragmatic criteria, but by the nonsystematic (e.g. white noise) nature of its residuals. The advocated error-statistical arguments are illustrated by comparing the Kepler and Ptolemaic models on empirical grounds. ‡I am grateful to Deborah Mayo and Clark Glymour for many valuable suggestions and comments on an earlier draft of the paper; estimating the Ptolemaic model was the result of Glymour's prompting and encouragement. †To contact the author, please write to: Department of Economics, Virginia Tech 3019 Pamplin Hall (0316), Blacksburg, VA 24061; e-mail: [email protected]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 105-115 [Access article in PDF] Intimacy and Monumentality in Chandigarh, North India: Le Corbusier's Capitol Complex and Nek Chand Saini's Rock Garden Sharon Irish School of Architecture University of Illinois, Urbana-Champaign Chandigarh's Le Corbusier: The Struggle for Modernity in Postcolonial India, by Vikramaditya Prakash. Seattle: University of Washington Press, 2002, 179pp., $35.00 cloth. The seventh century poet and philosopher Dharmakirti wrote of (...) the path we each must make: No one behind, no one ahead, The path the ancients cleared has closed. And the other path, everyone's path, easy and wide, goes nowhere. I am alone and find my way.1The image in Figure 1 shows the bottom of a concrete ramp that angles back upon itself as it connects two levels of the government complex in Chandigarh and ends in a grassy hillside that has several dirt paths cutting across it. The concrete ramp begins just to the left of Le Corbusier's Assembly Hall (Figure 2). What I hope is evident from just two images is the contrast between the curving, unplanned path that pedestrians have made as they leave the bottom of the ramp, and the axial, monumental path implicit in the organization of the large concrete plaza in front of the Assembly Hall. One is informal and intimate because of the many footprints that have worn away the grass; the other is formal and monumental in its carefully controlled framing of a sculptural presence. They are two very different paths, offering different rewards as we wander upon them.As Vikramaditya Prakash's book, Chandigarh's Le Corbusier, emphasizes, the Capitol Complex derived from Le Corbusier's personal mythology, transmogrified somewhat by the site, the politics, and the climate. Le Corbusier "considered it the true mission of modern architecture to reestablish the aesthetic and poetic forms necessary for the liberation and deliverance of...modern man."2 Le Corbusier's monumentalism, then, was imposed on Chandigarh's landscape and the inhabitants with the assumption that he knew best what architecture was appropriate for "liberation." While there are many aspects of his designs to appreciate and admire, his buildings only indirectly address the visitor, preferring uncanny to intimate relationships.3 [End Page 105] Click for larger viewFigure 1 The bottom of the ramp leading into a path toward the Trench of Consideration, Capitol Complex, Chandigarh. Photo by the author. Click for larger viewFigure 2 Façade of the Assembly Building, Le Corbusier, 1953-61, Chandigarh. Photo by the author. [End Page 106]For six months in 1999, I lived in Chandigarh within a few blocks of Le Corbusier's government complex and another compelling place, the nearby and unrelated Rock Garden. While the paths at the Government Complex are, for the most part, empty, those in the Rock Garden are not and provide chances for intimate interactions that are only hinted at underneath Le Corbusier's concrete ramp. Poignant informality in Le Corbusier's government sector exists in areas that were never completed according to plan.4 Its predominant monumentality provides a useful contrast to the intimate spaces of the Rock Garden.In the 1950s, two men, Le Corbusier and Nek Chand Saini, began two very different projects within a kilometer of each other in Chandigarh. Le Corbusier's Capitol Complex started in the very highest government circles with Prime Minister Jawaharwal Nehru: the plan was to build a new state capital for a newly divided Punjab in a newly independent India. In architectural history, Chandigarh is well known and well studied due to its planning and design. Nek Chand's Rock Garden (under construction since 1958, and open to the public since 1976) began as an illegal private project by one man to give form to his imagination. This essay is my impressionistic response to these two projects.Monumental buildings often function powerfully as icons or as proud isolated structures. Visited on ceremonial occasions, they can provide visually compelling backdrops to large-scale... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

The Anderson-Friedman absolute objects program has been a favorite analysis of the substantive general covariance that supposedly characterizes Einstein's General Theory of Relativity (GTR). Absolute objects are the same locally in all models (modulo gauge freedom). Substantive general covariance is the lack of absolute objects. Several counterexamples have been proposed, however, including the Jones-Geroch dust and Torretti constant curvature spaces counterexamples. The Jones-Geroch dust case, ostensibly a false positive, is resolved by noting that holes in the dust in some models (...) ensure that no physically relevant nonvanishing timelike vector field exists there, so no absolute object exists. The Torretti constant curvature spaces case, allegedly a false negative, is resolved by testing an irreducible piece of the metric, the conformal metric density of weight -2/3, for absoluteness; this geometric object is absolute. A new counterexample is proposed involving the orthonormal tetrad said to be necessary to couple spinors to a curved metric. The threat of finding an absolute object in GTR + spinors is overcome by the use of an alternative spinor formalism that takes a symmetric square root of the metric (with the help of the matrix diag(-1,1,1,1)), eliminating 6 of the 16 tetrad components as irrelevant. The importance of eliminating irrelevant structures, as Anderson emphasized, is clear. The importance of the choice of physical fields is also evident. A new counterexample due to Robert Geroch and Domenico Giulini, however, finds an absolute object in vacuum GTR itself, namely the scalar density $g$ given by the metric components' determinant. Thus either the definition of absoluteness or its use to analyze GTR's substantive general covariance is flawed. Anderson's belief that all absolute objects are nonvariational (that is, not varied in a suitable action principle) and vice versa is also falsified by the Geroch-Giulini counterexample. However, it remains plausible that all nonvariational fields are absolute, so adding nonvariationality as a necessary condition for absoluteness, as Hiskes once suggested, would likely leave no useful work to the Anderson-Friedman condition of sameness in all models. Simply having only variational fields in an action principle (suitably free of irrelevant fields) might be a satisfactory analysis of substantive general covariance, if one exists. This proposal also resembles the suggestion that GTR is "already parameterized," if one decides to parameterize theories by defining the nonvariational fields in terms of preferred coordinates called clock fields. More questions need to be addressed. Which fields should be tested for absoluteness: only primitive fields (which ones?), or all or some (which?) of their concomitants also? Geroch observes that some kinds of geometric objects, such as tangent vectors, scalar densities, and tangent vector densities of non-unit weight, satisfy the condition of sameness in all models if they merely fail to vanish. If these "susceptible" geometric objects can hardly help being absolute, to what degree are they, or the theories harboring them, responsible for this absoluteness? The answer to this question helps to determine the significance of the Geroch-Giulini counterexample. (shrink)

The traditional standard theory of quantum mechanics is unable to solve the spin–statistics problem, i.e. to justify the utterly important “Pauli Exclusion Principle” but by the adoption of the complex standard relativistic quantum field theory. In a recent paper :858–873, 2015) we presented a proof of the spin–statistics problem in the nonrelativistic approximation on the basis of the “Conformal Quantum Geometrodynamics”. In the present paper, by the same theory the proof of the spin–statistics theorem is extended to the relativistic domain (...) in the general scenario of curved spacetime. The relativistic approach allows to formulate a manifestly step-by-step Weyl gauge invariant theory and to emphasize some fundamental aspects of group theory in the demonstration. No relativistic quantum field operators are used and the particle exchange properties are drawn from the conservation of the intrinsic helicity of elementary particles. It is therefore this property, not considered in the standard quantum mechanics, which determines the correct spin–statistics connection observed in Nature :858–873, 2015). The present proof of the spin–statistics theorem is simpler than the one presented in Santamato and De Martini :858–873, 2015), because it is based on symmetry group considerations only, without having recourse to frames attached to the particles. Second quantization and anticommuting operators are not necessary. (shrink)

In the early 1970s it is was realized that there is a striking formal analogy between the Laws of black-hole mechanics and the Laws of classical thermodynamics. Before the discovery of Hawking radiation, however, it was generally thought that the analogy was only formal, and did not reflect a deep connection between gravitational and thermodynamical phenomena. It is still commonly held that the surface gravity of a stationary black hole can be construed as a true physical temperature and its (...) area as a true entropy only when quantum effects are taken into account; in the context of classical general relativity alone, one cannot cogently construe them so. Does the use of quantum field theory in curved spacetime offer the only hope for taking the analogy seriously? I think the answer is `no'. To attempt to justify that answer, I shall begin by arguing that the standard argument to the contrary is not physically well founded, and in any event begs the question. Looking at the various ways that the ideas of ``temperature'' and ``entropy'' enter classical thermodynamics then will suggest arguments that, I claim, show the analogy between classical black-hole mechanics and classical thermodynamics should be taken more seriously, without the need to rely on or invoke quantum mechanics. In particular, I construct an analogue of a Carnot cycle in which a black hole ``couples'' with an ordinary thermodynamical system in such a way that its surface gravity plays the role of temperature and its area that of entropy. Thus, the connection between classical general relativity and classical thermodynamics on their own is already deep and physically significant, independent of quantum mechanics. (shrink)

Following recent debates on the New Neoclassical Synthesis, the theory of monetary policy has been renewed. The prevailing method, illustrated by Woodford's version of Interest and Prices, is a Dynamic Stochastic General Equilibrium Model in which the old LM curve is voluntarily substituted by an optimal monetary rule. Such a turning point requires a peculiar set of assumptions, especially regarding monetary prices. The recent debate pays attention to de-emphasis on the nominal monetary aggregate, which does not play any explicit role (...) in monetary policy deliberations. Following Calvo's model, Woodford's neo-Wicksellian framework only considered monetary prices in equilibrium. This article demonstrates that even though the New Neoclassical Synthesis considers it essential to have a monetary theory for policymaking, the former offers the same answers as the traditional static macroeconomics. More precisely, it shows that the use of dynamic optimisation – such as the one developed by Woodford's approach – does not contribute in a decisive way to improving our understanding of the role that money prices play in monetary theory. Woodford's canvas is silent about the mechanisms whereby monetary policy induces agents to adjust individual money prices to the values that generate an equilibrium price level. Thus, if we want to close this gap, it may be useful to consider a 'forward guidance' strategy. By means of such a tool, central bankers are able to shape the public's expectations on economic outcomes by pre-announcing the time path of future policy actions. (shrink)

In the early 1970s it is was realized that there is a striking formal analogy between the Laws of black-hole mechanics and the Laws of classical thermodynamics. Before the discovery of Hawking radiation, however, it was generally thought that the analogy was only formal, and did not reflect a deep connection between gravitational and thermodynamical phenomena. It is still commonly held that the surface gravity of a stationary black hole can be construed as a true physical temperature and its (...) area as a true entropy only when quantum effects are taken into account; in the context of classical general relativity alone, one cannot cogently construe them so. Does the use of quantum field theory in curved spacetime offer the only hope for taking the analogy seriously? I think the answer is 'no'. To attempt to justify that answer, I shall begin by arguing that the standard argument to the contrary is not physically well founded, and in any event begs the question. Looking at the various ways that the ideas of "temperature" and "entropy" enter classical thermodynamics then will suggest arguments that, I claim, show the analogy between classical black-hole mechanics and classical thermodynamics should be taken more seriously, without the need to rely on or invoke quantum mechanics. In particular, I construct an analogue of a Carnot cycle in which a black hole "couples" with an ordinary thermodynamical system in such a way that its surface gravity plays the role of temperature and its area that of entropy. Thus, the connection between classical general relativity and classical thermodynamics on their own is already deep and physically significant, independent of quantum mechanics. (shrink)

Complex diseases involve both a genetic component and a response to environmental factors or lifestyle changes. Recently, genome-wide association studies (GWAS) have succeeded in identifying hundreds of polymorphisms that are statistically associated with complex diseases. However, the association is usually weak and none of the associated allelic forms is either necessary or sufficient for the disease occurrence. We argue that this promotes a network view, centred on functional redundancy. We adapted reliability theory to the concerned sub-network, modelled as a parallel (...) array of functional modules. In our model, as long as one module remains active, the function correlated with the respective disease is ensured and disease does not occur. Genetic factors reduce the initial number of available modules while environment, contingent surroundings, personal history, epigenetics, and some intrinsic stochasticity influence their persistence time. This model reproduces age-specific incidence curves and explains the influence of environmental changes. It offers a new paradigm, according to which disease occurs due to a lack of functional elements, depending on many idiosyncratic factors. Genetic risk assessed from GWAS is only a statistical notion with no direct interpretation at the individual level. However, genomic profiling could be useful at population level in devising models to guide decisions in health care policy. (shrink)

Introduction : a slight adjustment -- The one and only law -- The law of the break with law : Badiou and legal ethics -- Raving with reason : Kant and the moral law -- A "useful illusion" : H. L. A. Hart and legal positivism -- The Haitian revolution : one law in action -- Conclusion : how lawful is one law?.

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

Research based on construal level theory (CLT) suggests that thinking about the distant future can prime people to solve problems by insight (i.e., an “aha” moment) while thinking about the near future can prime them to solve problems analytically. In this study, we used a novel method to elucidate the time-course of temporal priming effects on creative problem solving. Specifically, we used growth-curve analysis (GCA) to examine the time-course of priming while participants solved a series of brief verbal problems. Participants (...) were tested in two counterbalanced sessions in a within-subject experimental design; one session featured near-future priming and the other featured far-future priming. Our results suggest high-level construal may temporarily enhance analytical thinking; far-future priming caused transient facilitation of analytical solving while near-future priming induced weaker, transient facilitation of insightful solving. However, this effect is short-lived; priming produced no significant differences in the total number of insights and analytical solutions. Given the fleeting nature of these effects, future studies should consider implementing methodology that allows for aspects of the time-course of priming effects to be examined. A method such as GCA may reveal mild effects that would be otherwise missed using other types of analyses. (shrink)

This article argues that one of our only pieces of evidence for Roman marriage between cinaedi, Juvenal's second satire, has been consistently misread and in fact describes a marriage between a cinaedus and a sex worker. It begins by providing the context for the passage in question and its traditional reading, and then demonstrates that the critical phrase siue hic recto cantauerat aere refers to financial, not erotic, exchanges. The article finally discusses the implications of this correction, which are (...) far more substantial than one might expect for a contentious ablative. (shrink)

The attempt to find usable diagrams fornterms of the sort devised by John Venn seems to have originated with Venn himself, who published diagrams for up to five classes (the fifth class, however, was shaped like a doughnut, and contained an area outside itself — like the hole in the doughnut). Venn then suggested that “if we wanted to use a diagram forsixterms (x, y, z, w, v, u) the best plan would probably be to taketwofive-term figures, one for theupart (...) and one for the non-upart of all the other combinations …” Such a method would, as Venn admits, be somewhat confusing to the eye, and thus fail to fulfil one of the major purposes of the diagram; nevertheless, it is a method which could be extended to covernclasses.Venn also suggests (but without illustration) another method for drawing diagrams fornterms: “… the rule of formation would be very simple. We should merely have to begin by drawing any closed figure, and then proceed to draw others subject to the one condition that each intersect once, and once only, all the existing subdivisions produced by those which had gone before.” Then, in a rather surprising footnote, he adds: “It will be found that when we adhere to continuous figures, instead of the discontinuous five-term figure given above, there is a tendency for the resultant outlines thus successively drawn to assume a comb-like shape after the first four or five. If we begin by circles or other rounded figures the teeth are curved, if by parallelograms then they are straight. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)