Introduction Research supports the efficacy of both a remedial consent procedure ) and a motivational consent procedure for improving recall of informed consent to research. Although these strategies were statistically superior to standard consent, effects were modest and not clinically significant. This study examines a combined incentivised consent and CF procedure that simplifies the cognitive task and increases motivation to learn consent information.Methods We randomly assigned 104 individuals consenting to an unrelated host study to a consent as usual condition or (...) an incentivised CF condition . All participants were told they would be quizzed on their consent recall following their baseline assessment and at 4 monthly follow-ups. ICF participants were also informed that they would earn $5 for each correct answer and receive CF as needed.Results Quiz scores in the two conditions did not differ at the first administration ; however, ICF scores were significantly higher at each subsequent administration .Conclusions The ICF procedure increased consent recall from 72% to 83%, compared with the CAU condition in which recall decreased from 69% to 59%. This supports the statistical and clinical utility of a combined remedial and motivational consent procedure for enhancing recall of study information and human research protections. (shrink)

Structural biology has experienced several transformative technological advances in recent years. These include: development of extremely bright X-ray sources and the use of electrons to extend protein crystallography to ever decreasing crystal sizes; and an increase in the resolution attainable by cryo-electron microscopy. Here we discuss the use of these techniques in general terms and highlight their application for biological filament systems, an area that is severely underrepresented in atomic resolution structures. We assemble a model of a capped tropomyosin-actin minifilament (...) to demonstrate the utility of combining structures determined by different techniques. Finally, we survey the methods that attempt to transform high resolution structural biology into more physiological environments, such as the cell. Together these techniques promise a compelling decade for structural biology and, more importantly, they will provide exciting discoveries in understanding the designs and purposes of biological machines. Structural biology is undergoing technological advancements that now reveal the structures of previously inaccessible biological machines. Microfocus synchrotron beamlines, X-ray free electron lasers, and MicroED cope with vanishingly small crystals, while cryo-electron microscopy targets single molecules at near atomic resolution. These advances promise an exciting decade for structural biology. (shrink)

Artistic work is often born through a thought, the deepening and the study of themes, which are the fundamental principles of art, being used and becoming subjects of a different work, parallel to that of the creative one.

La storia della follia assume i tratti di uno straordinario racconto, laddove trame e personaggi s’intrecciano in uno svolgimento comune e condiviso. Questa storia, però, perturba gli animi, poiché essa alterna disumane crudeltà a rivoluzionarie pre- se di consapevolezza. In certi periodi e contesti storici, infatti, il folle diviene beffarda maschera del male, da allontanare, internare o, addirittura, perseguitare. Su di lui s’abbatte la crudeltà umana, dietro il velo menzognero di un’improbabile cura. La follia diviene malattia, demone, male assoluto da (...) estirpare a ogni costo, finanche sacrificando alcune sue vittime. In tal senso, la storia della follia ricorda quella dello schiavismo, o quella delle deportazioni e dei genocidi. In altri periodi e contesti stori- ci, invece, il folle diviene emblema di lotta sociale e culturale, per l’affermazione del- la soggettività umana e del suo assoluto rispetto. Egli diviene, così, il simbolo della rinascita culturale e spirituale, con gesta simboliche, come la rottura delle catene nei manicomi, sino addirittura a mettere in dubbio, o negare, l’esistenza stessa della follia. In tal senso, la storia della follia ricorda quella delle rivoluzioni, o dei moti insurrezionali, o dei radicali cambiamenti del paradigma scientifico. Nel mezzo, infine, tra estremismi così netti, s’inserisce lo scorrere della storia stessa della follia, con modali- tà spesso più sfumate e altre meno. Questa storia assume multidimensionalità, come fosse l’insieme di tante storie parallele. C’è, infatti, una storia dei luoghi della follia: dai più indegni e disumani, come i lebbrosari convertiti, le navi dei folli e i manicomi, ai più accoglienti e sensibili, come le case morali e le comunità terapeutiche. C’è, inol- tre, una storia delle idee sulla follia: da quelle che la definiscono una malattia simile a una sostanza agente, come l’organicismo, a quelle che la definiscono, invece, una proprietà o condizione esistenziale dell’individuo, contingente e risolvibile, come il mentalismo; o da quelle che la definiscono una disarmonia spirituale e una forza avversa, come l’animismo, a quelle che la definiscono, invece, una compromissione di natura ambientale, come l’ambientalismo. C’è, infine, una storia dei trattamenti della follia: da quelli più bruti e ciechi, come la bara d’acqua e la lobotomia, a quelli più umani e terapici, come l’arte della consolazione e la buona relazione. (shrink)

This dissertation argues that the current tendency to define liberal constitutionalism in terms of the impersonal and formalistic ideals of the rule of law diverges from early liberal theories of constitutionalism, which were sensitive to the occasional need for extra-legal discretionary exercises of power to deal with the unpredictable contingencies of politics. This understanding of politics shaped the constitutional and political thought of liberal thinkers from John Locke, David Hume, and William Blackstone to Alexander Hamilton, James Madison, and other Federalists (...) who defended the extraordinary powers of the American presidency. Since these early liberals recognized that it would sometimes be necessary for an executive to perform extraordinary actions in response to unforeseeable events, they were reluctant to place excessive legal checks on executive power. Consequently, they emphasized the importance of limiting executive power to those with "fit characters." In particular, they looked to those politico-moral virtues associated with republicanism to supplement and enhance the constitutional machinery of government that was designed with the ordinary course of politics in mind. Although early liberal theorists and the designers of the American Constitution abandoned many of the core principles of republicanism, particularly its reliance on a virtuous and active citizenry as the best guarantee of free government, they preserved a place for distinctively republican virtues such as patriotism and disinterestedness in the office of the executive. In fact, the Federalists made the American presidency the primary repository of republican virtue in the new government. The first century of liberal constitutional theorists was actually skeptical of the ability of impersonal institutional devices such as the separation of powers and checks and balances to secure a free and effective government without the presence of fit characters. Since formal institutions are imperfect and often inadequate---both in dealing with political contingencies and in checking the executive---these thinkers supplemented legal and institutional safeguards with character requirements to minimize potential abuses of largely indeterminate executive powers irreducible to law. An abiding conviction that uncertainty is the only certainty in politics led them to prefer flexible approaches rather than the rigid formulas in theorizing constitutionalism. (shrink)

Nick Zangwill has done more than any person recently to resuscitate aesthetic formalism. I say "resuscitate" because formalism has not been in favor for several decades. Zangwill writes that "Aesthetic Formalism has fallen on hard times. At best it receives unsympathetic discussion and swift rejection. At worse it is the object of abuse and derision." The reasons many today believe aesthetic formalism is not viable have been the subject of discussion since the pendulum swing away from New Criticism, via the (...) work of William Wimsatt, Cleanth Brooks, Clement Greenberg, André Levinson, and Heinrich Wolfflin. Most of these reasons have been discussed thoroughly, and those that I will review here that have been discussed I will spend little time reconsidering. I believe, though, that there are a few more reasons why formalism has fallen on hard times, reasons that have not been much discussed, or at least not directly. They are the subject of this article. (shrink)

For about the last three decades, postmodernists have exposed the weaknesses of modernist formalism. Western modernist formalism effectively locates art’s meaning in its formal qualities. Clive Bell’s twentieth-century significant form aesthetic theory, Clement Greenberg and abstract art, and art educators’ preoccupation with design elements and principles typify this modernist tendency.1 In contrast, postmodernists generally insist that sociocultural context supplies art’s meaning. Within contemporary art education, postmodernist theory relies strongly on semiotics, neopragmatism, and social constructivist theories of culture; these tend to (...) reduce form to being an arbitrary vehicle for content supplied by cultural.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators to (...) make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

Adrian Stokes , long admired by a small, highly distinguished, mostly English circle, was the natural successor to Pater and Ruskin. But though his place in cultural history is important, what is of particular interest now to art historians is his theory of the presentness of painting, a theory which offers a challenging critique of the practice of artwriting. From Vasari to the present, the most familiar rhetorical strategy of the art historian is the narrative of “the form, prophet-saviour-apostles,” in (...) which the first artist poses some problem that his successors develop and their successors solve.1 Such very different books as Art and Illusion and Art and Culture deploy that plan. The three periods of naturalism in E. H. Gombrich’s narrative—antiquity, Renaissance religious narrative, nineteenth-century landscape—function like Clement Greenberg’s sequence—old master art, early French modernism, American abstract expressionism. Gombrich and Greenberg disagree about how to narrate art’s history and about which works to include in that narrative—Gombrich asserts that cubism closes the canon while for Greenberg analytical cubism anticipates Jackson Pollock—but in each case, the art historian aims, as the novelist does, to tell a satisfying story and achieve narrative closure, and so how we think of the artworks the historian discusses depends in part upon the structure of the narrative. In a certain mood, we may find this fact intolerable. Why should a mere text tell us how to see the painting we may stand before?Stokes’ attempt to respond to this mood belongs to a tradition of early twentieth-century antihistorical thinking. For Rainer Maria Rilke, Rodin’s sculpture aimed to “refer to nothing that lay beyond it.” For Ezra Pound, an image “is real because we know it directly”; Henri Gaudier-Brzeska could read Chinese ideograms without knowing that language because those ideograms are transparently meaningful images. For Wyndham Lewis, a musical piece is inferior to a statue, “always there in its entirety before you.”2 Such an artwork need not be interpreted because it contains “within itself all that is relevant to itself.”3 All art is accessible to the gifted observer, and time is, in an interesting double sense, irrelevant. We see directly the meaning of works even from distant cultures; the visual artwork is experienced all at once, outside of time. If these claims are correct, what is the artwriter to do? Speaking of the Tempio Malatestiana, Hugh Kenner points to this issue:There is no description of the Tempio in accordance with good Vorticist logic: one art does not attempt what another can do better, and the meaning of the Tempio has been fully explicated on the spot by Agostino di Duccio with his chisel.4 1. Michael Baxandall, Giotto and the Orators: Humanist Observers of Painting in Italy and the Discovery of Pictorial Composition 1350-1450 , p. 75.2. Rainer Maria Rilke, Rodin, trans. Jessie Lemont and Hans Trausil , p. 19; Ezra Pound, Gaudier-Brzeska: A Memoir , p. 86; Wyndham Lewis, Time and Western Man , p. 174.3. Frank Kermode, Romantic Image , p. 107.4. Hugh Kenner, The Pound Era , p. 428. David Carrier, associate professor of philosophy at Carnegie-Mellon University, is coauthor, with Mark Roskill, of Truth and Falsehood in Visual Images and author of the forthcoming Artwriting, a study of recent American art criticism. He is working on a history of art history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 99-104 [Access article in PDF] New York Art, Pittsburgh Art, Art 1 David Carrier Champney Family Professor Case Western Reserve University/Cleveland Institute of Art I. New York Art A fully developed artworld requires not only artists, but also a support system — schools to teach the artists, commercial galleries to display art, and the connected artmarket; public museums and their curators to (...) make that art available to the public; and also, last and least, artwriters to interpret and evaluate the art. This has been true for a long time in America and Europe. I speak of artwriters as "last and least" just because we are important only in some artworlds. In the seventeenth century Poussin depended upon commentary of intellectuals, but his contemporaries Rembrandt and Vermeer did not. In this country, New York is such an artworld and so, perhaps, is Los Angeles. These are the places where young artists go to establish themselves, and so they are the places where the most original new art tends to be made. Artists outside of those centers then imitate the art made there.Artworld centers tend to be large business centers because they require major museums and many collectors. Each component of this system is dependent upon the others. Unless they have collectors, artists cannot support themselves without doing other jobs; unless there are museums, there is no public space in which art can be seen. Unless there are artwriters, there is no way to articulate shared experience of this art. This artworld is a product of modernist bourgeois democracy. Premodern cultures did not have public museums. Nowadays information is disseminated quickly, but the role of centers as places where new art is made, seen, and discussed remains essential. Our novel electronic technologies have not changed this situation.A collecting culture requires not just wealth, but also a special sort of sensibility. In fact, the number of serious collectors anywhere is surprisingly small, as one can see in Los Angeles, which has a great deal of wealth, but a surprisingly thin gallery system. Like collectors, artwriters too are odd sorts of creatures. I usually identify myself as a New York-based critic, because that is where I see most of the shows I review. Artforum, the Burlington Magazine, and Tema Celeste, the journals I now work for have a real interest in exhibitions at the Carnegie and the Warhol, in Pittsburgh, but no concern with shows like this one. Partly the problem is that reviewing space is very hard to come by, but also the difficulty is that it is difficult to make sense of a review discussing artists who are known only locally. Even were I to identify [End Page 99] someone local as a wonderful original talent, it would be very difficult for readers who have never seen her art to evaluate that claim.In Pittsburgh we certainly have good artists, and there are several universities with art departments. But here, as elsewhere in the cities I know, the artmarket is focused on New York; and there is, so far as I can see, only modest critical support for artists. Major collectors here, as elsewhere in America, look to New York, which has a critical mass of galleries, museums, and critics. The Carnegie too, tends to look to New York when planning its shows. The curators travel widely, but most of the art they show, whether American or from elsewhere, is displayed in New York galleries. If one adopts this way of thinking about an artworld, then art made in Pittsburgh inevitably will be judged as "provincial." There are a few major artists, and many derivative ones; and those major ones, the innovators, are in the artworld centers.This is the model Vasari adopts, it is Clement Greenberg's model, and it is the basic model driving the present day artworld. To describe Pittsburgh artists as provincial, then, is to identify the sociological structure of this, a typical local artworld. There is a lot of adventure and intelligence in Pittsburgh art, but inevitably to the critic... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Artforum, Andy Warhol, and the Art of Living:What Art Educators Can Learn from the Recent History of American Art WritingDavid Carrier (bio)When around 1980 I began writing art criticism, Artforum was much concerned with historical analysis.1 When presenting the work of younger painters and sculptors, it seemed natural to explain artists' accomplishments by identifying precedents for their work. Much of my criticism published in the 1980s presented post-formalist accounts (...) of abstract painting. Seeking precedents for the painting I admired, I looked to the history of art. But such pleas for the value of tradition were doomed. Commentators preaching the values of tradition lost out to the writers emphasizing a break with the past. Much of interest for art education can be learned by studying the history of this very influential, small circulation journal.Only in retrospect did the urgency of this felt need for a break with the past become apparent. The history of responses to Abstract Expressionism suggested a different way of thinking about moments of change. HaroldRosenberg's conception of "action painting" implied that Pollock broke dramatically with the past. Clement Greenberg, by contrast, in a famous phrase said: "I do not think it exaggerated to say that Pollock's 1946-1950 manner really took up Analytic Cubism from the point at which Picasso and Braquehad left it...in their collages of 1912 and 1913."2 Greenberg's counter-intuitive analysis, asking us to see very different looking paintings as essentially similar, had prevailed. So it was not unreasonable to expect that after Greenberg, concern with tradition would remain important. But that was not what happened.Demand for a break with the past often carries political overtones. Historians debate whether the French Revolution broke with the past, or merely developed trends of the old regime. The idea of a complete break with tradition can seem attractive, but of course such dramatic ways of thinking underestimate real continuities. Struggle among post-Greenbergian artwriters to define a new critical paradigm mimics conflicts among artists to define the [End Page 1] leading post-Abstract Expressionist tradition. Once a critical paradigm has been established, debate may proceed peacefully. But when defining a period style is at issue, the stakes are high, and so conflicts are ferocious. Of course, struggle is always accompanied also by co-operation, but failing to grasp the real role of conflict leads to all-too-pious visions of what is possible.Greenberg developedthe most influential critical approach, and so when his way of thinking was rejected, a radically different approach was of most interest. Here we are dealing with what Harold Bloom famously called the anxiety of influence. Just as the most interesting painting after Abstract Expressionism deconstructed that tradition, so in criticism no ways of thinking too similar to Greenberg's stood a chance of being important. I think it interesting to reconstruct the process rationally in which an individual obtains such power. A totem, Freud explains, is "an animal (whether edible and harmless or dangerous and feared) and more rarely a plant or a natural phenomenon (such as rain or water), which stands in a peculiar relation to the whole clan."3 The communion bread and wine are just bread and wine, but for the believer they become Christ's body and blood. Rationally speaking, a representational painting is just pigment on canvas; and a minimalist sculpture, just shaped metal. But in what Arthur Danto calls the "transfiguration of the commonplace," "a work of art...has qualities to attend to which its untransfigured counterpart lacks...We are dealing with an altogether different order of things."4 Greenberg became a totem. He was not just an important writer whose arguments entitled him to reasonable respect. The mere mention of his name invoked irrational fears.Greenberg was obsessed with tradition. Abstract Expressionism was rooted in early modernism, so that the era from Manet through Pollock defined a period style. Greenberg's historiography may seem inescapable. How can a young painter be understood except by seeking precedents for her achievement? Cannot the now famous artists who emerged in the 1980s be understood in these terms? Barbara Kruger comes out of John Heartfield and dada... (shrink)

In 1601 certain Jesuits in Alcalá de Henares defended the following thesis: «It is not by faith that we confess that this man, for example, Clement VIII, is Pope.» During 1602 this fact became known in Rome and the Pope urged that the Spanish Inquisition imprison these Jesuits. To defend themselves, they alleged that the thesis was not unusual among scholars, indicating the names of several authors who defended it, among them, the eminent professor emeritus of Salamanca Domingo Báñez. However, (...) he convened an academic act in Valladolid on July 2, 1602 to show that his position was not such. Shortly thereafter, the Jesuits held another event in the same town to challenge the thesis of their coreligionists, underscoring their opposition even more than Báñez. New, partly unknown material on the subject is copied in these pages: the letters from the nuncio to the head of the Vatican State, with annotations written by the Pope, and a letter from the King of Spain to his ambassador; the complete text of the theses defended by Báñez and by the Jesuits in July 1602, as well as two unpublished letters from Báñez on the occasion of his act, one to the master general of his Order and the other to the Pope. (shrink)

This chapter contains sections titled: Reason 1: It's a Lie, and Lying is Wrong Reason 2: Santa Doesn't Have Your Best Interests in Mind Reason 3: The Damage to Credulity Having Faith in Santa Cut It Out, Wrap It Up.

This unpublished manuscript of the Spanish Dominican Domingo Báñez reflects his personal account of the proceedings held during July 1602 in Valladolid in defense of his own doctrine against suspicious theses formulated by some Jesuits from Alcalá de Henares the previous March. The Jesuits denied that the adhesion of faith to the Roman Pontiff included him as a specific man, e.g. Pope Clement VIII. In support of their thesis, they provided the authority of Báñez. The Dominican theologian clarified in Valladolid (...) that the fact that Clement VIII was Pope did belong to the faith indeed but not in a primary and immediate sense, although this was later supported by other Jesuits in a third session held a few days later, again in Valladolid. (shrink)

What we consider “nature” is always historical and relational, shaped in contingent configurations of representational and social practices. In the early twentieth century, the English ecologist A.G. Tansley lamented the pervasive problem of international misunderstandings concerning the nature of “nature.” In order to create some consensus on the concepts and language of ecological plant geography, Tansley founded the International Phytogeographical Excursion, which brought together leading plant geographers and botanists from North America and Europe. The first IPE in August 1911 started (...) with the Norfolk Broads. It was led by Marietta Pallis, Tansley’s former student at Cambridge. This trip and the work of Pallis, neglected in other accounts of this early period of the history of ecology, influenced the relations between Tansley and important American ecologists H.C. Cowles and F.E. Clements. Understanding “place” as a network of relations, our regional focus shows how taking international dialogue, travel and interchange into account enriches understanding of ecological practice. (shrink)

What we consider "nature" is always historical and relational, shaped in contingent configurations of representational and social practices. In the early twentieth century, the English ecologist A.G. Tansley lamented the pervasive problem of international misunderstandings concerning the nature of "nature." In order to create some consensus on the concepts and language of ecological plant geography, Tansley founded the International Phytogeographical Excursion, which brought together leading plant geographers and botanists from North America and Europe. The first IPE in August 1911 started (...) with the Norfolk Broads. It was led by Marietta Pallis, Tansley's former student at Cambridge. This trip and the work of Pallis, neglected in other accounts of this early period of the history of ecology, influenced the relations between Tansley and important American ecologists H.C. Cowles and F.E. Clements. Understanding "place" as a network of relations, our regional focus shows how taking international dialogue, travel and interchange into account enriches understanding of ecological practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 689 present the spirit of Catholic Christianity to contemporary man in such a way that it [Catholic Christianity, not contemporary man!] appears credible in itself and its historical development..." (emph. mine). Clearly, de Lubac's entire theology is an effort to say the opposite of what the mistranslation regrettably says. Page 46: "his articles, however, which from 1972 [typographical correction: 1942] on prepared for his works on modern (...) atheism (1944/1945)..." On pages 80 and 115, the word "mysterial" is introduced; it should be "mystical." On page 94-95, "the strict rejection of all reduction of God's living consciousness [correction: the living consciousness of God] to logical categories" is misleading because Balthasar is referring to man's living consciousness of God. Page 101: " We experience what a true theology [correction: theologian] is for de Lubac..." On the same page there are two typographical errors, adding a parenthesis and omitting quotation marks. Abbe Monchanin's De l'esthetique a la mystique (From Aesthetics to Mysticism) is mistranslated as From Asceticism to Mysticism on page 102. This 1991 edition translates Henri de Lubac's name for the first and only time as " Henry de Lubac" on page 118. Michael Waldstein's and Susan Clement's translations are fine and readable. The Catholic Universtiy of America Washington, D.C. MARK D. NAPACK Hans Urs von Balthasar. His Life and Work. Edited by DAVID L. SCHINDLER. San Francisco: Communio Books/Ignatius Press, 1991. Pp. 305. This is an important contribution to English-language scholarship on the Swiss theologian Hans Urs von Balthasar. As such it marks a nice complement to the volume edited by John Riches, The Analogy of Beauty: The Theology of Hans Urs von Balthasar (Edinburgh: T. & T. Clark, 1986). Schindler's volume is a slightly edited translation of Hans Urs von Balthasar: Gestalt und Werke, edited by Karl Lehmann and Walter Kasper (Cologne: Communio, 1989). Most of the articles appeared in one or more of the many editions of Communio International Catholic Review, the periodical founded by Balthasar. The richness of the volume lies not only in the quality of individual selections but in the range of material that is covered. Many areas of Balthasar's life and work have remained little known, especially in the English-speaking world, until the appearance of this volume. The pur- 690 BOOK REVIEWS pose of the book, according to Schindler's preface, is "to help display [Balthasar's] vision and the character and range of his service to the Church and to culture" (p. xiii). There are several essays in the volume which shed new light on Balthasar's life, as well as on his philosophical position. Peter Henrici's lengthy biographical sketch is the most complete such contribution available until now, even though he calls it "preliminary and inadequate " (p. 7). It is extremely useful, in conjunction with Balthasar's own autobiographical statements, to situate the written work in the context of a large mission in the Church. It is also helpful in clarifying the relationship between Balthasar and the Jesuit order: his entry into the Society of Jesus, his studies, his departure from the Jesuits, and the attempted reconciliation with them shortly before his death. The extent of his health problems, also, only underlines the value of his literary production. Many details concerning the meeting with Adrienne von Speyr and the founding of the secular institute ]ohannesgemeinschaft are also provided. Throughout these activities and the writings that surround them, "the issue is the Church in the world, not a radiating of the Church's holiness into the profane world, but the leavening of the world from within in order to make visible God's glory which still shines in this world" (p. 24). Henrici has another essay in the collection on the philosophy of Balthasar. This is a little explored area of Balthasar's writings and Henrici's contribution is especially valuable. By clarifying Balthasar's position in relation to key figures in the history of philosophy, it provides many significant hints to facilitate the integration of Balthasar's theology within the academic milieu. Balthasar reflected on the possibilities of an encounter between Catholic theology and modern thought. By the... (shrink)

This paper sets forth some hypotheses on Horst Bredekamp’s research. Bredekamp’s Bildwissenschaft has a peculiar thought dynamic that was initially developed in his art historiographical efforts. These show a relevant entanglement of present interest and past issues, research method and research object. I will show this with a focus on his research on the Kunstkammer. This dynamic developed later in Bredekamp’s research on the image act in a theoretical way. It is transformed here in the attempt to develop a thought (...) which is not overcome by, and does not destroy, the energy which lies at the core of the image act. The peculiar connections between these dimensions are discussed as the effects of the problematic urges that the different developments of his method and theory try to address always anew. It will be shown that a hidden, vital core of his work is a striving towards critique. (shrink)

The aim of this paper is to show how the logical-philosophical paradigm, which allows Hegel to encapsulate the living being in the Science of the Logic, plays a relevant role in his conception of the Ideal in his Lectures on Fine Art. To that end, I will first consider nature’s beauty as confronted to art’s beauty by taking into account the critical readings of this passage, particularly Adorno’s. Although this critique is rooted in Hegel’s text, that very same text can (...) also be a means for a counter-critique and a different way of confronting the matter. This leads to the moving of the question to the proper forum: not an investigation on two contrasting forms of beauty, but rather the relationship between the living being and art in the structure of the concept of beauty and the Ideal. The distinction between nature and art is not annihilated in the relation; and if this relationship were to be lost, art could not be thoroughly thought, because art, by taking the living being to its extreme, translates it into the Ideal, the pivotal notion of Hegel’s aesthetic paradigm. (shrink)

Since 2010, the European Journal of Anaesthesiology has required the reporting of five items concerning ethical approval in articles describing human research: ethics committee’s name and address, chairperson’s name, study’s protocol number and approval date. We aimed to assess whether this requirement has helped to identify and to contact the referenced ethics committees. In this cross-sectional study, we analysed articles requiring ethical approval, according to the Swiss federal law for human research and published in the European Journal of Anaesthesiology in (...) 2011. Ethics committees were searched through our institutional Internet access based on information provided in the articles. The last search was performed in November 2015. Numbers of items reported, of ethics committees identified, and of those that confirmed having provided ethical approval are reported. Of 76 articles requiring ethical approval, 74 declared it. Ethics committees’ names and addresses were mentioned in 63/74, protocol numbers in 51/74, approval dates in 48/74, and chairpersons’ names in 45/74. We could identify 44/74 committees; 36/74 answered our inquiry and 24/74 confirmed their role. Thirty-four of 74 articles reported all five items; in 25/34, we were able to identify an ethics committee, 18/34 answered our inquiry, and 15/34 confirmed their role. Forty of 74 articles reported ≤4 items; in 19/40, we were able to identify an ethics committee, 18/40 answered our inquiry, and 9/40 confirmed their role. Reporting five items significantly increased identification of ethics committees and their confirmation of ethical approval. Twelve of 74 ethics committees were unable to confirm their role in approving the study. Even when details concerning ethical approval were reported in these studies of human research, we were unable to identify almost half of the ethics committees concerned. The reporting of five items, compared with reporting ≤4, was associated with facilitated identification of ethics committees, and increased the likelihood that they would be able to confirm the study’s approval. Future research should identify which information facilitates identification of, and contact with, ethics committees. (shrink)

Since the 1990s the so-called transparency of experience has played a crucial role in core debates in philosophy of mind. However, recent developments in the literature have made transparency itself quite opaque. The very idea of transparent experience has become quite fuzzy, due to the articulation of many different notions of transparency and transparency theses. Absent a unified logical space where these notions and theses can be mapped and confronted, we are left with an overall impression of conceptual chaos. This (...) is a problem, given the constant and ubiquitous references to transparency in the literature and its prominent position in the contemporary philosophy of mind. My goal in this paper is to restore clarity through proper analysis of the mutual relations between the different transparency theses. This allows me to uncover a unitary multidimensional logical space where existing (as well as possible) views can be properly singled out and located. (shrink)

My claim in this article is that the thesis that Buddhism has no God, insofar as it is taken to apply to Buddhism universally, is false. I defend this claim by interpreting a central text in East-Asian Buddhism – The Awakening of Faith in Mahāyāna – through the lenses of perfect being theology (PBT), a research programme in philosophy of religion that attempts to provide a description of God through a two-step process: (1) defining God in terms of maximal greatness; (...) (2) inferring the properties or attributes that God must have in virtue of satisfying the definition. My argument comprises two steps. First, I argue that, since PBT is a method for providing a description of God starting from a definition of God, any text that contains a PBT ipso facto contains a notion of God. Second, I argue through textual evidence that The Awakening articulates a PBT, concluding that it contains a notion of God. Since the method of PBT leaves open what descriptions are to be inferred, my argument allows me to conclude that a text contains a notion of God without previously committing to any particular conception of the divine, which makes it particularly versatile and powerful. (shrink)

The relationship between philosophy and science has always been complementary. Today, while science moves increasingly fast and philosophy shows some problems in catching up with it, it is not always possible to ignore such relationships, especially in some disciplines such as philosophy of mind, cognitive science, and neuroscience. However, the methodological procedures used to analyze these data are based on principles and assumptions that require a profound dialogue between philosophy and science. Following these ideas, this work aims to raise the (...) problems that a classical connectionist theory can cause and problematize them in a cognitive framework, considering both philosophy and cognitive sciences but also the disciplines that are near to them, such as AI, computer sciences, and linguistics. For this reason, we embarked on an analysis of both the computational and theoretical problems that connectionism currently has. The second aim of this work is to advocate for collaboration between neuroscience and philosophy of mind because the promotion of deeper multidisciplinarity seems necessary in order to solve connectionism’s problems. In fact, we believe that the problems that we detected can be solved by a thorough investigation at both a theoretical and an empirical level, and they do not represent an impasse but rather a starting point from which connectionism should learn and be updated while keeping its original and profoundly convincing core. (shrink)

This paper examines the ethological notion of ritualization from the perspective of zoosemiotic studies. Instead of moving within the horizon of traditional semiotic approaches to this phenomenon, my aim is to propose an alternative attempt of modelling based on the linguistic and semiotic concepts of context and contextuality. At the same time, the paper identifies ritualization as a case of exaptation, suggesting the extension of the context-based model within evolutionary biology and the agenda of its semiotic description, namely biosemiotics. At (...) lenght, a potential application of the model is suggested with respect to human ritualization, essentially as a means to prevent inadequate adaptationist considerations. (shrink)

According to intentionalism, the phenomenal character of experience is one and the same as the intentional content of experience. This view has a problem with moods (anxiety, depression, elation, irritation, gloominess, grumpiness, etc.). Mood experiences certainly have phenomenal character, but do not exhibit directedness, i.e., do not appear intentional. Standardly, intentionalists have re-described moods’ undirectedness in terms of directedness towards everything or the whole world (e.g., Crane, 1998; Seager, 1999). This move offers the intentionalist a way out, but is quite (...) unsatisfying. More recently, Angela Mendelovici (2013a, b) has suggested something that looks more interesting and promising: instead of re-describing moods’ phenomenology, she accepts its undirectedness at face value and tries to explain it in intentionalist terms. In this paper, I focus on and criticize Mendelovici’s proposal. As I will show, despite its prima facie virtues, the view is poorly motivated. For, contrary to what Mendelovici argues, introspection does not support her proposal—arguably, it provides some evidence against it. So, the problem that intentionalism has with moods is not solved, but is still there. (shrink)

In this paper, we discuss the inherent temporal orientation of fear, a matter on which philosophers seem to have contrasting opinions. According to some, fear is inherently present-oriented; others instead maintain that it is inherently future-oriented or that it has no inherent temporal orientation at all. Despite the differences, however, all these views seem to understand fear’s temporal orientation as one-dimensional—that is, as uniquely determined by the represented temporal location of the intentional object of fear. By contrast, we present a (...) view that introduces a two-dimensional account of fear’s temporal orientation. On such a view, we can say that fear is inherently future-oriented, independently of its being about something in the present or in the future. (shrink)

I introduce and defend a view about knowledge that I call Moderate Skeptical Invariantism. According to this view, a subject knows p only if she is practically certain that p, where practical certainty is defined as the confidence a rational subject would have to have for her to believe that p and act on p no matter the stakes. I do not provide a definitive case for this view, but I argue that it has several explanatory advantages over alternative views (...) and I show how it can avoid two pressing problems commonly addressed to similar approaches. (shrink)

Since the nineteenth and twentieth century, information has been pivotal both in the cultural tradition and then in the economic tradition. While the Fordism economic model and its specialisation requirements originated a simplistic zoning and single-use development approach to the design of a city. It, however, determined a fragmented growth of cities. Inevitably, the zoning as an urban strategy affected the architectural scale. Nevertheless, the idea of information, commercial goods and thereby people freely able to flow through the city allowed (...) architects and urban designer to conceive new types of urban infrastructures. For example, trains, which were designed on the model of urban “arteries and veins.” Over time, the persistence of urban and architectural segmentation has strengthened social and economic inequalities among urban society. In addition, information has played a more vital role in this strengthening process. The technological achievements of the twenty-first century such as information technologies have significantly affected cities. The new informational patterns have provided new ways of designing, and in turn how societies experience cities. These “quantified cities” consist of digital data that dynamically interacts with “quantified human beings.” Consequently, a renewed urban semiotics is established, which is built around an alternate sociological comprehension. Is this new urban semiotics able to heal an ill and divided urban body? The paper will investigate a new concept of “quantified city” based on the notion of “Hyper-Reality,” and its inhabitants who are entering in a “post-human” condition while living in a dynamic urban environment. In particular, the critical analysis will be used as a “tool” for redefining the perception of the city through inhabitants’ relational patterns which are technologically mediated. The more traditional notion of urbanisation is questioned with a focus on how the an urban society is embedded within the digital condition and the notion of a city. (shrink)

The so-called transparency of experience (TE) is the intuition that, in introspecting one’s own experience, one is only aware of certain properties (like colors, shapes, etc.) as features of (apparently) mind-independent objects. TE is quite popular among philosophers of mind and has traditionally been used to motivate Representationalism, i.e., the view that phenomenal character is in some strong way dependent on intentionality. However, more recently, others have appealed to TE to go the opposite way and support the phenomenal intentionality view (...) (PIV), according to which intentionality is in some strong way dependent on phenomenal character. If this line of argument succeeds, then not only TE does not speak in favor of Representationalism, but it actually speaks against it, contrary to the philosophical common-sense of the last two decades. Moreover, the representationalist project of naturalizing phenomenal character turns out to be seriously undermined on the same intuitive grounds that were supposed to make it plausible. In this paper, I reconstruct and discuss the line of argument from TE to PIV and argue that our introspective intuitions (TE) do not push us in the direction of PIV. On the contrary, the line of argument from TE to PIV is (at best) simply too weak to force us to conclude that intentionality depends on phenomenal character in the sense required for PIV to be true. (shrink)

In _The Poetics of Political Thinking_ Davide Panagia focuses on the role that aesthetic sensibilities play in theorists’ evaluations of political arguments. Examining works by thinkers from Thomas Hobbes to Jacques Rancière, Panagia shows how each one invokes aesthetic concepts and devices, such as metaphor, mimesis, imagination, beauty, and the sublime. He argues that it is important to recognize and acknowledge these poetic forms of representation because they provide evaluative standards that theorists use in appraising the value of ideas—ideas (...) about justice, politics, and democratic life. An investigation into the intertwined histories of aesthetic and political accounts of representation—such as Panagia presents here—sheds light on how modes of poetic thinking delimit the questions of unity and diversity that continue to animate contemporary political theory. Panagia not only illuminates the structure of much contemporary political theory but also shows why understanding the poetics of political thinking is vital to contemporary society. Drawing on Gilles Deleuze’s critique of negation and his privileging of paradox as the source of political thought, Panagia suggests that a non-teleological concept of difference might generate insight into pressing questions about foreignness and citizenship. Turning to the liberal/poststructural debate that dominates contemporary political theory, he compares John Rawls’s concept of justice to Rancière’s ideas about political disagreement in order to demonstrate how, despite their differences, both thinkers comprehend aesthetic and moral reasoning as part and parcel of political writing. Considering the writings of William Hazlitt and Jürgen Habermas, he describes how the essay has become the exemplary genre of what is considered rational political argument. _The Poetics of Political Thinking_ is a compelling reappraisal of the role of representation within political thought. (shrink)

It is generally argued that if the wave-function in the de Broglie–Bohm theory is a physical field, it must be a field in configuration space. Nevertheless, it is possible to interpret the wave-function as a multi-field in three-dimensional space. This approach hasn’t received the attention yet it really deserves. The aim of this paper is threefold: first, we show that the wave-function is naturally and straightforwardly construed as a multi-field; second, we show why this interpretation is superior to other interpretations (...) discussed in the literature; third, we clarify common misconceptions. (shrink)