Kurt Gödel, mathematician and logician, was one of the most influential thinkers of the twentieth century. Gödel fled Nazi Germany, fearing for his Jewish wife and fed up with Nazi interference in the affairs of the mathematics institute at the University of Göttingen. In 1933 he settled at the Institute for Advanced Study in Princeton, where he joined the group of world-famous mathematicians who made up its original faculty. His 1940 book, better known by its short title, The Consistency of (...) the Continuum Hypothesis, is a classic of modern mathematics. The continuum hypothesis, introduced by mathematician George Cantor in 1877, states that there is no set of numbers between the integers and real numbers. It was later included as the first of mathematician David Hilbert's twenty-three unsolved math problems, famously delivered as a manifesto to the field of mathematics at the International Congress of Mathematicians in Paris in 1900. In The Consistency of the Continuum Hypothesis Gödel set forth his proof for this problem. In 1999, Time magazine ranked him higher than fellow scientists Edwin Hubble, Enrico Fermi, John Maynard Keynes, James Watson, Francis Crick, and Jonas Salk. He is most renowned for his proof in 1931 of the 'incompleteness theorem,' in which he demonstrated that there are problems that cannot be solved by any set of rules or procedures. His proof wrought fruitful havoc in mathematics, logic, and beyond. (shrink)

The aim of the present volume is to discuss the notion of constitution from the perspectives of history of political thought. Its scholarly intention is to go beyond the approach concentrating on the formal understanding of constitution and bring forward more complex historical and philosophic-political interpretations. Our point of departure was the need to revive the somehow neglected distinction between the idea of constitution as an act of conscious law-giving activity and the notion of constitution conceived as the set of (...) fundamental political rules derived from the very nature of political regime and its historical development. (shrink)

The subject of the article is the role of M.A. Balakirev in the development of Russian musical culture. The purpose of the article is to analyze the multifaceted activities of M.A. Balakirev, whom history itself has put forward to accomplish great things for the benefit of musical culture and musical education in Russia. In accordance with the theme and purpose, the following methods were used: retrospective analysis of the musical life of Russia in the second half of the XIX – (...) early XX centuries; analysis of memoir sources of M.A. Balakirev's contemporaries; generalization of modern scientific research on the topic stated in the article. The methodology of the research consists of : memoirs of students and associates of M.A. Balakirev – Ts.A. Kui, N.A. Rimsky-Korsakov, V.V. Stasov; memoirs of Russian researchers – P.D. Bobrykin, Yu.V. Vasiliev, E.M. Gordeeva, Yu.V. Keldysh, I.F. Kunin. The novelty of the research lies in the identification of aesthetic contradictions between the established approach not only in the creative association of composers, but also in the musical art of that era. The materials of the article can be included in the course of lectures and seminars on the history of Russian music, advanced training courses for music teachers, teachers of secondary specialized and higher educational institutions. The conclusions of the study are : the purpose and creative activity of the composers of the "Mighty Bunch" under the leadership of M.A. Balakirev is characterized as a reflection of the Russian democratic culture of the era of revolutionary populism; the activity of the creative community "Mighty Bunch" is presented as embodying the ideological platform of the new Russian direction in music of the XIX century; the main methods of "composer" training and education applied by M.A. Balakirev. (shrink)

The ascendency of executive power in the presence of weak parliamentary and societal control has given rise to a need for deliberative forms of diplomacy in international relations. As Denmark, Finland, Iceland, Norway, and Sweden regularly include members of parliament, party representatives, and representatives of civil society in their delegations to the General Assembly of the United Nations, does this imply that a Nordic model exists? This book reviews the practice of these countries and finds that the role of societal (...) representatives has diminished from participating members of delegations to mere observers. The Nordic examples illuminate the difficulties of achieving international governance through the practice of deliberative democracy. Table of Contents List of figures, images, and tables List of abbreviations Preface 1. Introduction The problem Why do the General Assembly and Norden matter? Theory and methodology Prior research 2. Challenges and traditions Delegation and representation at the United Nations Democracy and dilemmas at the UN General Assembly Nordic diplomacy at the League of Nations Unisex state actors and the representation of women 3. Parliament and UN delegations The Scandinavian model: Denmark An anachronism and parliamentarian stronghold: Norway Routine, squeeze-out, routine: Sweden Between Lilliputian and full-scale representation: Iceland Metamorphosis or parliament lost: The Finnish Sonderweg 4. The participation of civil society Scandinavian model revisited: Denmark The return of the body-snatched: Norway Corporatism and double universalism: Sweden Short stories: Finland and Iceland 5. Conclusions: On the way to deliberative diplomacy Archives Bibliography Author Index About the Author(s)/Editor(s) Norbert Gotz, Dr. phil. (2001) in Political Science, Humboldt University Berlin, Docent (2007) in Political History, University of Helsinki, habil. (2009) in Modern History and International Relations, University of Greifswald, is Professor at the Institute of Contemporary History, Sodertorn University, Sweden. His publications include the edited volume Regional Cooperation and International Organizations: The Nordic Model in Transnational Alignment (Routledge 2009). (shrink)

Legal contracts and litigation documents common to the American legal system were encoded in the eXtensible Markup Language (XML). XML also represents rules about the contracts and litigation procedure. In addition to an expert system tool that allows one to make inferences with that engine, a Graphical User Interface (GUI) generates the XML representing the rules. A rulebase is developed by marking up examples of the XML to be interpreted and the XML to be generated, analogously to Query By Example. (...) This article provides a broader context of the synergy between XML and artificial intelligence by including discussions of: (1) the role of Artificial Intelligence in handling routine litigation; (2) how the use of XML enables legal expert systems to get their `input' without the user having to enter the same information again for the expert system;(3) the advantages of XML markup over other forms of markup for documents; (4) the relationship between XML and ontologies; (5) other projects using XML with rules or legal affairs. (shrink)

Panpsychism has become a highly attractive position in the philosophy of mind. On panpsychism, both the physical and the mental are inseparable and fundamental features of reality. Panentheism has also become immensely popular in the philosophy of religion. Panentheism strives for a higher reconciliation of an atheistic pantheism, on which the universe itself is causa sui, and the ontological dualism of necessarily existing, eternal creator and contingent, finite creation. Historically and systematically, panpsychism and panentheism often went together as essential parts (...) of an all-embracing metaphysical theory of Being. The present collection of essays analyses the relation between panpsychism and panentheism and provides critical reflections on the significance of panpsychistic and panentheistic thinking for recent debates in philosophy and theology. (shrink)

In a well-known passage from 'The Red Lily', Anatole France retorts ironically: “The law, in its majestic equality, forbids rich and poor alike to sleep under bridges, to beg in the streets, and to steal loaves of bread”. The passage highlights the different burdens experienced by different people when deciding to act or not act in certain ways. This paper critically analyzes this problem; specifically, how we ought to allocate personal responsibility for actions performed by agents who each experience different (...) social, economic, political, and internal and external influences. First, the paper outlines some prevailing conceptions of personal responsibility in the literature. Second, it offers a critique of these views, arguing that they each suffer from a variety of conceptual and practical flaws. Third, a basic framework I call the continuum- threshold account of responsibility is proposed. The account distinguishes between responsibility and blameworthiness, addresses many of our objections against other prevailing conceptions of responsibility, and takes into account background structural conditions while retaining the scope for responsibility and moral agency. (shrink)

We demonstrate the existence of altruism via kin selection in artificial life and explore its nuances. We do so in the Avida system through a setup that is based on the behavior of colicinogenic bacteria: Organisms can kill unrelated organisms in a given radius but must kill themselves to do so. Initially, we confirm!results found in the bacterial world: Digital organisms do sacrifice themselves for their kin—an extreme example of altruism— and do so more often in structured environments, where kin (...) are always nearby, than in well-mixed environments, where the location of kin is stochastically determined. Having shown that helping one’s kin is advantageous, we turn our attention to investigating the efficacy and implications of the strategies of kincheaters, those who receive help from kin but do not return it. Contrary to the expectations of current theory, we find that kin-cheaters outcompete kin-altruists. Our results cause us to question the stability of strategies that involve altruism between kin. Knowing that kin-altruism persists in biological systems, however, we search for, and find, conditions that allow!kin-based altruism to persist in evolving!systems despite the!presence of kin-cheaters. (shrink)

'Standstill' could be the name for the exact kind of experience that is the hiatus between social expectations and real possibilities of agency. Standstill may also be the name of an aesthetic strategy to instill a non-linear time of resistance and experience into the political protocol of progress. Finally, standstill can be the name for the temporal fissure in the midst of the subject, for the lapse between the subject of the enunciation and the subject of a statement, the limit (...) that is the border between the inside and the outside. It can be the name for the mode of potentiality, for the moment of gesture, or, with Walter Benjamin, the medium of the dialectical image. The essays of this book transverse these dimensions of standstill as an in-between of time. The book includes essays by Georges Didi-Huberman, David Lapoujade, Peter Osborne, Jacques Rancière, Christine Ross, and others as well as conversations with Via Lewandowsky, Aernout Mik and Marcel Odenbach." -- Provided by publisher. (shrink)

The paper examines the sudden disappearance in the United States of millions of honeybees in managed bee colonies. The major research undertaken in the U.S. concentrates on finding the pathogens responsible. This paper suggests an alternative avenue of research a) that as a result of global warming there is a disjunction between bees pollinating cycles and the life cycle of plants b) that understanding changes in “timing cycles” as a result of global warming is the key to understanding the disappearance (...) of the bees. It notes that Gregory Bateson argued that any condition of ecosystem collapse would be characterized first by a collapse in its communicative order rather, than from changed physical states. The collapse of bee colonies and demise of other pollinators is a seeming confirmation of Gregory Bateson argument. Honeybees are ‘go betweens’ in ecosystemic order. It also argues that an appropriate topology of timing cycles and their recursions would enable better visual comprehension of the heterarchical ‘pattern which connects’, in Bateson’s phrase, and prompt awareness of possible catastrophe in human food supplies. (shrink)

This book brings together philosophers, mathematicians and logicians to penetrate important problems in the philosophy and foundations of mathematics. In philosophy, one has been concerned with the opposition between constructivism and classical mathematics and the different ontological and epistemological views that are reflected in this opposition. The dominant foundational framework for current mathematics is classical logic and set theory with the axiom of choice. This framework is, however, laden with philosophical difficulties. One important alternative foundational programme that is actively pursued (...) today is predicativistic constructivism based on Martin-Löf type theory. Associated philosophical foundations are meaning theories in the tradition of Wittgenstein, Dummett, Prawitz and Martin-Löf. What is the relation between proof-theoretical semantics in the tradition of Gentzen, Prawitz, and Martin-Löf and Wittgensteinian or other accounts of meaning-as-use? What can proof-theoretical analyses tell us about the scope and limits of constructive and predicative mathematics? (shrink)

This text explores a set of key concepts in Marxist theory as developed and read by Lacan, demonstrating links and connections between Marxist thought and Lacanian practice. The book examines the complexity of these encounters through the structure of a comprehensive vocabulary which covers diverse areas, from capitalism and communism to history, ideology, politics, work, and family. Offering new perspectives on these concepts in psychoanalysis, as well as in the fields of political and critical theory, the book brings together contributions (...) from a range of international experts to demonstrate the dynamic relationship between Marx and Lacan, as well as illuminating 'untranslatable points' which may offer productive tension between the two. The entries trace the trajectory of Lacan's appropriation of Marx's concepts and analyses how they were questioned, criticized and reworked by Lacan, accounting for the wide reach of two thinkers and worlds in constant homology. Each entry also discusses psychoanalytic debates relating to the concept and seeks to refine the clinical scope of Marx's work, demonstrating its impact on the social and individual dimensions of Lacanian clinical practice. With a practical and structured approach, The Marx Through Lacan Vocabulary will appeal to psychoanalysts and researchers in a range of fields, including political science, cultural studies, and philosophy. (shrink)

Archaeologies of 'Us' and 'Them' explores the concept of indigeneity within the field of archaeology and heritage and in particular examines the shifts in power that occur when 'we' define 'the other' by categorizing 'them' as indigenous. Recognizing the complex and shifting distinctions between indigenous and non-indigenous pasts and presents, this volume gives a nuanced analysis of the underlying definitions, concepts and ethics associated with this field in order to explore indigenous archaeology as a theoretical, ethical and political concept"--Provided by (...) publisher. (shrink)

Like any construction of the human mind, ideologies and utopias are products of reason and social imagination. The human interactions they feed off are nowadays being intensified by processes of globalization. Utopian projects, which are by nature ambitious, consist of dreams of freedom and equality but the voluntarist character of their implementation very often takes them far from their declared objectives. Thus utopia frequently tips over into ideology. In order to survive, utopia has to go through a process of ‘universalization’ (...) that allows ideas from different cultures to develop and mature in contact with one another. By forging bonds between individuals and cultures, this process could define the outlines of a constantly evolving global civil society. Universalization of conceptualizations that transform and motivate us, such as the global inclusivity of human rights, freedom and justice, builds an ethic of peace for the emergence, beyond frontiers, of an extended society such as that envisioned by the American philosopher John Dewey. (shrink)

The organism is neither a discovery like the circulation of the blood or the glycogenic function of the liver, nor a particular biological theory like epigenesis or preformationism. It is rather a concept which plays a series of roles – sometimes overt, sometimes masked – throughout the history of biology, and frequently in very normative ways, also shifting between the biological and the social. Indeed, it has often been presented as a key-concept in life science and the ‘theorization’ of Life, (...) but conversely has also been the target of influential rejections: as just an instrument of transmission for the selfish gene, but also, historiographically, as part of an outdated ‘vitalism’. Indeed, the organism, perhaps because it is experientially closer to the ‘body’ than to the ‘molecule’, is often the object of quasi-affective theoretical investments presenting it as essential, sometimes even as the pivot of a science or a particular approach to nature, while other approaches reject or attack it with equal force, assimilating it to a mysterious ‘vitalist’ ontology of extra-causal forces, or other pseudo-scientific doctrines. This paper does not seek to adjudicate between these debates, either in terms of scientific validity or historical coherence; nor does it return to the well-studied issue of the organism-mechanism tension in biology. Recent scholarship has begun to focus on the emergence and transformation of the concept of organism, but has not emphasized so much the way in which organism is a shifting, ‘go-between’ concept – invoked as ‘natural’ by some thinkers to justify their metaphysics, but then presented as value-laden by others, over and against the natural world. The organism as go-between concept is also a hybrid, a boundary concept or an epistemic limit case, all of which partly overlap with the idea of ‘nomadic concepts’. Thereby the concept of organism continues to function in different contexts – as a heuristic, an explanatory challenge, a model of order, of regulation, etc. – despite having frequently been pronounced irrelevant and reduced to molecules or genes. Yet this perpetuation is far removed from any ‘metaphysics of organism’, or organismic biology. (shrink)

The organism is neither a discovery like the circulation of the blood or the glycogenic function of the liver, nor a particular biological theory like epigenesis or preformationism. It is rather a concept which plays a series of roles, sometimes masked, often normative, throughout the history of biology. Indeed, it has often been presented as a key-concept in life science and its ‘theorization’, but conversely has also been the target of influential rejections: as just an instrument of transmission for the (...) selfish gene, but also, historiographically, as part of an outdated ‘vitalism’. Indeed, the organism, perhaps because it is experientially closer to the ‘body’ than to the ‘molecule’, is often the object of quasi-affective theoretical investments presenting it as essential, as the pivot of a science or a particular approach to nature, while other approaches reject or attack it with equal force, assimilating it to a mysterious ‘vitalist’ ontology of extra-causal forces, or other pseudo-scientific doctrines. I do not seek to adjudicate between these debates, either regarding scientific validity or historical coherence; nor do I return to the well-studied issue of the organism-mechanism tension in biology. Recent scholarship has begun to discuss the emergence and transformation of the organism concept, but has not emphasized the way the latter is a shifting, ‘go-between’ concept – invoked as ‘natural’ by some thinkers to justify their metaphysics, but then presented as value-laden by others, over and against the natural world. The organism as go-between concept is also a hybrid, a boundary concept or a limit case, which continues to function in different contexts – as a heuristic, an explanatory challenge, a model of order, of regulation, etc. – despite having frequently been pronounced irrelevant and reduced to molecules or genes. Yet this perpetuation is far removed from any ‘metaphysics of organism’, or organismic biology. (shrink)

Ecological feminism is a feminism which attempts to unite the demands of the women's movement with those of the ecological movement. Ecofeminists often appeal to "ecology" in support of their claims, particularly claims about the importance of feminism to environmentalism. What is missing from the literature is any sustained attempt to show respects in which ecological feminism and the science of ecology are engaged in complementary, mutually supportive projects. In this paper we attempt to do that by showing ten important (...) similarities which establish the need for and benefits of on-going dialogue between ecofeminists and ecosystem ecologists. (shrink)

Ecological feminism is a feminism which attempts to unite the demands of the women's movement with those of the ecological movement. Ecofeminists often appeal to “ecology” in support of their claims, particularly claims about the importance of feminism to environmentalism. What is missing from the literature is any sustained attempt to show respects in which ecological feminism and the science of ecology are engaged in complementary, mutually supportive projects. In this paper we attempt to do that by showing ten important (...) similarities which establish the need for and benefits of on-going dialogue between ecofeminists and ecosystem ecologists. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Enviornment 6.2 (2001) 119-124 [Access article in PDF] Book Review Eugene Odum: Ecosystem Ecologist and Environmentalis Eugene Odum: Ecosystem Ecologist and Environmentalist. Betty Jean Craige. The University of Georgia Press, Athens, 2001, pp. 226. $34.95. ISBN 0-8203-2281-4 (Hardback) A serendipity initiated this review. A half hour before checking my voice mail and receiving the invitation to write this review, I stood at the University of Georgia (...) Press table at the Association for the Study of Literature and the Environment (ASLE) conference in Flagstaff, Arizona. Picking up Betty Jean Craige's new text, I thought to myself, "This book looks interesting! I'm going to have to read it!" Not only did that wish come true; now I have the opportunity to share my thoughts.Prima facie, it may seem odd to print a review on a biography of a scientific ecologist in an environmental ethics journal. In fact, however, nothing could be more appropriate. The science of ecology is directly relevant--even essential--to the ethics of the environment: the human/nonhuman dynamic is contingent upon the identity of human beings, the essence of natural systems, and the interactive relationship between the two. As an environmental philosopher, it was this realization which directed me to the life sciences. [End Page 119]I recommend that environmental philosophers read Craige's book for at least three reasons. First, as just mentioned, the science of ecology addresses some of the necessary conditions for developing an environmental ethic--the ontology of natural systems and the relationship of biota (including Homo sapiens) with the abiotic environment.Second, and more specifically, Odum is a scientist of special concern to environmental philosophers--not to mention moral philosophers and philosophers of science--with his reticence to take seriously the is/ought (or fact/value) gap first identified by the great David Hume. As is widely known, philosophers and scientists who maintain the existence of such a gap contend that it is logically impossible to derive value-laden statements, such as ethical statements, from value-free statements, such as factual statements. According to this line of reasoning, the only way to move from the observation that human activity is causing species extinction to the imperative PRESERVE SPECIES! is another normative assumption that anthropogenic species extinction is bad. Thus Odum is at loggerheads with Bertrand Russell when the philosopher writes: "... questions as to 'values' lie wholly outside the domain of knowledge. That is to say, when we assert that this or that has 'value,' we are giving expression to our own emotions, not to a fact[.]" Siding with Russell against Odum, many ecologists refrain from making ethical (and hence environmentalist) injunctions.What makes Odum especially fascinating is that he recovered from the hangover of Modernity which numerous scientists and philosophers still suffer from: the inability of moving from descriptive science to prescriptive ethics. As Craige remarks over and over again, Odum moves easi-ly between ecology and environmentalism (p. 64): "His inclusion of human beings in ecosystems turned ecosystem ecologists into environmentalists--that is, advocates of policies and social behaviors protective to the natural environment--erasing the line traditional to Western thought between science and politics" (p. 45. See also p. xvii, p. 41). Odum's attitude marks a major breakthrough for the project of grounding environmental ethics in ecological science.Third, Odum is a great scientist whose work is relevant to a host of other philosophical issues. In our recent book, The Philosophy of Ecology: From Science to Synthesis (University of Georgia Press, 2000), Frank Golley and I struggled not to include a piece by Odum in every section of the book. Odum's work has implications for every area in the philosophy of ecology: the ontology of the ecological entity, the reductionism/holism [End Page 120] debate, the rationalism/empiricism debate, evolutionary ecology, and the relationship of ecology to ethics. In light of my work in the philosophy of ecology and familiarity with Odum's research--not to mention meeting him personally several times--I find several of Craige's statements perplexing. When she writes... (shrink)

John V. Taylor was a missionary statesman, ecumenist, Africanist, onetime General Secretary of the Church Missionary Society, and later Anglican Bishop of Winchester. His work offers a theology and practice of Christian mission which is faithful to scripture while fully facing the facts of the contemporary world at the beginning of the third millennium. Does Christian evangelism promote sectarianism and violence, or can it contribute to harmony and peace in the global village? Can Christians extol the true significance of Jesus (...) Christ without demeaning others? Who is God and how does God's nature shape ours? This book tackles these and other vital issues by giving the first major account of the life and thought of one of the 20th century's greatest religious thinkers. Here is an example and tutor to any thoughtful Christian. Consistently incarnational and sacramental in his approach, Taylor seeks to live out the truths he discovers in his daily ministry as poet, priest and prophet - inviting those around him to share the way of Christ. Taylor is also author of major works such as "The Go-Between God", his book on the Holy Spirit, and "The Christlike God", where he outlines the distinctive Christian insight into God as the patient, generous, self-sacrificing love we see in Jesus. (shrink)

Based on a discussion of the theoretical contributions of Claude Lévi-Strauss and Pierre Clastres, this article explores social relationships as more than a human dimension. Though strongly analysed by both anthropologists, these relationships appear to involve indigenous societies’ whole ecological and cosmological system. In this sense, reciprocity, social cohesion, and exchange can be understood as material and immaterial interrelationships between entities of a more than a corporeal world. I argue, then, that to go beyond the mere anthropocentric conceptualisation of sociality (...) in a nature good to think, we need to holistically conceive the interconnected levels of trophic, socio-structural and socio-cosmic relationships and exchanges between human and non-human beings in the ecosystem. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Enviornment 6.2 (2001) 119-124 [Access article in PDF] Book Review Eugene Odum: Ecosystem Ecologist and Environmentalis Eugene Odum: Ecosystem Ecologist and Environmentalist. Betty Jean Craige. The University of Georgia Press, Athens, 2001, pp. 226. $34.95. ISBN 0-8203-2281-4 (Hardback) A serendipity initiated this review. A half hour before checking my voice mail and receiving the invitation to write this review, I stood at the University of Georgia (...) Press table at the Association for the Study of Literature and the Environment (ASLE) conference in Flagstaff, Arizona. Picking up Betty Jean Craige's new text, I thought to myself, "This book looks interesting! I'm going to have to read it!" Not only did that wish come true; now I have the opportunity to share my thoughts.Prima facie, it may seem odd to print a review on a biography of a scientific ecologist in an environmental ethics journal. In fact, however, nothing could be more appropriate. The science of ecology is directly relevant--even essential--to the ethics of the environment: the human/nonhuman dynamic is contingent upon the identity of human beings, the essence of natural systems, and the interactive relationship between the two. As an environmental philosopher, it was this realization which directed me to the life sciences. [End Page 119]I recommend that environmental philosophers read Craige's book for at least three reasons. First, as just mentioned, the science of ecology addresses some of the necessary conditions for developing an environmental ethic--the ontology of natural systems and the relationship of biota (including Homo sapiens) with the abiotic environment.Second, and more specifically, Odum is a scientist of special concern to environmental philosophers--not to mention moral philosophers and philosophers of science--with his reticence to take seriously the is/ought (or fact/value) gap first identified by the great David Hume. As is widely known, philosophers and scientists who maintain the existence of such a gap contend that it is logically impossible to derive value-laden statements, such as ethical statements, from value-free statements, such as factual statements. According to this line of reasoning, the only way to move from the observation that human activity is causing species extinction to the imperative PRESERVE SPECIES! is another normative assumption that anthropogenic species extinction is bad. Thus Odum is at loggerheads with Bertrand Russell when the philosopher writes: "... questions as to 'values' lie wholly outside the domain of knowledge. That is to say, when we assert that this or that has 'value,' we are giving expression to our own emotions, not to a fact[.]" Siding with Russell against Odum, many ecologists refrain from making ethical (and hence environmentalist) injunctions.What makes Odum especially fascinating is that he recovered from the hangover of Modernity which numerous scientists and philosophers still suffer from: the inability of moving from descriptive science to prescriptive ethics. As Craige remarks over and over again, Odum moves easi-ly between ecology and environmentalism (p. 64): "His inclusion of human beings in ecosystems turned ecosystem ecologists into environmentalists--that is, advocates of policies and social behaviors protective to the natural environment--erasing the line traditional to Western thought between science and politics" (p. 45. See also p. xvii, p. 41). Odum's attitude marks a major breakthrough for the project of grounding environmental ethics in ecological science.Third, Odum is a great scientist whose work is relevant to a host of other philosophical issues. In our recent book, The Philosophy of Ecology: From Science to Synthesis (University of Georgia Press, 2000), Frank Golley and I struggled not to include a piece by Odum in every section of the book. Odum's work has implications for every area in the philosophy of ecology: the ontology of the ecological entity, the reductionism/holism [End Page 120] debate, the rationalism/empiricism debate, evolutionary ecology, and the relationship of ecology to ethics. In light of my work in the philosophy of ecology and familiarity with Odum's research--not to mention meeting him personally several times--I find several of Craige's statements perplexing. When she writes... (shrink)

Ecosystem health, as James Nelson argues, must be understood as having both descriptive and normative content; it is in this sense a 'morally thick' concept. The health analogy refers (a) at the similarities between conservation ecology and medicine or plant pathology as normative sciences, and (b) to the ability of ecosystems to 'heal' themselves in the face of disturbances. Nelson, however, goes beyond these two aspects and argues that judgements of illness in ecosystems only support moral obligations to (...) protect them if they are attributed a 'good of their own'. But this latter extension of the analogy flies in the face of ecological science, which has been forced to abandon organicism. If one separates the question of the warranted assertibility of environmentalists' goals from the question of where values in nature are located, the search for an objective realm of value realism can be seen to be unnecessary. (shrink)

This book, the first in the Chicago Series in Biology, is an informal attempt to enrich ecological theory with some useful and general concepts. The author's purpose is to escape the "microscopic" level of analysis, that is, the level of interaction between a predator and its prey and of population response to changes in the environment, and to take a "macroscopic" point of view. He does this by first interpreting ecological relationships in terms of cybernetic theory. For example, he takes (...) "information" to be something brought about within the system by its own operation, which in turn influences its future. "Energy gates" are aspects of the system which involve transfer of information from the less organized sub-system to the more organized. Then he takes a cybernetic look at succession, maturity, and exploitation, illustrating his analysis with examples from his speciality of marine biology. He emphasizes that, since we are dealing with a dynamic system, it is important to work with trends and gradients rather than with point values. Finally, he considers evolution as a process going on in an ecosystem. An intellectual synthesis of the paleontological picture of evolution and the contemporary picture of succession should give us working principles for understanding the history of life. As an illustration, he suggests conditions which might have fostered man and his culture. This is a brilliant little book, simply written and absorbing.--L. G. (shrink)

This paper examines the planning, execution, and closure of the US–Korea Cooperative Ecological Survey project in the Korean Demilitarized Zone in the 1960s. In this period, the U.S. National Academy of Sciences initiated bilateral scientific cooperation between the NAS and similar organizations in developing countries along the line of the developmental turn of U.S. foreign assistance. Working closely with the NAS, U.S. conservationists used this scheme to introduce nature conservation practices and the discipline of ecosystem ecology to developing countries. In (...) this context, by way of the NAS’s Pacific Science Board, two countries’ biologists initiated the preliminary cooperative project in the DMZ in 1966. Korean and U.S. scientists soon began to realize that their collaboration was marked by dissonance. The U.S. side attributed the cooperation failure to Korean culture while the Korean side criticized the unequal structure of their cooperation. Joining the global historiography of Cold War scientific collaboration, this paper pays particular attention to the intermediaries of the collaborative project and their rivalry. It argues that political struggles revolving around the position of go-betweens – as what I call knowledge brokers – on the recipient side provoked contestation between American and Korean scientists. The contention between the two sides played out in the collaboration coming to an end, albeit partially. Throughout this analysis, this study suggests paying more serious attention to the politics of scientific exchange among actors on the recipient side as an outset from which to analyze the heterogeneity of the Korean side without losing sight of their active role in the building process of American hegemony. (shrink)

Political liberals hold that the exercise of state power is legitimate only if it can be publicly justified—justified on the basis of public reasons. Many find this requirement too demanding and propose instead that there are just pro tanto reasons for laws and policies to be publicly justified. Here I argue that this alternative proposal fails to recognize that there are also distinct pro tanto reasons to have institutional requirements that laws and policies are publicly justified. This suggests an intermediate (...) position between political liberals and their critics, which holds that states have reasons to adopt the kinds of institutions that political liberals favor—institutions that require public justification—but whether they should do so will depend on the costs and benefits of those institutions. This allows for a more practical approach to public justification by focusing on its application in particular political contexts. (shrink)

Kurt Godel was the most outstanding logician of the twentieth century, famous for his work on the completeness of logic, the incompleteness of number theory, and the consistency of the axiom of choice and the continuum hypothesis. He is also noted for his work on constructivity, the decision problem, and the foundations of computation theory, as well as for the strong individuality of his writings on the philosophy of mathematics. Less well-known is his discovery of unusual cosmological models for Einstein's (...) equations, permitting "time-travel" into the past. This second volume of a comprehensive edition of Godel's works collects together all his publications from 1938 to 1974. Together with Volume I (Publications 1929-1936), it makes available for the first time in a single source all of his previously published work. Continuing the format established in the earlier volume, the present text includes introductory notes that provide extensive explanatory and historical commentary on each of the papers, a facing English translation of the one German original, and a complete bibliography. Succeeding volumes are to contain unpublished manuscripts, lectures, correspondence, and extracts from the notebooks. Collected Works is designed to be accessible and useful to as wide an audience as possible without sacrificing scientific or historical accuracy. The only complete edition available in English, it will be an essential part of the working library of professionals and students in logic, mathematics, philosophy, history of science, and computer science. These volumes will also interest scientists and all others who wish to be acquainted with one of the great minds of the twentieth century. (shrink)

This paper analyses the broad methodological structure of population-biological theorising. In it, I show that the distinction between initial exploratory, hypothesis-generating research and the subsequent process-reconstructing, hypothesis-testing type of research is not being made. Rather, the hypotheses generated in population biology are elaborated in such detail that students confound the initial research phase with the subsequent hypotheses-testing phase of research. In this context, I therefore analyse some testing procedures within the exploration phase and show that, as an extreme form of (...) confusion, statistical null-models are mistakenly given the status of causal population-biological theory. (shrink)

Karl Christian Friedrich Krause war ein bemerkenswerter Denker des Deutschen Idealismus. Seine Schriften können ohne Zweifel mit denen Hegels, Schellings und Fichtes konkurrieren. Gerade im Bereich der theoretischen Philosophie bietet das Krausesche Œuvre eine Fundgrube an Einsichten und Argumenten, die der heutigen, oftmals betont postmodernen oder atheistischen Philosophie eine dringend benötigte Kontrastfolie sein können. Sinn und Zweck der Arbeit ist es, den Panentheismus Krauses zeitgemäß darzustellen und Brückenschläge zur heutigen religionsphilosophischen Debatte aufzuzeigen.

The aim of the article is to analyse the relationship between Quaternary geology, the idea of land elevation, nationalism and regionalism in Scandinavia, with special regard to the contribution of Swedish geologists at the end of the nineteenth century. From a scientific point of view, the idea of land elevation was connected to the acceptance of the glaciation theory and the elevation theory of Thomas F. Jamieson, but analysed in a wider cultural context it is possible to understand both the (...) professionalization of Quaternary geology and the new theory of shore-line displacement as expressions of Swedish cultural nationalism. As a complement to the specific cultural history, the Quaternary geology enterprise was a way of constituting a unique natural history of the nation. One of the new theories that developed in this process was that of the Highest Marine Border, a complex concept established by the distinguished geologist Gerard De Geer at the end of the 1880s in order to defend the theory of land elevation, which was threatened by the work of Eduard Suess. The line was considered to be a geographical border that both expressed the elevation pattern and sharply divided Sweden into one part that had been covered by water during the post-glacial period and another part that had not. The study continues by looking more closely at the construction of the border in the north of Sweden. Through an account of a subsequent scientific dispute between De Geer and the geologist Arvid Gustaf Hogbom it is clear that the concept of the Highest Marine Border was shaped not only by nationalism but also by regionalism. (shrink)

This volume marks a phase of accomplishment in the work of the World Phenomenology Institute in unfolding a dialogue between Occidental phenomenology and the Oriental/Chinese classic philosophy. Going beyond the stage of reception, the Oriental scholars show in this collection of studies their perspicacity and philosophical skills in comparing the concepts, ideas, the vision of classic phenomenology and Chinese philosophy toward uncovering their common intuitions. This in-depth probing aims at reviving Occidental thinking, reaching to its intuitive sources, as well as (...) providing Chinese thinking with a precise apparatus of expression toward its rejuvenation in a new significance. Studies by Korean and Chinese phenomenologists: Nam-In Lee, Inhui Park, Benjamin I. Schwartz, Anna-Teresa Tymieniecka, Sitansu Ray, Zhang Xian, Zhang Qingxiong, Tsung-I Dow, Ashok K. Gangadean, Yushiro Takei, Louise Sunderarajan, Gregory Tropea, James Sellmann, Tyong Bok Rhie, Sang-Ki Kim, Daniel Zelinski, Qingjie Wang, Calvin O. Schrag, Jung-Sun Han. (shrink)

Die vorliegende Arbeit bemüht sich, die Unvereinbarkeit von Selbstbewußtsein und Theorie zu erweisen. In Auseinandersetzung mit einschlägigen Positionen der Philosophie des Selbstbewußtseins - insbesondere derjenigen Ernst Tugendhats in ,,Selbstbewußtsein und Selbstbestimmung" sowie einiger klassischer Autoren - arbeitet sie dazu zunächst einen gemeinsamen Mangel dieser Positionen heraus, nämlich ihre Unterschlagung des konkreten Individuums. In Anwendung dieses Resultates wird sodann unter der Leitfrage nach dem anschaulichen Gegenstand des Kapitels zu Herr und Knecht in Hegels ,,Phänomenologie des Geistes" eine Interpretation dieses Textabschnittes versucht. (...) Mit ihr soll zur Klärung der Streitfrage nach der Anzahl Personen in diesem Kapitel beigetragen werden, indem die Frage als falsch gestellt erwiesen wird: die Differenzierbarkeit einzelner Individuen und damit deren Abzählbarkeit ist Ergebnis dieses Kapitels und kann folglich noch nicht im Lauf des Textes selbst erkennbar werden. (shrink)

This chapter tells how, within a century, the notions of judgment and inference were driven out of logical theory and replaced by propositions and consequence. Systematic considerations guide the treatment. The history is unashamedly Whiggish: the current position is shown as the outcome, or even culmination, of a historical development.

Expression of physical motion (e.g., man runs by) shows systematic variability not only between language types (i.e., inter-typological) but also within a language type (i.e., intra-typological). In this study, we asked whether the patterns of variability extend to metaphorical motion events (e.g., time runs by). Our analysis of randomly selected 450 physical motion (150/language) and 450 metaphorical motion (150/language) event descriptions from written texts originally produced by German, Polish, and Spanish authors showed strong inter-typological differences in the expression of both (...) event types. German and Polish speakers differed from Spanish speakers in how they packaged manner and path components of a motion event; they also differed in how extensively they expressed each component in their lexicalization of motion. The strong inter-typological differences were accompanied by more modest intra-typological variability: Polish and German writers differed in their packaging and lexicalization of manner and path components of metaphorical—but not physical—motion events. Our results provide evidence for robust inter-typological differences evident in the expression of both physical and metaphorical motion, along with less robust intra-typological differences, largely evident in the expression of metaphorical motion. Our study thus highlights event type as an important factor in determining crosslinguistic variation in motion expression. (shrink)

It is one thing to deal with any aspect of Lev Vygotsky’s work from a purely scholarly standpoint. It is something quite different to deal with Vygotsky’s work from both an academic standpoint and also that of someone who is involved in East–West editorial and commercial projects. This article sheds light upon what it meant to work on Vygotsky’s theories for someone who was formally affiliated to West European academia and who also became involved more or less at the same (...) time in various East–West publishing projects related to Vygotsky and his circle. (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)

Kurt Gödel (1906-1978) did groundbreaking work that transformed logic and other important aspects of our understanding of mathematics, especially his proof of the incompleteness of formalized arithmetic. This book on different aspects of his work and on subjects in which his ideas have contemporary resonance includes papers from a May 2006 symposium celebrating Gödel's centennial as well as papers from a 2004 symposium. Proof theory, set theory, philosophy of mathematics, and the editing of Gödel's writings are among the topics covered. (...) Several chapters discuss his intellectual development and his relation to predecessors and contemporaries such as Hilbert, Carnap, and Herbrand. Others consider his views on justification in set theory in light of more recent work and contemporary echoes of his incompleteness theorems and the concept of constructible set"--Provided by publisher. (shrink)

There are many different kinds of model and scientists do all kind of things with them. This diversity of model type and model use is a good thing for science. Indeed, it is crucial especially for the biological and cognitive sciences, which have to solve many different problems at many different scales, ranging from the most concrete of the structural details of a DNA molecule to the most abstract and generic principles of self-organization in networks. Getting a grip (or more (...) likely many separate grips) on this range of topics calls for a teeming forest of techniques, including many different modeling techniques. Barbara Webb’s target article strikes us as a proposal for clear-cutting the forest. We think clear-cutting here would be as good for science as it is for non-metaphorical forests. Our argument for this is primarily a recitation of a few of the ways that diversity has been useful. Recently, looking at the actual practice of artificial life modelers, one of us distinguished four uses of simulation models classified in terms of the position the models take up between theory and data (see Figure 1). The classification is not exhaustive, and the barriers between kinds are not absolute. Rather, the purpose of the taxonomy is to open up the view for an epistemic ecology of modeling practices. First, and closest to the empirical domain, there are mechanistic models, in which there is an almost one-to-one correspondence between variables in the model and observables in the target system and its environment. Webb’s.. (shrink)

How do we communicate morals and values in a world that is becoming increasingly interdependent? This collection of essays explores ethics and communication with reference to specific world views and religions, focusing on the challenge of globalisation for ethical communication in particular social arenas.

Kommunismus : Historischer Materialismus - Dialektischer Materialismus : [Lehrbuch].

Evolving from both Gifford Pinchot and his utilitarian philosophy of wise use, and John Muir and the preservation philosophy of wilderness, Aldo Leopold espoused--and practices--integrating a degree of wildness into the working agricultural landscape. As newly published essays show, his articulation of "land health" prefigures current definitions of ecosystem health, and the practices he preached anticipate today's prescriptions for ecosystem management. Although the science of ecology has evolved and terminology has changed, Leopold's formulation may help both standardize and institutionalize the (...) concept of ecosystem health, and his example may inspire an ambitious new goal in public and private land management. (shrink)

Postcolonial theory has enjoyed wide influence in the humanities but it has left sociology comparatively unscathed. Does this mean that postcolonial theory is not relevant to sociology? Focusing upon social theory and historical sociology in particular, this article considers if and how postcolonial theory in the humanities might be imported into North American sociology. It argues that postcolonial theory offers a substantial critique of sociology because it alerts us to sociology’s tendency to analytically bifurcate social relations. The article also suggests (...) that a postcolonial sociology can overcome these problems by incorporating relational social theories to give new accounts of modernity. Rather than simply studying non-Western postcolonial societies or only examining colonialism, this approach insists upon the interactional constitution of social units, processes, and practices across space. To illustrate, the article draws upon relational theories (actor-network theory and field theory) to offer postcolonial accounts of two conventional research areas in historical sociology: the industrial revolution in England and the French Revolution. (shrink)

The world is undeniably full of injustice. Many feel that much political philosophy is practically impotent and engaged instead in overly abstract theorising insufficiently sensitive to the realities of the world. One response to this concern is David Miller’s influential model of evidence-based political philosophy, which claims to be sensitive to empirical evidence from the social sciences, takes seriously people’s opinions, and defends the role of facts in grounding normative principles. Using various examples from the field of global justice, one (...) of Miller’s key areas of work, I show that Miller’s method is unconvincing on two levels. His theoretical argument for fact-dependence is flawed, and his practical argument for an opinion-sensitive political theory is either guilty of status quo bias or, in an attempt to escape it, becomes self-defeating. While the paper is primarily critical, I endeavour also to draw out the implications of my critiques for the role of the ‘real world’ in theorising. (shrink)