Double beta decay is indispensable to solve the question of the neutrino mass matrix together with ν oscillation experiments. Recent analysis of the most sensitive experiment since nine years—the HEIDELBERG-MOSCOW experiment in Gran-Sasso—yields a first indication for the neutrinoless decay mode. This result is the first evidence for lepton number violation and proves the neutrino to be a Majorana particle. We give the present status of the analysis in this report. It excludes several of the neutrino mass scenarios (...) allowed from present neutrino oscillation experiments—only degenerate scenarios and those with inverse mass hierarchy survive. This result allows neutrinos to still play an important role as dark matter in the Universe. To improve the accuracy of the present result, considerably enlarged experiments are required, such as GENIUS. A GENIUS Test Facility has been funded and will come into operation by early 2003. (shrink)

Enlightenment optimism over mankind's progress was often voiced in terms of botanical growth by key figures such as John Millar; the mind's cultivation marked the beginning of this process. For agriculturists such as Arthur Young cultivation meant an advancement towards virtue and civilization; the cultivation of the mind can similarly be seen as an enlightenment concept which extols the human potential for improvable reason. In the course of this essay I aim to explore the relationship between ‘culture’ and ‘cultivation’ through (...) botanical metaphor. By using the recurring motif of the mind's cultivation as a site from which to explore enlightenment views on female understanding, I investigate how far concerns with human progress extended to the female mind. I examine the language of botany and cultivation in texts by authors such as Mary Wollstonecraft and Anna Laetitia Barbauld alongside that of Rousseau and Millar. Wollstonecraft's appropriation and subsequent inversion of the conventional cultivation metaphor, for example, demonstrates her desire to draw attention to society's neglect of women's educational potential by substituting images of enlightened growth with those of luxuriant decay. By pushing this analogy further she indicates how society has cultivated women rearing them like exotic flowering plants or ‘luxuriants’ where ‘strength of body and mind are sacrificed to libertine notions of beauty’. I discuss the antipastoral rationalism which enables her to unmask the false sentiment behind this traditional metaphoric association between women and flowers arguing that such familiar tropes are the language of male desire and are indicative of women's problematic relationship to culture. (shrink)

Although chemical phenomena are primarily associated with electrons in atoms, ions, and molecules, the masses, charges, spins, and other properties of the nuclei in these species contribute significantly as well. Isotopes, for instance, have proven invaluable in chemistry, in particular the elucidation of reaction mechanisms. Elements with unstable nuclei, for example carbon-14 undergoing beta decay, have enriched chemistry and many other scientific disciplines. The nuclei of all elements have a much more subtle and largely unknown effect on chemical phenomena. (...) All nuclei are innately chiral and, because electrons can penetrate nuclei, all atoms and molecules are likewise chiral. This article describes in considerable detail the discovery of chiral nuclei, how this unusual chirality may influence the chemical behavior of atoms and molecules, and how atomic chirality may have been responsible for the synthesis of optically active molecules in the pre-biotic world. (shrink)

The psycholinguistic literature has identified two syntactic adaptation effects in language production: rapidly decaying short-term priming and long-lasting adaptation. To explain both effects, we present an ACT-R model of syntactic priming based on a wide-coverage, lexicalized syntactic theory that explains priming as facilitation of lexical access. In this model, two well-established ACT-R mechanisms, base-level learning and spreading activation, account for long-term adaptation and short-term priming, respectively. Our model simulates incremental language production and in a series of modeling studies, we show (...) that it accounts for (a) the inverse frequency interaction; (b) the absence of a decay in long-term priming; and (c) the cumulativity of long-term adaptation. The model also explains the lexical boost effect and the fact that it only applies to short-term priming. We also present corpus data that verify a prediction of the model, that is, that the lexical boost affects all lexical material, rather than just heads. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.2 (2001) 151-176 [Access article in PDF] Beyond the Comedy and Tragedy of Authority: The Invisible Father in Plato's Republic Claudia Baracchi They say that, when asked who the noble are, Simonides answered: those with ancestral wealth. --Aristotle, fr. 92 Rose When the victor of the mule-race offered him only a small recompense, Simonides would not compose a poem, for he could not endure poetizing in (...) honor of half-asses; but on being offered an adequate amount he wrote, "Greetings, daughters of storm-footed horses!" Yet, they were daughters of the asses also. --Aristotle, Rhet. 1405b Socrates was driving them to agree that the same man could know how to compose both comedy and tragedy and that a skillful tragic poet could also be a comic poet. They were thus driven, though hardly following and getting drowsy; Aristophanes fell asleep first and, as day was breaking, Agathon also. --Plato, Symp. 223d Introductory remarks What follows is a reading of Plato's Republic in the light of Aristophanes' Clouds. More precisely, what is here offered is the bare outline of such a reading--a set of preliminary notes that, by illuminating the inceptive stages of the Republic (especially book 1), constitutes a propaedeutic to the interpretation of the Platonic dialogue as a whole. Questions that one would typically be expected to raise in this context, questions regarding the relation of philosophy to poetry, the nexus between the Aristophanean and the Platonic Socrates, or Aristophanes' comedy in connection with the fate of the historical Socrates, will here remain unaddressed or will be touched upon only marginally (and obliquely). Far from accidental, this qualified [End Page 151] silence reflects a certain reluctance simply to take up these issues in their time-honored formulations and to speak under the force of their dictation. In this way, perhaps (and only perhaps), motifs of the Platonic discourse that would otherwise remain almost imperceptible if not altogether inaccessible--despite their pervasiveness--may come to show themselves.Leo Strauss wrote that Plato's Socrates may be seen, at least in part, as "a reaction or response to the Aristophanean Socrates" (1966, 316 n 20). The present study articulates the suggestion that the dialogue on the Republic may be understood as a response to Aristophanes' Clouds. Indeed, we shall see how the dialogue makes its own the problems delineated in the comedy, how it rewrites them, and how it unfolds in an attempt to address them. In spite of its remoteness from the tone and mode of the comedy, the Platonic text offers a meticulously punctual, even contrapuntal transcription of the main thematic features of the Clouds--as if an infinitely compelling provocation were to be found there, calling for thinking. The philosophical venture seems to be called forth and stem from such ground--as if comedy were the matter (indeed, the subject matter) of philosophy.Emerging from this interpretive approach to the Republic is the centrality of the figure of paternity, namely, of authority and instituted power. The Clouds depicts fatherhood in its dejection and loss of credibility. What this caricatured remnant of paternity signals is the simultaneous collapse of the orders of the divine, of ancestral authority, and of legality. This is the plexus of problems taken up in the Platonic dialogue.But the question of decay and the dying of the city mark the opening of the dialogue in a rather inconspicuous, even unapparent way. In the Republic, all terms are reversed. Indeed, the rendition of paternity one finds in the Republic is virtually opposite to the risible father of the comedy. Here, a dignified old man commanding respect seems to safeguard the integrity of the family, and hence the stability of the polis, both in its intrapolitical-juridical structures (regulating communal interaction) and in its relation to the gods, to its beyond. Yet, in spite of this inversion, it will become apparent that paternal authority has become an empty simulacrum. Simultaneously, the relation to the gods has become mere commerce, ancestral authority is invoked as a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.2 (2001) 151-176 [Access article in PDF] Beyond the Comedy and Tragedy of Authority: The Invisible Father in Plato's Republic Claudia Baracchi They say that, when asked who the noble are, Simonides answered: those with ancestral wealth. --Aristotle, fr. 92 Rose When the victor of the mule-race offered him only a small recompense, Simonides would not compose a poem, for he could not endure poetizing in (...) honor of half-asses; but on being offered an adequate amount he wrote, "Greetings, daughters of storm-footed horses!" Yet, they were daughters of the asses also. --Aristotle, Rhet. 1405b Socrates was driving them to agree that the same man could know how to compose both comedy and tragedy and that a skillful tragic poet could also be a comic poet. They were thus driven, though hardly following and getting drowsy; Aristophanes fell asleep first and, as day was breaking, Agathon also. --Plato, Symp. 223d Introductory remarks What follows is a reading of Plato's Republic in the light of Aristophanes' Clouds. More precisely, what is here offered is the bare outline of such a reading--a set of preliminary notes that, by illuminating the inceptive stages of the Republic (especially book 1), constitutes a propaedeutic to the interpretation of the Platonic dialogue as a whole. Questions that one would typically be expected to raise in this context, questions regarding the relation of philosophy to poetry, the nexus between the Aristophanean and the Platonic Socrates, or Aristophanes' comedy in connection with the fate of the historical Socrates, will here remain unaddressed or will be touched upon only marginally (and obliquely). Far from accidental, this qualified [End Page 151] silence reflects a certain reluctance simply to take up these issues in their time-honored formulations and to speak under the force of their dictation. In this way, perhaps (and only perhaps), motifs of the Platonic discourse that would otherwise remain almost imperceptible if not altogether inaccessible--despite their pervasiveness--may come to show themselves.Leo Strauss wrote that Plato's Socrates may be seen, at least in part, as "a reaction or response to the Aristophanean Socrates" (1966, 316 n 20). The present study articulates the suggestion that the dialogue on the Republic may be understood as a response to Aristophanes' Clouds. Indeed, we shall see how the dialogue makes its own the problems delineated in the comedy, how it rewrites them, and how it unfolds in an attempt to address them. In spite of its remoteness from the tone and mode of the comedy, the Platonic text offers a meticulously punctual, even contrapuntal transcription of the main thematic features of the Clouds--as if an infinitely compelling provocation were to be found there, calling for thinking. The philosophical venture seems to be called forth and stem from such ground--as if comedy were the matter (indeed, the subject matter) of philosophy.Emerging from this interpretive approach to the Republic is the centrality of the figure of paternity, namely, of authority and instituted power. The Clouds depicts fatherhood in its dejection and loss of credibility. What this caricatured remnant of paternity signals is the simultaneous collapse of the orders of the divine, of ancestral authority, and of legality. This is the plexus of problems taken up in the Platonic dialogue.But the question of decay and the dying of the city mark the opening of the dialogue in a rather inconspicuous, even unapparent way. In the Republic, all terms are reversed. Indeed, the rendition of paternity one finds in the Republic is virtually opposite to the risible father of the comedy. Here, a dignified old man commanding respect seems to safeguard the integrity of the family, and hence the stability of the polis, both in its intrapolitical-juridical structures (regulating communal interaction) and in its relation to the gods, to its beyond. Yet, in spite of this inversion, it will become apparent that paternal authority has become an empty simulacrum. Simultaneously, the relation to the gods has become mere commerce, ancestral authority is invoked as a... (shrink)

Herman Daly once identified the absurdity of shipping Danish cookies to the United States; if efficiency were in fact ‘economic’, one might just e-mail the recipe, save the fuel, reduce the greenhouse gases and still enjoy the cookie. This argument playfully illustrates that resources are scarce, ideas are Inherently Not Scarce (INS) and current financial systems are inefficient and not ‘economical’. The unprecedented industry of 7.5 billion people is now concerned about the resulting scarcity and pollution of the finite resource (...) base. Until humanity shares inherently-not-scarce ideas for effectively managing what is in a steady state, scarcity and pollution will be a constant source of crisis on the landscape. Since 2004, I have made transforming colour field paintings with mud taken from the most pristine to the most toxic landscapes of northeast United States of America (NE USA). Although difficult to see individually, microbes existing within mud photosynthesize pigments. As a species grows from individual to colony, it becomes visible as pointillist pigments amass horizontal blocks of transient colour. As these bacteria express themselves (i.e., live: consume, reproduce, deplete resources, release wastes), they exhaust their habitat and create an altered landscape suitable to a successor. Like us, bacteria are bound by the law of conservation of mass; they constantly select and reject resources from the finite landscape. The resulting processes of growth and decay are intimately linked inversions resulting in beautiful transforming colourfields. As evidenced by my vibrant and literal portraits made from mud, these simple, highly adaptable, single-cell organisms craft a unique, colourful and synthetic existence. As a model system, they exhibit a viable steady state of infinite expression in a finite landscape where life and landscape is an intimate, malleable and reciprocal whole. Here I discuss the beauty of our landfill paradises, made evident by mud taken at two different kinds of landfilled ecosystems in New York City. (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)

Mary Astell (1666-1731) relies on a Cartesian account of the self to argue that both men and women are essentially thinking things and, hence, that both should perfect their minds or intellects. This account of the self might seem to ignore the inescapable fact that we have bodies. I argue that Astell accommodates the self’s embodiment along three dimensions. First, she tempers her sharp distinction between mind and body by insisting on their union. Second, she argues that the mind-body union (...) is good, at least when the body obeys the mind. Third, though Astell identifies the self with the mind, she identifies the person with the combination of mind and body. (shrink)

Although the biological bases of forgetting remain obscure, the consensus among cognitive psychologists emphasizes interference processes, rejecting decay in accounting for memory loss. In contrast to this view, recent advances in understanding the neurobiology of long-term memory maintenance lead us to propose that a brain-wide well-regulated decay process, occurring mostly during sleep, systematically removes selected memories. Down-regulation of this decay process can increase the life expectancy of a memory and may eventually prevent its loss. Memory interference usually (...) occurs during certain active processing phases, such as encoding and retrieval, and will be stronger in brain areas with minimal sensory integration and less pattern separation. In areas with efficient pattern separation, such as the hippocampus, interference-driven forgetting will be minimal, and, consequently, decay will cause most forgetting. (shrink)

The phenomenon of inverse linking, where a noun phrase embedded within another behaves with respect to binding as though it were structurally independent, has proven challenging for theories of the syntax–semantics interface. In this paper I show that, using an LF-movement style approach to the syntax–semantics interface, we can derive all and only the appropriate meanings for such constructions using no semantic operations other than function application and composition. The solution relies neither on a proliferation of lexical ambiguity nor (...) on abandoning the idea that pronouns denote variables, but rather on a straightforward (and standard) reification of assignment functions, which allows us to define abstraction operators within our models. (shrink)

This paper formulates a bilateral account of harmony that is an alternative to one proposed by Francez. It builds on an account of harmony for unilateral logic proposed by Kürbis and the observation that reading the rules for the connectives of bilateral logic bottom up gives the grounds and consequences of formulas with the opposite speech act. I formulate a process I call 'inversion' which allows the determination of assertive elimination rules from assertive introduction rules, and rejective elimination rules from (...) rejective introduction rules, and conversely. It corresponds to Francez's notion of vertical harmony. I also formulate a process I call 'conversion', which allows the determination of rejective introduction rules from assertive elimination rules and conversely, and the determination of assertive introduction rules from rejective elimination rules and conversely. It corresponds to Francez's notion of horizontal harmony. The account has a number of features that distinguish it from Francez's. (shrink)

Even if spectrum inversion of various sorts is possible, spectrum inversion without a difference in representation is not. So spectrum inversion does not pose a challenge for the intentionalist thesis that, necessarily, within a given sense modality, if two experiences are alike with respect to content, they are also alike with respect to their phenomenal character. On the contrary, reflection on variants of standard cases of spectrum inversion provides a strong argument for intentionalism. Depending on one’s views about the possibility (...) of spectrum inversion, the impossibility of spectrum inversion without a difference in representation can also be used as an argument against a variety of reductive theories of mental representation. (shrink)

The RNA-binding protein, UPF1, is best known for its central role in the nonsense-mediated RNA decay pathway. Feng et al. now report a new function for UPF1—it is an E3 ubiquitin ligase that specifically promotes the decay of a key pro-muscle transcription factor: MYOD. UPF1 achieves this through its RING-like domain, which confers ubiquitin E3 ligase activity. Feng et al. provide evidence that the ability of UPF1 to destabilize MYOD represses myogenesis. In the future, it will be important (...) to define other protein substrates of UPF1-driven ubiquitination and to determine whether this biochemical activity is responsible for some of UPF1's previously defined biological functions, including in development and stress responses. The exciting findings presented by Feng et al. open up the possibility that protein turnover and RNA turnover are coupled processes. The RNA-binding protein, UPF1, is best known for its central role in the nonsense-mediated RNA decay pathway. Here we discuss a new role for UPF1—it is directly involved in protein decay. This hidden talent raises the possibility that protein turnover and RNA turnover are coupled processes. (shrink)

Strange inversions occur when things work in ways that turn received wisdom upside down. Hume offered a strangely inverted story about causation, and Darwin, about apparent design. Dennett suggests that a strange inversion also occurs when we project our own reactive complexes outward, painting our world with elusive properties like cuteness, sweetness, blueness, sexiness, funniness, and more. Such properties strike us as experiential causes, but they are really effects—a kind of shorthand for whole sets of reactive dispositions rooted in the (...) nuts and bolts of human information processing. Understanding the nature and origins of that strange inversion, Dennett believes, is thus key to understanding the nature and origins of human experience itself. This paper examines this claim, paying special attention to recent formulations that link that strange inversion to the emerging vision of the brain as a Bayesian estimator, constantly seeking to predict the unfolding sensory barrage. (shrink)

Corporate social responsibility (CSR) activities have become increasingly prevalent in retail settings. In franchised organizations, franchisors typically design and coordinate these activities, leaving operational execution to franchisees. Meanwhile, franchisors may introduce new corporate-led CSR activities over time. Even though changes to CSR activities may refocus outlets’ attention on a CSR initiative, they may also disrupt an outlet’s ongoing CSR routines. Using a longitudinal, secondary dataset consisting of an eight-year panel for a national, franchised restaurant chain, we examine CSR performance dynamics (...) in the presence of two distinct types of CSR activities: an ongoing CSR routine and a distinct, temporary CSR campaign. We find that, when resuming the CSR routine after a temporary CSR campaign, outlets’ performance in CSR routines drops significantly (i.e., immediate decay), then improves gradually (i.e., protracted recovery). We also consider the moderating role of an outlet’s experience, finding that experience stabilizes these decay and recovery cycles. Our findings represent a first step in developing a longitudinal understanding of how a firm’s short-term CSR campaigns may impact ongoing CSR routines, thus contributing to the knowledge of CSR activity development and routinization. (shrink)

In the pure powers ontology (PPO), basic physical properties have wholly dispositional essences. PPO has clear advantages over categoricalist ontologies, which suffer from familiar epistemological and metaphysical problems. However, opponents argue that because it contains no qualitative properties, PPO lacks the resources to individuate powers, and generates a regress. The challenge for those who take such arguments seriously is to introduce qualitative properties without reintroducing the problems that PPO was meant to solve. In this paper, I distinguish the core claim (...) of PPO: (i) basic physical properties have dispositional essences, from a hitherto unnoticed assumption: (ii) the dispositional essences of basic physical properties exclusively involve type-causal relations to other basic physical properties. I reject (ii), making room for a structuralist ontology in which all basic physical properties are pure powers, individuated by their places in a causal structure that includes not only other powers, but also physically realized qualitative properties such as shapes, patterns and structures. Such qualities individuate pure powers in the way that non-mental input and output properties individuate realized mental properties in functionalist theories of mind, except that here it is basic physical powers that are individuated by relations to realized non-powers. I distinguish one Platonic and two Aristotelian version of this theory, and argue that the Aristotelian versions require that grounding is not always a relative fundamentality relation, because the powers ground the qualities that individuate them. By considering ontic structural realism, I argue that symmetric grounding is the best way to make sense of relational individuation in structuralist ontologies, and is therefore no additional commitment of the one proposed here. (shrink)

The RNA-binding protein, UPF1, is best known for its central role in the nonsense-mediated RNA decay pathway. Feng et al. now report a new function for UPF1—it is an E3 ubiquitin ligase that specifically promotes the decay of a key pro-muscle transcription factor: MYOD. UPF1 achieves this through its RING-like domain, which confers ubiquitin E3 ligase activity. Feng et al. provide evidence that the ability of UPF1 to destabilize MYOD represses myogenesis. In the future, it will be important (...) to define other protein substrates of UPF1-driven ubiquitination and to determine whether this biochemical activity is responsible for some of UPF1's previously defined biological functions, including in development and stress responses. The exciting findings presented by Feng et al. open up the possibility that protein turnover and RNA turnover are coupled processes. The RNA-binding protein, UPF1, is best known for its central role in the nonsense-mediated RNA decay pathway. Here we discuss a new role for UPF1—it is directly involved in protein decay. This hidden talent raises the possibility that protein turnover and RNA turnover are coupled processes. (shrink)

We extend the results of Laver on using inverse limits to reflect large cardinals of the form, there exists an elementary embedding Lα → Lα. Using these inverse limit reflection embeddings directly and by broadening the collection of U-representable sets, we prove structural results of L under the assumption that there exists an elementary embedding j : L → L. As a consequence we show the impossibility of a generalized inverse limit X-reflection result for X ⊆ Vλ+1, (...) thus focusing the study of L generalizations on L. (shrink)

We study inversions of the jump operator on ${\mathrm{\Pi }}_{1}^{0}$ classes, combined with certain basis theorems. These jump inversions have implications for the study of the jump operator on the random degrees—for various notions of randomness. For example, we characterize the jumps of the weakly 2-random sets which are not 2-random, and the jumps of the weakly 1-random relative to 0′ sets which are not 2-random. Both of the classes coincide with the degrees above 0′ which are not 0′-dominated. A (...) further application is the complete solution of [24, Problem 3.6.9]: one direction of van Lambalgen's theorem holds for weak 2-randomness, while the other fails. Finally we discuss various techniques for coding information into incomplete randoms. Using these techniques we give a negative answer to [24, Problem 8.2.14]: not all weakly 2-random sets are array computable. In fact, given any oracle X, there is a weakly 2-random which is not array computable relative to X. This contrasts with the fact that all 2-random sets are array computable. (shrink)

Dutch decline is usually studied as a topic in economic history: when did it really start, what shape did it take? In this article an attempt is made to show the actual awareness of the strengths and weaknesses of the Dutch economy, in the terms used by participants in three public debates. The classical Dutch discourse of decay and decline evolved in response to national and international political reality. The Bickerse Beroerten debate of 1650 shows the conflict between neo-Roman (...) and neo-Athenian tendencies. Subsequently, the explanation of Dutch decline (the effect of luxury) by the Anglo-Dutch pamphleteer Bernard Mandeville is shown to be markedly different from his advice to the English (to allow luxury). Finally, the 1630s Dutch debate between Lieven de Beaufort and his critics represents the maturing of the Dutch vocabulary of decline, including its failure to take into account the organisational preconditions of modern society. (shrink)

Although to live is to face problems, the general concept of a problem has been significantly understudied. So much so, that the publication of Polya’s delightful How to Solve It caused quite a stir. And, although the concept of a conceptual problem is philosophical because it is deep and occurs across fields, from mathematics to politics, no philosophers have produced any memorable studies of it. Moreover, the word ‘problem’ is absent from most philosophical reference works. There are plenty of texts (...) on particular problems such as those of evil and induction, but none on the general concept of a conceptual problem—as if it were not a problematic concept. Worse, we are seldom told that doing original mathematics, science or technology is to wrestle with original problems. Nor have we been told that the hardest problems are likely to be inverse, in that they go from effect to cause, or from sketch to implementation, or from conclusion to premises—as in diagnosing disease from symptoms, looking for a westward passage from Europe to Asia, and designing public policies to attack social issues. The existence of this significant gap in the philosophical literature justifies the publication of the present study. (shrink)

The idea of an ?inversion principle?, and the name itself, originated in the work of Paul Lorenzen in the 1950s, as a method to generate new admissible rules within a certain syntactic context. Some fifteen years later, the idea was taken up by Dag Prawitz to devise a strategy of normalization for natural deduction calculi (this being an analogue of Gentzen's cut-elimination theorem for sequent calculi). Later, Prawitz used the inversion principle again, attributing it with a semantic role. Still working (...) in natural deduction calculi, he formulated a general type of schematic introduction rules to be matched ? thanks to the idea supporting the inversion principle ? by a corresponding general schematic Elimination rule. This was an attempt to provide a solution to the problem suggested by the often quoted note of Gentzen. According to Gentzen ?it should be possible to display the elimination rules as unique functions of the corresponding introduction rules on the basis of certain requirements?. Many people have since worked on this topic, which can be appropriately seen as the birthplace of what are now referred to as ?general elimination rules?, recently studied thoroughly by Sara Negri and Jan von Plato. In this study, we retrace the main threads of this chapter of proof-theoretical investigation, using Lorenzen's original framework as a general guide. (shrink)

In this paper, we will consider a phenomenon known as inverse linking, a term coined by May (1977) to describe the most salient readings of sentences such as “Someone from every city despises it.”.

If people believe that some property is true of all members of a class such as sofas, then they should also believe that the same property is true of all members of a conjunctively defined subset of that class such as uncomfortable handmade sofas. A series of experiments demonstrated a failure to observe this constraint, leading to what is termed the inverse conjunction fallacy. Not only did people often express a belief in the more general statement but not in (...) the more specific, but also when they accepted both beliefs, they were inclined to give greater confidence to the more general. It is argued that this effect underlies a number of other demonstrations of fallacious reasoning, particularly in category-based induction. Alternative accounts of the phenomenon are evaluated, and it is concluded that the effect is best interpreted in terms of intensional reasoning [Tversky, A., & Kahneman, D.. Extensional versus intuitive reasoning: the conjunction fallacy in probability judgment. Psychological Review, 90, 293-315.]. (shrink)

Spectrum inversion is a thought experiment, and I would wager that there is no better diagnostic test to the disciplinary affiliation of a randomly selected member of the audience than your reaction to a thought experiment. It is a litmus test. If you find that you are paying close attention, subvocalizing objections, and that your heart-rate and metabolism go up, you have turned pink: you are a philosopher. If on the other hand the thought experiment leaves you cold, and you (...) wonder why otherwise sensible people would worry about such things, you have turned blue and you are a psychologist. (shrink)

In this paper I examine whether representationalism can account for various thought experiments about colour inversions. Representationalism is, at minimum, the view that, necessarily, if two experiences have the same representational content then they have the same phenomenal character. I argue that representationalism ought to be rejected if one holds externalist views about experiential content and one holds traditional exter- nalist views about the nature of the content of propositional attitudes. Thus, colour inver- sion scenarios are more damaging to externalist (...) representationalist views than have been previously thought. More specifically, I argue that representationalists who endorse externalism about experiential content either have to become internalists about the content of propositional attitudes or they have to adopt a novel variety of externalism about the content of propositional attitudes. This novel type of propositional attitude externalism is investigated. It can be seen that adopting it forces one to reject Putnam. (shrink)

This paper examines an important issue facing academia-pay inversion. It discusses how inversion is accompanied by ethical issues including secrecy, moral dilemmas for faculty, honesty, and keeping promises. It then examines this issue from five ethical viewpoints: a legalistic perspective, ethical egoism, utilitarianism, distributive justice, and Kants deontological approach. As part of the discussion, the effect of the moral philosophy on the universitys corporate culture is examined, with attention given to morale and productivity. Finally, alternatives to pay inversion that universities (...) may want to consider are discussed. (shrink)

At the end of the 19th century, the vocabulary of sexuality - perversion - became one of the primary means by which people began to articulate and think about their individuality, their sense of self. Joining authors like Ian Hacking and Arnold Davidson, I suggest the importance of a ‘style of reasoning’ to the creation of sexual kinds at the end of the 19th century, a kind of reasoning that might be styled as historical. For the invert to become possible (...) as a human kind, the conceptual space for an understanding of inverts as specific kinds needed to be cleared. In France, this was accomplished by conceiving individuals as elaborated historically, as the product of prior generations, and by differentiating them from other kinds of people via notions of heredity and degeneration. The invert was plotted within the meta-récit of French progress (and national degeneration). This logic of ‘historicization’ also entailed the scrutiny of the patient’s past in order to reveal his or her ‘nature’ as pathological. Understanding the conceptualization of inversion as including, in part, a ‘pursuit of memory’ provides a window onto the vexing question of how people come to take up their classifications; that is, how discourses interact with the subjects they purport to describe. Through the ‘pursuit of memory’, persons were encouraged to (re)describe their pasts in terms of the present diagnosis. An essential attribute of the literature on ‘inversion’ was precisely such an historically formed understanding of pathological individuals; an understanding that ushered in the transformation from acts to natures, from individuals to kinds, from sodomites to homosexuals. (shrink)

In civil libertarian discourse, the inverse relationship between government secrecy and privacy is well recognized and widely acknowledged - so widely, in fact, that it can come to seem as though we might regain sufficient privacy simply by cabining official secrecy. But regimes of secrecy that insulate private-sector data processing practices also contribute materially to the decline of privacy, and indeed play a vital role in facilitating government efforts to make citizens' lives transparent. In addition, there is an (...) class='Hi'>inverse relationship between openness and privacy that we are inclined to resist discussing. When, for example, a government agency posts on its website documents containing private information about individual citizens, or when a social networking service establishes default rules for transmitting information from member pages to commercial partners, openness contributes materially to the exposure that people experience. Our public discourse about information policy reinforces the devaluation of privacy in two opposite but mutually-reinforcing ways, by valorizing political economies organized around secrecy and by elevating openness as an ultimate good. The shelter that privacy affords for self-development is essential to a healthy democracy. It is therefore important to interrogate both our regimes of secrecy and our discourses about openness. (shrink)

The present paper introduces "ontomimetic simulation" and argues that this class of models has enabled the investigation of hypotheses about complex systems in new ways that have epistemological relevance. Ontomimetic simulation can be differentiated from other types of modeling by its reliance on causal similarity in addition to representation. Phenomena are modeled not directly but via mimesis of the ontology (i.e. the "underlying physics", microlevel etc.) of systems and a subsequent animation of the resulting model ontology as a dynamical system. (...) While the ontology is clearly used for computing system states, what is epistemologically important is that it is viewed as a hypothesis about the makeup of the studied system. This type of simulation, where model ontologies are used as hypotheses, is here called inverse ontomimetic simulation since it reverses the typical informational path from the target to the model system. It links experimental and analytical techniques in being explicitly dynamical while at the same time capable of abstraction. Inverse ontomimetic simulation is argued to have a great impact on science and to be the tool for hypothesis-testing that has made systematic theory development for complex systems possible. (shrink)

Climate change and the failure of crops are significant but overlooked events in the history of heredity. Bad weather and dangerously low harvests provided momentum and urgency for answers to questions about how best to improve and acclimatize staple varieties. In the 1790s, a series of crop failures in Britain led to the popularization of and widespread debate over Thomas Andrew Knight’s suggestion that poor weather was in fact largely unconnected to the bad harvests. Rather, Knight argued, Britain’s older varieties—particularly (...) its fruit trees—were coming to the natural end of their lifespans. At a period when Britain was trying to maximize its agricultural land usage, Knight campaigned that his fellow farmers ought to set aside land and resources in order to cultivate new varieties—an expensive and time-consuming procedure—in order to avoid disaster. In this paper, I argue that Knight’s lifelong commitment to his position demonstrates the role played by changes in climate and weather on popular understandings of plant heredity. Further, drawing upon the historiography of Britain’s climate and agriculture, I show that despite reliable weather and good harvests, Knight’s campaign survived for several decades before the continued health of Britain’s trees was finally treated as sufficient evidence to dispense with Knight’s warnings. This case provides a means of thinking about the history of heredity as it is shaped and impacted by changes in climate and local conditions. (shrink)

The inversion principle for logical rules expresses a relationship between introduction and elimination rules for logical constants. Hallnäs & Schroeder-Heister proposed the principle of definitional reflection, which embodies basic ideas of inversion in the more general context of clausal definitions. For the context of admissibility statements, this has been further elaborated by Schroeder-Heister. Using the framework of definitional reflection and its admissibility interpretation, we show that, in the sequent calculus of minimal propositional logic, the left introduction rules are admissible when (...) the right introduction rules are taken as the definitions of the logical constants and vice versa. This generalizes the well-known relationship between introduction and elimination rules in natural deduction to the framework of the sequent calculus. (shrink)

The possibility that what looks red to me may look green to you has traditionally been known as "spectrum inversion." This possibility is thought to create difficulties for any attempt to define mental states in terms of behavioral dispositions or functional roles. If spectrum inversion is possible, then it seems that two perceptual states may have identical functional antecedents and effects yet differ in their qualitative content. In that case the qualitative character of the states could not be functionally defined.

This article1 deals with a well-known but still ill-explained fact about German, namely scope inversion under a particular accent contour, as illustrated with the following examples, where “/” and “\” stand for rising and falling accent: (a) Mindestens ein Stu- dent hat jeden Roman gelesen, lit. ‘at least one student has every novel read’, with the reading “For at least one student x: x read every book”, and (b) Mindestens /EIN Student hat \JEDen Roman gelesen, with the additional reading “For (...) every novel y: at least one student read y”. I will derive the scope inversion in this reading from general principles of scope assignment and focus marking in German. In particular, I will argue that focus is assigned to constituents that precede the verbal predicate, which leads to syntactic configurations that in turn result in ambiguous interpretations. This explanation must be couched in a framework of derivational economy that favors shorter derivations. It is argued that the relevant comparison class is defined with respect to phonological form, not, as has been suggested for English, with respect t o identity of semantic interpretation, and that this may be a general property of “free” word order languages. (shrink)

In Social Decay and Transformation social and political critic Samuel Farber presents an analysis of social decline that has been missing from the contemporary scene: a view from the Left, one which draws from the ideas and traditions of the Enlightenment's left wing. Using a comparative approach to situate his theoretical conclusions in historical circumstances, Farber looks at the working class and temperance movements, civil rights rebellions and the Black Panthers, and the cultural revolutions of 1920s Russia and the (...) Bolsheviks. Providing carefully reasoned interrogations of contemporary thinkers such as James C. Scott and Robin D. G. Kelley, Farber clarifies the discussions on social decay currently taking place, adding an important voice of the Left to the current debate. (shrink)

Let U be an initial segment of $^*{\mathbb N}$ closed under addition (such U is called a cut) with uncountable cofinality and A be a subset of U, which is the intersection of U and an internal subset of $^*{\mathbb N}$ . Suppose A has lower U-density α strictly between 0 and 3/5. We show that either there exists a standard real $\epsilon$ > 0 and there are sufficiently large x in A such that | (A+A) ∩ [0, 2x]| > (...) (10/3+ $\epsilon$ ) | A ∩ [0, x]| or A is a large subset of an arithmetic progression of difference greater than 1 or A is a large subset of the union of two arithmetic progressions with the same difference greater than 2 or A is a large subset of the union of three arithmetic progressions with the same difference greater than 4. (shrink)

The authors discuss sonic decay as a compositional, performative and installation practice. Building off of the recording of a six hour performance, Andrew Stanford and Ezra Teboul assembled a short eight minute audio response which comes in two separate files. In addition to online links to the pieces, this paper provides a description of the compositional process along with an analysis of the response’s content and format. It then relates those to the greater concepts of sonic materialism, sound objects, (...) and the parallax view, and places the piece in the context of relevant and contemporary sound-based art works. Sonic Decay was installed and performed at the 2014 International Žižek Studies Conference in Cincinnati, Ohio. (shrink)

We investigate, for several modal logics but concentrating on KT, KD45, S4 and S5, the set of formulas B for which ${\square B}$ is provably equivalent to ${\square A}$ for a selected formula A (such as p, a sentence letter). In the exceptional case in which a modal logic is closed under the (‘cancellation’) rule taking us from ${\square C \leftrightarrow \square D}$ to ${C \leftrightarrow D}$ , there is only one formula B, to within equivalence, in this inverse (...) image, as we shall call it, of ${\square A}$ (relative to the logic concerned); for logics for which the intended reading of “ ${\square}$ ” is epistemic or doxastic, failure to be closed under this rule indicates that from the proposition expressed by a knowledge- or belief-attribution, the propositional object of the attitude in question cannot be recovered: arguably, a somewhat disconcerting situation. More generally, the inverse image of ${\square A}$ may comprise a range of non-equivalent formulas, all those provably implied by one fixed formula and provably implying another—though we shall see that for several choices of logic and of the formula A, there is not even such an ‘interval characterization’ of the inverse image (of ${\square A}$ ) to be found. (shrink)

According to the Contingency Theory of Laws, if there are possible worlds in which it is a law that all Fs are G, there are also possible F-containing worlds in which it is not. I argue here that the theory is forced to accept the possibility of nomic inversion: i.e. pairs of properties that have their actual nomic roles swapped in some possible world. Such inversions cannot be ruled out on grounds of logical or metaphysical inconsistency, and therefore – since (...) nomic inversion is counterintuitive – the Contingency Theory is undermined. (shrink)

Inverted sensation arguments such as the inverted spectrum thought experiment are often criticized for relying on an unconstrained notion of 'qualia'. In reply to this criticism, 'qualia-free' arguments for inversion have been proposed, in which only physical changes happen: inversions in the world, such as the replacement of surface colors by their complements, and a rewiring of peripheral input cables to more central areas in the nervous system. I show why such constrained inversion arguments won't work. The first problem is (...) that the world lacks the symmetry required to invert physical properties in the way required. The second problem concerns 'rewiring'. Empirical evidence indicates that the rewirings are either impossible, or would not result in an inversion of sensation. I propose the deeper reason for the failure of constrained inversion arguments lies in the fact that sensations are not properties of brain states, but spread into the world and the body. (shrink)