In 1963 Duchamp described his vertical installation of three Readymades at the Pasadena Art Museum as “readymade talk of what goes on in the Large Glass.” Elsewhere, he spoke of the Readymades as “vehicles for unloading ideas,” and during the years 1912-15 his mind was filled with ideas as he invented the “playful physics” for his techno-scientific allegory of quest, The Bride Stripped Bare by Her Bachelors, Even [The Large Glass]. This essay argues that the “ideas” being unloaded in the (...) Readymades were rooted in his extensive study of contemporary science and technology as well as the biographical experience of his stay at Herne Bay on the English seacoast during August 1913. Readymades addressed include the Bicycle Wheel, With Hidden Noise, Paris Air, and Fresh Widow. Central themes include string or thread, traced from his preoccupation with tennis during his holiday, and the impact of the electrical spectacle of the illuminated Pier Pavilion at Herne Bay. (shrink)

This issue of Science in Context presents a sampling of current work by art historians examining modern artists' engagement with science as well as the relationship of photography to both science and art. The essays' topics span the mid-to-later nineteenth century to the 1960s and, thus, in a series of case studies provide an introduction to aspects of artistic modernism. Indeed, it is impossible to understand fully many of the radical innovations of modern art without some knowledge of an artist's (...) cultural context, and developments in science have often played a critical role in defining that milieu. Collected together, these essays also represent methodological models of historical work on art and science that serve as useful examples in this developing field. (shrink)

This article relates the emergence of a group of faculty researchers utilizing complexity science approaches. The narrative emerges from three projects combining research into complexity, communities, and technologies. Details of how the research was initiated, and the nature and quality of the conversational method, are provided. In addition, theoretical concepts that were consciously applied and others that arose through insights from the data as it was collected are discussed. Although this is like most real narratives, a never-ending story, it concludes (...) with a presentation of some of the ideas that separate complexity-informed research from other paradigms. (shrink)

BetweenContent and and and Expression:AffectensitiesThe book hopes only to engender lines of flight. [P]repare to dance … responding and contributing to a rhythm that moves you-me-book with the...

The twentieth century began with the deconstruction of the image, as it is ending with the effort to restore it. Cubism, dada, and abstract expressionism took apart what, in their various ways, pop art, magic realism, and neoexpressionism have tried to put back together. Tonality in music and narrative in literature have undergone similar change.1 What has been at stake in each case has been the redefinition of a center, a normative or ordering principle as such. Yeats intuited this general (...) phenomenon in his famous observation that “the center cannot hold,” and though whether one applauds or, with Yeats, condemns the result, it is undeniable that the crisis of contemporary culture has been in large part experienced as a deprivation of norms.This sense of deprivation has been most apparent in the plastic arts. The fashioning of images has been one of the primary impulses of human art. It has been the basis of most systems of visual representation and constitutes the earliest record we have off art itself. Its loss or abandonment has been in good part responsible for the bewilderment and hostility much of the general public continues to express toward modern art.The experience of this loss, however, has not been confined to the public alone. For many artists, the sense of modern art’s expressive potential has been tempered by an anxiety about its ultimate direction.2 For these artists, the image had not been transcended but rather rendered inaccessible, and implicitly or explicitly they sought its restoration. At the same time, they were keenly aware that there could be no return to exhausted modes of representation, no looking back except as parody or quotation.3 1. Among the studies comparing changes across the arts in the early twentieth century are Georges Edouard Lemaître, From Cubism to Surrealism in French Literature , and Bram Dijkstra, The Hieroglyphics of a New Speech: Cubism, Stieglitz, and the Early Poetry of William Carlos Williams . More recently, visualization in cubist art and relativity theory has been compared in Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art . For a general overview, see Stephen Kern, The Culture of Time and Space, 1880-1918 . Marxist critics, notably Walter Benjamin, have long insisted on the relationship between modernism in the arts and the crisis of the traditional order.2. This is clearly visible in the work and writing of pioneers such as Kandinsky and Klee or, to take a later case, Adolph Gottlieb. The correspondence between Kandinsky and Schönberg is illuminating as well.3. Much of the neoimagistic art of the past twenty-five years falls into these categories, and thus signals a prolongation rather than a resolution of the crisis. Pop art was clearly an art of parody, while work of an artist such as Malcolm Morley might almost be taken as an illustration of Benjamin’s thesis about the work of art in an age of mechanical reproduction. His “imitations,” like those of Robert Lowell in verse, betray a deep anxiety about mastery and tradition. Much the same can be said for such musical compositions as Lukas Foss’ “Baroque Variations” and “Phorion” or Luciano Berio’s “Sinfonia,” to name but a random few among many. Robert Zaller is professor of history and head of the department of history and politics at Drexel University. He was formerly on the faculties of Queens College , the University of California at Santa Barbara, and the University of Miami. His books include The Parliament of 1621: A Study in Constitutional Conflict and The Cliffs of Solitude: A Reading of Robinson Jeffers. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on DuchampBergson ReadymadeFederico Luisetti (bio)Translated by David Sharp[I]nside the person we must distinctly perceive, as through a glass, a set-up mechanism.—Henri Bergson, Laughter: An Essay on the Meaning of the Comic (1901)In spite of the enormous critical attention paid to Marcel Duchamp’s art and theoretical background, the dialogue with Bergsonism is mostly confined to scattered references and erudite observations.1 Paradoxically, the major obstacle to this encounter has been (...) the immense popularity of Henri Bergson’s philosophy since the initial decade of the twentieth century. Such success has come with a price, however, for the proliferation of neutralizing schematizations has progressively suffocated the specificity of his thought and subsequently impeded the understanding of his epistemological radicalism, so cherished by Duchamp and the historical avant-garde.2Consider, for example, how the specter of Bergson constantly hovers over Linda Dalrymple Henderson’s authoritative discussion of Duchamp’s scientific sources. Although Henderson recognizes the diffuse presence in Duchamp of various Bergsonian motives, because she regards Bergson as the antiscientific philosopher of the “inner self” and of “profound self-expression,”3 Bergsonian notions seem to her incompatible with the artistic revolution prompted by Duchamp. A historiographical exorcism is therefore needed in order to heal the consequences of the traumatic Bergson-Duchamp incest. Herein lies Henderson’s solution: since Duchamp rejects the aesthetic principles of the Puteaux Cubists, he also abandons Bergsonism, which represents their philosophical matrix. Thus, the Bergsonian ideas “undoubtedly” present in Duchamp’s artistic lexicon are nothing but debris accumulated in the course of his battle with the Cubist disciples of Bergson.4To counter these approaches, in the following pages I will map Duchamp’s absorption and creative distortion of Bergsonism,5 concentrating on key terms of both Bergson’s philosophy and Duchamp’s speculations on art: space, “readymade,” delay, body, virtual, circuit, machine.6 I will then discuss the theoretical implications of Duchamp’s Bergsonism and place the readymade7 within its proper context: the deconstruction of the Western metaphysics of reflection. [End Page 77]SpaceBeginning with Time and Free Will (1889), Bergson distinguishes between two types of multiplicities: on the one hand, “duration” (durée), “an internal multiplicity of succession, of fusion, of organization, of heterogeneity, of qualitative discrimination... a virtual and continuous multiplicity that cannot be reduced to numbers,” and on the other, “a multiplicity of exteriority, of simultaneity, of juxtaposition, of order, of quantitative differentiation... a numerical multiplicity, discontinuous and actual.”8 This opposition is generally understood as a clear-cut differentiation between the inner experience of time and the objective consistence of space. In Time and Free Will and Matter and Memory (1896), there are several passages that can be read accordingly, since duration is often described as a continuous, indivisible temporal experience, and space as that which “by definition, is outside us.”9Yet for Bergson space and time are mixed terms, and their internal complexity does not coincide with the semantic distinction between the two multiplicities. Deleuze has clearly formulated the central difficulty that a reductionist theory of space and time would imply, a problem of which Bergson is fully aware. Since the concept of duration has an ontological span, space must find a place within time and vice versa: “If things endure, or if there is duration in things, the question of space will need to be reassessed on new foundations. For space will no longer simply be a form of exteriority.... Space itself will need to be based in things... to have its own ‘purity’” [Deleuze, Bergsonism 49]. Hidden behind the motif of the “spatialization of time,” Bergson has devised a stratified theory of space, whose origins we can trace back to his philosophical apprenticeship [see Heidesick 29–42].Departing from Kant, Bergson introduces a boundary between the “perception of extension” and the “conception of space,” between qualitative space, which he calls “extensity” (étendue), and “abstract,” “homogeneous” space: “We must thus distinguish between the perception of extensity and the conception of space.... [S]pace is not so homogeneous for the animal as for us... determinations of space, or directions, do not assume for it a purely geometrical form” [Bergson, Time... (shrink)

Investigating the concepts and material realities of energy coursing through the arts: a foundational text. This book investigates energies—in the plural, the energies embedded and embodied in everything under the sun— as they are expressed in the arts. With contributions from scholars and critics from the visual arts, art history, anthropology, music, literature, and the history of science, it offers the first multidisciplinary investigation of the concepts and material realities of energy coursing through the arts. Just as Douglas Kahn's earlier (...) books helped introduce sound as a category for study in the arts, this new volume will be a foundational volume for future explorers in a largely uncharted domain. The modern concept of energy is only two hundred years old—an abstraction grounded in extraction—but this book takes a more expansive view. It opens with a clap: the sonic energies in a ceremony of the indigenous Goolarabooloo people of Australia. Other chapters explore the energies of photography; responses of artists in the early twentieth century—including Marcel Duchamp—to scientific discoveries in electricity and electromagnetism; the aestheticization of entropy in works by Hans Haacke and Robert Smithson; free-jazz musician Milford Graves's cross-cultural engagement with music, science, and spiritualism; energy field performance; and the self-generating energy of rumor and gossip as artwork. Contributors include such leading scholars as Linda Dalrymple Henderson, John Tresch, and Caroline A. Jones. Practicing artists and students of art history will find Energies in the Arts an essential work. Contributors Susan Ballard, Jennifer Biddle, Marcus Boon, Joan Brassil, Steven Connor, Milford Graves, Daniel Hackbarth, Linda Dalrymple Henderson, Caroline A. Jones, Douglas Kahn, David Mather, Stephen Muecke, James Nisbet, Daniela Silvestrin, Michael Taussig, John Tresch, Melissa Warak. (shrink)

Citizenship presents two faces. Within a political community it stands for inclusion and universalism, but to outsiders, citizenship means exclusion. Because these aspects of citizenship appear spatially and jurisdictionally separate, they are usually regarded as complementary. In fact, the inclusionary and exclusionary dimensions of citizenship dramatically collide within the territory of the nation-state, creating multiple contradictions when it comes to the class of people the law calls aliens--transnational migrants with a status short of full citizenship. Examining alienage and alienage law (...) in all of its complexities, The Citizen and the Alien explores the dilemmas of inclusion and exclusion inherent in the practices and institutions of citizenship in liberal democratic societies, especially the United States. In doing so, it offers an important new perspective on the changing meaning of citizenship in a world of highly porous borders and increasing transmigration. As a particular form of noncitizenship, alienage represents a powerful lens through which to examine the meaning of citizenship itself, argues Linda Bosniak. She uses alienage to examine the promises and limits of the "equal citizenship" ideal that animates many constitutional democracies. In the process, she shows how core features of globalization serve to shape the structure of legal and social relationships at the very heart of national societies. (shrink)

We present a new method for characterizing the interpretive possibilities generated by elliptical constructions in natural language. Unlike previous analyses, which postulate ambiguity of interpretation or derivation in the full clause source of the ellipsis, our analysis requires no such hidden ambiguity. Further, the analysis follows relatively directly from an abstract statement of the ellipsis interpretation problem. It predicts correctly a wide range of interactions between ellipsis and other semantic phenomena such as quantifier scope and bound anaphora. Finally, although the (...) analysis itself is stated nonprocedurally, it admits of a direct computational method for generating interpretations. (shrink)

Visible Identities critiques the critiques of identity and of identity politics and argues that identities are real but not necessarily a political problem. Moreover, the book explores the material infrastructure of gendered identity, the experimental aspects of racial subjectivity for both whites and non-whites, and in several chapters looks specifically at Latio identity.

An ethic for wrongdoers -- Repaying moral debts : self-punishment and restitution -- Changing one's heart, changing the past : repentance and moral transformation -- Reforming relationships : the reconciliation theory of atonement -- Forgiveness, self-forgiveness, and redemption -- Making amends for crime : an evaluation of restorative justice -- Collective atonement : making amends to the Magdalen penitents.

In the field of art history, the white Western male viewpoint, unconsciously accepted as the viewpoint of the art historian, may—and does—prove to be inadequate not merely on moral and ethical grounds, or because it is elitist, but on purely intellectual ones. In revealing the failure of much academic art history, and a great deal of history in general, to take account of the unacknowledged value system, the very presence of an intruding subject in historical investigation, the feminist critique at (...) the same time lays bare its conceptual smugness, its meta-historical naïveté. At a moment when all disciplines are becoming more self-conscious, more aware of the nature of their presuppositions as exhibited in the very languages and structures of the various fields of scholarship, such uncritical acceptance of “what is” as “natural” may be intellectually fatal. Just as Mill saw male domination as one of a long series of social injustices that had to be overcome if a truly just social order were to be created, so we may see the unstated domination of white male subjectivity as one in a series of intellectual distortions which must be corrected in order to achieve a more adequate and accurate view of historical situations. (shrink)

This was published in Cultural Critique (Winter 1991-92), pp. 5-32; revised and reprinted in Who Can Speak? Authority and Critical Identity edited by Judith Roof and Robyn Wiegman, University of Illinois Press, 1996; and in Feminist Nightmares: Women at Odds edited by Susan Weisser and Jennifer Fleischner, (New York: New York University Press, 1994); and also in Racism and Sexism: Differences and Connections eds. David Blumenfeld and Linda Bell, Rowman and Littlefield, 1995.

"First Published in 1992, Routledge is an imprint of Taylor & Francis, an informa company.".

The dictum ‘“ought” implies “can”’ has a status in moral philosophy in some respects like that of ‘a good player needs good co-ordination’ in talk about ball-games. Clearly, you say something important but not conclusive about proficiency in playing a ball-game when you say that it requires good co-ordination: similarly, you say something important but not conclusive about obligation when you say that it implies a certain possibility or power or ability. Each dictum is a reminder: the one about such (...) courses of physical instruction, the other about such exhortations to duty, as are worth persevering with. It would be hopeless to keep on teaching a boy the moves and tricks of rugby football if he could never co-ordinate well enough to get his eye in, so to speak. Correspondingly, it would be meaningless to recommend that someone ought to do something the specification of which involved a contradiction, and pointless to suggest that he ought to do something which, for quite general reasons, was not, and was certain to remain not, within his power. So each dictum expresses a bluff, no-nonsense wisdom which we should count on before involving ourselves in certain more detailed commitments. But probably this is as far as the comparison between the two sayings can well be taken. (shrink)

The attention for Moral case deliberation has increased over the past years. Previous research on MCD is often written from the perspective of MCD experts or MCD participants and we lack a more distant view to the role of MCD in Dutch health care institutions in general. The purpose of this paper is to provide an overview of the state of the art concerning MCD in the Netherlands. As part of a larger national study on clinical ethics support in the (...) Netherlands, we will focus on the prevalence and characteristics of MCD in Dutch health. A mixed methods design was used in which we combined two survey questionnaires, two focus groups and 17 individual interviews with top managers or ethics support staff. The findings demonstrate that the prevalence of MCD is relatively high in Dutch health care, especially in mental health care. Institutions with MCD differ from institutions without MCD concerning size, kind of problems and importance of ideological background. Characteristic of MCD is that it often exists for 3 years or more, has a high participation of health professionals and middle managers and is both organized scheduled as unscheduled. As well integration in existing policy as key persons emerge as important issues in relation to the positioning of MCD. We conclude that MCD is a part of an integrated ethics policy and serves as a catalyst for such an integrated ethics policy. (shrink)

Abstract:This field survey focused on two constructs that have been developed to represent the ethical context in organizations: ethical climate and ethical culture. We first examined issues of convergence and divergence between these constructs through factor analysis and correlational analysis. Results suggested that the two constructs are measuring somewhat different, but strongly related dimensions of the ethical context. We then investigated the relationships between the emergent ethical context factors and an ethics-related attitude (organizational commitment) and behavior (observed unethical conduct) for (...) respondents who work in organizations with and without ethics codes. Regression results indicated that an ethical culture-based dimension was more strongly associated with observed unethical conduct in code organizations while climate-based dimensions were more strongly associated with observed unethical conduct in non-code organizations. Ethical culture and ethical climate-based factors influenced organizational commitment similarly in both types of organizations. Normative implications of the study are discussed, as are implications for future theorizing, research and management practice. (shrink)

The relationship between Lexical-Functional Grammar (LFG) functional structures (f-structures) for sentences and their semanticinterpretations can be formalized in linear logic in a way thatcorrectly explains the observed interactions between quantifier scopeambiguity, bound anaphora and intensionality.Our linear-logic formalization of the compositional properties ofquantifying expressions in natural language obviates the need forspecial mechanisms, such as Cooper storage, in representing thescoping possibilities of quantifying expressions. Instead, thesemantic contribution of a quantifier is recorded as a linear-logicformula whose use in a proof will establish the (...) scope of thequantifier. Different proofs can lead to different scopes. In eachcomplete proof, the properties of linear logic ensure thatquantifiers are properly scoped. (shrink)

This paper examines three medical student poems about death to explore how medical students use poetry to understand their encounters with dying patients and to discuss how these poems function as elegies in the context of medical culture.

Moving beyond the traditional feminist ethics of care, Linda A. Bell places an existentialist conception of liberation at the heart of ethics and argues that only an ethics of freedom sufficiently allows for feminist critique and opposition ...

This paper elaborates on the idea of the epistemology of ignorance developed in Charles Mills’s work beginning in the 1980s and continuing throughout his writings. I I argue that his account developed initially from experiences of racism in north America as well as certain methods of organizing within parts of the Caribbean left. Essentially the epistemic practice of ignorance causes knowers to discredit or push away knowledge they in fact have. But this gives us cause for hope, for restoring existing (...) knowledge through changing ideas about who knows. (shrink)