This study examines the influences of individual behaviour and organizational commitment towards the enhancement of Islamic Work Ethics at the Royal Malaysian Air Force. It involved 312 respondents of different backgrounds and the data were analysed using descriptive analysis and structural equation modelling analysis. The results show that both individual behaviour and organizational commitment have significantly correlated with the enhancement of IWE. The findings could help managers especially of multinational corporations operating in Muslim countries to enhance the company (...) performances by instituting elements of IWE in their organizations. This can be done by promoting the understanding of IWE and providing a conducive environment to practice it. (shrink)

COVID-19 forced lockdown in India, leading to the loss of job, crisis of food, and other financial catastrophes that led to the exodus migration of internal migrant workers, operating in the private sector, back to their homes. Unavailability of transport facilities led to an inflicted need to walk back to homes barefooted without lack of any other crucial resources on the way. The woeful state of internal migrant workers walking back, with all their stuff on their back, holding their children, (...) was trending on social media worldwide. Their problem continued even after reaching home, including misbehavior of villagers, indifferent mannerism of family members toward them, inability to fulfill family responsibility, and financial crisis, which led to stress, fear, and trauma for these internal migrant workers. The present paper aimed to assess the idiosyncratic stressors of internal migrant workers throughout the pandemic era and their responses toward those problems, which helped them cope with it. In-depth semistructured telephonic interviews were conducted with 25 internal migrant workers who were working in different cities in India before lockdown. The analyses revealed that multiple stressors include financial crisis, unavailability of food, inability to continue education, inability to pay house rent, lack of support from neighbors and family, and other psychological stressors that affected them. However, they also tried multiple strategies to deal with the problems, including a cognitive appraisal of the problem and making oneself psychologically competent to deal with the situation. Social support of family and friends played a vital role in enhancing hardiness and increasing the level of happiness at scarce times. At the same time, some of them could not deal with stressors and opted for psychiatric help to manage the physical symptoms of stress. (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)

Happiness can be regarded as an evaluation of life satisfaction. A high level of wellbeing can promote self-fulfillment and build a rational, peaceful, self-esteem, self-confidence, and positive social mentality. Therefore, the analysis of the factors of happiness is of great significance for the continuous improvement of the individual’s sense of security and gain and the realization of the maximization of self-worth. Emotion is not only an important internal factor that affects happiness, but it can also accurately reflect (...) the individual’s happiness. However, most of current happiness evaluation methods based on the emotional analysis belong to shallow learning paradigm, making the deep learning method unexploited for automatically happiness decoding. In this article, we analyzed the emotions of graduates during their employment and studied its influence on personal happiness at work. We proposed deep restricted Boltzmann machine for graduates’ happiness evaluation during employment. Furthermore, to mitigate the information loss when passing through many network layers, we introduced the skip connections to DRBM and proposed a deep residual RBM for enhancing the valuable information. We further introduced an attention mechanism to DRRBM to focus on the important factors. To verify the effectiveness of the proposed method on the happiness evaluation tasks, we conducted extensive experiments on the statistical data of the China Comprehensive Social Survey. Compared with the state-of-the-art methods, our method shows better performance, which proves the practicability and feasibility of our method for happiness evaluation. (shrink)

Public comments criticizing the honesty and trustworthiness of Professionals in Finance (PIFs) are commonly seen as a way to motivate them towards engaging in more socially responsible business practices. However, the link between public views of this professional group, the self-views of individual group members, and their motivation to engage in Corporate Social Responsibility (CSR) activities has not been empirically examined. In this research, we draw on Social Identity Theory (SIT) and the Behavioral Regulation Model for social evaluation (BRM) (...) to examine how the self-views of individual group members relate to perceived characteristics of their professional group, indicating Competence and Morality. In two studies (N = 123, 191) we examined whether the self-views of high-profile and general PIFs are affected by other people's perceptions of the honesty and trustworthiness of this professional group. The results offer support for our reasoning derived from SIT and the BRM. In both studies, we first demonstrate that public concerns about the group's lack of honesty and trustworthiness impact on the moral self-views of financial professionals. Subsequently, we employ an experimental design to reveal that reinforcing moral criticism leveled at the group only reduces the motivation of individual group members to engage in CSR activities, while group-level moral affirmation enhances this motivation. The results of both studies converge to demonstrate how public critique on the moral behavior of their professional group relates to the self-views and behavioral motives of PIFs. We consider the theoretical and practical implications of these findings. (shrink)

This article develops a model of relational happiness that challenges popular individualized definitions and emphasizes how it can enhance the sociological analysis of inequality. Many studies of happiness suggest that social inequalities are closely associated with distributions of happiness at the national level, but happiness research continues to favour individual-level analyses. Limited attention has been given to the intersubjective aspects of happiness and the correlations between it and higher social equality. Conversely, key theoretical debates about (...) inequalities, such as Axel Honneth and Nancy Fraser’s exchanges, have only indirectly touched on happiness. A relational approach to happiness is not new, but what this article offers is a new combination of a relational understanding of happiness as an intersubjectively, culturally experienced complex of emotions with discussions about recognition of marginalized groups and redistribution of material resources. This combined approach can further debates about understanding and remedying social inequalities. It argues that theories and measurements of happiness must consider how it can be achieved collectively through working at mutual respect as well as greater material equality. (shrink)

In this paper, we examine the interactive effects of positive affect and perspective-taking on workplace incivility and family incivility, through moral disengagement. We draw from broaden-and-build and moral disengagement theories to suggest a potential negative consequence of positive affect. Specifically, we argue that positive affect increases incivility toward coworkers and spouses through moral disengagement among employees with low, but not high perspective-taking. Data from two time-lagged field studies and one online experiment provide support for our hypotheses. These findings suggest that (...) the beneficial effects of positive feelings are not universal, and the fostering of positive feelings at work might have unintended negative consequences, namely moral disengagement, and increased incivility at work and at home. Implications for theory and research are discussed. (shrink)

Proposal Information: In this paper it is argued that although Spinoza, unlike other great philosophers of the Enlightenment era, never actually wrote a philosophy of education as such, he did – in his Ethics – write a philosophy of self-improvement that is deeply educational at heart. When looked at against the background of his overall metaphysical system, the educational account that emerges is one that is highly curious and may even, to some extent at least, come across as counter-intuitive in (...) a contemporary setting. This is so because it grounds the greater social and political endeavors of humanity in the individual’s striving for an ever-increasing power of acting. Hence, education, for Spinoza, is a decidedly individualistic affair, but then again, so is the making of society. Since, for Spinoza, every instance of knowledge bears the unique mark of the individual body that expresses it, one might conclude that at the foundation of every social structure is an encounter between concrete bodies; each expressing a particular perspective from where to grasp the world. I would argue, based on this, that one of Spinoza’s main contributions to educational theory is his grounding of larger social endeavors in the striving of the individual. Hinged on the striving to be more rational, as dictated by the doctrine of the conatus, education appears to offer a way of grounding the structure of the human social world in the same principles as those guiding the individual. Spinoza’s doctrine of the imitation of affects thereby offers a way of linking the egoistic striving for power on behalf of the individual with the educational goal of building a sustainable society. It does so as it conditions self-improvement by the human characteristic to imitate what others desire. By being surrounded with people who desire to be more rational, one can utilize this desire for the good and become strengthened in one’s own striving for increasing one’s degree of existence. Consequently, the teaching situation is geared for guiding students towards a more rational life, at the same time as it is geared for the self-improvement of the teacher. This aspect of self-improvement is, ultimately, what will motivate the teacher in striving to enhance the lives of his or her students in the first place. Being unable to self-improve in isolation, the doctrine of the imitation of affects dictates that the rational person will be moved toward a life of generosity, not primarily for altruistic reasons, but out of a desire to become more rational and thus to gain in his or her own power of acting. The question that follows from this, of course, is how does one go about when inculcating a desire to be more rational in one’s students?Education, from a Spinozistic point of view, is ultimately about the cultivation of the potential that lies dormant in each individual, so that a person may live a happier life as a result of understanding, more adequately, their place in the natural world. The challenge, then, becomes one of overcoming the many obstacles that prevent a person from developing their potential. Pedagogy, from this point of view, may be understood in terms of the art of offering the right amount of resistance. This notion is based on the assumption that if a student encounters no resistance – or too much resistance – his or her potential remains just that – a potential. In order to develop this potential the student needs to overcome certain barriers. With regards to this, the role of the teacher may be conceived in terms of the one balancing the amount of resistance so that the student is properly challenged but at the same time not overwhelmed. Methodology or Methods/ Research Instruments or Sources Used: The paper makes for an attempt to outline a Spinozistic philosophy of education based on readings of Spinoza’s texts – primarily the Ethics – and some of the relevant secondary literature such as Della Rocca’s influential reading of Spinoza. As such it is a philosophical inquiry seeking to interconnect some key aspects of Spinoza’s philosophy with some of the major issues of education. Methodologically, this paper argues, in line with Melamed, that rather than turning to the history of philosophy in order to identify ‘precursors to [our] own views’, so as to validate what we already believe we know, it is more fruitful to turn to past philosophers in order to ‘challenge our most basic beliefs and intuitions by studying texts that are both well-argued and strongly opposed to our commonsense’. Accordingly, turning to Spinoza marks an attempt to revisit and reconceptualize some key aspects of educational thought. Conclusions, Expected Outcomes or Findings: A conclusion of this paper is that a Spinozistic philosophy of education would need to focus on resolving the tension between Spinoza’s egoism and education as a social project. To this end it identifies Spinoza’s doctrine of the imitation of affects as a possible link between the individual’s striving for power and the collective agenda of improving human well-being at large. It is also suggested that, in aspiring to inculcate a desire to be more rational in his or her students, the challenge for the Spinozistic teacher is to prompt the students to aspire to reach beyond the temporary satisfactions of the passions so as to acquire a more enduring sense of satisfaction and so that their well-being is more fully under their own command rather than under the command of various external influences. This, in turn, is connected with the notion of resistance in the sense that in experiencing the volatility of fortune – and thereby understanding the instability of relying on one’s passions – a person would appear to be more inclined to strive for a more enduring sense of happiness, even if this would mean giving up on some of the temporary pleasures that one has grown accustomed to. The resistance, then, may be conceived in terms of the overcoming of temporary pleasures that stand in the way of the developing of one’s potential. In this scenario the role of the teacher may be understood in terms of someone offering a well-balanced amount of resistance. This means that to accommodate one’s students – in the sense that one approaches them in terms of prospective customers, aspiring to satisfy their demands – is inimical to education insofar as the wants and desires of students are, generally speaking, caused by passive affects rather than their rational wills. References: Aloni, N.. Spinoza as Educator: From Eudaimonistic Ethics to an Empowering and Liberating Pedagogy. Educational Philosophy and Theory 40, pp. 531–544.Della Rocca, M.. Spinoza. New York: Routledge.Della Rocca, M.. Rationalism, Idealism, Monism, and Beyond. In: E. Förster & Y. Y. Melamed Spinoza and German Idealism. Cambridge: Cambridge University Press, pp. 7–26.Derry, J.. The Unity of Intellect and Will: Vygotsky and Spinoza. Educational Review, 56, pp. 113–120.Lloyd, G.. Spinoza and Educating the Imagination. In: A. O. Rorty Philosophers on Education: Historical Perspectives. London: Routledge, pp. 157–172.Melamed, Y. Y.. Spinoza’s Metaphysics: Substance and Thought. Oxford: Oxford University Press.Nadler, S.. Eternity and Immortality in Spinoza’s Ethics. Midwest Studies in Philosophy 26, pp. 224–244.Poulimatka, T.. Spinoza’s Theory of Teaching and Indoctrination. Educational Philosophy and Theory 33, pp. 397–410.Spinoza, B.. The Ethics. In: E. Curley A Spinoza Reader: The Ethics and Other Works. Princeton: Princeton Unive. (shrink)

It is time to transcend the arid debate between rationality and ir-, a-, or non-rationality as our basic assumption about human agency.1 There are powerful arguments and extensive evidence both for and against the rationality assumption, with heavily defended entrenchments on both sides. Managers and management scholars continually make at least tacit assumptions about how they expect others to behave. If only we could have in both theory and practice the coherence and precision of rational models as well as the (...) descriptive richness of ‘behavioural’ approaches. The message of this paper is that perhaps we can. The advent of consciousness studies and, more recently, neuroeconomics would seem to indicate the way forward to transcend the opposition in some kind of synthesis. This paper investigates rationality in the light of Daniel Dennett’s thesis that it is at the core of all intentionality that is the defining characteristic of mental phenomena. Neuroeconomics seeks to enhance understanding of agency by investigating new insights on the materialist basis of mental phenomenology in the neurophysiology of the brain and nervous system. Experimental evidence mapping intentional states onto neurophysiological states is emerging, some researchers even claiming to have found a ‘neurophysiological utility function’. Dennett closes the circuit by locating the existence of brain-hardware supporting satisficing intentional choice and action as the output of evolutionary ‘design’. The dichotomy is transcended: satisficing models (of which normative optimising rational choice models are a reasonable abstraction) are a good basis both for statistical prediction of the behaviour of large numbers, and as the first base on which to construct and refine a model of expectation-formation about particular types of agent and then of individual agents. Using both the old (‘external’) and the new (sub-individual) behaviourism as well as work on unpacking the abstract notion of rationality, we can concretise optimising rational choice both generally, for epistemic theory-building purposes, and specifically for understanding and deploying models of managerial agency. Such models will need to incorporate emotion with cognition in an integrated approach. (shrink)

The extended dual-aspect monism framework of consciousness, based on neuroscience, consists of five components: (1) dual-aspect primal entities; (2) neural-Darwinism: co-evolution and co-development of subjective experiences (SEs) and associated neural-nets from the mental aspect (that carries the SEs/proto-experiences (PEs) in superposed and unexpressed form) and the material aspect (mass, charge, spin and space-time) of fundamental entities (elementary particles), respectively and co-tuning via sensorimotor interaction; (3) matching and selection processes: interaction of two modes, namely, (a) the non-tilde mode that is the (...) material and mental aspect of cognition (memory and attention) related feedback signals in a neural-network, which is the cognitive nearest past approaching towards present; and (b) the tilde mode that is the material and mental aspect of the feed forward signals due to external environmental input and internal endogenous input, which is the nearest future approaching towards present and is a entropy-reversed representation of non-tilde mode; (4) the segregation and integration of information, and (5) the necessary ingredients of SEs (such as wakefulness, attention, re-entry, working memory, stimulus at or above threshold level, and neural-net PEs). This framework leads to structural and functional coherence between the mind and the brain, bridges the explanatory gap (the gap between SEs and their neural-correlates), and leads to our mundane subjective experiences. This extended dual-aspect monism (eDAM) framework (Vimal, 2008, 2010, 2013, 2015a, 2015b) could be the fundamental basis of various religions and philosophies. This is a Western perspective. On the other hand, Eastern perspectives emphasize the practical methods for achieving altered experience at samadhi state. An important corollary of these methods (such as yogic method) is the sublimation of negative aspects of seven groups of self-protective energy system (desire, anger, ego, greed, attachment, jealousy, and selfish-love) into their positive aspects. Their negative aspects create war and suffering, whereas their positive aspects advance science and technology, family values, peace, and happiness. Here, the Western perspective framework is extended to include the concepts of the sublimation process to encompass Eastern perspectives. The four elements (war, suffering, peace, and happiness) are ubiquitous in both space and time because they are essential contributors to the variations for natural selection in our evolutionary system. The sublimation process optimizes the system: minimizes war and suffering, maximizes peace and happiness, and enhances family values and individual progress. This is consistent with both Eastern and Western perspectives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume on Tranquillizing the Passions John Immerwahr Borrowingafragmentfrom thelyric poetArchilochus, Sir IsaiahBerlin once divided thinkers into two categories: foxes, who know many things; and hedgehogs, who know only one, "one big thing."1 Although Berlin does not include Hume in either list, it is tempting to put him with the foxes. Indeed, Hume's corpus is brilliantly eclectic, ranging with equal facility over an impressive array of seemingly diverse subjects such (...) as epistemology, ethics, political science, religion, psychology, history, criticism, economics, and demography. Many of Hume's admirers have not even attempted to find a unity here, and Hume's less generous critics have attributed this diversity to an incessant hunger for "literary fame" which supposedly led Hume from topic to topic, always searching for popular acclaim and recognition.2 The dazzling diversity of Hume's thinking has obscured some important underlying themes; Hume is more of a hedgehog than he initially appears. At the centre of many of Hume's discussions is a recurring conviction about the nature of human well-being and the means to obtain it. This insistence—which can be found in each stage ofHume's career and in writings on virtually every topic—provides one way of finding an overarching unity to his thought and invites us to rethink some ofthe conventional wisdom about Hume. In this essay I argue that many of Hume's investigations are informed by his early distinction between calm and violent passions. Wherever we turn we find Hume insisting that people arehappiest and governments are most stable when emotional calmness prevails. Hume alsohas astrategy, which Icall "moderation through opposition," which is designedto"tranquillize and soften"the passions.3 This strategy also becomes a stylistic principle which informs Hume's own writing, especially his popular works. This essay begins with a brief discussion of the calm/violent distinction itself. I then sketch out the role ofcalm passions in Hume's treatment of rationality, happiness, morality, politics and religion. Next I turn from Hume's diagnosis to his proposed cure, and discuss the strategy that Hume presents for enhancing the calm passions; indeed, Hume's writing style itselfis often designed to implement this strategy. I then discuss the context of Hume's insight, arguing that while it grows out of a cosmopolitan continental paradigm of using Volume XVIII Number 2 293 JOHN IMMERWAHR passions to oppose passions, Hume's own use ofit is tailored to rather specific features of the political and intellectual life of eighteenth centuryEdinburgh. The essay concludesby discussingthe implications of these findings for reading ofHume's works. Passions: Calm and Violent One characteristic feature of the thinkers of the "Scottish Enlightenment" was a desire tofound moral concepts in a scientific and empirical understanding ofhuman nature, rather than upon abstract conceptions of virtue and justice.4 These thinkers were particularly interestedin non-cognitivistelements ofhuman nature, such as"taste," "sentiment" and the "passions,"5 and they were also interested in discriminatingamongthe feelings and passions to discover those which were most beneficial to the individual or society. One Scottish philosopher who was particularly influential upon Hume in this connection was Francis Hutcheson. In discussing the passions, Hutcheson distinguished between what he called the "calm desire of good" and the "particular passions towards objects immediately presented to the senses." Hutcheson noted that these calm desires were frequently powerful enough to conquer particular passions such as "lust or revenge."6 The calm passions are thus very important to our understanding ofhuman motivation. As in so many other things, Hume also appears to be influenced by Hutcheson on the existence and importance of "calm passions." Early in Treatise 2, Hume expands on Hutcheson's idea that our experience ofan emotion or passion can be described as either "calm" or "violent"7 (also "soft" or "tender," "rough" or "fierce").8 The main difference between calmness and violence has to do with the intensity with which a passion is experienced. When we experience violent passions we feel an "uneasiness" (T 418) and sometimes "disorders and agitations" (E 17).9 Other passions are "calm" in that they cause "no disorder in the soul" and "little emotion in the mind" (T 417).10 Hume's main point is that... (shrink)

Moral and financial scandals emerging in recent years around the world have created the momentum for reconsidering the role of virtuousness in organizational settings. This empirical study seeks to contribute toward maintaining this momentum. We answer to researchers’ suggestions that the exploratory study carried out by Cameron et al. :766–790, 2004 ), which related organizational virtuousness and performance, must be pursued employing their measure of OV in other contexts and in relation to other outcomes :928–958, 2007 ). Two hundred and (...) sixteen employees reported their perceptions of OV and their affective well-being at work, their supervisors reporting their organizational citizenship behaviors. The main finding is that the perceptions of OV predict some OCB both directly and through the mediating role of AWB. The evidence suggests that OV is worthy of a higher status in the business and organizational psychology literatures. (shrink)

Can one be happy and free, and nonetheless be moral? This question occurs at the core of daily life and is, as well, a question as old as philosophy itself. In _Can Virtue Make Us Happy? The Art of Living and Morality, _Otfried Höffe, one of Europe’s most well-known philosophers, offers a far-reaching and foundational work in philosophical ethics. As long as one understands "happiness" purely as a feeling of subjective well-being, Höffe argues, there is at best only (...) an accidental unity between it and morality. However, if one means by "happiness" the quality of doing well in the sense of one’s own successful existence, then one must include actions that undoubtedly have a moral character and are named virtues. He uses clear and general language to present what one understands by "happiness" and "freedom" while illuminating the blind alleys in the history of philosophy as well as the difficulties raised by the issues themselves. What has priority: good ends or right action? Is freedom always anarchy? Is it possible to think of a freedom enhanced by morality? Is "morality" only a pretty word for stupidity? Does humanity have a good or a bad character? Is there such a thing as evil? Höffe offers us enlightened philosophical reflection and foundational orientation but no simple formulas; this is precisely what is at stake because anyone who wishes to live a self-determined life rejects any and all formulas. (shrink)

Whatever the circumstances and states of our happiness might be, we all can benefit from clarifying our understanding of happiness and from solidifying our conduct in favor of happiness on the basis of such an understanding. In trying to develop such a basis, I ended up pursuing the philosophy of happiness as a subject of deep, original inquiry. I found there had been no adequate investigation of happiness throughout human existence up to this point although (...) happiness had formed and continued to be the subject of many philosophical and other efforts. It seemed that the collective human conscious kept searching for answers because it kept realizing that the essence of happiness and how to achieve it continued to be insufficiently illuminated or distorted in mirages. -/- My Philosophy of Happiness book is dedicated to lifting individual humans and humanity out of this confusion and resulting unnecessary unhappiness. My handling of the subject is comprehensive and thorough. My work focuses on equipping us to find clarity about happiness in general and our happiness in particular and to identify and apply appropriate means to overcome problems that can be overcome. It also endeavors to have us find peace with circumstances we cannot change. Its goal is to enable us to develop our own philosophy of happiness to maturity and to apply that philosophy successfully. -/- My book investigates in a thorough manner what happiness is and how we might create happiness. It is written as a theoretical and practical guide. It is intended as a self-help book for personal development. Its comprehensive inquiry also makes it a philosophy book that does not require prior philosophical training. It does not dwell on the rudimentary and often failed attempts of other philosophers regarding happiness but constitutes a new beginning. Striving to cover all facets of human pursuits of happiness, the book's considerations in­clude topics of law, economics, political science, sociology, history, anthropology, psychology, biology, and physics. It approaches the pursuit of happiness not as an art but from the standpoint of science. Its examination reveals happiness as an intensely individual phenomenon as well as a systematic force that shapes the human condition, human destiny, and matters beyond up to a cosmic scale. -/- The book illuminates these subjective and objective functions of happiness. Its insights about the nature of happiness may help us to understand the general subject matters of our search as well as the general terrain and rules by which we must abide in our pursuit of happiness. However, it does not presume to know what specific objectives and pursuits will make us happy. Rather, it develops, describes, and encourages us to discover tools to find, understand, and define our personal happiness and to pursue the implementation of this vision with optimized preparedness. Its objective is not to indoctrinate but to empower us. -/- The book proposes that humans are generally endowed with all internal constituents and mechanisms to develop their happiness to its fullest possible extent. Unless our faculties are pathologically impeded, we might only have to become aware of these inherent forces to actuate them. Still, we have to do some work before we can systematically increase our happiness. This seems to be a function of comprehensively revealing our concept of happiness and permitting it to take its natural place. The mission of the book is to assist in this process. Finding what makes us happy requires that we attain knowledge of who we are and of what we want. It requires us to be mindful of our wishes, our needs, our personality. Once we understand our motivations, we must arrange and implement them to their best effect in relation to one another, our capacities, other humans, and our nonhuman environment. The book supports us in gaining these insights and in the resulting choices and tasks on our path toward a happier, if not a happy, life and a better world. -/- The book further examines how much happiness we can expect to obtain even under the best circumstances when we maximize our happiness. It describes external and internal constraints that threaten our achievements. But it also shows perspectives that may enable us to conquer limitations. Thus, we may not only gain clarity about our happiness but also confidence in its pursuit. -/- This seminal treatise arrives at a time when there are promising signs that humanity may become receptive to the idea that happiness is the core objective motivating our being and that we ought to dedicate more attention to it not only on a personal but also on higher levels. Individuals around the world give increased consideration to their happiness and how their treatment of surroundings affects it. This is reflected in a growing interest in self-improvement literature that beyond purely individual concerns includes social and environmental connections. In addition, happiness has transcended the scientific domain of philosophers and is becoming an acknowledged subject of empirical research. Countries have been turning toward happiness as indication for the success of societal undertakings. International organizations are advancing this idea as well. Beyond efforts expressly focusing on happiness, there are many undertakings and movements that impliedly pursue it by trying to advance some of its components or by attempting to abate ills that stand in its way. -/- However, without solid philosophical foundation and counsel, personal, societal, and supra-national efforts regarding happiness may not reach far, may become misguided, or may not be sustainable. My Philosophy of Happiness book provides the necessary philosophical foundation and counsel on all three levels. The book is currently available in hardcover, a two-volume paperback edition, as well as in Kindle, EPUB, and PDF e-book versions. (shrink)

Recent years have seen an explosion of interest in the benefits of anxiety. Among these is the proposal that anxiety is a moral emotion. If it is, we ought to cultivate it. But people who are anxious are also less happy. So it seems that asking people to be morally better persons involves asking them to be less happy than they might otherwise be. In this paper, I consider ways to avoid this consequence, all of which rely on emotion regulation. (...) Emotion regulation is supposed to balance one’s anxiety sufficiently so as to have relatively little impact on one’s happiness. As it turns out, emotion regulation is not as simple a solution as one might think. People who are very good at regulating their moral emotions do so at a cost: they assist others in need less and think of other people in demeaning or dehumanizing ways. This shows that using emotion regulation to maximize aspects of happiness—particularly happy feelings—reduces, rather than enhances, one’s moral goodness. One might therefore think that aiming towards equanimity instead promises a better solution since we avoid the over-exertion of emotion regulation and its consequent negative effects. Although that is true, we are still stuck with the problem that the ways people typically reduce their negative reactions to others that suffer—which I show is a form of moral emotions—are highly morally problematic. If we are to hope to solve the apparent conflict between cultivating anxiety and being happy, I argue, we need to take a different approach. Instead of proceeding by thinking about emotions in an almost atomistic way, according to which we experience only one definable type at a time, which can be understood statically, we must think of emotion more holistically. That is, we should consider more carefully the context in which an emotion occurs, how it unfolds over time, what other emotions arise alongside it or are otherwise connected to it, and the significance to the person of the experience as a whole. Such a richer picture of person’s affective experience in morally relevant situations shows how emotion regulation can be deployed without leading to the morally problematic thoughts and actions described earlier. I use empathic distress as an example of moral emotions to exemplify why such an approach does more justice to the phenomena, in addition to being friendlier to anxiety-positive views. (shrink)

The defining debate in this new century will be about technology and human enhancement, according to many across the political spectrum.[1] Our ability to use science to enhance our bodies and minds – as opposed to its application for therapeutic purposes – is one of the most personal and therefore passionate issues in an era where emerging technologies seduce us with new and fantastic possibilities for our future. But in the process, we are forced to rethink what it means to (...) be human or, essentially, our own identity. For some, technology holds the promise of making us superhuman; for others, it offers a darker path toward becoming Frankenstein’s monster. This paper will look at a growing chorus of calls for human enhancement to be embraced and unrestricted. Specifically, we will critically examine recent “pro-enhancement” arguments – articulated in More Than Human by Ramez Naam,[2] as one of the most visible works on the subject today – and conclude that they ultimately need to be strengthened, if they are to be convincing. Our overarching motive here is not so much that we are against human enhancement technologies; that seems to be too premature a conclusion given the state of research and debate, and such technologies may be inevitable anyway. However, we believe that a skeptical eye should be applied to claims that there should be no restrictions on any particular action. Even our most cherished human rights are bounded by reason or societal norms, for whatever they are worth. For instance, our right to free speech still does not allow us to yell “Fire!” in a crowded theater or to slander others. Our right to fall in love and to make love with whom we want does not extend to children. And for all the talk about the virtues of a “free market” or “free trade”, the invisible hand of our economy is still occasionally slapped by anti-trust lawsuits, which would not be an issue if the market were truly free. So even if human enhancement seems to be a reasonable practice and even a right, restrictions may still be required to mitigate undesirable circumstances or unintended consequences – which would be consistent with how functioning societies treat other liberties, values and rights. (shrink)

New robotics technologies are being used for environmental research, and engineers and ecologists are exploring ways of integrating an array of different sorts of robots into ecosystems as a means of responding to the unprecedented environmental changes that mark the onset of the Anthropocene. These efforts introduce new roles that robots may play in our environments, potentially crucial new forms of human dependence on such robots, and new ways that robots can enhance life quality and environmental health. These efforts at (...) once introduce a variety of new and unprecedented ethical concerns. This work uses a previously developed functional taxonomy of kinds of environmental robots to develop a list of key ethical questions to push forward the sub-field and study of Environmental Robot Ethics. By identifying unique concerns raised by the different sorts of existing environmental robotics technologies, this paper aims to provide resources for further critical analysis of the ethical issues and tradeoffs environmental robots present. (shrink)

This work charts the development of political economy in eighteenth-century Italy, and it argues that the focus on economic thought is characteristic of the Italian enlightenment at large. Through an analysis of the debate about luxury, it traces the shaping of a new language of political economy which was inspired by, and contributed to, European debate, but which offered solutions that were as much shaped by intellectual traditions and socio-economic circumstances as by French or Scottish precedent. Ultimately, those traditions (...) were responsible for the development of very distinct 'cultures of enlightenment' across the peninsula -from the insertion of the economy into the edifice of enlightened Catholicism, to the development of physiocracy in Tuscany, to a new analytical approach to economics in the Milanese enlightenment.Wahnbaeck draws on treatises, academic debates, university lectures, sermons, letters, dictionaries and personal sketches to trace the development of a public culture in Italy in the middle of the century, to establish the channels for the transmission of ideas between Italy, France and Scotland, and the development of an analytical language of economy in Milan in the second half of the century. This work relates those developments to the socio-economic and political contexts in which they occurred and argues that the focus on the economy can be explained by a triple reason: against the background of a declining economy and a shift towards agriculture in a competitive European environment, economic thought addressed the region's most pressing needs; secondly, subjection to Habsburg rule meant that political reform was monopolized in Vienna, whereas economic policy was an area of developed government and hence offered a safe route to influence without infringing on Hapsburg prerogatives; and finally, advances in economic thinking in Milan in particular provided a claim to power against the previous generation which had dominated the field of jurisprudence. (shrink)

Whatever ethical stance one takes in the debate regarding the ethics of human enhancement, one or more reference points are required to assess its morality. Some have suggested looking at the bioethical notions of safety, justice, and/or autonomy to find such reference points. Others, arguing that those notions are limited with respect to assessing the morality of human enhancement, have turned to human nature, human authenticity, or human dignity as reference points, thereby introducing some perfectionist assumptions into the debate. In (...) this article, we ask which perfectionist assumptions should be used in this debate. After a critique of views that are problematic, we take a positive approach, suggesting some perfectionist elements that can lend guidance to the practice of human enhancement, based on the work of Martha Nussbaum's Capability Approach. We suggest that the central capabilities can be used to define the human aspect of human enhancement and thereby allow a moral evaluation of enhancement interventions. These central capabilities can be maximized harmoniously to postulate what an ideal human would look like. Ultimately, the aim of this article is twofold. First, it seeks to make explicit the perfectionist assumptions found in the debate and eliminate those that are problematic. Second, the paper clarifies an element that is often neglected in the debate about human enhancement, the view of the ideal human towards which human enhancement should strive. Here, we suggest that some central capabilities that are essential for an ideal human being can be maximized harmoniously and can therefore serve as possible reference points to guide human enhancement. (shrink)

The gaze cueing effect is characterized by faster attentional orienting to a gazed-at than a non-gazed-at target. This effect is often enhanced when the gazing face bears an emotional expression, though this finding is modulated by a number of factors. Here, we tested whether the type of task performed might be one such modulating factor. Target localization and target discrimination tasks are the two most commonly used gaze cueing tasks, and they arguably differ in cognitive resources, which could impact how (...) emotional expression and gaze cues are integrated to orient attention. In a within-subjects design, participants performed both target localization and discrimination gaze cueing tasks with neutral, happy, and fearful faces. The gaze cueing effect for neutral faces was greatly reduced in the discrimination task relative to the localization task, and the emotional enhancement of the gaze cueing effect was only present in the localization task and only when this task was performed first. These results suggest that cognitive resources are needed for gaze cueing and for the integration of emotional expressions and gaze cues. We propose that a shift toward local processing may be the mechanism by which the discrimination task interferes with the emotional modulation of gaze cueing. The results support the idea that gaze cueing can be greatly modulated by top-down influences and cognitive resources and thus taps into endogenous attention. Results are discussed within the context of the recently proposed EyeTune model of social attention. (shrink)

Modern continental thought is skeptical toward happiness and no longer easily reconciles its pursuit with a desire for justice, the good, and truth. Critical theory has unmasked happiness as a commodity within an industry, an ideological tool for control, and a sedative to, justification of, and distraction from social injustice. This article argues that these diagnoses make it all the more important that philosophy, rather than taking leave of happiness, once again turns it into a serious object (...) of thought. Employing the work of Badiou and Agamben as case studies, it asks what a critically informed yet affirmative philosophy of happiness should entail at a structural level. Assessing their philosophical models of happiness, this article 1) recognizes in their work a revival of the ancient ideal of a true, just, and happy life, 2) opens up a new way of evaluating their work, and 3) articulates basic requirements of a contemporary, affirmative philosophy of happiness beyond the happiness industry and its critics. (shrink)

Recurrent scandals in business ethics demonstrate that work is, on occasion, unambiguously unethical. It is not clear, however, exactly how the concept of ‘meaningful work’ can be applied to such work, and whether, for example, work can be both unethical and meaningful. This article explores three different conceptualisations of meaningful work: where meaningful work is considered to be subjective, primarily subjective but with objective constraints or primarily objective (adopting Alasdair MacIntyre's neo-Aristotelian framework). These competing (...) conceptualisations are examined in relation to the ethical failures in the Australian financial advice industry. From 2009, a range of parliamentary inquiries, including a Royal Commission, documented significant ethical failures at both individual and institutional levels across the industry, which caused substantial hardship to tens of thousands of clients. Among the subsequent reforms was a drive towards the professionalisation of financial advice through enhanced educational standards, a code of ethics and the development of a professional identity. This case demonstrates the different ways in which the conceptualisations of meaningful work can be applied. However, Alasdair MacIntyre's scheme of practices, institutions, internal and external goods is presented as a preferred conceptualisation of the case, accommodating considerations of both ethics and meaningful work and contributing towards a theory of good work in general. (shrink)

Generally, the solutions based on information and communication technologies provide positive outcomes for both companies and employees. However, the process of digital transformation can be the cause of digital transformation stress, when the work demands caused by fast implementation of ICT are elevated and employees’ resources are limited. Based on the Job Demand-Resources Model we claim that DT, rapidly accelerating in the COVID-19 pandemic, can increase the level of DTS and general stress at work. To reduce these negative (...) effects of DTS, we propose the online intervention aimed to strengthen employees’ resources, such as self-efficacy. In this article we evaluate the effectiveness of the blended intervention, based on cognitive behavioral therapy and social cognitive therapy, composed of a prototyped online training and series of interactive online workshops. In a longitudinal study, we examined the change in DTS, perceived stress at work, attitudes toward DT, self-efficacy and burnout in two time points, before and after the intervention. We compared five groups of participants, three groups not qualified, and two groups qualified to intervention. Our results revealed that the designed blended intervention decreased DTS and one of the dimensions of burnout, namely disengagement. More specifically, the results showed that in the group of active participants of the blended intervention DTS significantly decreased [MT1 = 3.23, MT2 = 3.00, t = 1.96, p = 0.051], and in the group of ineligible participants DTS significantly increased [MT1 = 1.76, MT2 = 2.02, t = 4.17, p < 0.001]. This research paves way for the creation of blended online intervention which could help in addressing employee digital transformation stress before it starts having adverse effects on employee performance and well-being. (shrink)

On March 27, 1784, Goethe writes to Johann Gottfried Herder: -/- I have found–neither gold nor silver, but what makes me unspeakably happy–the os intermaxillare in the human! With Loder I compared human and animal skulls, came upon its trace, and look, there it is. Only, I beg of you not to mention it, since it must be handled confidentially. (WA 4.6:258). -/- The bone whose discovery so elated Goethe, then called the "intermaxillary bone" but now the "premaxilla," is a (...) pair of cranial bones that are located at the front of the upper jaw and bear the incisors in animals that have these teeth. Goethe expresses happiness in finding this bone specifically in humans, a discovery that opposed the prevailing anatomical opinion at the time. Goethe in the Roman Campagna (1787) – Johann Heinrich Wilhelm Tischbein -/- In his essay that was finished by the end of October 1784 and later given the title, "An Intermaxillary Bone of the Maxilla Is to Be Ascribed to the Human as well as to Animals." Goethe claims, citing the work of J. F. Blumenbach and Petrus Camper, that the bone has recently garnered attention as a "distinguishing mark" between humans and apes (LA 1.9:154). -/- Yet, upon reexamination of these anatomists' works, I argue that Goethe misrepresents their positions and overstates the significance of his discovery, at least in a certain sense: while Camper and Blumenbach do deny the intermaxillary bone to humans, they do not construe its absence as an important distinguishing mark between humans and animals. Not only did Goethe's discovery not have the significance he attributed to it, but also historians of science claim that he did not discover it all: the intermaxillary bone had already been described in the human by several anatomists before him. It would thus seem that Goethe misinterpreted the significance of what he had not found, and that his unspeakable happiness was unwarranted. -/- However, Goethe's discovery holds another, heretofore-unrecognized significance. I argue that it signals a change in his vision of nature to one that criticizes and departs from the anthropocentric ontology that grounded the natural sciences of his time. If this anthropocentricism is not overturned and the foundation of natural science not reconceived, Goethe maintains, then the study of nature will be indefinitely frustrated, always floundering, and never able to progress. In light of this threat, Goethe reconceives the foundation of natural science by developing anonathropocentric concept of nature that attempts to escape the pitfalls of the human-centered perspective. His concept of nature's harmony, which I argue reflects a nonathropocentric visions of nature, requires the revaluation of the terms in which historians have disputed his discovery of the intermaxillary bone; the originality of his discovery cannot be limited to establishing the bone's presence in humans but must be extended to the concept of nature's harmony complementary to it. -/- Goethe's discovery, I conclude, remains valuable and worthy of the excitement it initially incites in him. I show how it responds to a paradox of contemporary natural science in which the objective methods intended to eliminate anthropocentrism from the investigation of nature surreptitiously reintroduced it to that investigation. Furthermore, I argue that Goethe's nonanthropocentric vision of nature and his criticism of anthopocentricism are applicable to current questions in environmental ethics. By undermining the foundation of anthropocentric ethics, Goethe also challenges the present anthropocentric modus operandi that continues to condone the environmentally destructive anthropogenic activities responsible for species extinction, chemical pollution, and the loss of natural habitats and biodiversity, in addition to other signs of the Anthropocene. (shrink)

I do four things in this essay: (1) briefly rehearse the biographies of Simone Weil and Etty Hillesum, (2) outline and compare some of the key themes in their lives and works, noting interesting (and also troubling) similarities between them, as well as salient differences, (3) use their examples as lenses through which to look at contemporary attitudes toward altruism vs. self-interest, freedom vs. necessity, eating vs. fasting, and acting vs. writing, and (4) highlight both their strengths and their weaknesses (...) as religious witnesses to the truth. An overarching issue throughout the essay is the relation between the soul and the body, but I am especially concerned with the relation between self-sacrifice and self-love—also known as agape and temporal happiness—when confronted by radical evil. When allowed to correct one another, Weil and Hillesum show us, I believe, how Christian agapism can refuse both hatred and false security, even in an era of terrorism and torture. (shrink)

Iphigenia Aulidensis was produced after the poet's death, probably in 405 BC. The aim of this paper is to recover the text of this production, which I call FP for First Performance. Probably Euripides left behind an incomplete draft, which was finished by Euripides Minor, the poet's son or nephew. The text we have contains, as Page showed in 1934, material added for a fourth-century revival and other still later interpolations. Diggle's edition tries to separate original Euripides from all later (...) hands on the basis of style. But if we want to recover the amalgam that was FP we need to be attentive to the plot that is implied by the most clearly genuine portions: we can't confine ourselves to what appears to be Euripidean since more than one hand contributed to FP. A discovery about the plot gives us some objective basis for reconstructing FP. Our transmitted text contains two different conceptions of Calchas' prophecy, only one of which belonged to FP. Several passages scattered throughout the play imply that it was public, made to the entire army, but other passages say that it was private, restricted to Agamemnon's inner circle, with the army left in the dark. The secret prophecy motif, I argue, is the work of a fourth century producer, whom I call the Reviser. Its purpose was to introduce into the play scenes where Greek soldiers, ignorant of the real reason for Iphigenia's coming to Aulis, might make naive comments or ask questions that are highly ironic in view of the actual situation, this being an emotional effect he found congenial. We find two such passages in places that are under grave suspicion: the entrance of Clytaemestra, where there is a chorus of Argives who felicitate Iphigenia on her wonderful prospects, and the first messenger, who reports naive questions from the soldiery. Both these passages have linguistic and dramaturgical features that make it virtually certain that neither Euripides nor Euripides Minor wrote them. Working from these we can detect the Reviser's hand at other places in the play and reconstruct its original lineaments. One satisfying result is that the business of baby Orestes, played by a doll, can be shown to be the work of the Reviser. The play ended with Iphigenia's departure for the altar, and there was no substitution of a stag. Like Menoeceus, Macaria and their kin, Iphigenia pays for the victory of her country with her blood, and there is no happy ending. (shrink)

My interest is to examine the nature of mind in relation to value, for I suspect that the neglect by the psychologist of the true status of value has deterred his work in two respects: first, that it has prevented a genuine theory of mind's being arrived at, and secondly that it has prevented him in his clinical work from achieving for the individual the fuller expression of mind or self that makes for satisfaction or happiness.

How and why does a metaphor work? What happens to us when we hear or read one? My guess is that a metaphor, because it is an erroneous statement, conflicts with our expectations. It releases, triggers, and stimulates our predisposition to detect error and to take corrective action. We do not dismiss or reject a metaphor as simply a false statement for we recognize it as a metaphor and know as [Donald] Davidson suggests that it alludes to something else (...) that we might wish to notice. It preempts our attention and propels us on a quest for the underlying truth. We are launched into a creative, inventive, pleasurable act. To turn Piaget around, to invent is to understand. For the hearer or reader of a metaphor to detect, by himself, the nature of the error and to invent his own version of the truth entails understanding and achievement and thus pleasure. Such pleasure perhaps owes its origin to, and is enhanced by an echo from, the metaphoric playfulness of childhood. A metaphor is a peremptory invitation to discovery. What is discoverable are the various allusive ties, or common attributes, between the metaphor and the underlying truth to which it points. It is plausible to guess that the pleasure, and hence power, of the metaphor depends on two factors. It is the more powerful and effective the greater the number of allusive ties discovered and the greater the speed or suddenness with which the discoveries are made. A metaphor that packs all of its allusions into one or a few words should be more effective than a metaphor on which the same allusions are scattered throughout a long chain of words or sentences. The number of allusive ties in some sense reflects how close the metaphor approaches the truth—how near it is to being on target. Perhaps the closer it is, the more compelling the urge to correct the error—like the pull of a magnet. Don R. Swanson is professor and dean of the graduate library school at the University of Chicago. (shrink)

Undergraduate social work students are exposed to ethical and legal dilemmas during their fieldwork training. This article presents a study that examined these ethical dilemmas in an Israeli sample of undergraduate social work students. 117 students who participated in a course in ethics submitted 31 written presentations of ethical-dilemma analysis. Their oral presentations were recorded and transcribed. Using a qualitative analysis, three major themes emerged: 1. The tension between the duty to maintain client's confidentiality and its violation under (...) certain conditions; 2. The students’ conflict of loyalty toward the client vs. the organization; 3. The question of the clients’ right to self-determination when, in the student's view, this is against their best interests.Our findings point to the vital role of an ethics course in the social work undergraduate curriculum that can enhance students’ knowledge of specific laws relevant to the limits of confidentiality in social work and their ability to analyze ethical dilemmas as future professionals. Furthermore, it is essential to raise awareness in educators and supervisors concerning moral distress that may afflict students coping with ethical dilemmas at this early professional developmental phase. (shrink)

Background Emergency nurses who thrive at work experience positive emotions that help reduce burnout and thus enhance career calling. However, few studies have focused on the relationships among thriving at work, career calling, and moral distress among emergency nurses. Objectives To investigate the relationships among thriving at work, career calling, and moral distress and to explore the mediating role of career calling in the relationship between thriving at work and moral distress among emergency nurses. Design A (...) quantitative, cross-sectional study. Methods A cross-sectional study was conducted by reference to 390 emergency nurses in China using an online survey that include the Thriving at Work Scale, the Career Calling Scale, and the Moral Distress Scale-Revised. The data were analyzed using SmartPLS software. Ethical consideration The study was approved by the Ethics Committee of Hunan Normal University (No. 2023-388). Findings Among emergency nurses, thriving at work is positively associated with career calling, while career calling is negatively associated with moral distress. Career calling negatively and completely mediates the relationship between thriving at work and moral distress (β = −0.087, p < 0.01). Discussion Theoretically, the findings enhance our understanding of the relationships among thriving at work, career calling, and moral distress among emergency nurses. Conclusion By emphasizing the benefits of thriving at work, nursing managers can improve nurses’ level of thriving at work by providing a favorable environment, a flexible scheduling system, and appropriate authorization as well as by ensuring organizational fairness and providing training opportunities in a hierarchical manner. (shrink)

This volume presents articles which focus on the ethical evaluation of performance-enhancing technologies in sport. The collection considers whether drug doping should be banned; the rationale of not banning ethically contested innovations such as hypoxic chambers; and the implications of the prospects of human genetic engineering for the notion of sport as a development of 'natural' talent towards human excellence. The essays demonstrate the significance of the principles of preventing harm, ensuring fairness and preserving meaning to appraise whether (...) a particular performance enhancer is acceptable in the context of sport. Selected essays on various forms of human enhancement outside of sport that highlight other principles and concepts are included for comparative purpose. Sport enhancement provides a useful starting point to work through the ethics of enhancement in other human practices and endeavors, and sport enhancement ethics should track broader bioethical debates on human enhancement. As a whole, the volume points to the need to consider the values and meanings that people seek in a given sphere of human activity and their associated principles to arrive at a morally grounded and reasonable approach to enhancement ethics. (shrink)

Suzan Colon, yoga teacher and former senior editor at O, The Oprah Magazine, digs deep into the spiritual philosophy behind yoga and distills thirty essential components to enrich your practice and revolutionize your life from the inside out. We live in an increasingly stressful world, and we know about the hazardous effects stress can have on our health. But meditating and mindfulness can sometimes seem elusive, unattainable, and impossible to fit into our busy days. Even the word “yoga” usually makes (...) many people think of complicated, twisty poses—but that’s not everything. In its complete sense, yoga is a collection of life lessons for wellness and well-being and a spiritual technology from ancient times that is now more relevant, and necessary, than ever. In Yoga Mind, Suzan Colon shares thirty essential components to increase self- awareness and inner balance to use throughout your day—in traffic, on the train, at your job, and home. She outlines how we can use yoga to cultivate resilience in challenging times, reduce stress, and enrich our relationships with family, work, and ourselves. This guide contains a 30-day program designed to create subtle yet powerful shifts in awareness and attitude that lead to real, lasting change. Whether you’re a hardcore yogi or a beginner to the practice, Yoga Mind can help you unite your body, mind, and heart to become your best self and cultivate lasting happiness in your life. (shrink)

Management Ethics: Integrity at Work redefines what it means for a manager to function with integrity in the private and public sectorsùdomestically and globally. It integrates the latest theoretical work in both descriptive and normative ethics, and incorporates legal, communication, quality, and organizational theories into a conceptual framework that improves managerial judgment in the handling of moral complexity at work. The authors use their organizational ethics consulting and academic research experience to provide practical assessment and decision-making tools (...) that convert ethics theories into sound action steps. The book examines three key dimensions of management integrityùjudgment, process, and developmental dimensionsùand applies them to individual chapters devoted to the subprocesses of ethical planning, organizing, leading, and controlling. The authors focus their theories and tools on 28 ethics minicases related to each management function in seven allied management application clusters: accounting, auditing management; finance, investment management; marketing, advertising management; business management, business law, human resource management; technology, quality operations, organizational behavior management; public, nonprofit, health care management; and international, environmental, public policy management. Management Ethics: Integrity at Work builds management integrity by linking and enhancing both ethics and management competence in responsible planning, organizing, leading, and controlling for use by professionals and students in the private and public sectorsùdomestically and globally. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Teaching Aesthetics and Aesthetic Teaching:Toward a Deweyan PerspectiveDavid A. Granger (bio)The educational writings of John Dewey continue to be invoked by scholars in education on a regular basis and in relation to a wide variety of issues, from social learning theory and situated cognition to constructivism and whole-language literacy instruction. More recently, this scholarship has begun to expand to include books and essays that look to tie Dewey's aesthetics (...) to his work in education in a substantive way. Notably, this is not something that Dewey attempted himself, since his major work in aesthetics, Art as Experience, was not published until he was seventy-five, and he seemingly had neither the time nor means at that point in his life to develop this link to his satisfaction. In addition, many educators are only familiar with Dewey's more explicitly educational writings, most of which came earlier in his career and tend to speak more of the merits of science than of art. As a result, scholars in education have only recently begun to examine the possible significance of Dewey's aesthetics for the practices of teaching and learning.1It is still the case, however, that writers on Dewey have traditionally focused their critical energies on his expansive claims for "the method of science" as a vehicle for solving numerous educational and social problems, and as the only authentic means of learning about our everyday world. Such critical attention is not, I believe, without warrant; though Dewey's use of "science" was a very loose and liberal one, he was a staunch critic of the positivistic model of science often presumed by these writers. Nonetheless, this critical focus has unfortunately led many writers to dismiss or marginalize the Dewey who, for instance, proclaims in "Art in Education—and Education in Art" that theModern preoccupation with science and with industry based on science has been disastrous; our education has followed the model that [End Page 45] they have set. It has been concerned with intellectual analysis and formularized information.... It is disastrous because it has fixed attention upon competition for control and possession of a fixed environment rather than upon what art can do to create an environment.... It is disastrous because civilization built upon these principles cannot supply the demand of the soul for joy, or freshness of experience; only attention through art to the vivid but transient values of things can effect such refreshment.2As Dewey sees it, science and other forms of knowledge are properly "handmaidens" to art, intellectual tools for enhancing the overall quality and value of human life and activity.3 This means that they are largely subordinate to the direct qualitative meaning of experience. They are, Dewey says, transformed in aesthetic experience in that they are "merged with non-intellectual elements to form an experience worth while as an experience."4 Art objects may well be the most potent and ready source of such enhanced, aesthetic experience, being intentionally created to refine and intensify in certain ways the experience of the perceiver. But they are not, to Dewey's way of thinking, the sole or even principal medium of the aesthetic. Art, he tells us, is best seen more liberally as "a quality that permeates an experience," whereby, in any number of life contexts, the meanings of objects and events become "the matter of a clarified, coherent, and intensified or 'impassioned' experience" (AE, 329, 295). If all of this can be taken to mean that art or the aesthetic, and not science, is paradigmatic of optimal human experience, then current efforts to integrate Dewey's aesthetics with his thinking about education are an important endeavor and one that should bear considerable fruit. Then, too, much of the popular literature in art and aesthetic education, which situates art and the aesthetic squarely within the cognitive domain of experience, is significantly at odds with Dewey's radically holistic and vigorously anti-elitist aesthetics.5Accordingly, this article will explore the idea of aesthetic education—conceived in its broadest sense—using a mainly Deweyan lens. Moreover, it will do so by examining everyday classroom practices as they are informed by the general... (shrink)

Spirituality-at-work is a new movement in the United States that links spirituality with business. It seeks to usher in a values-based environment wherein individuals can experience meaning and purpose in life by functioning holistically—as physical, intellectual, emotional and spiritual beings. Several examples are cited of companies actively working towards achieving such a climate, and their success in meeting social as well as fiscal responsibilities. The paper traces some of the undercurrents that have led to this new movement—rightsizing, labour (...) force shortages, entry of women, concerns for ecology and human collectivity, society's renewed interest in religion, and new thinking on the essence of leadership. The paper concludes with an examination of the likely future of the movement. (shrink)

In almost every aspect of life, human being always tries to seek happiness. At the same time, we tend to avoid situations which may lead to unhappiness. In fact, there are two undeniable phenomena that negate this tendency, namely, first, happiness has become a commodity that is packaged, advertised, and marketed. Second, despair and other forms of crisis often understood as the antithesis of happiness are actually the existential experiences of every human being. This obsession towards (...) happiness has also infiltrated into education system so that education is understood as some kind of means providing solutions in order to overcome these forms of unhappiness and despair. In disagreement with it, based on Søren Kierkegaard's ideas, especially in Kierkegaard’s work entitled The Sickness unto Death, Peter Roberts argues that education should embrace despair because apart from being inevitable, despair does not always need to be understood as a problem that requires a solution. Education should not try to overcome it. On the contrary, education should work with it so that humans as despair beings are enabled to understand, identify, acknowledge, and discuss it. This idea is an invitation for every person to critically reflect on despair and to rethink the role of education in such crisis circumstances. For this reason, a revitalization of the pedagogical paradigm is necessary, for example by applying political pedagogy through critical discourse analysis methods that do not tend to remain muted in the face of existential despair, as well as injustice and any other social problems occurred structurally. Abstrak Hampir dalam setiap lini kehidupan, manusia senantiasa mencari kebahagiaan dan di saat yang sama menghindar dari situasi yang mengarah pada ketidakbahagiaan. Padahal, ada dua fenomena yang tak terbantahkan dan menegasi kecenderungan tersebut, yaitu pertama, kebahagiaan telah menjadi layaknya komoditas yang diperjualbelikan, dikemas, dan diiklankan. Kedua, kenestapaan dan bentuk-bentuk krisis lainnya yang sering kali dipahami sebagai antitesis dari kebahagiaan itu sebenarnya merupakan pengalaman eksistensial setiap manusia. Tendensi yang obsesif terhadap kebahagiaan itu juga telah merasuk ke dalam bidang pendidikan sehingga pendidikan dipahami sebagai sarana yang dapat memberi solusi agar dapat mengatasi bentuk-bentuk ketidakbahagiaan dan kenestapaan itu. Terhadap perkara di atas, dengan mendasarkan diri pada gagasan Søren Kierkegaard terutama yang dituangkan dalam The Sickness unto Death, Peter Roberts berargumentasi bahwa pendidikan justru seharusnya memeluk kenestapaan itu karena selain tak terelakkan, kenestapaan tidak perlu selalu dipahami sebagai masalah yang membutuhkan solusi. Pendidikan seharusnya tidak mencoba menghindari realitas kenestapaan, tetapi menanggapinya sehingga manusia sebagai pengada yang nestapa dimungkinkan untuk memahami, mengidentifikasi, mengakui, dan membahasakan keadaan krisis itu. Gagasan tersebut merupakan undangan bagi setiap manusia, bukan hanya bagi pelaku pendidikan, untuk secara kritis berefleksi mengenai kenestapaan dan untuk berpikir ulang mengenai kodrat serta peran pendidikan di tengah situasi krisis. Untuk itu, suatu revitalisasi terhadap paradigma pedagogis menjadi perlu, misalnya dengan menerapkan pedagogi politis melalui metode analisis wacana kritis yang tidak cenderung bungkam di hadapan kenestapaan yang eksistensial, maupun di hadapan ketidakadilan dan ketidakberesan sosial yang sering kali terjadi secara struktural. (shrink)

An examination of new forms of alienation in our never-off, plugged-in culture—and a clarion call for a “conspiracy of estranged people.” We can reach every point in the world but, more importantly, we can be reached from any point in the world. Privacy and its possibilities are abolished. Attention is under siege everywhere. Not silence but uninterrupted noise, not the red desert, but a cognitive space overcharged with nervous incentives to act: this is the alienation of our times... —from The (...) Soul at Work Capital has managed to overcome the dualism of body and soul by establishing a workforce in which everything we mean by the Soul—language, creativity, affects—is mobilized for its own benefit. Industrial production put to work bodies, muscles, and arms. Now, in the sphere of digital technology and cyberculture, exploitation involves the mind, language, and emotions in order to generate value—while our bodies disappear in front of our computer screens. In this, his newest book, Franco “Bifo” Berardi—key member of the Italian Autonomist movement and a close associate of Félix Guattari—addresses these new forms of estrangement. In the philosophical landscape of the 1960s and 1970s, the Hegelian concept of alienation was used to define the harnessing of subjectivity. The estrangement of workers from their labor, the feeling of alienation they experienced, and their refusal to submit to it became the bases for a human community that remained autonomous from capital. But today a new condition of alienation has taken root in which workers commonly and voluntarily work overtime, the population is tethered to cell phones and Blackberries, debt has become a postmodern form of slavery, and antidepressants are commonly used to meet the unending pressure of production. As a result, the conditions for community have run aground and new philosophical categories are needed. The Soul at Work is a clarion call for a new collective effort to reclaim happiness. The Soul at Work is Bifo's long overdue introduction to English-speaking readers. This Semiotext edition is also the book's first appearance in any language. (shrink)

ObjectivesNovel information about the relationships between farmers’ job demands, lack of resource, burnout, and ill health is reported based on testing the so-called “health impairment process” of the Job Demands─Resources Model on a representative sample of Finnish dairy farmers. The aim was to find out whether two different job demand factors; workload, societal demands and lack of resource; loneliness, were related to the indicators of ill health via burnout.MethodsThe data is based on a postal survey of 400 Finnish dairy farms. (...) Altogether 265 questionnaires were received from 188 farms and included in the analysis. The response rate was 47 per cent among sample farms. Structural equation modelling was used to analyze the relationships between the variables. Explanatory factor analysis was used to group the job demand and lack of resource variables.ResultsWe identified two job demand factors, which we labelled workload and societal demands and one lacking job resource, loneliness. Our theoretical model was supported in that two of the factors, namely workload and loneliness, were related to ill health indirectly via burnout. In addition, workload was directly connected with ill health. Societal job demands were not significantly related to burnout, or to ill health.ConclusionOur results suggest that farmers could benefit from means to reduce workload, especially the physical load. This topic needs further research as the restructuring process has increased farm enterprise sizes. There is a need to develop tools and projects to alleviate loneliness among farmers. Lack of social support, high workload, ill health, and burnout among farmers may have serious direct and indirect negative consequences for the sustainability of farming. (shrink)

This paper explores a neglected normative dimension of algorithmic opacity in the workplace and the labor market. It argues that explanations of algorithms and algorithmic decisions are of noninstrumental value. That is because explanations of the structure and function of parts of the social world form the basis for reflective clarification of our practical orientation toward the institutions that play a central role in our life. Using this account of the noninstrumental value of explanations, the paper diagnoses distinctive normative defects (...) in the workplace and economic institutions which a reliance on AI can encourage, and which lead to alienation. (shrink)

BackgroundHealth service delivery should ensure ethical principles are observed at all levels of healthcare. Working towards this goal requires understanding the ethics-related priorities and concerns in the day-to-day activities among different health practitioners. These practitioners include community health workers (CHWs) who are involved in healthcare delivery in communities in many low-and middle-income countries such as Uganda. In this study, we used photovoice, an innovative community based participatory research method that uses photography, to examine CHWs' perspectives on ethical concerns in (...) their work.MethodsWe explored perspectives of 10 CHWs (5 females and 5 males) on ethical dimensions of their work for 5 months using photovoice in a rural community in Wakiso district, Uganda. As part of the study, we: 1. Oriented CHWs on photovoice research and ethics; 2. Asked CHWs to take photographs of key ethical dimensions of their work; 3. Held monthly meetings to discuss and reflect on the photos; and 4. Disseminated the findings. The discussions from the monthly meetings were audio recorded, transcribed, and emerging data analysed using conventional content analysis with the help of Atlas ti version 6.0.15.ResultsCHWs were aware of and highly concerned about the need to observe ethical principles while carrying out their roles. The ethical principles CHWs were aware of and endeavoured to observe during their work were: maintaining professional integrity and abiding by ethical principles of practice; ethical responsibility in patient care; maintaining confidentiality while handling clients; respect for persons and communities; and enhancing their knowledge and skills for better practice. However, CHWs also identified challenges concerning their observance of ethical principles including: low commitment to their work due to other obligations; availability of some reference materials and guidelines in English yet majority could only read in the local language; and minimal avenues for knowledge enhancement such as trainings.ConclusionsCHWs were aware of and keen to discuss ethical issues in their work. However, there is need to address the challenges they face so as to facilitate observing ethical principles during the course of their work in communities. (shrink)

Background: Besides regulatory learning skills, learning also requires students to relate to their social context and negotiate it as they transition and adjust to medical training. As such, there is a need to consider and explore the role of social and cultural aspects in student learning, particularly in problem-based learning, where the learning paradigm differs from what most students have previously experienced. In this article, we report on the findings of a study exploring first-year medical students’ experiences during the first (...) semester of an undergraduate problem-based learning medical program at an African medical school. Method: We employed a qualitative case study approach using in-depth interviews with 23 first-year medical students. Participants ranged in age from 18 to 25 years. All students were bi/multilingual (some spoke three to five languages), with English as the learning language. We conducted an inductive thematic analysis to systematically identify and analyze patterns in the data using the Braun and Clarke framework. Results: Before medical school, students worked hard to compete for admission to medical school, were primarily taught using a teacher-centered approach, and preferred working alone. At the beginning of medical school, students found it challenging to understand the problem-based learning process, the role of the case, speaking and working effectively in a group, managing a heavy workload, and taking increased responsibility for their learning. By the end of the first semester, most students were handling the workload better, were more comfortable with their peers and facilitators, and appreciated the value of the problem-based learning approach. Conclusions: Our study highlights the importance of interrogating contextual sociocultural factors that could cause tension when implementing problem-based learning in non-western medical schools. Adjustment to problem-based learning requires a conceptual and pedagogic shift towards learner-centered practice, particularly concerning self direction, the role of the case, and collaborative learning. As such, there is a need to develop and implement research informed learning development programs that enable students to reflect on their sociocultural beliefs and practices, and enhance their regulatory learning competence to optimize meaningful and early engagement with the problem based learning process. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Nietzsche's Immoralism: Politics as First Philosophy by Donovan Miyasaki, and: Politics after Morality: Toward a Nietzschean Left by Donovan MiyasakiJeffrey ChurchDonovan Miyasaki, Nietzsche's Immoralism: Politics as First Philosophy Cham: Palgrave Macmillan, 2022. xv + 292 pp. isbn: 978-3-031-11358-1. Cloth, $54.99.Donovan Miyasaki, Politics after Morality: Toward a Nietzschean Left Cham: Palgrave Macmillan, 2022. xv + 330 pp. isbn: 978-3-031-12227-9. Cloth, $54.99.Without a doubt, Nietzsche's political philosophy is one of (...) the most elusive and ambiguous features of his corpus. How else can we explain the dizzying, even contradictory, variety of interpretations of Nietzsche's politics? Some read him as anti-political or a liberal skeptical of state power. For others, he is an aristocratic radical, obsessed with using state power to entrench a new class of Übermenschen. For still others, his thought is most compatible with democracy, as his defenses of perspectivism and agonism are best realized within a democratic political system. Finally, some other scholars throw up their hands and say that Nietzsche's political thought is incoherent.In this two-volume work, Donovan Miyasaki enters this fray with a distinctive defense of the democratic Nietzsche. Two features distinguish his view from others. First, it provides a novel grounding of Nietzschean democracy—what Miyasaki calls Nietzsche's "metapolitics." This grounding is examined in the first volume, Nietzsche's Immoralism (hereafter NI). Second, it offers the most radical political vision of a left Nietzschean form of Nietzschean socialism. For Miyasaki, socialism follows from Nietzsche's fundamental commitments, rather than the aristocratic radicalism that Miyasaki sees Nietzsche inferring—wrongly—from his own commitments. [End Page 97] This extrapolation from Nietzsche's "metapolitics" is undertaken in the second volume, Politics after Morality (hereafter PM). I discuss each of these contributions in turn. In general, I found Miyasaki's work to be clear, perceptive, and bold in their interpretations. That said, with a book that critiques so much of the Nietzsche scholarship and offers such a radical take on Nietzsche's politics, I have some potential objections to raise.Nietzsche's MetapoliticsOther interpreters of a left Nietzsche ground their reading on what they take to be Nietzsche's radical epistemological views: either his perspectivism or his anti-essentialism. This was a popular approach for the postmodern and agonistic readings. By contrast, Miyasaki grounds Nietzschean democracy in a completely different way, on his metaphysics, particularly his determinism and "hard incompatibilism" (NI 25). On Miyasaki's view, Nietzsche denies that freedom and determinism are compatible and hence also that any kind of moral responsibility or moral agency is possible. This is the meaning of Nietzsche's "immoralism." For Miyasaki, Nietzsche's alternative ideal is to engender a particular feeling, namely, the love of this determinism or amor fati.This thesis of hard incompatibilism leads Miyasaki to some sweeping critiques of scholarship on Nietzsche's ethics. Against the many recent interpreters who develop a Nietzschean view of freedom, Miyasaki argues that freedom is impossible in a deterministic world. Against the perfectionist and constitutivist interpreters of Nietzsche's ethics, Miyasaki argues that ethics requires the freedom to improve or fail, and such freedom is impossible. At the same time, Miyasaki admits that Nietzsche at times appeals to and even defends freedom. Yet he explains that what Nietzsche is after in these passages is not freedom, but only the "feeling" of freedom (NI 49). Miyasaki is driven to some strained interpretive moves, such as when he argues that higher individuals' feeling of freedom is enhanced precisely to the degree to which they have abandoned the "illusion of freedom" (NI 49). How can I have the feeling of something I have come to see as an illusion?It is true that Nietzsche critiques the traditional metaphysical notion of the freedom of the will on the basis of his naturalism and determinism. Yet in recent years, scholars have argued that Nietzsche defends a novel conception of freedom that is compatible with determinism, akin to what we find in Spinoza. On this view, freedom is defined in terms of agency rather [End Page 98] than a power or faculty of choice. A free agent is... (shrink)

The situated potentials for action between material things in the world and the interactional processes thereby afforded need to be seen as not only constituting the possibility of agency, but thereby also comprising it. Eo ipso, agency must be de-fused from any local, "contained" subject and be understood as a situational property in which subjects and objects can both participate. Any technological artifact should thus be understood as a complex of agential capacities that function relative to any number of social (...) and material factors. Keeping in mind that we are co-constituted by webs of relations involving increasingly complex collections of artefacts, networks, niches, and communities of practice, our investigation will be guided by interrogating the functional potential of a thing that in the last fifteen years has seamlessly worked its way into the everyday life of millions of human agents. This "thing," the smartphone, is merely a nodal point in a highly complex network. Recognizing this massive "collective," we nevertheless want to show some of the ways in which something as seemingly mundane as a smartphone can reflexively alter the range of actions available to a cognitive agent (Latour 1994). Specifically, we hope to shed light on some of the social-cognitive consequences of technological mediation by looking at the complementary, if not mutually implied, domains of memory and knowledge. (shrink)

Searching for the specific contribution of the life sciences to global justice in agriculture and food, one is faced with six global problems that haunt the world today. These are: population growth (9.2 billion by 2050); the gap between poor and rich peoples; hunger and obesity; increasing environmental pressures; climate change; and instable power relations and systems. Most of them seem to have a strong connection with the dominant system in agriculture which is high input and capital- and resource-intensive with (...) high energetic output (food), at the cost of other factors important for sustainable development, like food quality, fresh water and liveable temperatures. However, beside this dominant system there is a plurality of other, often local, agricultural systems that don't have these disadvantages or have them in a lesser degree, and they are in particular located in the South. The current prominent perspectives on global justice, like the consequence-oriented one of Peter Singer and the rights- and institutions-oriented one of Thomas Pogge, neglect the importance of plural and local agricultural and food practices for sustainable and fair global development. Partly complementary to these perspectives, Amartya Sen has developed a capabilities approach that emphasises human capacities and the role of democracy. In complementing his approach we develop an agency- and practice-oriented perspective that stresses the importance of networking the agricultural practices that strive to enhance the quantity and quality of food systems. The tasks of the life sciences for agriculture and food would then be to develop technologies that take into account the plural practices of the poor in the production, processing and consumption of food. This whole chain oriented approach requires from life scientists more than just doing research in laboratories; their task is also to connect their laboratory work with farmers' practices and experiments. (shrink)