M. Wetzel: Objektiver Idealismus und Prinzip Subjektivität in der Philosophie der Natur - G. F. Frigo: Aristoteles' Einfluß auf Hegels Naturphilosophie - W. Neuser: Das Anderssein der Idee, das Außereinandersein der Natur und der Begriff - H.-H. von Borzesz-kowski / R. Wahsner: Gibt es eine Logik der Physik als Vorstufe zur Hegelschen Begriffslogik - E.-O. Onnasch: System und Methode in der Philosophie Hegels - B. Braßler: Vorzüge einer Theorie der Dialektik - L. Fleischhacker: Mathematik und Natur, Verwandte oder Fremde - (...) P. Stekeler-Weithofer: Mathematisches und begriffliches Denken in Hegels Wissenschaft der Logik - M. J. Petry: Physik und Mathematik um 1790: Hegel und Schelling als Schüler Pfleiderers - P. Ziche: Raumdimensionen und Prinzipienreduktion. Beweise für die Dreidimensionalität des Raumes bei Schelling und Hegel - T. Bach: Leben als Gattungsprozeß: Historisch-systematische An-merkungen von Pflanze und Tier bei Hegel - S. Büttner: Das Manko des Organischen und die Krankheit als dessen Wahrheit - O. Breidbach: Überlegungen zur Typik des Organischen in Hegels Denken - C. Illies: Die Gene, die Meme und Wir - W. Kellerwessel: Reschers idealistische Dialektik - V. Hösle: Wahrheit und Verstehen. Davidson, Gadamer und das Desiderat einer objektiv-idealistsichen Hermeneutik - P. Várdy: Das Lächerliche und das Absolute - A. Rieckers: Photons and Mcroscopic Reality. (shrink)

Wolfgang Spohn presents the first full account of the dynamic laws of belief, by means of ranking theory. This book is his long-awaited presentation of ranking theory and its ramifications.

This paper defends a purely semantic notionof what is said against various recent objections. Theobjections each cite some sort of linguistic,psychological, or epistemological fact that issupposed to show that on any viable notion of what aspeaker says in uttering a sentence, there ispragmatic intrusion into what is said. Relying on amodified version of Grice's notion, on which what issaid must be a projection of the syntax of the utteredsentence, I argue that a purely semantic notion isneeded to account for the (...) linguistically determinedinput to the hearer's inference to what, if anything,the speaker intends to be conveying in uttering thesentence. (shrink)

There are many mean and nasty things to say about mean and nasty talk, but I don't plan on saying any of them. There's a specific problem about slurring words that I want to address. This is a semantic problem. It's not very important compared to the real-world problems presented by bigotry, racism, discrimination, and worse. It's important only to linguistics and the philosophy of language.

There is growing support for the view that social categories like men and women refer to “objective types” (Haslanger 2000, 2006, 2012; Alcoff 2005). An objective type is a similarity class for which the axis of similarity is an objective rather than nominal or fictional property. Such types are independently real and causally relevant, yet their unity does not derive from an essential property. Given this tandem of features, it is not surprising why empirically-minded researchers interested in fighting oppression and (...) marginalization have found this ontological category so attractive: objective types have the ontological credentials to secure the reality (and thus political representation) of social categories, and yet they do not impose exclusionary essences that also naturalize and legitimize social inequalities. This essay argues that, from the perspective of these political goals of fighting oppression and marginalization, the category of objective types is in fact a Trojan horse; it looks like a gift, but it ends up creating trouble. I argue that objective type classifications often lack empirical adequacy, and as a result they lack political adequacy. I also provide, and in reference to the normative goals described above, several arguments for preferring a social ontology of natural kinds with historical essences. (shrink)

From ethics to epistemology to metaphysics, it is common for philosophers to appeal to “intuitions” about cases to identify counterexamples to one view and to find support for another. It would be interesting to examine the evidential status of such intuitions, snap judgments, gut reactions, or whatever you want to call them, but in this paper I will not be talking about moral, epistemological, or metaphysical intuitions. I’ll be focusing on semantic ones. In fact, I’ll be focusing on semantic intuitions (...) about sentences, not individual words (although the contributions of individual words may ultimately be at issue in some of these cases), and on closely related intuitions about what is said in utterances of those sentences. Such intuitions play an important role in philosophy of language.. (shrink)

There is broad agreement among social researchers and social ontologists that the project of dividing humans into social kinds should be guided by at least two methodological commitments. First, a commitment to what best serves moral and political interests, and second, a commitment to describing accurately the causal structures of social reality. However, researchers have not sufficiently analyzed how these two commitments interact and constrain one another. In the absence of that analysis, several confusions have set in, threatening to undermine (...) shared goals for the responsible modeling of social kinds of humans. This essay first explains the source and substance of these confusions. Then, by distinguishing different value-laden investigative questions into the classification of social kinds of humans, it sets out specific relations of dependence and constraint between empirically-driven investigations and value-driven investigations into social kinds of humans. The result is a more detailed and fruitful framework for thinking about the classification of social kinds that respects both normative interests and mind-independent causal regularities. (shrink)

In domains like stock brokerage, clinical psychiatry, and long‐term political forecasting, experts generally fail to outperform novices. Empirical researchers agree on why this is: experts must receive direct or environmental learning feedback during training to develop reliable expertise, and these domains are deficient in this type of feedback. A growing number of philosophers resource this consensus view to argue that, given the absence of direct or environmental philosophical feedback, we should not give the philosophical intuitions or theories of expert philosophers (...) greater credence than those of novice philosophers. This article has three objectives. The first is to explore several overlooked issues concerning the strategy of generalizing from empirical studies of non‐philosophical expertise to the epistemic status of philosophical expertise. The second is to explain why empirical research into a causal relationship between direct learning feedback and enhanced expert performance does not provide good grounds for abandoning a default optimism about the epistemic superiority of expert philosophical theories. The third is to sketch a positive characterization of learning feedback that addresses developmental concerns made salient by the empirical literature on expert performance for specifically theory‐driven or “armchair” domains like philosophy. (shrink)

This chapter contains sections titled: Ways of Failing to Do Something Refraining Omitting Negative Acts: Inaction as Action? References.

Herman Cappelen and Ernie Lepore’s book is ultimately a defense of their self-styled Semantic Minimalism, but it’s mainly a protracted assault on semantic Contextualism, both moderate and radical. They argue at length that Moderate Contextualism leads inevitably to Radical Contextualism and at greater length that Radical Contextualism is misguided. Supposing that “[Radical Contextualism] is the logical consequence of denying Semantic Minimalism”, they think they have given an indirect argument for their version of Semantic Minimalism. But they overlook a third view, (...) one that splits the difference between the other two. Like Contextualism it rejects Propositionalism, the conservative dogma that every indexical-free declarative sentence expresses a proposition. Unlike Contextualism, it does not invoke context to fill semantic gaps and, indeed, denies that filling those gaps is a semantic matter. Like Cappelen and Lepore’s brand of Semantic Minimalism, it rejects the very idea of pragmatic intrusion into semantic content. However, in rejecting Propositionalism, it is more radical, indeed, more minimalist than their version of Semantic Minimalism. It does not imagine that sentences that intuitively seem not to express propositions at least express “minimal propositions.” Radical Semantic Minimalism, or simply Radicalism, says that the sentences in question are semantically incomplete—their semantic contents are not propositions but merely “propositional radicals.”. (shrink)

The Millian view that the meaning of a proper name is simply its referent has long been popular among philosophers of language. It might even be deemed the orthodox view, despite its well-known difficulties. Fregean and Russellian alternatives, though widely discussed, are much less popular. The Predicate View has not even been taken seriously, at least until fairly recently, but finally, it is receiving the attention it deserves. It says that a name expresses the property of bearing that name. Despite (...) its apparent shortcomings, it has a distinct virtue: It straightforwardly reckons with the fact that proper names generally have multiple bearers and are sometimes used to ascribe the property of bearing a name rather than to refer to a particular bearer of the name. It holds that proper names are much the same as common nouns, both semantically and syntactically, with only superficial differences. They both can be quantified and modified. The main difference, at least in English, is that when used to refer a proper name, unlike a common noun, is not preceded by the definite article. The Predicate View accounts for manifestly predicative uses, but to be vindicated, it needs to do justice to the fact that the main use of proper names is to refer. (shrink)

In some domains experts perform better than novices, and in other domains experts do not generally perform better than novices. According to empirical studies of expert performance, this is because the former but not the latter domains make available to training practitioners a direct form of learning feedback. Several philosophers resource this empirical literature to cast doubt on the quality of philosophical expertise. They claim that philosophy is like the dubious domains in that it does not make available the good, (...) direct kind of learning feedback, and thus there are empirical grounds for doubting the epistemic quality of philosophical expertise. I examine the empirical studies that are purportedly bad news for professional philosophers. On the basis of that examination, I provide three reasons why the empirical study of non-philosophical expertise does not undermine the status of philosophical expertise. First, the non-philosophical task-types from which the critics generalize are unrepresentative of relevant philosophical task-types. Second, empirical critiques of non-philosophical experts are often made relative to the performance of linear models—a comparison that is inapt in a philosophical context. Third, the critics fail to discuss findings from the empirical study of non-philosophical expertise that have more favorable implications for the epistemic status of philosophical expertise. In addition to discussing implications for philosophical expertise, this article makes progress in the philosophical analysis of the science of expertise and expert development. (shrink)

Epistemic possibilities are relative to bodies of information, or perspectives. To claim that something is epistemically possible is typically to claim that it is possible relative one’s own current perspective. We generally do this by using bare, unqualified epistemic possibility (EP) sentences, ones that don’t mention our perspective. The fact that epistemic possibilities are relative to perspectives suggests that these bare EP sentences fall short of fully expressing propositions, contrary to what both contextualists and relativists take for granted. Although they (...) rightly reject propositional invariantism, the implausible view that a bare EP sentence expresses the same classical (absolutely true or absolutely false) proposition in any context, they maintain that a change in perspective shifts either the sentence’s propositional content (to a proposition involving a different perspective) or its truth-value (the same perspectivally neutral proposition now evaluated from a different perspective). I deny that the semantic contents of bare EP sentences shift at all. But I also deny that these contents have truth-values. Rather, according to the radical invariantism I defend, these contents are not full-fledged propositions but merely propositional radicals. Only explicitly relativized EP sentences manage fully to express propositions, and these perspective-involving propositions are the only EP propositions there are. Nevertheless, bare EP sentences are perfectly capable of being used to assert EP propositions, because utterances of them implicitly allude to the relevant perspective. Various problem cases challenge radical invariantism to explain pragmatically which perspective is read into the utterance of a given bare EP sentence. Unlike contextualism and relativism, it can do this without having to resort to any semantic bells and whistles.. (shrink)

I am often asked to explain the difference between my notion of impliciture (Bach 1994) and the relevance theorists’ notion of explicature (Sperber and Wilson 1986; Carston 2002). Despite the differences between the theoretical frameworks within which they operate, the two notions seem very similar. Relevance theorists describe explicatures as “developments of logical forms,” whereas I think of implicitures as “expansions” or “completions” of semantic contents (depending on whether or not the sentence’s semantic content amounts to a proposition). That (...) is not much of a difference. We agree that implicitures/explicatures go beyond what is said (in a strict sense) and yet fall short of being implicatures. So, what is the difference, or is it just terminological? As we will see, the real differences emerge when the two notions are situated in their respective theoretical frameworks with their contrasting conceptions of what is involved in linguistic communication. (shrink)

Modularity theorists have challenged that there are, or could be, general learning mechanisms that explain theory-of-mind development. In response, supporters of the ‘scientific theory-theory’ account of theory-of-mind development have appealed to children's use of auxiliary hypotheses and probabilistic causal modeling. This article argues that these general learning mechanisms are not sufficient to meet the modularist's challenge. The article then explores an alternative domain-general learning mechanism by proposing that children grasp the concept belief through the progressive alignment of relational structure that (...) occurs as a result of structural-comparison. The article also explores the implications of the proposed account for Fodor's puzzle of conceptual learning. (shrink)

How to delimit semantics is an ongoing problem in linguistics and philosophy of language. Like syntax, semantics is concerned only with information that competent speakers can glean from linguistic items apart from particular contexts of utterance. Anything a hearer infers from collateral information about the context of a particular utterance thus counts as nonsemantic information. Even so, it is a semantic fact about certain linguistic items, notably indexicals (such as 'she', 'here', and 'then'), that contextual facts contribute to determining what (...) they are used to refer to. Although it is arguable that indexical reference is not, in general, a strict function of context (Bach 1987, pp. 175-186), contextual sensitivity is a linguistically marked feature of indexicals. So the context sensitivity of an expression is not itself a contextual fact about that expression. On the other hand, there are certain context-independent facts about expressions that are not matters of linguistic meaning. This is where standardization comes in. What is standardization? A form of words is standardized for a certain use if this use, though regularized, goes beyond literal meaning and yet can be explained without special conventions. In each case, there is a certain core of linguistic meaning attributable on compositional grounds but a common use that cannot be explained in terms of linguistic meaning alone. The familiarity of the form of words, together with a familiar inference route from their literal.. (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)

In this volume, renowned experts in psychoanalysis reflect on the relationship between psychoanalysis and religion, in particular presenting various controversial interpretations of the question if and to what extent monotheism semantically and structurally fits psychoanalytic insights. Some essays augment traditional religious critiques of Freudianism with later religio-philosophical theories on, for example, femininity. Others explore the relation between psychopathology and morality from the Freudian premise that psychopathology shows in an excessive way aspects or mechanisms of the human psyche that constitute our (...) subjectivity, moral capacities, and behavior.Contributors: Andreas De Block, KU Leuven-University of Leuven; Fethi Benslama, University of Paris Diderot; Sergio Benvenuto, ISTC, Rome; Gohar Homayounpour, Shahid Beheshti University, Tehran; Felix de Mendelssohn, Sigmund Freud University, Vienna; Julia Kristeva, University of Paris Diderot; Lode Lauwaert, KU Leuven-University of Leuven; Siamak Movahedi, University of Massachusetts; Wolfgang Muller-Funk, University of Vienna; Gilles Ribault, University of Paris Diderot; Céline Surprenant, University of Sussex; Inge Scholz-Strasser, Sigmund Freud Foundation; Herman Westerink, University of Vienna; Joel Whitebook, Columbia University; Moshe Zuckermann, Tel Aviv University. (shrink)

Words mean things, speakers mean things in using words, and these need not be the same. For example, if you say to someone who has just finished eating a super giant burrito at the Taqueria Guadalajara, “You are what you eat,” you probably do not mean that the person is a super giant burrito. So we need to distinguish the meaning of a linguistic expression – a word, phrase, or sentence – from what a person means in using it. To (...) simplify matters, let us pretend that an utterance is always of a sentence (and, for mnemonic purposes, let our imagined s peaker be a s he and h earer be a h e). (shrink)

Rejuvenation of cells by reprogramming toward the pluripotent state raises increasing attention. In fact, generation of induced pluripotent stem cells (iPSCs) completely reverses age‐associated molecular features, including elongation of telomeres, resetting of epigenetic clocks and age‐associated transcriptomic changes, and even evasion of replicative senescence. However, reprogramming into iPSCs also entails complete de‐differentiation with loss of cellular identity, as well as the risk of teratoma formation in anti‐ageing treatment paradigms. Recent studies indicate that partial reprogramming by limited exposure to reprogramming factors (...) can reset epigenetic ageing clocks while maintaining cellular identity. So far, there is no commonly accepted definition of partial reprogramming, which is alternatively called interrupted reprogramming, and it remains to be elucidated how the process can be controlled and if it resembles a stable intermediate state. In this review, we discuss if the rejuvenation program can be uncoupled from the pluripotency program or if ageing and cell fate determination are inextricably linked. Alternative rejuvenation approaches with reprogramming into a pluripotent state, partial reprogramming, transdifferentiation, and the possibility of selective resetting of cellular clocks are also discussed. (shrink)

SummaryA simple and precise definition is offered of “term t of theory T being T‐theoretical” which can be applied to any formalized theory. The definition is in line with and emends traditional accounts of theoreticity. Its adequacy is demonstrated by application to three examples: exchange economics, classical mechanics and collision mechanics.

Think of linguistification by analogy with personification: attributing linguistic properties to nonlinguistic phenomena. For my purposes, it also includes attributing nonlinguistic properties to linguistic items, i.e., treating nonlinguistic properties as linguistic. Linguistification is widespread. It has reached epidemic proportions. It needs to be eradicated. That’s important because the process of communication is not simply a matter of one person putting a thought into words and another decoding them back into the same thought. Much of what a speaker means cannot be (...) traced to what his words mean or to their possibly context-sensitive semantic contents. Words carry information all right, but that information hardly determines what speakers mean in uttering them. They leave plenty of pragmatic gaps and sometimes even semantic slack. I’ll mention various reasons for that, but the important thing is to recognize how much people exploit extralinguistic information in communicating and to avoid confusing this process with semantic context sensitivity. To appreciate the limitations of semantics, we shouldn’t fall for the fallacy of misplaced information or for the more specific fallacies enumerated below. (shrink)

We present a reconstruction of so-called classical, formal or Mendelian genetics using a notation which we believe is more legible than that of earlier accounts, and lends itself easily to computer implementation, for instance in PROLOG. By drawing from, and emending, earlier work of Balzer and Dawe (1986,1997), the present account presents the three most important lines of development of classical genetics: the so-called Mendel's laws, linkage genetics and gene mapping, in the form of a theory-net. This shows that the (...) set theoretic representation format used in the structuralist approach to the philosophy of science also applies to the domain of genetic theories. There construction is intended to lend more clarity to theme thodological, philosophical and didactical discussions of the foundations of genetics, and on the other hand to defend a formally, logically minded view of theories which seems to have become contested through the work of Feyerabend, Kuhn and Kitcher. (shrink)

Die Wissensvermittlung in Gesundheitsethik ermöglicht es Auszubildenden der Pflege, sich in ihrer zukünftigen Tätigkeit bei Entscheidungsprozessen des Behandlungsteams hinsichtlich pflegeethischer Fragestellungen einzubringen. Vor diesem Hintergrund wurde anhand der vorliegenden Studie die Entwicklung moralischer Positionen sowie pflegeethischer Kenntnisse von Pflegeauszubildenden sichtbar gemacht. An zwei Krankenpflegeschulen (Berlin und Fürth) wurden im Rahmen einer Panelstudie von August 2010 bis März 2011 Daten einer ersten Querschnittserhebung von Auszubildenden in der Pflege erhoben. Für die Studie wurde ein strukturierter Fragebogen verwendet. Die Studienteilnahme erfolgte freiwillig. Alle (...) Auszubildenden hatten vor der Befragung in unterschiedlichem Umfang Unterricht in Gesundheitsethik erhalten. An beiden Standorten zeigten die Teilnehmenden einen Zuwachs an pflegeethischen Kenntnissen. Auszubildende, die bislang keine praktische Erfahrung mit Sterbehilfe gemacht hatten, zeigten Schwierigkeiten in der theoretischen Handhabung dieser Maßnahmen. Für alle Auszubildenden zeigte sich ein allgemeiner Trend zu einer Befürwortung des partizipativen Interaktionsmodells und damit zu einer Förderung der Patientenselbstbestimmung. Zugleich schätzten die Studienteilnehmenden die Fähigkeiten von Patienten, medizinisch richtige Therapieentscheidungen zu treffen, als gering ein. Die Ausbildung in Gesundheitsethik besitzt ein großes Potential, Kenntnisse zu vermitteln und dadurch die ethische Kompetenzentwicklung zu befördern. Unsere Ergebnisse werfen die Frage auf, inwieweit es einer Integration praktischer Erfahrungen mit Fragestellungen der Gesundheitsethik bedarf, um eine praxisrelevante und wissenschaftlich fundierte Wissensvermittlung zu gewährleisten. (shrink)