Sand drawings are introduced in relation to the fieldwork of British anthropologists John Layard and Bernard Deacon early in the twentieth century, and the status of sand drawings as mathematics is discussed in the light of Wittgenstein’s idea that “in mathematics process and result are equivalent”. Included are photographs of the illustrations in Layard’s own copy of Deacon’s “Geometrical Drawings from Malekula and other Islands of the New Hebrides” (1934). This is a brief companion to my article “Wittgenstein on string (...) figures as mathematics” (2022), published in the journal Philosophical Investigations. (shrink)

First and still only philosophy treatise on drawing, explaining the bases of meaning in all kinds of drawings, including technical and informational, design, child, and art drawings--depictive and nondepictive, East and West--engaging cognitive and developmental psychology, philosophy, art history and criticism. Ca 290 double-columned pp., 92 illus. Reviews include: Philosophy--David Hills, Journal of Aesthetics and Art Criticism 65, no. 2 (Spring 2007): 235-237. Aesthetics--Michael Podro, British Journal of Aesthetics 48, no. 3 (July 2008): 346-347. Art history--Svetlana Alpers, Phi Bet Kappa (...) Society Key Reporter (Summer 2006): 14 http://www.pbk.org/documents/tkrpdf/TKRSummer2006.pdf. General--Amy Ione, Leonardo On-line Reviews: http://www.leonardo.info/reviews/jan2007/draw_ione.html . (shrink)

There are as many meanings to drawing and painting as there are cultural contexts for them to exist in. But this is not the end of the story. Drawings and paintings are made, and in their making embody unique meanings that transform our perception of space-time and sense of finitude. These meanings have not been addressed by art history or visual studies hitherto, and have only been considered indirectly by philosophers. If these intrinsic meanings are explained and further developed, then (...) the philosophy of art practice is significantly enhanced. The present work, accordingly, is a phenomenology of how the gestural and digital creation of visual imagery generates self-transformation through aesthetic space. (shrink)

Figurative drawing is a skill that takes time to learn, and it evolves during different childhood phases that begin with scribbling and end with representational drawing. Between these phases, it is difficult to assess when and how children demonstrate intentions and representativeness in their drawings. The marks produced are increasingly goal-oriented and efficient as the child’s skills progress from scribbles to figurative drawings. Pre-figurative activities provide an opportunity to focus on drawing processes. We applied fourteen metrics to two different datasets (...) (_N_ = 65 and _N_ = 344) to better understand the intentional and representational processes behind drawing, and combined these metrics using principal component analysis (PCA) in different biologically significant dimensions. Three dimensions were identified: efficiency based on spatial metrics, diversity with color metrics, and temporal sequentiality. The metrics at play in each dimension are similar for both datasets, and PCA explains 77% of the variance in both datasets. Gender had no effect, but age influenced all three dimensions differently. These analyses for instance differentiate scribbles by children from those drawn by adults. The three dimensions highlighted by this study provide a better understanding of the emergence of intentions and representativeness in drawings. We discussed the perspectives of such findings in comparative psychology and evolutionary anthropology. (shrink)

One characteristic of the transition from the Middle Paleolithic to the Upper Paleolithic in Europe was the emergence of representational charcoal drawings and engravings by Aurignacian and Gravettian artists. European Neanderthals never engaged in representational drawing during the Middle and Early Upper Paleolithic, a property that might reflect less developed visuomotor coordination. This article postulates a causal relationship between an evolved ability of anatomically modern humans to throw spears accurately while hunting and their ability to draw representational images from (...) working memory. Unlike Neanderthals, archaic and anatomically modern humans in sub-Saharan Africa adopted longer-range hunting practices using hand-cast spears as a compensation for the emergence of increasingly wary game. For Neanderthals, paleoclimatic fluctuations likely precluded consistent hunting of cold-adapted game, a property making game more approachable for close-range hunting with thrusting spears. As evidence of less historical wariness of humans, many of the species hunted by Neanderthals were eventually domesticated. Due to strong sources of natural selection on archaic and anatomically modern humans for effective hunting, the parietal cortex that integrates visual imagery and motor coordination expanded progressively, yielding the globular shape of the human cranium that is not evident in Neanderthals. To characterize how the cognitive properties employed for throwing spears and drawing line work are similar, the Upper Paleolithic drawings of animals in Chauvet cave, France, are discussed in the speculative context of how these artists engaged simultaneously in overt attention to guide their hand movements and covert attention to their mental images during the drawing process. (shrink)

In “On Drawing Lines on a Map” (1995), I suggested that the different ways we have of drawing lines on maps open up a new perspective on ontology, resting on a distinction between two sorts of boundaries: fiat and bona fide. “Fiat” means, roughly: human-demarcation-induced. “Bona fide” means, again roughly: a boundary constituted by some real physical discontinuity. I presented a general typology of boundaries based on this opposition and showed how it generates a corresponding typology of the different sorts (...) of objects which boundaries determine or demarcate. In this paper, I describe how the theory of fiat boundaries has evolved since 1995, how it has been applied in areas such as property law and political geography, and how it is being used in contemporary work in formal and applied ontology, especially within the framework of Basic Formal Ontology. (shrink)

Architectural Drawings as Investigating Devices explores how the changing modes of representation in architecture and urbanism relate to the transformation of how the addressees of architecture and urbanism are conceived. The book diagnoses the dominant epistemological debates in architecture and urbanism during the 20th and 21st centuries. It traces their transformations, paying special attention to Le Corbusier and Ludwig Mies van der Rohe’s preference for perspective representation, to the diagrams of Team 10 architects, to the critiques of functionalism, and the (...) upgrade of the artefactual value of architectural drawings in Aldo Rossi, John Hejduk, Peter Eisenman, and Oswald Mathias Ungers, and, finally, to the reinvention of architectural programme through the event in Bernard Tschumi and the Office for Metropolitan Architecture (OMA). Particular emphasis is placed on the spirit of truth and clarity in modernist architecture, the relationship between the individual and the community in post-war era architecture, the decodification of design process as syntactic analogy and the paradigm of autonomy in the 1970s and 1980s architecture, the concern about the dynamic character of urban conditions and the potentialities hidden in architectural programme in the post-autonomy era. This book is based on extensive archival research in Canada, the USA and Europe, and will be of interest to architects, artists, researchers and students in architecture, architectural history, theory, cultural theory, philosophy and aesthetics. (shrink)

A short encyclopedia article focused on drawing, stressing facture, the physicality of three media.

In vitro gametogenesis (IVG) might offer numerous research and clinical benefits. Some potential clinical applications of IVG, such as allowing opposite‐sex couples experiencing infertility to have genetically related children, have attracted support. Others, such as enabling same‐sex reproduction and solo reproduction, have attracted significantly more criticism. In this paper, we examine how different ethical principles might help us to draw lines and distinguish between ethically desirable and undesirable uses of IVG. We discuss the alleged distinction between therapeutic and non‐therapeutic (...) uses of assisted reproduction in the context of IVG, and show how it is both problematic to apply in practice and theoretically dubious. We then discuss how the ethical principles of reproductive justice and beneficence apply to IVG for opposite‐sex reproduction, same‐sex reproduction, and solo reproduction. We suggest that these principles generate strong reasons for the use of IVG for opposite‐sex and same‐sex reproduction, but not for solo reproduction. (shrink)

Drawing the line on physician assistance in physician-assisted death continues to be a contentious issue in many legal jurisdictions across the USA, Canada and Europe. PAD is a medical practice that occurs when physicians either prescribe or administer lethal medication to their patients. As more legal jurisdictions establish PAD for at least some class of patients, the question of the proper scope of this practice has become pressing. This paper presents an argument for restricting PAD to the terminally ill that (...) can be accepted by defenders as well as critics of PAD for the terminally ill. The argument appeals to fairness-based paternalism and the social meaning of medical practice. These two considerations interact in various ways, as the paper explains. The right way to think about the social meaning of medical practice bears on fair paternalism as it relates to PAD and vice versa. The paper contends that these considerations have substantial force when directed against proposals to extend PAD to non-terminally ill patients, but considerably less force when directed against PAD for the terminally ill. The paper pays special attention to the case of non-terminally ill patients who suffer from treatment-resistant depression, as these patients present a potentially strong case for extending PAD beyond the terminally ill. (shrink)

We welcome Mikhalevich & Powell’s (2020) (M&P) call for a more “‘inclusive”’ animal ethics, but we think their proposed shift toward a moral framework that privileges false positives over false negatives will require radically revising the paradigm assumption in animal research: that there is a clear line to be drawn between sentient beings that are part of our moral community and nonsentient beings that are not.

Scientific images represent types or particulars. According to a standard history and epistemology of scientific images, drawings are fit to represent types and machine-made images are fit to represent particulars. The fact that archaeologists use drawings of particulars challenges this standard history and epistemology. It also suggests an account of the epistemic quality of archaeological drawings. This account stresses how images integrate non-conceptual and interepretive content.

"If our procedure is to work steadily in the direction of drawing as fine art, rather than beginning from examples of such art, where shall we begin? One attractive possibility is to begin at the beginning—not the beginning in prehistory, which is already wonderful art, but with our personal beginnings as children. From there it will be the ambitious project of this book to investigate 'the course of drawing,' from the first marks children make to the greatest graphic arts of (...) different cultures."—from the Introduction Patrick Maynard surveys the rich and varied practices of drawing, from the earliest markings on cave walls to the complex technical schematics that make the modern world possible, from cartoons and the first efforts of preschoolers to the works of skilled draftspeople and the greatest artists, East and West. Despite, or perhaps because of, its ubiquity, drawing as such has provoked remarkably little philosophical reflection. Nonphilosophical writing on the topic tends to be divided between specialties such as art history and mechanics. In this engagingly written and well-illustrated book, Maynard reveals the interconnections and developments that unite this fundamental autonomous human activity in all its diversity. Informed by close discussion of work in art history, art criticism, cognitive and developmental psychology, and aesthetics, Drawing Distinctions presents a theoretically sophisticated yet approachable argument that will improve comprehension and appreciation of drawing in its many forms, uses, and meanings. (shrink)

Since the first offender rehabilitation treatments, all theoretical approaches have been focusing on reducing risk factors that may influence recidivism, without satisfactory results. Recent resilience research has instead shown the important mediating or moderating role of protective factors and provided the theoretical principles for the Good Lives Model Comprehensive. This holistic model suggests the importance of integrating the reduction of risk factors with the reinforcement of protective factors in offenders' treatment programs. This combined action is considered the main condition through (...) which offenders are motivated to change their life and develop a sense of agency on their current life conditions. This article presents a pilot study, aimed at analyzing the feasibility of a psychosocial intervention, based on graphic workshops. The purpose of the intervention is helping prisoners strive toward adaptation in jail, and facilitating the redesign of their life beyond bars. Drawing activities allowe... (shrink)

Introduces philosophers to John Willats' effective new drawing systems vocabulary for describing drawings and related images, also stresses topological-space values in pictures, vs psychology's projective tendencies (illus).

Fifty years ago Ernst Gombrich’s Art and Illusion revolutionized philosophical and scientific study of visual representation by thoughtful -application of research from the modern vision sciences. Since then those sciences – recently including neuroscience – have greatly developed, and it is now common to attempt direct translation of their findings to depiction, even treating its perception as a branch of visual perception.Unfortunately, rather than advancing Gombrich’s project, many of these applications – often reductive in nature – involve elementary logical fallacies. (...) These fallacies are mostly due to overlooking Gombrich’s main idea, that image makers – like other technologists – use natural principles for their own purposes, and that their first purpose is to make artifacts, which are perceived as such. With better context, it should be possible to find more constructive directions for recent cognitive research, related to drawing. (shrink)

Art and pornography are often thought to be mutually exclusive. The present article argues that this popular view is without adequate support. Section 1 looks at some of the classic ways of drawing the distinction between these two domains of representation. In Section 2, it is argued that the classic dichotomies may help to illuminate the differences between certain prototypical instances of pornography and art, but will not serve to justify the claim that pornography and art are fundamentally incompatible. Section (...) 3 considers those definitions of pornography that make an a priori distinction between pornographic and artistic representations. The difference between the ‘merely’ erotic and the pornographic is also discussed in this context. Section 4 provides a critical assessment of the most recent and elaborate arguments against the compatibility of pornography and art. Finally, in Section 5, a case is made for the existence of pornographic art, as a subcategory of erotic art. (shrink)

In his book, Physical Relativity, Harvey Brown challenges the orthodox view that special relativity is preferable to those parts of Lorentz's classical ether theory it replaced because it revealed various phenomena that were given a dynamical explanation in Lorentz's theory to be purely kinematical. I want to defend this orthodoxy. The phenomena most commonly discussed in this context in the philosophical literature are length contraction and time dilation. I consider three other phenomena of this kind that played a role in (...) the early reception of special relativity in the physics literature: the Fresnel drag effect in the Fizeau experiment, the velocity dependence of electron mass in beta-ray deflection experiments by Kaufmann and others, and the delicately balanced torques on a moving charged capacitor in the Trouton-Noble experiment. I offer historical sketches of how Lorentz's dynamical explanations of these phenomena came to be replaced by their now standard kinematical explanations. I then take up the philosophical challenge posed by the work of Harvey Brown and Oliver Pooley and clarify how those kinematical explanations work. (shrink)

This paper describes methods for generating interactive Euler diagrams. User interaction is needed to improve the aesthetic quality of the drawing without writing tedious formal specifications. More precisely, the user can modify the diagram’s layout on the fly by mouse control. We prove that the satisfiability problem is in \ and we provide two syntactic fragments such that the corresponding restricted satisfiability problem is already \-hard. We describe an improved local search based approach, a method inspired from the gradient method (...) and a hybrid method mixing both and. A software tool was implemented and its implementation is described. We also experimentally compare the different methods. We first see that the improved local search and the hybrid method outperforms the local search from the literature and the gradient method for generating a diagram. Concerning interaction, the local search approach is not suitable but hybrid method and gradient method give both good results in terms of quality of drawings and stability. Specifications are written using region connection calculus ), radius constraints and disjunctions. Euler diagrams are described as set of circles. (shrink)

Can we still watch Woody Allen's movies? Can we still laugh at Bill Cosby's jokes? Woody Allen, Kevin Spacey, Dave Chappelle, Louis C. K., J.K. Rowling, Michael Jackson, Roseanne Barr. Recent years have proven rife with revelations about the misdeeds, objectional views, and, in some instances, crimes of popular artists.

In this article, we use an entry to an international architectural student competition on future care to explore how social norms about older bodies may be challenged by designs that are sensitive to the spatial contexts within which we age. The power of the My Home design by Witham and Wilkins derives from its hand-drawn aesthetic and thus we consider the architects’ insistence on drawing as a challenge to the clear and unambiguous image-making typically associated with digitally aided architectural designs. (...) The hand-drawn images of My Home prompt a focus on care as enacted through the relations between material environments and things, and the atmospheric qualities these relations evoke. Throughout our analysis, we argue for greater attention to the ways in which embodied practices, everyday affects and materialities can be represented within architectural design, and the role of hand drawing as a creative methodology in this process. (shrink)

ABSTRACT This article investigates drawing as a form of devotional attention. Engaging with the work of María Lugones and examples from Josef Albers, Corita Kent, Franz Opalka, Georgia O’Keeffe, and William Kentridge, each section revolves around drawing in relation to embodied practices of being together with others. In addition to a personal account of memories and rituals of drawings, this article examines the degree to which drawing hones a pragmatic sense for fallibility, fluidity, and open-ended research, while arguing for drawing (...) as a form of commitment to community that challenges historical associations of creativity with individualistic or uninhibited freedom. (shrink)

Theories of culture and action, especially after the cognitive turn, have developed more complex understandings of how unconscious, embodied, internalized culture motivates action. As our theories have become more sophisticated, our methods for capturing these internal processes have not kept up and we struggle to adjudicate among theories of how culture shapes action. This article discusses what I call “productive” methods: methods that observe people creating a cultural object. Productive methods, I argue, are well suited for drawing out moments of (...) shared automatic cognition and resonance. To demonstrate the value of productive methods, I describe my method of asking focus group participants to devise and draw AIDS campaign posters collectively. I then 1) show how this productive method made visible distinct moments of both automatic and deliberative cognition, 2) offer an operational definition of resonance and demonstrate how the process of drawing revealed moments of resonance, and 3) suggest how this method allowed me to investigate the relationship between cognition and resonance and their effect on action. To conclude, I discuss strategies for using productive methods and advocate for their use in measuring culture. (shrink)

As part of a larger effort to explore the multiform relations between philosophy and literature—a research field that attracts growing attention— we focus on the philosophical aspects of literature. Our project tackles the subject of literature’s potential to generate knowledge. In our paper we intend to dwell on self-referential literature. This intriguing dimension of literary expression is associated with works in which self-reflective moves can be traced, that is, texts in which literary writing refers to and reflects on literature itself. (...) The self-reflection of self-referential literature assumes many shapes, affecting in various ways the constitution of both content and form. Thus, our aim becomes twofold. First, we look into variants of literary self-reflection, while pondering the philosophical implications of each of those. Here, we are going to draw on examples from the writings of Stéphane Mallarmé, Paul Valéry, Maurice Blanchot and Clarice Lispector. Second, we propose to consider the necessary conditions and the prospects for obtaining some kind of knowledge by means of self-referential literature. In so doing, we examine alternative conceptions and kinds of knowledge which could be taken into account. (shrink)

This chapter focuses on one of the common fallacies in Western philosophy, 'the line‐drawing fallacy'. Many logic or critical thinking textbooks treat the line‐drawing fallacy as a footnote to or subcategory of another fallacy. They view it as a variation of vagueness, false dilemma, slippery slope, or the perfectionist fallacy. Depending on how one interprets a key premise or central term of the argument, detecting a line‐drawing fallacy can take several forms. The chapter discusses these forms. To correct or to (...) prevent the absurd conclusions, logicians try to identify and/or explain the nature of the line‐drawing fallacy. Several line‐drawing‐related fallacies immediately arise, from false dilemma to straw man. Yet this exercise is too obvious to help a student discern the underlying difficulty in recognizing the line‐drawing fallacy or avoiding the paradox it raises. (shrink)

The paper is an exercise in descriptive ontology, with specific applications to problems in the geographical sphere. It presents a general typology of spatial boundaries, based in particular on an opposition between bona fide or physical boundaries on the one hand, and fiat or human-demarcation-induced boundaries on the other. Cross-cutting this opposition are further oppositions in the realm of boundaries, for example between: crisp and indeterminate, complete and incomplete, enduring and transient, symmetrical and asymmetrical. The resulting typology generates a corresponding (...) categorization of the different sorts of objects which (complete) boundaries determine or demarcate. The theory is applied first of all in the areas of geography and of administrative and property law. Indications are then given as to how the typology may be applied also in other fields where physical and fiat boundaries are at work, including the field of cognitive linguistics and the related field of the ontology of truth. (shrink)

"... are dinosaurs social constructs? Do we really know anything about dinosaurs? Might not all of our beliefs about dinosaurs merely be figments of the paleontological imagination? A few years ago such questions would have seemed preposterous, even nonsensical. Now they must have a serious answer." At stake in the "Science Wars" that have raged in academe and in the media is nothing less than the standing of science in our culture. One side argues that science is a "social construct," (...) that it does not discover facts about the world, but rather constructs artifacts disguised as objective truths. This view threatens the authority of science and rejects science's claims to objectivity, rationality, and disinterested inquiry. Drawing Out Leviathan examines this argument in the light of some major debates about dinosaurs: the case of the wrong-headed dinosaur, the dinosaur "heresies" of the 1970s, and the debate over the extinction of dinosaurs. Keith Parsons claims that these debates, though lively and sometimes rancorous, show that evidence and logic, not arbitrary "rules of the game," remained vitally important, even when the debates were at their nastiest. They show science to be a complex set of activities, pervaded by social influences, and not easily reducible to any stereotype. Parsons acknowledges that there are lessons to be learned by scientists from their would-be adversaries, and the book concludes with some recommendations for ending the Science Wars. (shrink)

The literature on drawing provides a justification for using drawing in the teaching of philosophy. The aim of the essay is to show how drawing as a pedagogy, though unusual in philosophy, fulfills high-quality teaching desiderata: make it personal, go beyond the text, allow students to show and explain their work, and unify the work of the course. I explain these four desiderata and how students complete drawing exercises to develop understanding, generate insights, and make philosophic discoveries. I begin by (...) explaining and justifying the pedagogical desiderata. I discuss the literature on drawing-to-learn and concept mapping and apply its insights to teaching philosophy. Finally, I describe my exercises on color theory, two-point perspective exercises, my modifications to concept mapping, and the use of summative drawings. (shrink)

Recent research has brought to light substantial fragments in Egyptian demotic, Old Coptic and Greek of manuals of divination by means of drawing lots. Typically, the lots carry a number, and each is attributed to a particular deity. This article presents the documentation known today, including some strips of palm leaf which could have served as the actual lots. It also discusses the degree of variation between the different manuscripts, and possible specific links between the gods and the answers to (...) which they are linked. (shrink)

Drawing could be considered the oldest known art form. However, art and its understanding has come to evolve so much that it has derived a multitude of forms that are almost unclassifiable today. The aesthetic discourses of the public, social and political have also been prejudiced and their true essence has been altered. In the present research work, we explore a series of artists who work with art as a language and tool for change and improvement of public life in (...) general. We analyse the messages they address, the aesthetics and material form they use, the methodologies they practice or the social changes they cause. In this regard, through a selection of contemporary projects, we can identify more effective representative artistic characteristics that are consistent with our current world. In conclusion, we emphasize that the practice of public art is more significant and necessary than it seems. (shrink)

This article divides into two roughly equal parts, both of which aim to address the act rather than the art of drawing. The second part focuses on a theoretical discussion of drawing. The first bears on a number of themes including the role of drawing in colonial history, drawing and data collection, and drawing and memory. It begins by describing an episode that unfolded as an encounter between two worlds, and two ages—an episode whose meaning and effects are still controversial (...) today. (shrink)

Inspired by the use of naming and portraiture together in the Black artivism–such as that protesting the murders of George Floyd and Breonna Taylor–this paper reflects on the use of portrait drawing as a practice of genealogy. While working on a project to raise the visibility of scholars and their works in the African Diaspora, specifically Francophone women anthropologists, I felt compelled to draw their portraits. Drawing African Diasporic women into dialogue from the archive attends to temporality, vision, and (...) listening, elements centered within anthropological practice, but also implicated in the attachment of the discipline to colonial logics, particularly of allochronism, objectification and silencing. The multisensory, embodied and slow practice of drawing alongside reading scholars' works allows for diasporic time‐travel, shifting the gaze, and constructing a decolonizing “listening genre”. (shrink)

Biological dysfunction is regarded, in many accounts, as necessary and perhaps sufficient for disease. But although disease is conceptualized as all-or-nothing, biological functions often differ by degree. A tension is created by attempting to use a continuous variable as the basis for a categorical definition, raising questions about how we are to pinpoint the boundary between health and disease. This is the line-drawing problem. In this paper, we show how the line-drawing problem arises within “dysfunction-requiring” accounts of disease, such as (...) those of Christopher Boorse and Jerome Wakefield. We then provide several detailed examples to establish that biological dysfunction cannot provide a boundary. We examine potential ways of resolving the line-drawing problem, either by dropping one of the claims that generates it, or by appealing to additional criteria. We argue that two of these options are plausible, and that each of these can be applied with regard to different diseases. (shrink)

Drawing the Line examines the ways in which cultural, political, and legal lines are imagined, drawn, crossed, erased, and redrawn in post-apartheid South Africa through literary texts, artworks, and other forms of cultural production. Under the rubric of a philosophy of the limit and with reference to a range of signifying acts and events, this book asks what it takes to recalibrate a sociopolitical scene, shifting perceptions of what counts and what matters, of what can be seen and heard, of (...) what can be valued or regarded as meaningful. The book thus argues for an aesthetics of transitional justice and makes an appeal for a postapartheid aesthetic inquiry, as opposed to simply a political or a legal one. Each chapter brings a South African artwork, text, speech, building, or social encounter into conversation with debates in critical theory and continental philosophy, asking: What challenge do these South African acts of signification and resignification pose to current literary-philosophical debates? (shrink)

Bioethics traditionally focuses on establishing moral limits between different types of acts. However, boundaries are established by communities and individuals who differ in the constraints shaping their moral world. Phase boundaries, the sites of transition between two physical phases such as a liquid and a gas, provide a metaphor for ‘drawing a line’ in bioethics discourse. Phase boundaries occur where the physical constraints allow both phases to coexist in stable equilibrium. This relationship can also be considered in reverse, using the (...) known position of the phase boundary to disclose the physical constraints. By analogy, instead of trying to locate the ‘correct’ moral boundary, the alternative perspective of ‘reverse ethics’ works from a commonly accepted boundary to examine the constraints of the moral world that are being used to establish it. Genetic interventions into the human body provide interesting examples of boundary establishment. In gene therapy, focusing on boundaries has resulted in a model of moral permissibility that ignores some alternative standpoints and increases the potential for conflict between them. Reverse ethics examines such conflicts in terms of the nature of the moral worlds that have come into contact with each other, taking seriously the diversity of factors governing the location of a boundary, in ways that might help shift some entrenched lines of conflict. (shrink)

Traditional medical ethics and law draw a sharp distinction between allowing a patient to die and helping her die. Withholding or withdrawing life sustaining treatment, such as by abating technological nutrition, hydration or respiration, will cause death as surely as a lethal injection. The former, however, is a constitutional right for a competent or once-competent patient, while the latter poses a risk of serious criminal or civil liability for the physician, even if the patient requests it.

The subject of "Seeing Physics" is our understanding of the physical universe as organized into 51 one thousand-word essays each anchored in a drawing that conveys a key idea. Each essay expands on the science of the drawing and places it in a broader human context. Many people have an interest in the latest in science and technology. But many, even among this group, do not understand basic principles from the 2600-year old intellectual tradition of physics. The old ideas are (...) still new to those who don't understand them. Some of the classic discoveries and theories Lemons discusses include Archimedes' Principle, Alhazen's early theory on the optics of vision and refracted rays, Oresme's Triangle, how Copernicus was able to discover heliocentricism, and Rontgen's accidental discovery of X-rays. (shrink)

External validity is typically regarded as the downside of case study research by methodologists and social scientists; case studies, however, are often aimed at drawing lessons that are generalizable to new contexts. The gap between the generalizability potential of case studies and the research goals demands closer scrutiny. I suggest that the conclusion that case study research is weak in external validity follows from a set of assumptions that I term the "traditional view," which are disputable at best. In this (...) view, external validity is treated as a matter of mere representativeness. I argue that it is best understood instead as a problem of inference and that the emphasis should be placed on the comparability of the study rather than on the typicality of the case. By making case studies highly comparable, their external validity can be reliably and efficiently assessed and, in this way, their generalizability potential enhanced. (shrink)

Urbanization is the mechanism for the entanglement of things and experiences as commodities, an interminable restlessness of disorientation, a suspended state, where the capacity to maintain a hold on things and attain a sense of emplacement increasingly necessitates enforced resilience, of people embracing rather than warding off their imminent expendability. As such, what are the possibilities for the city to become a space of communing as an intersection of complex ecologies, common sensibilities and new forms of provision and care? This (...) response to Adrian Parr’s reflections on these issues in her article, ‘Urban Debt, Neoliberalism and the Politics of the Commons’, draws upon various African American practices for inhabiting the city as a vehicle of strategic indifference to efforts to render collective life expendable. This indifference has long been deployed to insulate experimental practices of care, economic and social collaboration, and to ‘honour the city differently’. (shrink)

Machine generated contents note: Chapter One: Wrong Question, Right Answer -- Exercise 1: Getting right into it -- Exercise 2: Watching your hand -- Exercise 3: Marking practice -- Chapter Two: Realistic Drawing -- Exercise 4: Picking an object to draw -- Exercise 5: Attentive looking -- Exercise 6: Noticing awareness -- Exercise 7: Marking from the sense of sight -- Exercise 8: Simple rendering -- Exercise 9: Try perspective -- Exercise 10: Working inward -- Chapter Three: Systematic Drawing (...) -- Exercise 11: The circular arrow - a visual mantra -- Exercise 12: Improvising between two points and finding the world in between -- Exercise 13: Thought as art -- Exercise 14: All four pixel images -- Exercise 15: Book of compositions -- Chapter Four: Improvisational Drawing -- Exercise 16: Going outside the box -- Exercise 17: Not-breath awareness -- Exercise 18: Growing improvisation -- Exercise 19: Chasing the Coltrane Effect -- Exercise 20: Drawing to reveal inner conditions -- Exercise 21: Noticing Intuition -- Exercise 22: You are the universe drawing -- Chapter Five: Reading the Drawings -- Exercise 23: An exact physical description -- Exercise 24: Feeling the meaning -- Exercise 25: The story we tell ourselves -- Exercise 26: Connecting our story to a larger story -- Chapter Six: The Search for the Source of Creativity -- Exercise 27: Priming the source -- Exercise 28: Sitting still at the origin -- Exercise 29: Embedded sources -- Exercise 30: Mindful of the path -- Chapter Seven: Meta-Drawing -- Exercise 31: Sharing with yourself -- Exercise 32: Sharing with a trusted friend -- Exercise 33: Sharing with the world. (shrink)

Technical change and evolving product complexity lead to a separation of practical and theoretical processes in design and to an increased use of drawings, in particular, scale drawings.1 In contrast to handicraft evolution, the use of drawings in "design-by-drawing,"2 in particular, scaled and dimensioned drawings, separates experiences from production. Design and manufacturing follow different paths. This separation in the case of manual drawing needs to be examined. I am well aware that informal drawings differ from scale or construction drawings. If (...) they contain unambiguous symbols, manual drawings can be regarded as a form of notation. Design-by-drawing can mean planning a notation, for... (shrink)

Because psychological studies of attention and cognition are most commonly performed within the strict confines of the laboratory or take cognitively impaired patients as subjects, it is difficult to be sure that resultant models of attention adequately account for the phenomenon of effortless attention. The problem is not only that effortless attention is resistant to laboratory study. A further issue is that because the laboratory is the most common way to approach attention, models resulting from such studies are naturally the (...) most widely propagated, these models naturally tend to be biased toward features of attention most amenable to laboratory study, and these models by their implications set the agenda for future study that leads back to the laboratory. In this self-reinforcing system, features of attention not amenable to laboratory study are naturally neglected by researchers. In this chapter, I suggest an alternative model of attention as a heuristic for opening paths to further profitable research. The features of attention emphasized in this model are not new, but the synthesis is novel and sheds some light on issues relevant to the topic of effortless attention. I begin with the five following observations: -/- 1. One naturally pays attention to a task of current interest. 2. There are (at least) two distinct modes of attention—selective and diffuse. 3. Attention is a constantly shifting avenue for the assimilation of information. 4. Information is not forced in from outside but is captured through internal sensitization. 5. Human information processing is fundamentally syntactic. -/- Combining these five observations yields an explanatory model of attention that is not only consistent with the data from the many studies on attention in recent decades but also allows us to investigate the neglected phenomenon of effortless attention. The model relies on the notions of apertures, draw, and syntax and is explicated by addressing each of the above observations in turn. In the final part of the chapter, I explore how the model expands our understanding of effortless attention. (shrink)