Responding to Michael Luntley's article, ‘Learning, Empowerment and Judgement’, the author shows he cannot successfully make the following three moves: (1) dissolve the analytic distinction between learning by training and learning by reasoning, while advocating the latter; (2) diminish the role of training in Wittgenstein's philosophy, nor attribute to him a rationalist model of learning; and (3) turn to empirical research as a way of solving the philosophical problems he addresses through Wittgenstein. Drawing on José Medina's analysis of the fundamental (...) role of training in Wittgenstein's later philosophy, the paper offers a tour of key passages in the Investigations and other works to develop an understanding of what Wittgenstein meant by ‘mastery of techniques’. In opposition to Luntley's liberal‐individual, or his subject as rational agent, the author explores Wittgenstein's non‐foundationalist, forms of life approach to how we act with agreement. More effort must be given to differentiating Wittgenstein's view from that of the analytic school, which Luntley appears to echo despite his criticism of the analytic divide. (shrink)

This chapter contains sections titled: Following a rule Practices and techniques Doing the right thing and doing the same thing Privacy and the community view On not digging below bedrock.

What are the central features of mastery of an art or discipline? Is there a distinction between just being a master and high-level mastery? Does the concept of a master imply something more than mastery of techniques and skills? This paper investigates the conceptual topography of these concepts, attempts to answer these questions and others. It also sets forth general criteria for master-level Tuastery of any art or discipline. In addition, it explores some of the normative (...) questions related to the responsibilities of being a master. A master exemplifies the values of the art or discipline. Do these values stop at the edge of the subject or do they extend beyond it? In this direction two paradigms of masters are discussed. The broader of the two expands the conceptof a master to include self-mastery, mastery and proper relationships with others, and mastery of nocture as a non-coercive relationship. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Merging Traditional Technique Vocabularies with Democratic Teaching Perspectives in Dance EducationA Consideration of Aesthetic Values and Their Sociopolitical ContextsBecky Dyer (bio)IntroductionConventional aesthetic values in dance traditionally have been wed to long-established authoritarian teaching approaches in American professional dance companies and university dance programs. Developed over time from a mixture of enduring cultural tastes, aesthetic ideals, and historical influences, aesthetic values play a significant role in teaching and learning processes (...) in the classroom, although the impact of their presence on learning is often indiscernible or paid little attention. As dance educators in higher education make efforts to move toward more democratic teaching perspectives, they often find themselves philosophically lodged between established approaches to teaching traditional, codified vocabularies and aesthetics and more contemporary, student-centered, and democratically oriented perspectives to teaching and learning dance. Attention to the sociopolitical contexts of dance training gives practitioners opportunities to consider aesthetic values of dance from differing cultural vantage points and the perspectives by which these values are taught and learned.Each learning circumstance in dance is a complex weaving of personal and social experience involving individuals, communities, movers, and viewers. Movement aesthetic values emerge from personal and communal morals and ideals as well as social mores of the body, which create contextual lenses for experiencing, interpreting, and making meaning of movement vocabularies created and perpetuated in dance communities. It is important that teachers who seek to incorporate more democratically oriented, student-centered teaching perspectives become mindful of ways social values and perceptual/contextual frameworks impact personal [End Page 108] and communal practices in dance. Approaches to learning technique that consider sociocultural factors of dance movement aesthetics—wherein teachers and learners are led to recognize and reflect upon personal, social, and aesthetic values embodied in movement and embedded in movement vocabularies—can lead teachers and learners to better understand the significance of learning in dance as it relates to personal and social worlds beyond the classroom.This article will suggest how movement analysis from a socially contextualized perspective can inform understanding about the significance of sociopolitical contexts and aesthetic values in Western dance training. Perspectives of movement analysis will provide groundwork for discussing perceivable ways to address discrepancies between democratic and authoritarian teaching viewpoints and to challenge the prominent linking of conventional aesthetic values and vocabularies, as well as codified techniques, to authoritarian practices. The discussion will address relationships between pedagogical perspectives and ideologies held by teachers concerning the place and worth of conventional aesthetic values and the nature of aesthetic experiences in the dance technique classroom, and the potential understandings and meanings their students construct.Foundations of Movement Analysis: The Ideas and Practices of Rudolf LabanRecognizing embedded personal and social aesthetic values in movement is an important initial stage in developing more critically reflective practices that promote meaning, agency, and student interest in learning. The task is challenging because the only values accessibly evident to the bystander, and often the mover, are visual ones. Yet, as Rudolf Laban (1879-1958) suggested, intangible values also inspire movement. Laban created a theoretical framework—referred to as Laban Movement Analysis—for movement exploration, description, and analysis to consider both noticeably apparent and less-tangible values of movement by investigating movement phenomena and factors that generate them.1 The praxis-oriented system involves reflecting on movement observations, considering emotional and mental facets of movement, and taking into account experiential bodily perspectives of the mover.2Although one of Laban's fundamental purposes for developing a descriptive vocabulary for movement was to facilitate the mastery of dance technique,3 his teaching emphasized the "harmonious expressiveness of the whole individual," as he aimed to facilitate dancers' ability to understand and use their bodies in order to discover individual ways of expressing themselves and communicating.4 Laban's attitudes toward training were in sharp contrast to approaches of the day, yet interestingly, they were not [End Page 109] opposed to them. For example, common dance gestures and postures were expanded into free exploration and studied from diverse points of view rather than a narrow range of perspectives, aesthetic values, and movement qualities.5Laban's theory of "Effort," which he linked to emotions as well as... (shrink)

Every university student has his or her nemesis. Biology and social science students anticipate with great apprehension their required statistics course, while many philosophy students live in fear of formal logic. Math anxiety is the common thread uniting all of them. This article argues that since formal logic is an algebra requiring similar kinds of symbol-manipulation skills needed to succeed in a basic mathematics course, then if logic students have math anxiety, this can impede their progress. Further, it argues that (...) math anxiety is primarily caused by and exacerbated by poor instruction. Formal logic instructors who employ effective instructional techniques for reducing it can help their students overcome math anxiety to foster learning. Methods of instruction leading to anxiety reduction and evidence supporting their efficacy are discussed, including co-operative learning, the mastery goal approach, and self-paced learning. None of these methods holds back more advanced students. (shrink)

In this paper we examine Nietzsche’s relation to the life sciences of his time and to Darwinism in particular, arguing that his account of the will to power in terms of technics eschews three metaphysical prejudices, hylemorphism, utilitarianism, and teleological thinking. Telescoping some of Nietzsche’s pronouncements on the will to power with a Bergsonian lens, our reading of the will to power, as an operation productive of time, the future or life, offers an alternative to Heidegger’s. Rather than being reducible (...) to a technics of domination or mastery, the will to power, we argue, is best interpreted as a technics of material forces that recasts all things past and future, near and far, moment by moment. (shrink)

A preoccupation with technology has helped bury the philosophical question: What is the point of education? I attempt to answer this question. Various answers to the question are surveyed and it is shown that they depend upon different conceptions of the self. For example, the devotional-self of the 12th century (which was about becoming master of the self) gave way to the liberal-self (which was to facilitate social change). Education can only be satisfactorily justified, I argue, by appeal to transcendent (...) values such as mastery of the self, which is incipient in liberal education. (shrink)

Hands are notoriously hard to draw. To compellingly capture their detail, proportion, and movement is generally considered a mark of an artist’s mastery of tech.

What makes Japanese art unique? In The Japanese Sense of Beauty, art critic and historian Takashina Shūji reflects on the aesthetic and philosophical sensibilities underlying Japanese art throughout its history, from the earliest calligraphy and painted screens to modern masters like Hishida Shunso and Yokoyama Taikan. Along the way, Takashina explores themes such as the relationship between subjective perspective and "flat" composition and the playful intermingling of word and image throughout the plastic arts of Japan. He also offers fresh critical (...) perspectives on many individual artists, including Takeuchi Seihō, one of the first to fuse traditional techniques with Western realism, and Takahashi Yuichi, who combined a vivid mastery of texture with deceptively traditionalist compositions. Other essays in this wide-ranging collection touch on everything from the symbolism of Mount Fuji to the ancient music known as gagaku, showing how even the most disparate topics can shed new light on what is essential to Japanese culture. The Japanese Sense of Beauty is an important contribution to the study of aesthetics and cultural history, offering insights that will change the way you think about Japanese art." -- Publisher's description. (shrink)

A preoccupation with technology has helped bury the philosophical question: What is the point of education? I attempt to answer this question. Various answers to the question are surveyed and it is shown that they depend upon different conceptions of the self. For example, the devotional‐self of the 12th century (which was about becoming master of the self) gave way to the liberal‐self (which was to facilitate social change). Education can only be satisfactorily justified, I argue, by appeal to transcendent (...) values such as mastery of the self, which is incipient in liberal education. (shrink)

An argument is presented to the effect that the ability to feel or to experience meaning conditions the ability to mean, and is thus essential to our notion of meaning. The experience of meaning is manifested in the "fine shades" of use and behavior. Theses, so obvious in music, constitute understanding music, which makes music understanding so relevant to understanding language. Applying these notions of understanding, feeling, and experience--as well as their explication in terms of comparisons, internal relation, and (...) class='Hi'>mastery of technique--to music, where they are so apt and natural, is fertile both for the philosophy of language and the philosophy of music. (edited). (shrink)

If you don’t feel it you can’t be taught it. Either you can play Schumann or you can’t. Successful performances of Western classical music exhibit both technical mastery and aesthetic insight. While legacies of music teachers have distilled schools of technique and stylistic performance practices, the aesthetic components of interpretation have not received systematic treatment. This may be due to inherent difficulties with teaching aesthetics: musical meaning is hard to express in words, and even demonstrating for students does not (...) guarantee their understanding. Some teachers, like Theodor Leschetizky in the above quote, believe aesthetics cannot truly be taught because it reflects a musician’s personal.. (shrink)

For a long time, we humans have excelled in mimicking nature with the goal of exploiting it. Now, with the existential threat of global climate change on the horizon, the ever-provocative Michael Taussig asks what it would take to change ourselves so as to save our world. Acknowledging the possibility of collapse and our all-too-human impotence in the face of accelerating disaster, this book is not solely a reflection on our tragic condition but also a theoretical effort to reckon with (...) those human faculties that have fed our ambition for dominance over nature. At stake is an ultimate undoing of our sense of control--a "mastery of non-mastery." Animated by the urgency of a planet approaching meltdown, Taussig captures our moment, and all its attendant mythologies, with luminescent clarity. (shrink)

Wittgenstein argues that understanding a language consists of mastery of techniques for playing language?games rather than some sort of mental state or episode such as mental imagery, rule invocation, or atmosphere investing our experience of words. His elimination of the three mentalistic alternatives presupposes the peculiar distinction, or its virtual lack, between speaker and listener presupposed by his positive claim, instead of establishing the latter. This paper vindicates the episodic nature of certain types of understanding, and gives each (...) of his three alternatives a suitably qualified role therein, by drawing the distinctions in a less biassed way. (shrink)

Taking Wittgenstein's love of music as my impetus, I approach aporetic problems of epistemic relativity through a round of three overlapping (canonical) inquiries delivered in contrapuntal (higher and lower) registers. I first take up the question of scepticism surrounding ‘groundless knowledge’ and contending paradigms in On Certainty (physics versus oracular divination, or realism versus idealism) with attention given to the role of ‘bedrock’ certainties in providing stability amidst the Heraclitean flux. I then look into the formation of sedimented bedrock knowledge, (...) or practices of knowing, by comparing Wittgenstein's remarks on animal habituation and initiate training into human forms of life. In the latter case, mastery of techniques—our common education—secures agreement in judgment. Finally, I entertain Wittgenstein's obscure references to Einstein's Relativity in Zettel, showing initiate training as a way of ‘setting the clocks’ with variable degrees of certainty, relative to the language‐games played. Together, these three approaches help us to stop the ‘endless circling’ when philosophers try to address knowledge questions through the logic of object and designation, or verification of correspondence between propositions and things. Instead, attention moves to the way we educate our children and how we employ agreements and bedrock certainties in practices. (shrink)

Ranging from ancient Greek thought to contemporary quantum mechanics, Mastery of Nature investigates to what extent nature can be conquered to further human ends and to what extent such mastery is compatible with human flourishing.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of which (...) are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 73-84 [Access article in PDF] Music-Picture:One Form of Synthetic Art Education"Music-picture (a picture drawn through musical perception)" has been widely accepted by art educators in Japan. The purpose of this essay is to propose the making of music-pictures as art education and to put it on afirm theoretical base. I first investigate three gestalt rules: adjacency, continuance, and resemblance, all of which (...) are applicable to the senses of both seeing and hearing. Next I present research on color hearing as one version ofsynaesthesia, which is the comprehensive faculty that binds the five senses in various ways. The well-organized music-picture program by Kaoru Sasaki 1 is introduced as an example. 2 The synthetic art-educational value of music-picture will become clearer through these examinations. The Interrelations between Visual Arts and Music It is exciting that the visual arts meet music in an art class, even if these subjects are entirely different in regard to media, expressive form, the category of perception, and mastery of techniques. Put simply, Picasso's works are visible, whereas Stravinsky's pieces are invisible. Nevertheless, both powerfully convey imaginative and often narrative messages. Relying on intuition alone, I firmly believe both are interchangeable.My research on common methods of organizing both recorded music and painting was my first observation of the mutual relationship between music and visual arts. 3 But what I considered then would not be applied to art class directly because the research was based on my practical experience. It did not have any educational goals. Now I recognize that instructive approaches are necessary to lay the foundation for art classes dealing with interaction between two distinct modalities.In Japan, the Ministry of Education and Science provides the government curriculum guidelines nearly every ten years. It contains descriptions on two subjects: The visual arts and music taught in these classes are at an elementary school level and a junior high school level, both located within a compulsory education system. The new version has been in force since April 2002 (the new school term starts in April in Japan). Objectives in the two educational fields are similar and ideas of what art and music education ought to be are almost the same. The aim common to both in the government curriculum guidelines: "Through expression and appreciation, we [End Page 73] cultivate students' sentiments" invites the linking of music and the visual arts across the curriculum.Many art educators in Japan are interested in this sort of idea and have actually put it into practice. 4 They are engaged in interrelating or even unifying music and the visual arts. Additionally I know other teachers who have designed and proposed many ideas toward this crossover. Listed below are general ideas that seek to combine visual arts with music in an art class.1) Music-picture: to make a pictorial description of impressions received from music.2) Sound map: to make a map of sounds heard at a given location. Each sound is visualized by simple marks like - - -, <<<, ~~~, ooo, and xxx.3) Graphic notation: to write a score which directs the details, whole form, and progression of music by graphics instead of staff notation. Using onomatopoeias or instructions by words are common. It can be improvised, based on intuitively translating visual impacts into sounds.4) Sound toy: to make an original musical instrument of familiar easil obtained materials. For instance, a corrugated cardboard ukulele whose strings are rubber bands, a pair of maracas made of empty cans and soybeans, and so forth.5) Sound sculpture: to make sculpture producing interesting sounds (sometimes noises like creak or clatter). Extensive genres: wood sculpture, metal construction, assemblage (junk arts), kinetic arts, and so on.6) Sound installation: to make a place where participants experience sounds generated by objects or equipment.7) Multimedia: in the broad sense, to mix visuals with music; noises like jingle, tap, and bang! in daily life, or natural environmental sounds like a pit-a-pat of falling rain, a whisper of leaves, or... (shrink)

The chapters in which Thucydides describes the revolt of Potidaea and the subsequent operations there have often been criticized for their lack of clarity and precision. Their unevenness suggests an inadequate mastery of technique, and it seems very probable that they were written in the earliest years of the Peloponnesian war and never revised. Although opportunities to interrogate Peloponnesian prisoners must occasionally have come his way , his accounts of military operations which took place long before his banishment are (...) founded very largely upon evidence derived from Athenian sources; but the chapters on Potidaea do not suffer from this disadvantage, and their faults are in no way attributable to a dearth of information from Peloponnesian sources, which seem, strangely enough, to have provided him with much of his material. His narrative is written as much from a Peloponnesian as from an Athenian point of view, and indeed it achieves warmth and colour only where its subject is the Corinthian Aristeus, whose plans and even motives are described in some detail, though they did not substantially influence the course of events. His treatment of Aristeus is sufficiently remarkable to merit examination with the object of seeking an explanation of its peculiarities. (shrink)

Presents advice on how to gain personal freedom by following the wisdom of the Toltecs.

Analytical commentary -- Fruits upon one tree -- The continuation of the early draft into philosophy of mathematics -- Hidden isomorphism -- A common methodology -- The flatness of philosophical grammar -- Following a rule 185-242 -- Introduction to the exegesis -- Rules and grammar -- The tractatus and rules of logical syntax -- From logical syntax to philosophical grammar -- Rules and rule-formulations -- Philosophy and grammar -- The scope of grammar -- Some morals -- Exegesis 185-8 -- Accord (...) with a rule -- Initial compass bearings -- Accord and the harmony between language and reality -- Rules of inference and logical machinery -- Formulations and explanations of rules by examples -- Interpretations, fitting and grammar -- Further misunderstandings -- Exegesis 189-202 -- Following rules, mastery of techniques and practices -- Following a rule -- Practices and techniques -- Doing the right thing and doing the same thing -- Privacy and the community view -- On not digging below bedrock -- Private linguists and private linguists : Robinson Crusoe sails again -- Is a language necessarily shared with a community of speakers? -- Innate knowledge of a language -- Robinson Crusoe sails again -- Solitary cavemen and monolinguists -- Private languages and private languages -- Exegesis 203-37 -- Agreement in definitions, judgements, and form of life -- The scaffolding of facts -- The role of our nature -- Forms of life -- Agreement : consensus of human beings and their actions -- Exegesis 238-42 -- Grammar and necessity -- Setting the stage -- Leitmotifs -- External guidelines -- Necessary propositions and norms of representation -- Concerning the truth and falsehood of necessary propositions -- What necessary truths are about illusions of correspondence : ideal objects, kinds of reality, and ultra-physics -- The psychology of the A priori -- Knowledge -- Belief -- Certainty -- Surprise -- Discoveries and conjectures -- Compulsion -- Propositions of logic and laws of thought -- Alternative forms of representation -- The arbitrariness of grammar -- A kinship to the non-arbitrary -- Proof in mathematics -- Conventionalism. (shrink)

The pressure of evil -- Out of the heart -- Satan, where is thy victory? -- The ethics of tragedy -- The tragic drama of today -- Tragedy and the gospel -- The sin against the Holy Ghost -- The society for corporate penitence -- The serene soul.

In Winter 2017, the first author piloted a course in formal logic in which we aimed to (a) improve student engagement and mastery of the content, and (b) reduce maths anxiety and its negative effects on student outcomes, by adopting student oriented teaching including peer instruction and classroom flipping techniques. The course implemented a partially flipped approach, and incorporated group-work and peer learning elements, while retaining some of the traditional lecture format. By doing this, a wide variety of (...) student learning preferences could be provided for. (shrink)

The belief to have fixed or malleable traits and help giving: implicit theories and sequential social influence techniques Two sequential social influence techniques, the foot-in-the-door and the door-in-the-face, seem to be symmetrical, but there are different moderators and quite different mechanisms underlying each of the strategies. What links both techniques is the social interaction between a person presenting a sequence of requests and an interlocutor. The techniques' effectiveness depends on the course and perception of the interaction (...) and the difficulty of requests in the sequence. The aim of the article was to verify various mechanisms of incremental and entity theorists compliance with the FITD and the DITF techniques. In a series of four studies it was shown that incremental theorists comply the FITD technique to a greater extend especially when a sequence of requests meets their mastery style of behavior thus means an interesting challenge to undertake or opportunity to deepen contact with a newly met person. Entity theorists are more prone to the DITF strategy as their helpless style of behavior and sense of guilt are triggered, thus a sequence of decreasing in magnitude demands is perceived as less threatening. (shrink)

Two of the most important political movements of the late twentieth century are those of environmentalism and feminism. In this book, Val Plumwood argues that feminist theory has an important opportunity to make a major contribution to the debates in political ecology and environmental philosophy. _Feminism and the Mastery of Nature_ explains the relation between ecofeminism, or ecological feminism, and other feminist theories including radical green theories such as deep ecology. Val Plumwood provides a philosophically informed account of the (...) relation of women and nature, and shows how relating male domination to the domination of nature is important and yet remains a dilemma for women. (shrink)

Psycholinguistics has provided numerous theories that explain how a person acquires a language, produces and perceives both spoken and written language, including theories of proceduralization. Learners of English as a foreign language often find it difficult to achieve oral fluency, a key construct closely related to the mental state or even mental health of learners. According to previous research, this problem could be addressed by the mastery of formulaic sequences, since the employment of formulaic sequences could often promote oral (...) fluency in the long run, reflected in the positive relationship between formulaic sequence use and oral fluency. However, there are also findings contradicting the abovementioned ones, without adequate explanations. This study aims to explore the roles of formulaic sequences in oral fluency, taking into account the relationship between formulaic sequence use and oral fluency. This study investigated 120 pieces of spoken narratives by Chinese EFL learners, using both quantitative and qualitative methods, combined with artificial intelligence techniques. Results of canonical correlation analysis showed that the frequency of formulaic sequences was significantly related to speed fluency and breakdown fluency, while the variety of formulaic sequences was significantly related to repair fluency. Case studies further demonstrated that formulaic sequences could contribute to oral fluency development by promoting speed and reducing pausing when retrieved holistically, but they sometimes lost processing advantages when retrieved and processed in a word-by-word manner. The inappropriate use of formulaic sequences also neutralized the facilitative effects of formulaic sequences on repair fluency and could mirror speakers’ occasional tendency to sacrifice repair fluency for the improvement of speed and breakdown fluency when using formulaic sequences. Pedagogical implications were provided accordingly to promote sustainable oral fluency development through the use of formulaic sequences. (shrink)

This article considers the issues of adaptation and organization of the educational process, barrier-free environment and readiness for professional activity of students with disabilities in inclusive education in conditions of inclusive education in a medical university. The relevance of this work is determined by one of the priority areas of state policy in the field of higher education – access to higher education for people with disabilities in inclusive education. Inclusive education at the university is designed to ensure not only (...) the realization of the right of students with disabilities in inclusive education to higher education, but also to solve the problems of socialization and professional demand for such people. In order to improve the process of introducing inclusive education at the Ryazan State Medical University named after Academician I.P. Pavlov, a study was conducted, the main problems and ways of solving them were identified, related to the organization of the educational process, the conditions of the barrier-free environment and the readiness for professional activity of students with disabilities in inclusive education. An increase in the proportion of university teachers who have undergone advanced training in inclusive education also contributes to solving problems. Adaptation of educational programs and educational and methodological support for persons with disabilities includes psychological, pedagogical and tutor support etc. The organization of the educational process using distance education technologies is one of the priority conditions for teaching students with disabilities and/or HIA. The use of this technology makes it possible to significant-ly expand and modify some educational standards for students with disabilities in inclusive education, namely, to create an individual way for each student with disabilities in inclusive education in a medical university. It is proposed to use training techniques such as: online consultation of teachers; VR technologies; availability of training materials 24/7; online webinars that facilitate the inclusion of such students in the educational and research activities of the university. The professionally organized educational space and educational process of the university provide not only a high level of mastery of professional competencies, but also contribute to the formation of personal qualities of students with disabilities in inclusive education, necessary for their successful socialization, life and activity in society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Reading Karl Barth, Interrupting Moral Technique, Transforming Biomedical Ethics by Ashley John MoyseJoshua DanielReading Karl Barth, Interrupting Moral Technique, Transforming Biomedical Ethics Ashley John Moyse NEW YORK: PALGRAVE MACMILLAN, 2015. 263 PP. $100.00Reading Karl Barth, Interrupting Moral Technique, Transforming Biomedical Ethics by Ashley John Moyse is a work in fundamental theological bioethics. Rather than an applied approach that attends to particular dilemmas or issues—which falls prey to the (...) "moral technique" that is Moyse's main target—the author articulates an embodied ethical practice of postures, grounded in Karl Barth's theology, which promotes conversation over solitary reflection and plurality by way of particularity. Beyond usual complaints about contemporary biomedicine and bioethics, Moyse's subtle point is that standard bioethics, trapped in the totalizing grammar of common morality theory, functions as a technique, a tool to produce decisions more efficiently from the abstracted, disengaged stance of an impersonal agent. Hence, bioethics itself mimics the very technologies that provoke bioethical perplexities in the first place. What's needed, according to Moyse, is less a new theory than a new catechesis that can interrupt and transform standard bioethics at the level of embodied practice. [End Page 221]After an introduction that outlines the book's argument and perspective, the first chapter gives an account of bioethics' grounding in common morality theory (specifically, Tom Beauchamp and James Childress, and Bernard Gert). Ultimately, common morality is judged to be sinful, presuming that the proffered moral mastery of bioethics can secure the human good. Over the next three chapters, Moyse articulates, on the basis of Karl Barth and ancillary others, three postures of human flourishing involving dispossessing ourselves of moral mastery, each aligned with a theological virtue. First is the posture of openness or embodied solidarity, understood as a combination of the availability of our full attention to the other, with the fidelity to remain so available. Theologically, this aligns with love as self-surrender to the other and relates to Barth's account of humanity as cohumanity, existing essentially in encounter and community. Second is the posture of agency, understood as the freedom to act recognizant of the particular and provisional character of our decisions. This aligns with hope and is grounded in Barth's account of God's command as permission discerned through conscience and with others. Third is the posture of respect, which is a coalescence of openness and agency in view of our temporal finitude, consisting of reverence for the life we're given and resolve to live it in the face of illness and death. This aligns with faith and relates to Barth's account of God's command to live as the freedom to will to live within limitations. Moyse concludes with an illustration of how these postures might be exercised not as an application to a particular dilemma or issue but as a catechetical re-envisioning of our common moral space.Moyse makes a convincing case that Barth is a profitable theological resource for transforming bioethics, particularly in terms of shifting ethical attention from principles and rules to actual persons. While the exposition of Barth is excessive, much of it simply shoring up the book's theological credentials, what Moyse builds from it is salient. Still, he might have theorized the concept of posture more. The term is provocative in its corporeally concrete implications but vague as an ethical category. Moyse differentiates postures from Aristotelian habits yet doesn't clarify how postures differ from virtues. That Moyse aligns his postures with theological virtues only sharpens the problem. Relatedly, this reviewer wishes Moyse had engaged Edmund Pellegrino's medical ethical work: their shared discontent with principles-based bioethics but divergent intuitions of what bioethics should be (Pellegrino favoring a more philosophical, virtue-ethical, and humanistic perspective) would have helped define Moyse's contribution more sharply. Ultimately, these dissatisfactions are testimonies to this reviewer's appreciation for the substance of Moyse's own ethical voice and desire to hear it more clearly. [End Page 222]Joshua DanielUniversity of ChicagoCopyright © 2017 Society of Christian Ethics... (shrink)

: This paper examines the following two ideas and their relations: aspect-perception is a perceptual experience; veridicality is the primary standard for evaluating the success of a perceptual experience. I argue that a valuable lesson to glean from Wittgenstein’s investigations of aspect-perception is that aspect-perception is “in-between” when it comes to whether and how veridicality is at issue in it. Yet it does not follow from this in-betweenness that there is no standard by which we evaluate aspect-perception, no notion of (...) success at perceiving an aspect. Aspect-perception has normative dimensions that are not a matter of veridicality, or at least not in any straightforward way, some of which I explore here. These normative dimensions are brought to light, in part, by shifting evaluative focus to what the perceiver “brings” to aspect-perception experiences and attending the ways aspect-perception requires and involves mastery of a technique. The shift in focus also helps illuminate different ways of understanding aspect-blindness and the kinds of failure at play in different kinds of aspect-blindness. All in all, embracing aspect-perception’s in-betweenness regarding whether or not veridicality is at issue in it illumines aspect-perception’s distinctive character and richness. (shrink)

"The discovery of the law of Evolution in the material world has prepared men for a knowledge of the law of cause and effect in the mental world.... In the realm of thought and deed, the good survives, for it is ''fittest;'' the evil ultimately perishes. To know that the ''perfect law'' of Causation is as all-embracing in mind as in matter, is to be relieved from all anxiety concerning the ultimate destiny of individuals and of humanity-''For man is man (...) and master of his fate'' and the will in man which is conquering the knowledge of natural law will conquer the knowledge of spiritual law.... In this volume I have tried to set down some words indicative of this Law and this Destiny, and the manner of its working and its building." - JAMES ALLEN - A Complete and Unabridged edition of James Allen''s book The Mastery of Destiny. Part of The Works of James Allen Series. Other Books by James Allen:- Above Life''s Turmoil All These Things Added As a Man Thinketh Byways of Blessedness Entering the Kingdom (Part of- "All These Things Added") Foundation Stones to Happiness and Success From Passion to Peace From Poverty to Power James Allen''s Book of Meditations for Every Day in the Year Light on Life''s Difficulties Man: King of Mind, Body and Circumstance Men and Systems Morning and Evening Thoughts Out from the Heart (Sequel to "As a Man Thinketh") Poems of Peace The Divine Companion The Eight Pillars of Prosperity The Heavenly Life (Part of-"All These Things Added") The Life Triumphant The Path to Prosperity (Part of-"From Poverty to Power") The Shining Gateway The Way of Peace (Part of-"From Poverty to Power") Through the Gate of Good. (shrink)

Hospital ethics committees must be knowledgeable if they are to perform consultations, advise administrators on policy, or offer educational programs. Because the membership of the committee is interdisciplinary, with most drawn from the healthcare professions, the individuals who join cannot be expected to bring knowledge of bioethies with them. Therefore, a new committee must spend time developing expertise before it can appropriately serve the hospital community. Although the need for committee self-education is generally recognized, it is seldom discussed in any (...) detail. When discussed at all, expertise in bioethies is usually described as composed of a familiarity with an identifiable body of knowledge and mastery over techniques of moral reasoning. It is assumed that a committee can develop this expertise early in its life through a short course of study. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dispelling the Myth of the Non-Singer:Embracing Two Aesthetics for SingingLouise M. PascaleI entered the Music Workshop course with trepidation. Of all the courses in my Master's program, I feared this one the most. My experiences with music have always been negative ones. As I entered the classroom, memories surfaced of the time I was told to mouth the words so I would not throw the rest of the class (...) off key and when I was laughed off the stage after a friend and I attempted a rendition of "Rolling O'er the Billows." After that, I was convinced I should not sing.1Maxine Greene reminds us how easy it is to get caught in the "main text of life," one that is "negotiated mostly by convention, routine, habit, duty and one we have very little choice in."2 Our long-held acceptance of the "singer" and "non-singer" provides a perfect example of Greene's metaphor. The traditional meaning of "singing" is created out of convention and habit, perpetuated by the "main text" (white, middle class) values of American society.Singing, as it is understood in today's educational settings, settled into its role in American music education as a result of a number of significant decisions made as early as the 1600s by prominent leaders of the church.3 Each of these decisions added to the growth and strength of the view of singing that became [End Page 165] what I refer to as a "taproot"4 in music education. This taproot continued to settle comfortably into the groundwork of music education and has had major and long-lasting effects on how we generally perceive and experience singing.The Western perspective of singing is wedded to a multitude of assumptions and beliefs and, over a period of time, has taken on complex meaning. It is associated with subtle nuances, such as valuing the high, lilting soprano voice over the alto. It is connected to various philosophies and strongly held convictions, such as improving vocal performance through the mastery of musical literacy, and even exclusionary practices, such as selecting out the "better singers" and suggesting that others refrain from singing at all.Perhaps the most profound consequence of this entrenched taproot is that it has left American society with a very limited perception of "singing." This singular, well-supported root, albeit strong, impenetrable, and closely connected with a number of cultural and societal assumptions, effectively narrows the scope of our perceptions, our language, our philosophy, and our teaching practices in the domain of singing in education. Illustration of the powerful ways music relates to and directly expresses the social attitudes and cognitive processes of a culture are found in the work of John Blacking and John Miller Chernoff.5 Their work provides an opportunity to reflect on the cultural and societal influences of the "taproot" philosophy of music education and the ways these have created limitations on who expresses themselves musically, why, how, and for whom.One of the most critical of those limitations is that we have classroom teachers who rarely, if ever, sing with their students. The gap between those in education who sing and offer musical activities to their students and those who do not is greater than ever. The "non-singer" mentality persists in educational communities and is not being addressed in music education circles. Singing continues to be considered, by most educators, to be a complicated skill that must be learned and requires training in breathing, vocal technique, and diction, and a basic knowledge of note reading.Many have strong feelings about singing; it is not a neutral subject. When the topic of singing is brought up, some involved in the conversation are likely to personalize it and be eager to share stories about their singing ability and to express their opinions about whether or not they qualify as a "singer." Sometimes the reactions can be extreme. Some people shy completely away from singing, to the point of running from the room at the mere suggestion that they might be asked to participate in singing in public. Others have an opposite reaction and experience singing as an enjoyable activity... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dispelling the Myth of the Non-Singer:Embracing Two Aesthetics for SingingLouise M. PascaleI entered the Music Workshop course with trepidation. Of all the courses in my Master's program, I feared this one the most. My experiences with music have always been negative ones. As I entered the classroom, memories surfaced of the time I was told to mouth the words so I would not throw the rest of the class (...) off key and when I was laughed off the stage after a friend and I attempted a rendition of "Rolling O'er the Billows." After that, I was convinced I should not sing.1Maxine Greene reminds us how easy it is to get caught in the "main text of life," one that is "negotiated mostly by convention, routine, habit, duty and one we have very little choice in."2 Our long-held acceptance of the "singer" and "non-singer" provides a perfect example of Greene's metaphor. The traditional meaning of "singing" is created out of convention and habit, perpetuated by the "main text" (white, middle class) values of American society.Singing, as it is understood in today's educational settings, settled into its role in American music education as a result of a number of significant decisions made as early as the 1600s by prominent leaders of the church.3 Each of these decisions added to the growth and strength of the view of singing that became [End Page 165] what I refer to as a "taproot"4 in music education. This taproot continued to settle comfortably into the groundwork of music education and has had major and long-lasting effects on how we generally perceive and experience singing.The Western perspective of singing is wedded to a multitude of assumptions and beliefs and, over a period of time, has taken on complex meaning. It is associated with subtle nuances, such as valuing the high, lilting soprano voice over the alto. It is connected to various philosophies and strongly held convictions, such as improving vocal performance through the mastery of musical literacy, and even exclusionary practices, such as selecting out the "better singers" and suggesting that others refrain from singing at all.Perhaps the most profound consequence of this entrenched taproot is that it has left American society with a very limited perception of "singing." This singular, well-supported root, albeit strong, impenetrable, and closely connected with a number of cultural and societal assumptions, effectively narrows the scope of our perceptions, our language, our philosophy, and our teaching practices in the domain of singing in education. Illustration of the powerful ways music relates to and directly expresses the social attitudes and cognitive processes of a culture are found in the work of John Blacking and John Miller Chernoff.5 Their work provides an opportunity to reflect on the cultural and societal influences of the "taproot" philosophy of music education and the ways these have created limitations on who expresses themselves musically, why, how, and for whom.One of the most critical of those limitations is that we have classroom teachers who rarely, if ever, sing with their students. The gap between those in education who sing and offer musical activities to their students and those who do not is greater than ever. The "non-singer" mentality persists in educational communities and is not being addressed in music education circles. Singing continues to be considered, by most educators, to be a complicated skill that must be learned and requires training in breathing, vocal technique, and diction, and a basic knowledge of note reading.Many have strong feelings about singing; it is not a neutral subject. When the topic of singing is brought up, some involved in the conversation are likely to personalize it and be eager to share stories about their singing ability and to express their opinions about whether or not they qualify as a "singer." Sometimes the reactions can be extreme. Some people shy completely away from singing, to the point of running from the room at the mere suggestion that they might be asked to participate in singing in public. Others have an opposite reaction and experience singing as an enjoyable activity... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a number (...) of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (shrink)

The rapidly changing field of genetics affects society through advances in health-care and through implications of genetic research. This study addresses the impacts of new genetic discoveries and technologies on different segments of today's society. The book begins with a chapter on genetic complexity, and subsequent chapters discuss moral and ethical questions arising from today's genetics from the perspectives of health care professionals, the media, the general public, special interest groups and commercial interests.

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.3 (2003) 41-57 [Access article in PDF] The Subordination of Aesthetic Fundamentals in College Art Instruction Randall Lavender we smile at a hasty philosopher who assures his disciples that art is about to be replaced with philosophy. 1Opportunities for college students of art and design to study fundamentals of visual aesthetics, integrity of form, and principles of composition are limited today by a number (...) of factors. With the well-documented prominence of postmodern critical theory in the world of contemporary art (and itsquestionable effects on higher education in art and design), the study of aesthetic fundamentals is largely subordinated to a multitude of conceptual, theoretical, and expressive priorities recycled from the art world. 2 Contemporary idea-based priorities tend to obviate, in the minds of many artists who teach, the "need" for aesthetic fundamentals in college art curricula. But as Rudolph Arnheim suggests, art is not easily replaced by ideas alone. For no matter how interested artists, instructors, or students may be in ideas, theory, or self-expression, today's college art/design students need to gain a solid grounding in aesthetic fundamentals early in their college art educations in order to become adept and well-informed makers of art and/or design.In this essay I argue for the value of aesthetic fundamentals in the education of artists and designers, and outline a series of factors that contribute to the subordination of aesthetics in college art instruction. I examine introductory-level college art/design curricula, including a pair of courses that are intended to provide students with visual, compositional, and/or aesthetic fundamentals, and explore why instructors, even in these courses, too often bypass such fundamentals in their teaching. Specifically, I discuss the ways in which traditions of art education, mixed with artist/teachers' own art training, lead to a virtual dismissal of aesthetic fundamentals. Certain assumptions that professional artists often bring to their teaching and how these contribute to the problem are examined. I identify a historical phenomenon [End Page 41] that plays a key role in the subordination of aesthetic fundamentals — the schism between "art" and "design." I suggest an approach for embracing aesthetic fundamentals in college art instruction that preserves students' individual and cultural differences, while at the same time enabling them to make aesthetic decisions in their work, and to discern aesthetic quality in each other's work. Finally, I conclude that students can fully succeed in more advanced explorations of the complex and controversial realm of contemporary art issues, and certainly in the applied arts, only after receiving a solid, balanced, and inclusive grounding in the profound aesthetic power of clear organizing principles of visual information. The Value of Aesthetic Fundamentals Why are aesthetic fundamentals — that is, principles and elements of visual organization — actually important to the education of college art students? Among other reasons, they are important because professional artists do somehow have to learn to make their work aesthetically convincing, even if they must manage other challenges as well, including "newness," historical relevance, and significance of idea. The National Association of Schools of Art and Design shares this reasoning, as evidenced by their requirement that B.F.A. students acquire "essential competencies," including becoming "visually literate," developing an "understanding of basic design principles, concepts, media, and formats," and "mastery of basic foundation techniques." 3 The problem we face in educating artists today is that the range of challenges inherent to a career in the art world often results in aesthetic considerations being assigned a low priority in visual arts curricula. Many contemporary artists teaching in college art programs see themselves as all but immune to the realm of visual aesthetics; they subscribe instead to the prevalent postmodern dictum that aesthetics are superfluous. As this way of thinking permeates college art instructors' thinking to an ever-greater extent, students of art and design find themselves increasingly distanced from aesthetic training, and from the aesthetic experience. This distancing is a loss to students.Students lose when aesthetic fundamentals are neglected because for all the effort they might make... (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)

Rather than "transitional," the American interwar years constituted a contiguous and seminal era during which the social, religious, and aesthetic consequences of a changed environment, modernity, became powerful forces in shaping the patterns in recent popular culture. Increased literacy and affluence, media technologies, and changes in work and leisure encouraged a mass marketplace of ideas. Popular intellectuals, namely D. W. Griffith, Bruce Barton, John B. Watson, Edward Bernays, Harry Emerson Fosdick, Edward L. Bernays, George Creel, Pearl Buck, John Steinbeck, and (...) Gilbert Selders helped Americans reimagine entire areas of existence for the new context. They illuminate important cultural shifts regarding the nature of self in a rationalized, urban world, the legitimacy of religion in the shadow of skeptical empiricism, and the qualities and social role of art in the age of science, alienation, and political apathy. ;Many of our persistent forms of popular expression can be understood as cultural exchanges over the problem of modernity, evidence of the obtuse ways in which modernism has affected the general culture. Griffith's mawkish melodrama is, upon serious scrutiny, deeply informed by modern fears of personal anomie, naturalism, and the aloof power of the new state. New concepts of "personality" and the "masses," based on behavioristic assumptions, envisioned both self and society as malleable and helped mitigate feelings of alienation with promises of empowerment and self-transformation. With Fosdick and Barton, mainstream Protestantism absorbed "positive thinking" and therapeutic conceptions of religion's role in modern life, and in the process redefined the nature of God, self, and the Church, Buck and Steinbeck reshaped melodramatic formulae into response to modern tensions with a blend of brutal naturalism and sentimental romanticism, a vision of an embattled "human spirit." In these thinkers, we can see Americans confronting the century's most compelling issues, disorder, naturalism, scientism, and relativism. Each phenomenon was a way of admitting modern change while imagining techniques for manipulating it. The relentless pursuit in popular culture for social connectedness, mastery of environment, spiritual assurance, managerial order, and personal power can best be understood as multifarious compensatory strategies for our ambivalence with modernity. (shrink)

The movement of epistemic standards closer to moral virtue reflects a worrisome trend in the recent renascence of naturalism in philosophy that links access to truth with a deepening sense of the knower's history. While it is relatively harmless to insist that mastery of a scientific specialty requires training in certain techniques, it is more problematic (pace Kuhn) to insist that all such specialists share the same disciplinary narrative -- and still more problematic to require that they pledge (...) allegiance to the same philosophical world-view, say, what the US National Academy of Sciences calls "methodological naturalism." It makes for bad philosophy, bad science, and bad politics. Yet, we seem to be sliding down this slippery slope, which in the past has led to loyalty oaths and in the future could lead to the genetic profiling of people as unfit for scientific endeavors because of their propensity to belief in, say, the supernatural. (shrink)

Although fire is inherently dangerous, leading many animals to avoid it, for most of human history, mastery of fire has been critical to survival. Humans can therefore be expected to possess evolved psychological mechanisms dedicated to controlling fire. Because techniques for starting, maintaining, and using fire differ across ecosystems, the postulated adaptations can be expected to take the form of domain-specific learning mechanisms rather than fixed behavioral templates. After outlining features that such mechanisms are predicted to possess, I (...) review the literature on fire play in western children, finding that attraction to and interest in fire is widespread, experimentation with fire often begins in early childhood, and fire play typically peaks in late childhood or early adolescence. The latter aspect stands in contrast to results from a survey of ethnographers which reveals that, in societies in which fire is routinely used as a tool, children typically master control of fire by middle childhood, at which point interest in fire is already declining. This suggests that fire learning is retarded in western children, arguably due to patterns of fire use in modern societies that are atypical when viewed from a broader cross-cultural perspective. Together with the fact that western entertainment media provide a distorted portrait of the properties of fire, this pattern, while limiting the value of naturalistic observations of fire learning in the West, nevertheless has the benefit of providing a strong testing ground for future experiments exploring the universality of the psychology underlying the control of fire. (shrink)

If we supply a missing connection in the master text of English Renaissance poetic theory, we can bring the dilemma posed by political poetry into sharp relief. Sidney’s Defence of Poesie seeks to confirm the supremacy of the poet’s power over human minds by invoking the celebrated three-way distinction between poetry, philosophy, and history in the Poetics. According to Sidney, the proper question to ask of poetry is not “whether it were better to have a particular act truly or falsely (...) set down” but “whether it be better to have it set down as it should be, … for your own use and learning.” On this criterion, the philosopher shows himself too devoted to “knowledge” that “standeth upon the abstract and general,” to the “precept,” to “what should be.” The historian attends too much to “the particular truth of things and not to the general reason of things,” to the “example,” to “what is.” Only the poet “coupleth the general notion with the particular example” in “the speaking picture of poesy,” thus synthesizing through his “imaginative and judging power” the best that the philosophical and historical domains can offer. “Aristotle himself,” concludes Sidney, “plainly determineth this question, saying that poetry … is more philosophical and more studiously serious than history … because poesy dealeth with … the universal consideration, and the history with … the particular.” Yet in mounting his Defence of Poesie, Sidney fails to give due force to a related and equally important distinction drawn from the Poetics. Aristotle ranks poetry below philosophy—and, by implication, history as well—at the crucial juncture where ontology and epistemology meet. He exclusively credits philosophical universals with rational “necessity.” Poetic universals are recognized as having imaginative “likelihood,” but no more than this.1 Under this second three-way distinction, the domain proper to poetry turns out to be neither the realm of historical fact nor that of philosophical truth but some half-region of the truthlike, the verisimilar, disjoint from the plane of knowledge.[…]Milton coped with the questions intrinsic to political poetry during the decade from 1642 to 1652 when he rose to prominence as a pamphleteer on public issued and concurrently pioneered the writing of political sonnets in English. This essay examines the responses he made, in part in his prose but mainly in the composition of seven sonnets. Political poems in a root sense, these sonnets concern themselves with human agency channeled into the functions of the state, with power manifested through governance. After exploratory and uneven beginnings, the group as a whole goes a fair way toward vindicating the enterprise of political poetry and offering one set of criteria for a good political poem. 1. The core distinctions are drawn by Aristotle in chap. 9, secs. 2-4, of the Poetics; also see chap. 1, sec. 1 of the Topics on the distinction between demonstration, based on reasoning from true knowledge, and dialectic, based on reasoning from what is generally accepted as probable. The quotations in this paragraph are from Sidney: A Defence of Poetry, ed. J. A. Van Dorsten , pp. 35, 32, 33, 35. Janel Mueller is professor of English and humanities at the University of Chicago. She has published mainly on poetry and prose of the earlier English Renaissance, culminating in her book The Native Tongue and the Word: Developments in English Prose Style, 1380-1580. An interest in Milton, however, has drawn her more recently to work in the later part of this period. She is writing a book on nature, culture, and gender in Milton’s major poems. (shrink)