DNA and RNA are the only known natural genetic materials. Systematic modification of each of their chemical building blocks (nucleobase, sugar, and phosphate) has enabled the study of the key properties that make those nucleic acids genetic materials. All three moieties contribute to replication and, significantly, all three moieties can be replaced by synthetic analogs without loss of function. Synthetic nucleic acid polymers capable of storing and propagating information not only expand the central dogma, but also highlight that (...) DNA and RNA are not unique chemical solutions for genetic information storage. By considering replication as a question of information transfer, we propose that any polymer that can be replicated could serve as a genetic material.Editor's suggested further reading in BioEssays Xenobiology: A new form of life as the ultimate biosafety tool Abstract. (shrink)

Metaphors allow us to come to terms with abstract and complex information, by comparing it to something which is structured, familiar and concrete. Although modern science is “iconoclastic”, as Gaston Bachelard phrases it, scientists are at the same time prolific producers of metaphoric images themselves. Synthetic biology is an outstanding example of a technoscientific discourse replete with metaphors, including textual metaphors such as the “Morse code” of life, the “barcode” of life and the “book” of life. This paper focuses (...) on a different type of metaphor, however, namely on the archetypal metaphor of the mandala as a symbol of restored unity and wholeness. Notably, mandala images emerge in textual materials related to one of the new “frontiers” of contemporary technoscience, namely the building of a synthetic cell: a laboratory artefact that functions like a cell and is even able to replicate itself. The mandala symbol suggests that, after living systems have been successfully reduced to the elementary building blocks and barcodes of life, the time has now come to put these fragments together again. We can only claim to understand life, synthetic cell experts argue, if we are able to technically reproduce a fully functioning cell. This holistic turn towards the cell as a meaningful whole also requires convergence at the “subject pole”: the building of a synthetic cell as a practice of the self, representing a turn towards integration, of multiple perspectives and various forms of expertise. (shrink)

Assembly of minimal genomes revealed many genes encoding unknown functions. Three overlooked functional categories account for some of them. Cells are prone to make errors and age. As a first key function, discrimination between proper and changed entities is indispensable. Discrimination requires management of information, an authentic, yet abstract, cur- rency of reality. For example proteins age, sometimes very fast. The cell must identify, then get rid of old proteins without destroying young ones. Implementing discrimination in cells leads to the (...) second set of functions, usually ignored. Being abstract, information must nevertheless be embodied into material entities, with unavoidable idiosyncratic properties. This brings about novel unmet needs. Hence, the buildup of cells elicits specific but awkward material implementations, ‘kludges’ that become essential under particular settings, while difficult to identify. Finally, a third functional category char- acterizes the need for growth, with metabolic implementations allowing the cell to put together the growth of its cytoplasm, membranes, and genome, spanning different spatial dimensions. Solving this metabolic quandary, critical for engineering novel synthetic biology chassis, uncovered an unexpected role for CTP synthetase as the coordinator of nonhomothetic growth. Because a significant number of SynBio constructs aim at creating cell factories we expect that they will be attacked by viruses (it is not by chance that the function of the CRISPR system was identified in industrial settings). Substantiating the role of CTP, natural selection has dealt with this hurdle via synthesis of the antimetabolite 30-deoxy-30,40-didehydro- CTP, recruited for antiviral immunity in all domains of life. (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)

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 ArgumentIn Germany during the 1870s and 1880s a number of important scientific innovations in chemistry and biology emerged that were linked to advances in the new technology of synthetic dyestuffs. In particular, the rapid development of classical organic chemistry was a consequence of programs in which chemists devised new theories and experimental strategies that were applicable to the processes and products of the burgeoning dye factories. Thereafter, the novel products became the means to examine and measure biological systems. (...) This took place as a result of two trends. The first was a move toward diversification in the dye industry – made possible by the extensive range of products – which in turn was stimulated by economic and political conditions. The second was the increasing availability of techniques, substances, and processes used in industry. This made possible a concrete program of introducing the qualitative and quantitative methods of chemistry into the domain of laboratory experimentation on biological materials, thereby realizing the abstract desire to transform cell biology into an exact science.Moreover, the conceptualization of biological systems that emerged from this endeavor leaned heavily on a theory of dye chemistry that indicated which particular arrangements of atoms performed specific functions. This biological modeling used the imagery of chemical structural formulae to transform chemical nuclei and their side chains into adequate representations of protoplasmic structure. (shrink)

Abstraction and Ideation - The Semantics of chemical and biological fundamental concepts. The methods of abstraction and ideation are indispensable tools to introduce new concepts in a scientific terminology. The latter is paradigmatically introduced within the 'protophysical program' whereas abstraction is commonly applied in logics and mathematics. The application within the reconstruction of chemistry and biology causes several problems. Ideation appears to be inadequate whereas the application of abstraction necessitates a critical and minute examination of the (...) corresponding equivalence relations. These problems are solved by the introduction of the method of materially-synthetic (material-synthetische) abstraction which is exemplified by the introduction of the chemical concept of 'substance' (Stoff) and the biological concept of 'hereditary factor' (Erbanlage). (shrink)

In this paper, we wish to explore the role that textual representations play in the creation of new mathematical objects. We do so by analyzing texts by Joseph-Louis Lagrange (1736–1813) and Évariste Galois (1811–1832), which are seen as central to the historical development of the mathematical concept of groups. In our analysis, we consider how the material features of representations relate to the changes in conceptualization that we see in the texts.Against this backdrop, we discuss the idea that new mathematical (...) concepts, in general, are increasingly abstract in the sense of being detached from material configurations. Our analysis supports the opposite view. We suggest that changes in the material aspects of textual representations (i.e., the actual graphic inscriptions) play an active and crucial role in conceptual change.We employ an analytical framework adapted from Bruno Latour’s 1999 account of intertwined material and representational practices in the empirical sciences. This approach facilitates a foregrounding of the interconnection between the conceptual development of mathematics, and the construction, (re-)configuration, and manipulation of the materiality of representations. Our analysis suggests that, in mathematical practice, distinctions between the material and structural features of representations are not permanent and absolute. This problematizes the appropriateness of the distinction between concrete inscriptions and abstract relations in understanding the development of mathematical concepts. (shrink)

ion and Ideation - The Semantics of chemical and biological fundamental concepts. The methods of abstraction and ideation are indispensable tools to introduce new concepts in a scientific terminology. The latter is paradigmatically introduced within the 'protophysical program' whereas abstraction is commonly applied in logics and mathematics. The application within the reconstruction of chemistry and biology causes several problems. Ideation appears to be inadequate whereas the application of abstraction necessitates a critical and minute examination of the corresponding (...) equivalence relations. These problems are solved by the introduction of the method of materially-synthetic abstraction which is exemplified by the introduction of the chemical concept of 'substance' and the biological concept of 'hereditary factor'. (shrink)

Recently, Bechtel and Abrahamsen have argued that mathematical models study the dynamics of mechanisms by recomposing the components and their operations into an appropriately organized system. We will study this claim through the practice of combinational modeling in circadian clock research. In combinational modeling, experiments on model organisms and mathematical/computational models are combined with a new type of model—a synthetic model. We argue that the strategy of recomposition is more complicated than what Bechtel and Abrahamsen indicate. Moreover, synthetic (...) modeling as a kind of material recomposition strategy also points beyond the mechanistic paradigm. (shrink)

L’objectif de cet article est de montrer que la réflexion engagée par Jules Vuillemin sur les structures algébriques dans les années 1960 lui permettra de dégager une conception structurale de l’abstraction, dont il tirera une compréhension nomologique de l’objectivité. Ces deux concepts seront alors convoqués bien des années plus tard pour proposer une construction de l’espace représentatif, que Vuillemin conçoit comme une réfutation de l’idéalisme matériel de Berkeley. La possibilité de retracer la genèse de nos notions spatiales et de (...) leur garantir une certaine objectivité serait ainsi rendue possible par un emprunt aux méthodes de l’algèbre moderne, conformément à l’esprit de La Philosophie de l’algèbre. (shrink)

The advanced division of cognitive labor generates a set of challenges and opportunities for professional philosophers. In this paper, I re-characterize the nature of synthetic philosophy in light of these challenges and opportunities. In part 1, I’ll remind you of the centrality of the division of labor to Plato’s Republic, and why this is especially salient in his banishment of the poets from his Kallipolis. I’ll then focus on the significance of an easily overlooked albeit rather significant character, Damon, (...) mentioned in that dialogue. I’ll argue that if we take the relationship between Socrates and Damon seriously, we’ll notice that in modeling imperfect polities, Plato inscribes Socrates within the advanced division of cognitive labor who defers to Damon as an expert on a key feature of the art of government. In fact, I’ll argue that in Republic, Plato offers us at least two ways to conceptualize philosophy’s relationship to the sciences, and that he alerts us to the social significance of this. In part 2, I’ll re-introduce my conceptualization of synthetic philosophy and restate it. Back in 2019 I published a short paper on it that went viral and was immediately used by others. Reflection on their use instructed me about an ambiguity in my position. Building on the material in parts 1-2, in part 3, I’ll contrast my account with a number of ways that Philip Kitcher has conceptualized synthetic philosophy in order to make more precise the version promoted here. (shrink)

This paper explores issues of abstraction and space in Sande Zeig's movie The Girl (2001), based on a novella by Monique Wittig, who also co-wrote the script. It argues that, with this movie, Zeig and Wittig strive to re-materialize the lesbian body abstracted by the ‘Straight Mind’ as defined by Wittig in her 1980 essay. The plot revolves around the love affair of two women, the narrator and the Girl (a lesbian painter and a straight B-grade jazz singer), under (...) the oppressive scrutiny of the Man (the Girl's boss). Each part of this paper corresponds to one space where the characters interact: first, it shows how the nightclub stands as a space of transgression for the lesbian subject and how it opens a reflection on temporality as represented by space; then the analysis of the hotel room where the Girl lives and meets the narrator demonstrates how, notably through the use of close-ups in erotic scenes, Zeig redefines abstraction as a new way to envisage the materiality of the lesbian body; finally, in the third part, the discussion on abstraction moves on to the narrator's studio where, through her work as a painter, she also explores abstract representations of the female body. This approach reconciles Wittigian theory with post-modern queer theory, and confirms that the former still offers paths to positive reformulations of modes of relationality through the de-spatialization of gender – de-genderization; the rematerialization of the body outside of heteronormative conventions; and a reconfiguration of human relationships that refuses the inevitability of social and amorous hierarchy, and that shifts the representation of the erotic from possessiveness to disinterested reciprocity. (shrink)

Synthetic biology research is often described in terms of programming cells through the introduction of synthetic genes. Genetic material is seemingly attributed with a high level of causal responsibility. We discuss genetic causation in synthetic biology and distinguish three gene concepts differing in their assumptions of genetic control. We argue that synthetic biology generally employs a difference-making approach to establishing genetic causes, and that this approach does not commit to a specific notion of genetic program or (...) genetic control. Still, we suggest that a strong program concept of genetic material can be used as a successful heuristic in certain areas of synthetic biology. Its application requires control of causal context, and may stand in need of a modular decomposition of the target system. We relate different modularity concepts to the discussion of genetic causation and point to possible advantages of and important limitations to seeking modularity in synthetic biology systems. (shrink)

ABSTRACT In this paper, I advance a new interpretation of the argumentative structure of the third Critique, which in turn clarifies the connection between its two apparently unrelated parts. I propose to read the third Critique as a response to Kant’s question of hope, which concerns the satisfaction of reason’s practical and theoretical interests. On this proposal, while the first part on aesthetics describes what we—as possessors of theoretical reason – may hope for, the second part, on teleology, describes what (...) we – as possessors of practical reason – may hope for. The main question of the third Critique is, ‘What may we hope if we act as we should, i.e. act rationally?’ Kant’s implicit answer is, ‘to attain the ideals of reason, which leads to happiness as a consequence of it.’ This novel reconstruction of the argumentative structure of the third Critique contributes to the literature by (i) explaining how the two parts of the third Critique on aesthetics and teleology are connected, (ii) clarifying how the ideals of reason are connected to hope and happiness, and (iii) showing how the spheres of nature and freedom can be synthetically unified through the faculty of judgment. (shrink)

Biologists are nearing the creation of the first fully synthetic eukaryotic genome. Does this mean that we still soon be able to create genomes that are parts of an existing genetic lineage? If so, it might be possible to bring back extinct species. But do genomes that are synthetically assembled, no matter how similar they are to native genomes, really belong to the genetic lineage on which they were modelled? This article will argue that they are situated within the (...) same genetic lineage. To see why requires closely examining whether material overlap between parents and offspring is a necessary feature of biological reproduction. The processes used to create synthetic genomes shows that these processes are a form of scaffolded reproduction because they use external machinery and take ownership of the material parts used to create synthetic genomes. Closely examining these processes also reveals, surprisingly, that ‘synthetic reproduction’ can take place between entities that don’t participate in the same biological lineages. 1Introduction2The Argument for Lineage-less Genomes3Synthetic Eukaryotic Chromosomes and Material Overlap4Biological Reproduction, Material, and Information5Synthetic Reproductive Processes and Their Implications. (shrink)

Synthetic biology presents a challenge to traditional accounts of biology: Whereas traditional biology emphasizes the evolvability, variability, and heterogeneity of living organisms, synthetic biology envisions a future of homogeneous, humanly engineered biological systems that may be combined in modular fashion. The present paper approaches this challenge from the perspective of the epistemology of technoscience. In particular, it is argued that synthetic-biological artifacts lend themselves to an analysis in terms of what has been called ‘thing knowledge’. As such, (...) they should neither be regarded as the simple outcome of applying theoretical knowledge and engineering principles to specific technological problems, nor should they be treated as mere sources of new evidence in the general pursuit of scientific understanding. Instead, synthetic-biological artifacts should be viewed as partly autonomous research objects which, qua their material-biological constitution, embody knowledge about the natural world—knowledge that, in turn, can be accessed via continuous experimental interrogation. (shrink)

The synthetization of voices, or speech synthesis, has been an object of interest for centuries. It is mostly realized with a text-to-speech system, an automaton that interprets and reads aloud. This system refers to text available for instance on a website or in a book, or entered via popup menu on the website. Today, just a few minutes of samples are enough to be able to imitate a speaker convincingly in all kinds of statements. This article abstracts from actual products (...) and actual technological realization. Rather, after a short historical outline of the synthetization of voices, exemplary applications of this kind of technology are gathered for promoting the development, and potential applications are discussed critically to be able to limit them if necessary. The ethical and legal challenges should not be underestimated, in particular with regard to informational and personal autonomy and the trustworthiness of media. (shrink)

The recent discussion of fictional models has focused on imagination, implicitly considering fictions as something nonconcrete. We present two cases from synthetic biology that can be viewed as concrete fictions. Both minimal cells and alternative genetic systems are modal in nature: they, as well as their abstract cousins, can be used to study unactualized possibilia. We approach these synthetic constructs through Vaihinger’s notion of a semi-fiction and Goodman’s notion of semifactuality. Our study highlights the relative existence of such (...) concrete fictions. Before their realizations neither minimal cells nor alternative genetic systems were any well-defined objects, and the subsequent experimental work has given more content to these originally schematic imaginings. But it is as yet unclear whether individual members of these heterogeneous groups of somewhat functional synthetic constructs will eventually turn out to be fully realizable, remain only partially realizable, or prove outright impossible. (shrink)

Abstract:In this work, we consider the essence of human freedom as a living link among the forces of the individuation process thought aesthetically; that is, because human understanding is synthetic, imagination can elaborate a whole world that is not linked to conceptual knowledge. Precisely because of that, we can find a way of relationship between ourselves and the environment that is not binary, such as when we ask ourselves whether the emission of carbon gas resulting from our human intervention (...) is harmful to the environment or not. To do so, we will initially outline the meaning of the symbolic (Sinnbild) in Schelling. Then, we will see how Schelling reaches the material conditions of objectification for an extra-theoretical synthesis by which, in a single move, the universe is immediately given. Finally, we turn to the specificity of human freedom and the dual nature of the I, which allows us to understand that the possibility of our human freedom does not consist in being able to choose between good and evil; rather, its possibility consists in a capacity (Vermögen) for good and evil. (shrink)

The introduction of new genetic material into wild populations, using novel biotechnology, has the potential to fortify populations against existential threats, and, controversially, create wild genetically modified populations. The introduction of new genetic variation into populations, which will have an ongoing future in areas of conservation interest, complicates long-held values in conservation science and park management. I discuss and problematize, in light of genetic intervention, what I consider the three core goals of conservation science: biodiversity, ecosystem services, and wilderness. This (...) uneasy relationship, however, does not forgo the use of such interventions. I argue there is a case for the application of this technology within some interpretations of the moral frameworks of wilderness and biodiversity, despite apparent conflict between these values and the technology, and the possibility that this technology's use displays some limitations of the ecosystem services framework. Ultimately, the advent of biotechnology assisted restoration highlights the need for us to reevaluate our ethical concepts of conservation at times of global environmental and technological change. (shrink)

Currently, under the law of intellectual property, IP owners may exclude from use or production substances and processes that we would ordinarily consider to be products of nature. This has helped companies monopolize disease genes, and thus diagnostic testing for those diseases, and “biosimilar” products, pharmaceutical materials that mimic biological materials. Extending the current paradigm to the world of synthetic biology and nanotechnology will create further injustices in the delivery of health care to billions of people around the world. (...) As such, I advocate heading this trend off at the pass. Scientists ought to conduct basic research into the building blocks of biology and matter in the open, publishing their results, releasing knowledge into the public domain upstream so that beneficial innovation can be produced without fear of downstream litigation, and so that what ought to remain in the public domain as a matter of right (products of nature) does not become unjustly monopolized. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hurricane Gloria LAWRENCE DUGAN A screaming northern gale flew past his wild words And slammed the sails, and pulled a wave toward heaven. —Aeneid, i.102–3 (Sarah Ruden, trans.) i. A phalanx of weather tools at the door, A shovel, an ice-pick, an umbrella, A new cane, leaning against each other, Plastic fabricated to resist storms, Reminds me of a storm I rode out years ago, The Nor’easter of 1985, (...) On the twenty-first floor of 5 Penn Center Across the street from where the Fox Theater Spread the bright wings of its marquee, folded Now forever, torn down, and then replaced With a glass-box not unlike the office I looked out of, watching the rain lashing Windows, tearing at the flags hung on poles On other buildings, solitary banners Left up as if to challenge the weather To do its worst, to refute the young storm Tearing northeast out of the Atlantic, Predicted only a few days before As a hurricane, that didn’t happen, But leaving the high-rise building nearly Deserted, with the ticker still running Across the wall; the market had opened Empty office or not, unoccupied Desks giving it that strange quietude Peculiar to such spaces, which the mind Expects to be filled, even while seeing Otherwise. arion 28.2 fall 2020 66 hurricane gloria I felt like a sailor for The only time in my life, stepping off The elevator at 21, and then Walking into the main hall and sensing The building swayed slighty, barely feeling It but knowing it distinctly, hearing It creak exactly as I had heard ships At sea in dozens of movies, and with The sound, the sway, the massive grid of pipes And beams giving and taking. jms Old timers hadn’t warned me about this Although some had ridden out several Storms as bad, real or metaphorical, Not even old Harris who remembered Moving down from Susquehanna county In ’29, to Wall Street and the Crash. ii. Future archaeologists of urban Storms will study pictures of umbrellas Taking flight, wrecked synthetic shapes blooming Against resistant hands, then abandoned, Stuffed into trash cans, twirling down alleys, Pastels, stripes or old-fashioned banker-black, The edge of the story, the windy street’s Last rebuke to those daring to stagger To lunch but caught in the nor’easterly Gale’s grey wall of wind and rain that rattled Doors and buckled windows. The building held Two dozen companies, and I still like To think one fronted for an anchorite, Some isolated individual Up on 24, alone at his desk In a skyscraper office for ten years Praying, sometimes looking down the cliff walls At the peregrine falcons sweeping home Lawrence Dugan 67 To their massive nest stuffed tight in the bronze Lap of a statue seated on City Hall, One of the allegories of Founders And Lenape chiefs placed high over Broad, The hawks diving downward athwart the storm Coming on in grey curtains wavering Over the city and the Delaware Valley. Across the river in Jersey The pines begin, in Camden the street dirt Is sand; halfway to the shore the forest Runs above the expressway, farms below, The pines flourishing in sandy barren Earth lacking nitrogen, incinerating Every dozen years, thousands of acres Blowing away in flames seen at the shore. After that rain those woods were safe for weeks. iii. Ten years and two jobs later I needed Census material and found it online On a rainy day in Center City In a high-rise office nearby, a halfDay ’s work done to my surprise in only Twenty minutes, then realizing as I Stood up from a computer that the view Was familiar. I was back on 21 In my old office; jms had moved But the grey sky cleared with a sweep of wind And the view north and south looked as before Wherever the market’s ticker-tape rolled now. The weather had surprised me again; The only full rainbow I ever saw, The ancient sign that spares the world from floods, A pure unblemished iridescent span, Appeared late in spring, in a sun shower.... (shrink)

The scientific study of living organisms is permeated by machine and design metaphors. Genes are thought of as the ‘‘blueprint’’ of an organism, organisms are ‘‘reverse engineered’’ to discover their func- tionality, and living cells are compared to biochemical factories, complete with assembly lines, transport systems, messenger circuits, etc. Although the notion of design is indispensable to think about adapta- tions, and engineering analogies have considerable heuristic value (e.g., optimality assumptions), we argue they are limited in several important respects. In (...) particular, the analogy with human-made machines falters when we move down to the level of molecular biology and genetics. Living organisms are far more messy and less transparent than human-made machines. Notoriously, evolution is an oppor- tunistic tinkerer, blindly stumbling on ‘‘designs’’ that no sensible engineer would come up with. Despite impressive technological innovation, the prospect of artificially designing new life forms from scratch has proven more difficult than the superficial analogy with ‘‘programming’’ the right ‘‘software’’ would sug- gest. The idea of applying straightforward engineering approaches to living systems and their genomes— isolating functional components, designing new parts from scratch, recombining and assembling them into novel life forms—pushes the analogy with human artifacts beyond its limits. In the absence of a one-to-one correspondence between genotype and phenotype, there is no straightforward way to imple- ment novel biological functions and design new life forms. Both the developmental complexity of gene expression and the multifarious interactions of genes and environments are serious obstacles for ‘‘engi- neering’’ a particular phenotype. The problem of reverse-engineering a desired phenotype to its genetic ‘‘instructions’’ is probably intractable for any but the most simple phenotypes. Recent developments in the field of bio-engineering and synthetic biology reflect these limitations. Instead of genetically engi- neering a desired trait from scratch, as the machine/engineering metaphor promises, researchers are making greater strides by co-opting natural selection to ‘‘search’’ for a suitable genotype, or by borrowing and recombining genetic material from extant life forms. (shrink)

The scientific study of living organisms is permeated by machine and design metaphors. Genes are thought of as the ‘‘blueprint’’ of an organism, organisms are ‘‘reverse engineered’’ to discover their functionality, and living cells are compared to biochemical factories, complete with assembly lines, transport systems, messenger circuits, etc. Although the notion of design is indispensable to think about adaptations, and engineering analogies have considerable heuristic value (e.g., optimality assumptions), we argue they are limited in several important respects. In particular, the (...) analogy with human-made machines falters when we move down to the level of molecular biology and genetics. Living organisms are far more messy and less transparent than human-made machines. Notoriously, evolution is an opportunistic tinkerer, blindly stumbling on ‘‘designs’’ that no sensible engineer would come up with. Despite impressive technological innovation, the prospect of artificially designing new life forms from scratch has proven more difficult than the superficial analogy with ‘‘programming’’ the right ‘‘software’’ would suggest. The idea of applying straightforward engineering approaches to living systems and their genomes— isolating functional components, designing new parts from scratch, recombining and assembling them into novel life forms—pushes the analogy with human artifacts beyond its limits. In the absence of a one-to-one correspondence between genotype and phenotype, there is no straightforward way to implement novel biological functions and design new life forms. Both the developmental complexity of gene expression and the multifarious interactions of genes and environments are serious obstacles for ‘‘engineering’’ a particular phenotype. The problem of reverse-engineering a desired phenotype to its genetic ‘‘instructions’’ is probably intractable for any but the most simple phenotypes. Recent developments in the field of bio-engineering and synthetic biology reflect these limitations. Instead of genetically engineering a desired trait from scratch, as the machine/engineering metaphor promises, researchers are making greater strides by co-opting natural selection to ‘‘search’’ for a suitable genotype, or by borrowing and recombining genetic material from extant life forms. (shrink)

Abstract:Since the birth of autism as a psychiatric category, autistic individuals have been described as preoccupied with the world of objects and detached from the world of subjects, thus marking a distinction between the “social” and the “non-social” still prevalent in autism research and diagnostic criteria. The aim of this article is to question this distinction by examining the role of things in autistic forms of social interaction. Drawing on qualitative data from an ongoing qualitative and phenomenological study on social (...) interaction among youth with autism, I argue that material things enjoy a sustaining and facilitating role in autistic social interaction for two reasons: First, by being sensible things open to tactile, auditory, and visual engagement, and second, by being things that incorporate normative practices. This relation between the material and the social in which the latter is mediated by the former, is beneficial to individuals with autism because it exploits a particular relation to materiality to consolidate a shaky attunement to the social world. I propose a materially mediated mode of interaction guided by the approaches to perception, embodiment, and materiality developed by Maurice Merleau-Ponty and James Gibson. This account puts pressure on the phenomenological emphasis on the face-to-face encounter and brings intersubjectivity into view as a many-faceted phenomenon realizable not only through interbodily dynamics but also through the material landscapes situating social encounters. (shrink)

Exploring materialism and social relationships in modern culture Material Culture and Mass Consumption offers an in-depth exploration of objects, objectification, ideology, and materialism in modern society. Drawing from Hegel, Marx, Munn, and Simmel, the discussion delves into the physicality of the material world and attempts to understand materialism as a form of cultural expression. Targeting mass production as the root of mass consumption, rather than the result, this book positions material goods at odds with genuine social interaction and questions these (...) relationships from the abstract to the intensely specific. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

Zhong 中 is a very important philosophical concept in early Confucianism. Both the received ancient Confucian classics and the newly discovered ancient bamboo manuscripts tell us that adhering to the principle of zhong was an important charge that had been transmitted and inherited by early ancient Chinese political leaders from generation to generation. Confucius and his followers adopted the concept of zhong and further developed it into a sophisticated doctrine, which is usually called zhongdao 中道 (the Way of zhong) or (...) zhongyong 中庸. Being a polysemous word, zhong has several different but philosophically related meanings. However, for a long time, people usually understood zhong in the sense of only one of its meanings, and zhongdao or zhongyong has been commonly interpreted as “the doctrine of the mean.” My argument in this paper is that a synthetic interpretation, which includes all the semantic meanings of zhong is necessary in order to acquire a deep and well-rounded comprehension of the philosophical significance of the Way of zhong. The Way of zhong features a dialectal view of the relationship between heaven and human beings, mind and materials, subjective desire and the available objective conditions, self and others, centrality and diversity, and so on. The Way of zhong has become a widely applied philosophical methodology in Confucianism, as well as a political principle and a kind of personal moral merit in early Confucian doctrines. Today, it still has relevance in contemporary Chinese social and cultural contexts. (shrink)

Japan is a country largely lacking supplies of many essential natural resources including petroleum, coal, and iron ore. As her industrial base and economy expanded during the 1920s and 1930s, Japan's dependence on imports of these resources became increasingly evident. The onset of the Depression in the 1930s further threatened Japan's lifeline, and, in an effort to become economically independent and self-sufficient in natural resources , Japan's militaristic government pursued a policy of territorial expansion. Beginning in 1937, Japan's military forces (...) swept out of Manchuria into China and then into Southeast Asia in search of strategic materials such as petroleum, coal, copper, zinc, and rubber. To achieve independence in petroleum, the Japanese developed a dual approach: they would acquire natural petroleum sources in Southeast Asia and at the same time establish a synthetic fuel industry for the conversion of coal to oil. Actually, the Japanese had begun research on synthetic fuel in the 1920s, only a few years after other countries, such as Germany and Britain, that lacked sources of natural petroleum. They did excellent laboratory research on the coal hydrogenation and Fischer-Tropsch conversion processes, but in their haste to construct large synthetic fuel plants they bypassed the intermediated pilot-plant stage and failed to make a successful transition from small- to large-scale production. Unable to synthesize liquid fuels from coal, they instead derived significant quantities from the technologically simpler coal carbonization and shale oil distillation processes. In the last year of World War II, the Japanese attempted to revive their synthetic fuel industry and entered into an agreement with IG Farben for technical assistance. Germany's defeat ended this final effort. The Japanese synthetic fuel industry presents a good case study of technological failure. It shows that high-quality basic scientific research does not necessarily translate into large-scale technological success. (shrink)

This paper attempts to sort out some of the current tensions and ambiguities inherent in the field of bioethics as it continues to mature. In particular it focuses on the question of the methodological relevance of theory or ethical principles to the domain of clinical ethics. I offer an approach to reasoning about moral conflict that combines the insights of contemporary moral theorists, the philosophy of American pragmatism, and the skills of rhetorical deliberation. This synthetic approach locates a proper (...) role for moral theory in the practice of clinical ethics, thus linking abstract philosophical ideas about morality, humanity, suffering, and health to specific deeds, actions, and decisions in the concrete lives of particular individuals. The aim of this synthetic approach of bioethical inquiry is a rapprochement between theoretical knowledge in moral philosophy and the contextualized, relational, and practical understanding of what morality demands of us in our daily lives. I argue for a conception of bioethical inquiry that takes morality to be a study of certain practical, socially embedded concerns about matters of right and wrong, good and evil, as well as a study of the moral theories by which these actual concerns can be explored and critically evaluated. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume's Demarcation Project John Losee Demarcation, Ideas and Impressions David Hume sought to exclude certain concepts from the domain of empirically significant discourse. He was critical of talk about "substances" that bear qualities, "forces" that cause motions, "powers" that produce effects, "necessary connections" that determine sequences of events, "extension without matter" and "time independent of succession or change in any real existence."1 Hume proposed a demarcation ofideas, a demarcation (...) intended to exclude these notions. The demarcation project, if successful, would exclude Locke's notion of "substance" as well as Newton's notions of "Absolute Space" and "Absolute Time." Some interpreters have taken the demarcation project to be the centrepiece of Hume's philosophy. Others have seen it to be an incidental aspect of Hume's search for an empirical theory of human nature. I believe that David Pears was correct to insist that an acceptable account ofHume's philosophy include both the "destructive emphasis" and the "constructive emphasis."2 Hume's demarcation project is based on a presumed relation, or relations, between ideas and impressions. Hume made the following claims about "simple ideas," those ideas that "admit of no distinction nor separation" (T 2): 1)every simple idea in its first appearance is derived from some impression (Derivability Principle); 2)every simple idea in its first appearance copies some impression (Copy Principle); 3)every simple idea represents some impression (Representation Principle); 4)simple ideas and impressions resemble one another; 5)simple ideas correspond to impressions; 6)every simple idea is borroVd from some impression; Volume XVII Number 2 51 JOHN LOSEE 7)for every simple idea there is some temporally antecedent impression; and 8)impressions cause simple ideas. Primafacie, these claims are empirical claims about the genesis of our ideas. But within Hume's demarcation project these claims also function as criteria for membership in the class of simple ideas. Those ideas that satisfy the criteria constitute raw material from which complex ideas are formulated. Complex ideas are constructed from simple ideas. However, they are not copies of simple ideas. Aparticular complex idea is empirically significant provided that, 1) it is derivable from simple ideas; and 2) each of those simple ideas is derivable from impressions. The Case of the Missing Shade ofBlue Tensions arise within the demarcation project in part because Hume employs nonequivalent criteria—Derivability Principle, Copy Principle, Representation Principle—as if they were equivalent. The tension is acute in the case of the missing shade ofblue. The "missing shade" is an idea formulated by a person with extensive experience of colours, but no prior exposure to the shade in question. If this idea is a simple idea, then it is false that every simple idea copies some antecedent impression. Why did Hume cite—in both Treatise and Inquiry—this apparently destructive exception? Bernard Rollin has suggested that Hume may have cited the missing-shade-of-blue example as a rhetorical device toprotecthis dichotomous divisionofpropositionsinto those that are analytic a priori and those that are synthetic a posteriori (including the Derivabihty Principle).11 John O. Nelson agreed that Hume is concerned to emphasize the contingent, empirical status of the Derivabihty Principle.12 Nelson suggested that Hume sought tomake two points. The first pointis that an exception to the Derivability Principle is empirically possible. The second point is that thought-experiments like the missing-shade example are inadequate to establish conclusions about matters offact. To entertain such thought-experiments is to lapse into hypothetical speculation, a violation ofthe "experimental method ofreasoning."13 Perhaps it was for this reason that Hume dismissed the missing-shade case as unimportant. Hume urged that this case is "so particular and singular" thatit provides nogoodreason to abandon the Copy Principle (T 6). 52Hume Studies HUME'S DEMARCATION PROJECT D. M. Johnson has developed a hypothesis to explain why Hume believed that this exceptional case is not damaging to his demarcation project. According to Johnson, Hume may have believed that for a person to reconstruct a shade he never saw before, he must have developed an appropriately detailed Tiabitual spectrum'—i.e., an ordered set oftendencies and expectations concerning colours, built up as a result oflong experience with thingshavingthese colours—whichhe then employs... (shrink)

The NeoSynthesis Research Centre (NSRC) was organized to promote sustainable agriculture and resource conservation in the island nation of Sri Lanka. Staffed by people with varied life and cultural backgrounds, NSRC has attempted to develop frameworks or ways of understanding agriculture from more than a single perspective. It is assumed that even a partial understanding of agriculture requires many perspectives because no single set of opinions or discourse based upon a narrow range of life experiences can account for the life (...) processes that capture and process energy through many species,H. Sapiens included. NSRC participants are expected to relate their respective disciplinary paradigms toward a synthetic approach of resource management to be demonstrated under specific environmental and social conditions. Using ecological and energetic perspectives as baseline conceptual frameworks, both scientific and non-scientific descriptions have been incorporated to provide greater understanding of the functioning of Sri Lanka's living communities. Sustainability is not promoted through sound empirical description alone. Broad community participation is required if resource and management is to be modified in any significant way. The notion of sustainability is again translated into a more political and policy language and the forums involved include the public media, administrative and legislative branches of the national government, and the civil service. Is Sri Lanka on a collision course with disaster because of heavy population pressure and irresponsible and unwise landscape management? From experiences over the past 11 years at the NSRC, the steps toward sustainability seem best cast in terms of a discovery and learning process rather than something to be invented in the abstract. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 33.4 (2000) 303-318 [Access article in PDF] The Threshold of the Self Bradford Vivian The subject has a history. Classical Greek sculpture expressed a fascination with the formal beauty of one's self. Ever gazing outward or upward, the marble figures symbolized the Greek preoccupation with a boldness of being, a constant focus on the ideals of the body and mind, which, through their pursuit, might allow (...) one a foretaste of heaven. Centuries later, as the pagan symbols of the ancient world were replaced with those of the growing Byzantine Empire, blocks of the same marble were fashioned into very different expressions. The ideals of form made manifest in the smooth, taught lines and surfaces of classical Greek sculpture were supplanted by Byzantine art's attention to the less perfect details of the individual: distinctive and common faces, beards, clothing, and less glorified bodies. The gazes of the Byzantine statues were cast down, contemplative, reflecting Byzantium's early Christian emphasis upon the modesty of human existence, the pious appraisal of one's time on Earth. Each of these sculptural styles is a material way of thinking and expressing one's being in the world. In this context, each is also symptomatic of the conditions in which such being was possible.The subject must not be conceived as a transcendent entity. Quite to the contrary, there is a historicity to our being and its expression, to our subjectivity and its elaboration. Within a more sweeping perspective, our epochal narratives of the subject--as well as the modes of thought and speech by which we make sense of ourselves--change with each passing age.At the forefront of the current era is a manifold effort to rethink and elaborate anew the concept of the subject. Feminist scholars have initiated political critique and transformation by arguing that the very notion of a subject in Western discourse has functioned as a trope of masculine privilege cloaked in the language of equality and secular humanism. 1 Postmodernists, of course, define contemporary subjectivity as de-centered and fragmented by nature (e.g., Baudrillard 1994; Latour 1993; Lyotard 1984). And [End Page 303] a variety of interdisciplinary studies illuminate the role of modern science and technology in not only sustaining our being, but actually constituting the human; in short, our daily interdependence and union with artificial body parts, synthetic products, life-support machines, test-tube reproduction, computers, and more, characterizes the arrival of what has been called "the posthuman." 2 Like ancient marble from a quarry, however, all of these materials are sculpted in historically specific ways to simultaneously think and express our subjectivity.What role might rhetoric play in this re-imagining of subjectivity? Modern Western thought has defined the subject according to content--that is, by the nature of the essence or being the subject is said to possess. Drawn around this content, the subject comes to appear enclosed, perhaps autonomous, and identical to itself. In this essay, however, I argue that the self may be conceived as a form--a rhetorical form--that exists only in its continual aesthetic creation, in its indefinite becoming. The self is, by this account, isomorphic with the threshold out of which it is composed. Such a formulation makes the self open to difference, to continual movement and transformation, instead of identical to itself.I aim in this essay to explore the abstract rhetorical forms and functions out of which the self is composed. The distinction here amounts to no longer asking, "What is a subject?" but, "What conditions and forces enable the ongoing production of the self?" Commensurate with such a proposal, it will be essential to ask how this movement--this continual becoming--of the self is brought about. The answer to this question ultimately will amplify the role of rhetoric in, not simply expressing, but actually producing conditions of being. In what follows, I begin by reviewing the very general aspects of subjectivity that I wish to call into question. Thereafter, I explore how the subject might be conceived differently. Finally, I discuss the manner in which rhetoric may... (shrink)

In recent years, language has been shown to play a number of important cognitive roles over and above the communication of thoughts. One hypothesis gaining support is that language facilitates thought about abstract categories, such as democracy or prediction. To test this proposal, a novel set of semantic memory task trials, designed for assessing abstract thought non-linguistically, were normed for levels of abstractness. The trials were rated as more or less abstract to the degree that answering them required the participant (...) to abstract away from both perceptual features and common setting associations corresponding to the target image. The normed materials were then used with a population of people with aphasia to assess the relationship of abstract thought to language. While the language-impaired group with aphasia showed lower overall accuracy and longer response times than controls in general, of special note is that their response times were significantly longer as a function of a trial’s degree of abstractness. Further, the aphasia group’s response times in reporting their degree of confidence (a separate, metacognitive measure) were negatively correlated with their language production abilities, with lower language scores predicting longer metacognitive response times. These results provide some support for the hypothesis that language is an important aid to abstract thought and to metacognition about abstract thought. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.4 (2003) 58-64 [Access article in PDF] Media Literacy Education in Art:Motion Expression and the New Vision of Art EducationThe Bauhaus, which established the foundation of modern design, has greatly influenced Japanese design and art education. It is a historical fact that the movement views "synthetic art" as an integration of the various fields and the integration of the art and machine technology (...) experimentally. However, the Bauhaus is not just of historical importance but continues to have an influence even in the integration of the art and electronic technology in today's "multimedia." In addition, it can be said that it is very much alive as "the digital Bauhaus" or "the electronic Bauhaus." 1 As we know, today's multimedia and the Internet give us a new life-environment, and expandthe possibility of expression in art. Therefore, current art education must examine how these new medias will be incorporated into the curriculum.In the cases of the photograph, video, or computer, an expression by the image media is added to the art course for the junior high school course of study. 2 Also in school art classes, image media was introduced, expanding the possibilities of self-expression through art. This result can be matched to the needs of the industrial world in Japan as well. As an educational practice, the content of this course of study is promising, even though someproblems must be solved, acquiring new equipment, re-educating the artteacher, and securing additional art school hours. The new content in art education can be summarized as follows:1. The motion picture (animation) which includes time and movement. Motion picture is asequence of continuous images, obviously different from the still images of painting. There are, of course, artworks that express motion or induce the viewer'seye movement. There are also kinetic artworks that do move, such as mobiles. Works of motion picture have, however, a fixed time shaft, and they are formed by the afterimage phenomenon. Thinking about the progress of time shaft is an indispensable element for the production. [End Page 58]2. The synchronism of image and sound. Because time is a factor in the visual expression, the works are compatible with music — the art of time. There is a synchronized relation between the motion picture and music. Image expression with multimedia became synthetic art, just as the Bauhaus looked for "architecture." Currently, this kind of expression transitions from art to entertainment, and permeates daily life.3. The method with interactive art work. Not only artworks of installation, but also TV games and web design have interactive construction as an indispensable interface. The aesthetic value of these visual works will be appreciated when the user starts the action by hitting a touchpad, pushing buttons, or clicking a mouse. To make this kind of artwork, one needs to consider the latent relationships between humans and work, and establish the input-output order for the method of construction.4. The problem of virtual reality. The term "virtual reality" is used by some art teachers as criticism against digital works such as computer graphics. These teachers insist that there is no reality there. One can, however, get an aesthetic feeling through sensory information, imagination, and sensitivity, even though what one sees is an illusion. The feeling of reality a picture of an apple gives, for example, may be equal to a computer graphic apple.Human imagination also creates "virtual reality" beyond reality in the myth, the novel, and so on. It can be said that this is the basis for human creativity.Furthermore, expression by image media raises the problem of a "reality" in which material experience is important to encounterthe world directly. Such an argument discusses multimedia as a tool of expression and a teaching material while reconsidering human reality.More recently, "media literacy" (ability to read and understand media) became an important point of discussion for Japanese educators. Usually, in this discussion, the critical ability to talk back to the television program is emphasized. However, through art... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Role of Glass in Interior Architecture:Aesthetics, Community, and PrivacyMatthew Ziff (bio)Design education seeks to infuse students with knowledge, skills, and attitudes, regarding the design of the built environment. In the areas of knowledge and attitude, sophistication and competence are developed through both practice (largely carried out in the design studio environment), and engagement with critical analysis (largely carried out in seminar classes and traditional lecture format class environments). (...) For design students the world of design is both to be known and understood, and to be created, at their own studio desk. In order to both know and create design, students often behave like nocturnal predators, seeking what is necessary in a mode that is often unobserved, and then returning to digest their catch, to produce responsive and synthetic work. One arena in which design students find rich fields of information is that of material characteristics. Materials used in the design and construction of the built environment form a significant portion of the skeleton of a designer's body of knowledge, skills, and attitudes toward design. A current hotbed of material character and application is that of the world of glass. This essay is an exploration of some of the issues that the architectural uses of glass raise from the point of view of design student exploration.Materials evoke physical and psychological responses. Human beings are complex creatures and an individual's response to specific material applications can be unpredictable. Even so, it is reasonable to expect that there are shared attitudes that form the basis for responses to the physical character of the built environment. From delight, to confusion, materials used in the architecture of things large and small, from buildings to fountain pens, contain literal meaning, or expression of method, as well as possible symbolic and cultural meaning. The contemporary use of glass, particularly in interior architecture, presents a vivid arena for emotional and intellectual stimulation and response. [End Page 10]Glass planes that are sheer, opaque, translucent, colorful, brittle, imposing in mass, irregular in surface texture, flawlessly smooth, deformed through casting or by application of pressure and heat, are being used to create spaces that convey ambiguous relationships between private experience and public display. What is an ambiguous relationship? It is one to which a reasonable response is a high degree of uncertainty regarding the course of action one might take, or in the degree of understanding of the context one can develop. To know that the stair in the train station leads to track 4 is a condition that can be created by the use of unambiguous design; a visual connection from where one has to make a choice of paths to follow to the destination, track 4, creates a clear understanding of where track 4 is to be found. If track 4 can be seen from the position at which a choice is required, then certainty, clarity, is possible, if not probable. Visual connection is exactly what clear glass allows, and provides, yet ambiguity results because of the physical, hard barrier, transparency aside. "I can see track 4, but I cannot get there". The clarity provided by being able to see through glass, or even by being able to see light coming through translucent glass, is not sufficient to offset the uncertainty, or the mixed message, of not being able to get there, to touch what we can see.Glass in interiors offers a tactile and sensory titillation; the excitement of knowing that with a single swing of a hammer, or an umbrella handle, the beautiful sheet of curved frosted lemon ice colored tempered glass can be shattered into fragments.Windows have long been the predominant interior and exterior architectural element in which glass has played a major role. The glass used in Windows on the World, the famous restaurant atop the World Trade Center, destroyed during its collapse, and the glass used in a simple double hung window in a one story ranch house each share architectural duties of providing view from inside to outside, light transmission from outside to inside, heat gain, and acoustical isolation. Human eyes are sometimes described as "windows to the soul," which suggests the ability to... (shrink)

Much philosophy of logic is shaped, explicitly or implicitly, by the thought that logic is distinctively formal and abstracts from material content. The distinction between formal and material does not appear to coincide with the more familiar contrasts between a priori and empirical, necessary and contingent, analytic and synthetic—indeed, it is often invoked to explain these. Nor, it turns out, can it be explained by appeal to schematic inference patterns, syntactic rules, or grammar. What does it mean, then, to (...) say that logic is distinctively formal? (shrink)

There are two notions of abstraction that are often confused. The material view implies that the products of abstraction are not concrete. It is vulnerable to the criticism that abstracting introduces misrepresentations to the system, hence abstraction is indistinguishable from idealization. The omission view fares better against this criticism because it does not entail that abstract objects are non-physical and because it asserts that the way scientists abstract is different to the way they idealize. Moreover, the omission (...) view better captures the way that abstraction is used in many parts of science. Disentangling the two notions is an important prerequisite for determining how to evaluate the use abstraction in science. (shrink)

Volume II of Classical Recursion Theory describes the universe from a local (bottom-up or synthetical) point of view, and covers the whole spectrum, from the recursive to the arithmetical sets. The first half of the book provides a detailed picture of the computable sets from the perspective of Theoretical Computer Science. Besides giving a detailed description of the theories of abstract Complexity Theory and of Inductive Inference, it contributes a uniform picture of the most basic complexity classes, ranging from small (...) time and space bounds to the elementary functions, with a particular attention to polynomial time and space computability. It also deals with primitive recursive functions and larger classes, which are of interest to the proof theorist. The second half of the book starts with the classical theory of recursively enumerable sets and degrees, which constitutes the core of Recursion or Computability Theory. Unlike other texts, usually confined to the Turing degrees, the book covers a variety of other strong reducibilities, studying both their individual structures and their mutual relationships. The last chapters extend the theory to limit sets and arithmetical sets. The volume ends with the first textbook treatment of the enumeration degrees, which admit a number of applications from algebra to the Lambda Calculus. The book is a valuable source of information for anyone interested in Complexity and Computability Theory. The student will appreciate the detailed but informal account of a wide variety of basic topics, while the specialist will find a wealth of material sketched in exercises and asides. A massive bibliography of more than a thousand titles completes the treatment on the historical side. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Earth-O-Meter: Color Studies OchreElpitha Tsoutsounakis (bio)Ochre is always in a state of becoming—becoming color, becoming blood. Ancient, stellar death becoming current, terrestrial life; geological making. Design becomes epistemic tool beyond aesthetic representation.I join a body of academic and community scholars around the globe who think with Ochre from a variety of disciplines. How have we evolved through and with Ochre? What future does Ochre bring as art or technology? (...) How can Ochre remediate legacies of extraction? How can we return to the material from our current abstraction and commodification of color? How can we relate to terrestrial beings beyond anonymous resource? How can Ochre reveal plural realities of time and place through erased or forgotten narratives?This exploration has become the Field Studio Geontological Survey (FSGS), a design research collective assembling and extending Ochre dimensions to expand human/nonhuman inter-subjectivity. The collective is inspired by the United States Geological Survey (USGS), which has surveyed, mapped, and catalogued the U.S.—and the world—extensively and completely, translating earth matter into anonymous “natural” resources. Through its manipulation of geopower, USGS mediates our human relation to the more-than-human. The Geontological Survey diverts USGS tactics—survey, map, catalog, archive—towards a future feminist Ochre imaginary though collective practice in field, community, and studio operations. Ochre bodies, pigments, swatches, and the maps and artifacts produced with/by them, are archived at UnknownProspect.org.Earth-O-Meter 231101 (see Fig. 1) is assembled with thirty-six Ochres from FSGS Folio 2301,1 all surveyed in field operations at Temple Mountain Mining District in the San Rafael Swell, Utah. The swell is a geological anomaly at the edge of the Colorado Plateau, an anticline pushed up 60 million years ago during the Laramide Orogeny. It measures roughly 64 [End Page 109] Click for larger view View full resolutionFigure 1.Earth-O-Meter 231101: Ochre bodies from Folio 2301 and their respective swatches made with pigment in gum arabic and water. Full-scale color image and more on Ochres from Folio 2301 can be seen at unknownprospect.org.km wide and 121 km long. Erosion has revealed millions of years of geological time exposed to the desert sun along the reef edge where so-called Temple Mountain emerges from the southeast flank. An ancient marine environment left us the Chinle Formation in the Triassic Period—a formation marked by colorful instances of oxidation or reduction based on [End Page 110] fluctuating sea levels and water conditions. The meter begins and ends with Ochre that appears “green” (28.006) alongside Ochre that appears “violet” (18.003). They arrive next to one another just as they are found in the landscape: green nestled in violet, reminding us of lapping waters so long ago.Folio 2301 and the Earth-O-Meter are lines of flight for a material color theory, one in which color is not an abstract, perceived characteristic observed by physics, or a trick debating its place in or out of the mind. Color, or chroma, are material signs in the universe. Folio 2301 archives Ochre bodies from Temple Mountain alongside their respective pigments and the registry of community members who prepared them. The pigments were swatched to produce eight plates containing color studies or “palettes of place.” In Ochre, heat moves iron from yellow to red, water differentiates green from violet. Fluctuations of heat, time, pressure, electromagnetic field, and energy all play a part in the matter of color.While it is inspired by the cyanometer, a tool made to measure the blueness of the sky,2 the Earth-O-Meter is not a tool for measuring color, or earth-ness. It is a portal and a sign where the energy and intelligence of iron is flowing and evolving—all around us, before us, and after us. The cyanometer is made using Prussian blue, which is an oxidation of ferrous ferrocyanide salts. Prussian blue is known as the “first synthetic pigment.” By tinting Prussian blue to create the spectrum of the sky, technics modify iron to produce a divergent color in order to measure an ephemeral effect of atmosphere. The sky’s blueness is our experience of... (shrink)

Susan Hekman believes we are witnessing an intellectual sea change. The main features of this change are found in dichotomies between language and reality, discourse and materiality. Hekman proposes that it is possible to find a more intimate connection between these pairs, one that does not privilege one over the other. By grounding her work in feminist thought and employing analytic philosophy, scientific theory, and linguistic theory, Hekman shows how language and reality can be understood as an indissoluble unit. In (...) this broadly synthetic work, she offers a new interpretation of questions of science, modernism, postmodernism, and feminism so as to build knowledge of reality and extend how we deal with nature and our increasingly diverse experiences of it. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Kant’s Theory of SelfApaar KumarArthur Melnick. Kant’s Theory of Self. New York-London: Routledge, 2009. Pp. viii + 186. Cloth, $118.00.Melnick interprets the Kantian self from the first-person perspective as real abiding intellectual action. It unfolds in time but does not arise in inner or outer attending. Hence, it is neither a noumenal entity nor Kantian intuitable substance. Melnick thinks that his interpretation not only clarifies Kant’s arguments in (...) the Paralogisms of the first Critique, but also illuminates Kant’s positive theory of self.Melnick argues that a thought is inchoate, unformed, and unsettled until the thinking self as intellectual marshaling action brings it into focus and “coalesces” around it a series of related but out-of-focus thoughts ready to replace the focal thought if necessary. This marshaling action is temporal because it shifts/adjusts (“accompanies”) progressive attending but cannot be intuited in time. Its shifting/adjusting constitutes its only reality, for it would have to be in objective time if it were intrinsically real, which Kant’s transcendental idealism does not allow.As intellectual marshaling action, the thinking self cannot know itself as simple substantial entity. Instead, it knows itself as always-subject-and-never-predicate because it is constant and never swallowed up by particular thoughts, and as indivisible because its self-awareness as marshaling action in a whole thought is not the sum of its self-awareness in each part of that thought. Self-consciousness is a structural possibility of this marshaling action. It occurs when the subject has to report its thoughts, which it does by distancing-itself-from-but-still-encompassing its thought/s in reflection.The same marshaling action makes for the identity of the cognizing subject by constantly regulating thinking. Thinking is “proneness” to standardize or regulate. If I am unifying/regulating a synthesis of outer apprehension (empirical-object-dog) through my prior grasp of a thought or rule (empirical-dog-concept), I am self-identical in empirical apperception. If I am unifying/regulating outer or inner attending per se according to pure rules of space and time in a synthesis of outer apprehension, then I am self-identical in pure apperception.In the synthesis of inner apprehension, I can be self-identical only if I, as intellectual marshaling action, set representations of inner sense in time. Personal identity is the extension of this identity. It is to be construed as a “thin” capacity contingent upon the fulfillment of its activation conditions, rather than as a metaphysical entity. Given that time-consciousness [End Page 535] demands outer bodily representations in Kant, and bracketing his abstraction from the body, self-identical persons must necessarily be construed as embodied. Finally, contra the rationalists, intellectual marshaling action is neither material nor separable from material reality, and our capacity for such action relates immediately to the capacity of material things to affect us.The problem with this argument, which Melnick admits Kant himself never articulated, is that at key moments, it is neither a comprehensive interpretation of Kant (especially since Melnick relies principally on the first Critique, but not exhaustively so: for instance, he does not discuss the important distinction between the analytic and synthetic unity of apperception, etc.), nor a stand-alone first-person account of the self.First, Melnick’s use of several Kant-independent spatial analogies to explain crucial mental concepts is disconcerting: to some extent, self as “marshaling” action, consciousness as “awning” that envelops affection from outside, and (most obscurely) self-conscious subjects ostensibly require reflection to “mirror” a thought into a verbal report (56–57), but it remains unclear what mirroring into involves.Second, Melnick uncritically accepts Kant’s obscure equation of the unities of act and consciousness (7–8, 97), and hence sidesteps the thorny problem of relating/distinguishing activity and consciousness. Since he categorically interprets self as activity, Melnick appears to presuppose the priority of activity over consciousness. But this needs justification, which, in turn, requires further investigating the relationship between attention, consciousness, and intellectual marshaling action.Finally, although Kant never says this, Melnick offers a two-step argument that we possess a capacity for personhood, which seems rather unconvincing... (shrink)

This volume explores the roles and uses of abstraction in scientific and artistic practice. Conceived as an interdisciplinary dialogue between experts across histories and philosophies of art and science, this collection of essays draws on the shared premise that abstraction is a rich and generative process, not reducible to the mere omission of details in a representation. When scientists attempt to make sense of complex natural phenomena, they often produce highly abstract models of them. In the history and (...) philosophy of art, there is a long tradition of debate on the function of abstraction, and - more recently - its relation with theories of depiction. Adopting a process-oriented perspective, the chapters in this volume explore the epistemic potential of a diversity of practices of abstracting. The systematic analysis of a wide range of historical cases, from early twentieth-century abstractionist painting to contemporary abstract photography, and from nineteenth-century physics to recent research in biology and neurosciences, invites the reader to reflect on the material lives of abstraction through concrete artefacts, experimental practices and theoretical and aesthetic achievements. Abstraction in Science and Art: Philosophical Perspectives will be of interest to scholars and advanced students working in aesthetics, philosophy of science, and epistemology, as well as to historians of science and art, and to practicing artists and scientists interested in exploring foundational questions at the heart of the creative practice of abstracting. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Deification through the Cross:Reflections from an Implied Ideal WorshiperAndrew J. SummersonKhaled Anatolios's most recent book, Deification through the Cross,1 develops a definition of salvation out of his experience of the Byzantine liturgy. This experience of worship offers an immersion in what he calls "doxological contrition." By this, Anatolios means that Christ saves us by offering us the ability to participate in the mutual glorification of the persons of the (...) Holy Trinity by vicariously repenting for our sins. For Anatolios, this objective content is subjectively appropriated in Byzantine Christian worship. To explore this theme, Anatolios develops a working account of "doxological contrition" through a synthetic discussion of the Lenten Triodion and Pentecostarion, books of liturgical hymnography that govern the Byzantine worship from Lent to Pentecost. Anatolios derives his approach from the adaption of reader response theory, which aims to expose the effect a text should have on the "implied ideal reader." As such, his account speaks from the perspective of the "implied ideal worshiper"—presumably a theologically educated congregant who can seize these themes that evaporate into the ether as quickly as incense swung throughout the church during the services.Let me say from the outset, I heartily recommend Anatolios's book. It is both an ambitious work and a rewarding read. Ambitious because Anatolios's approach makes otherwise fragmented theological disciplines—liturgical [End Page 1089] studies, Scripture, historical theology, and systematics—fruitful dialogue partners in his exposition of a working account of the Christian experience of salvation. Rewarding because the reader can explore in depth the touchstones of the Christian tradition through Anatolios's deep retrieval of a more coherent soteriology. Deification of the Cross demonstrates the perennial value of historical theology to correctly account for the "half-forgotten, half misunderstood" details of the Christian tradition in the face of caricatures that at best misrepresent and at worst present an idolatrous, counterfeit Christianity.Eastern Christian Liturgy and RevelationPerhaps I am not Anatolios's ideal audience; I may be too close to the source material and lack objectivity. That aside, the bulk of my reflections on this book comes from the perspective of an "implied ideal worshiper." I do share some of Anatolios starting points. Like Anatolios, I am a convert, scholar, and Eastern Catholic priest. Furthermore, I also share the discontent with which Anatolios begins his book, though perhaps for different reasons. He bemoans a loss of the experience of salvation. My own vocation as priest and scholar comes out of a frustrated wonder. As a college student, I set out to learn about this Church and its Tradition. I learned about the Sunday experience I was supposed be having. It was in university when I read for the first time John Paul II's 1995 apostolic letter Orientale Lumen, written to acquaint the wider Catholic Church with the riches of the Christian East. John Paul II dedicated much reflection to the "genius of Eastern liturgy," emphasizing its power to envelop all our human senses into the fullness of the mystery of God. It is worth quoting in full:Within this framework, liturgical prayer in the East shows a great aptitude for involving the human person in his or her totality: the mystery is sung in the loftiness of its content, but also in the warmth of the sentiments it awakens in the heart of redeemed humanity. In the sacred act, even bodiliness is summoned to praise, and beauty, which in the East is one of the best loved names expressing the divine harmony and the model of humanity transfigured, appears everywhere: in the shape of the church, in the sounds, in the colors, in the lights, in the scents. The lengthy duration of the celebrations, the repeated invocations, everything expresses gradual identification with the mystery celebrated with one's whole person. Thus the prayer of the Church already becomes participation in the heavenly liturgy, an anticipation of the final beatitude.(§11) [End Page 1090]The experience of this liturgy has been quite potent throughout history. It led to the baptism of the entire kingdom of Rus' in 988 AD. As the story goes, its ruler, Vladimir the Great, sent emissaries to find a... (shrink)