This chapter critically explores the notion of medium specificity both in its classical form, as represented by figures such as Rudolf Arnheim and André Bazin, and in its current revised versions as proposed by philosophers such as Berys Gaut, Dominic Lopes, and Ted Nannicelli. The thesis of this entry is that the idea of medium specificity is flawed in all of its variations.

The paper analyses empirical research results comparing the impact of the medium on the reading process and text comprehension. It focuses on two analytical approaches—the first looks at the construction of cognitive maps of texts and the other the material aspects of the medium – which enable readers to orientate themselves and to explore and interpret the text more comprehensively. The paper discusses differences in how readers approach textual meaning according to experience of using digital technologies, the text, (...) and reader experience and abilities. It concludes by arguing that strengthening these individual experiences and abilities is key to effective inference of textual meaning. (shrink)

Medium specificity is a theory, or rather a cluster of arguments, in aesthetics that rests on the idea that media are the physical material that makes up artworks, and that this material contains specific and unique features capable of 1) differentiating media from one another, and 2) determining the aesthetic potential and goals of each medium. As such, medium specificity is essential for aestheticians interested in matters of aesthetic ontology and value. However, as Noël Carroll (...) has vehemently and convincingly argued, the theory of medium specificity is inherently flawed and its many applications in art history ill-motivated. Famously, he concluded that we should ‘forget the medium’ entirely. In this thesis, I reject his conclusion and argue that reconstructing a theory of medium specificity, while taking Carroll’s objections into account, is possible. To do so, I offer a reconceptualization of the main theoretical components of medium specificity and ground this new theory in empirical research. I first redefine the medium not as the physical material that makes up artworks but as sets of practices – not the material itself but how one uses the material. I then show that what makes media specific and unique is not certain physical features, but the human responses, which can be empirically investigated, to the combination of practices that constitute media. This relation is one of response-dependence, albeit of a novel kind, which I develop by appealing to social metaphysics. The resulting theory is more complex but also much more flexible and fine-grained than the original and provides insight into a variety of current aesthetic theories. (shrink)

This chapter contains sections titled: The Problem The Filmstrip Argument Metacomics Bomb Queen's Editor Girl The Filth's Max Thunderstone Conventions and Aesthetic Analysis Conclusions Notes References.

Develops a view of the difference between film and video that is not based on media specificity but on media practices.

My aim is to show that dissatisfaction with the term ‘tactile pictures’ and the proposal for ‘a multisensory pictorial aesthetic’ introduced by Dominic Lopes is due to an ambiguity of ‘picture’ between visual and spatial representation in-volving more than one sense. In order to avoid this ambiguity, I propose another term in its place and I investigate some of the directions that a richer multimedia and multimodal aesthetic can take.

Resumo Neste artigo, tentar-se-á reconstruir e defender a noção de “especificidade média” que se refere ao cinema. Começar-se-á por discutir a ontologia de um certo tipo de exibição visual, geralmente encontrada em conexão com uma vasta gama de obras cinematográficas. Argumentar-se-á que estas exibições têm uma natureza essencial ou real. Obras construídas em torno de tais exibições estão aptas a manifestar certas qualidades e poderes peculiares. Assim, o “meio de cinema” consiste em parte, num tipo particular de meio veicular e, (...) de várias propriedades nem sempre manifestas distintas dele. Ao discutir-se o conceito de “meio”, considera-se também um sentido em que esta noção é negligenciada, a saber, que as competências e habilidades pessoais operam uma mediação entre a concepção de uma exibição e a sua produção. Prosseguir-se-á, argumentando, que apesar dos defeitos da “especificidade média”, proveniente de uma versão da teoria clássica do cinema, o cinema como uma forma de arte ou corpo de obras de arte, é ou tem um “meio especial” dotado de distintas propriedades artísticas. Palavras-chave : essencialismo, medium specificity, medium, obra, ontologia do cinema, valor artísticoIn this paper, I try to reconstruct and defend the notion of medium specificity as it relates to cinema. I begin by discussing the ontology of a certain kind of visual display commonly found in connection with a vast range of candidate cinematic works. These displays, I argue, have an essential or real nature. Works constructed around such displays are apt to manifest certain qualities and powers peculiar to displays of that kind. Thus cinema’s medium consists in part of a particular type of vehicular medium and various not always manifested properties distinctive to it. In discussing the concept of medium, I also consider a neglected sense of this term, namely, personal abilities and skills that mediate between one’s designing a certain display and one’s producing a matching object or result. I go on to argue that, despite the defects of classic film theory’s version of medium specificity, it is true that cinema, as artform or body of artworks, is or has a special medium endowed with distinctive artistic properties. Keywords : artistic value, essentialism, medium specificity, medium, ontology of cinema, work. (shrink)

Technological advancements often lead to revolutions in the creation of art; but, what is unclear is whether such advancements always correspond to revolutions regarding the artistic medium. The notion of an artistic medium is central to our thinking about, engagement with, and appreciation of art. Accounts of the interpretation, understanding, and experience of art must at some point grapple with the role of the artistic medium against such endeavors. Moreover, artists do not choose their medium by (...) accident, but presumably do so with an eye to the specific and unique affordances of their chosen medium. This chapter will explore the ways in which technology affects these issues. One question we could ask is, when does some technology itself become a new artistic medium? Some technological advancements result in the creation of a new artistic medium—like photography—while others do not—like procedural music. Finding “technology” itself to be too broad of a concept to define a distinctive and theoretically useful notion of an artistic medium, this chapter will examine generally what sort of barriers or challenges one might face when thinking of different technologies as themselves constituting an artistic medium. Specific attention will be paid to the notion of the medium and the theoretical and aesthetic work that such a notion plays in regard to works of computer art. (shrink)

I argue that the physical marks on a canvas resulting from an artist's intentional, stylistic and expressive acts cannot themselves be the artist's expression, but instead they serve to signify or indicate those acts. Thus there is a kind of indicative content associated with a picture that is distinct from its subject matter (or 'representational content'). I also argue that this kind of indicative content is closely associated with the specific artistic medium chosen by the artist as her expressive (...) medium, for which reason I call this kind of content medium content (or medium-related content). (shrink)

In 1792 Dugald Stewart published Elements of the philosophy of the human mind. In its section on abstraction he declared himself to be a nominalist. Although a few scholars have made brief reference to this position, no sustained attention has been given to the central role that it played within Stewart’s early philosophy of mind. It is therefore the purpose of this essay to unpack Stewart’s nominalism and the intellectual context that fostered it. In the first three sections I aver (...) that his nominalism emanated from his belief that objects of the mind—qualities, ideas and words—were signs that bore no necessary relation to the external objects that they were meant to represent. More specifically, it was these signs that were arranged into systems of thought by the ‘operations of the mind’. The next three sections suggest that his treatment of words as signs most probably originated in his views on language and medicine and that his nominalistic philosophy of mind could also be extended to systems that sought to classify the natural world. I conclude by suggesting several avenues of enquiry that could be pursued by future scholars interested in excavating Stewart’s thought. (shrink)

We add one point to Suddendorf & Corballis's (S&C's) story of mental time travel: For the future success of this hot, new area of research, it is imperative to pay attention to the fundamental distinction between the general brain/mind capacity that makes possible conscious awareness of the past and the future (the ), on the one hand, and specific expressions of this capacity in a large variety of future-related mental activities (the ), on the other.

Assuming that one believes that individuals and states can morally defend values, beliefs, and institutions with force , one logically wants just combatants to possess the physical, mental, and spiritual capacities that will enable them to win the war. On the other hand, being a just combatant in a just war does not morally entitle that combatant to do anything to win that war. The moral requirement for just combatants to fight justly is codified in international law of war and (...) in state-specific legal documents such as the United States Uniform Code of Military Justice. While it is almost unequivocally clear to soldiers and civilians who soldiers cannot harm in the performance of their duties, and why these people are exempt from harm, it is less clear what the state itself can morally do to its own soldiers to enhance their chances of victory: can the state do anything to soldiers to give them an advantage on the field of battle?For United States soldiers and their counterparts in most Western liberal democracies, the answer is obviously no. Deeply embedded social and cultural norms in Western democracies mandate that the state set and enforce rigid lines which drill sergeants and earnest commanders cannot cross, even in the name of combat readiness, grounding these norms in notion of basic rights appealed to in the U.S. Constitution. In this essay, I argue against some types of drug-induced internal biotechnical enhancement of soldiers on the grounds that, in the present state of technology, it is not reasonable to suppose that the military can perform such enhancement operations on soldiers without causing irrevocable psychological damage that would certainly and unjustifiably alienate the soldiers from the very society they serve. (shrink)

The digitalized urban environment is explored in the paper as a medium with several overlapping and inter-weaving spatial layers. The author suggests that it has grown increasingly complex in the multi-spaced and multiply scaled cybercities for people to share in public space. Moreover, the challenges of public living in contemporary urban settings emerge most intensely at the points of intersection of the invisible technostruc-ture and the media saturated phenomenality of the city. At these intersections, one ethically and politically burning (...) issue is how people through their ICT-related activities contribute to the =automatic produc-tion of space‘. More specifically, critical attention should be paid to people‘s active, but not necessarily self-reflexive, participation in the consolidation of the =technological unconscious‘ that conditions their own public agency. (shrink)

This second research paper on science education in Māori‐medium school contexts complements an earlier article published in this journal (Stewart, 2005). Science and science education are related domains in society and in state schooling in which there have always been particularly large discrepancies in participation and achievement by Māori. In 1995 a Kaupapa Māori analysis of this situation challenged New Zealand science education academics to deal with ‘the Māori crisis’ within science education. Recent NCEA results suggest Pūtaiao (Māori‐medium (...) Science) education, for which a national curriculum statement was published in 1996, has so far increased, rather than decreased, the level of inequity for Māori students in science education. What specific issues impact on this lack of success, which contrasts with the overall success of Kura Kaupapa Māori, and how might policy frameworks and operational systems of Pūtaiao need to change, if better achievement in science education for Māori‐medium students is the goal? A pathway towards further research and development in this area is suggested. (shrink)

This article discusses the image of the ghost as adapted by and to photography. It focuses on the evolution of the photographic ghost in relation to a distinctive manifestation of psychic photography (or spirit photography) prevalent during the early twentieth century. Psychic investigators observed that in some photographs the faces of spirits that developed on the glass-plate negatives appeared to have been handmade.1 More specifically, they looked like collages, composed of fragments of existing portrait photographs and prints, and of everyday (...) materials, re-photographed, and superimposed on the plate in the manner of a double-exposure (Fig. 1). Several notable investigators advocated that this phenomenon need not be construed as evidence of fakery. There was another explanation: that psychic photographs contained portraits not of but by disincarnate souls, made from images drawn from the Spiritualist medium’s or the spirit’s visual memories of photographs of themselves, others, and objects, which were assembled, reproduced, and imprinted upon the photographic plate. Thus, psychic photographs were interpreted as being fabricated artefacts, born of an interactive collaboration between disincarnate and embodied consciousness, created (somehow) in the ether or a psychic aura, mediated via the camera (in some cases), and made tangible on the sensitized emulsion. This paper examines the unique and overlooked interaction between science and spirit, apparatus and appearances, and matter and minds, involving and connecting attendant and (purportedly) remote psyches. (shrink)

According to a widely shared notion, music is not only something that we can understand, but moreover something that gives us access to a specific form of cognitive reflection. This paper suggests that the first part of this notion is only plausible if musical understanding is not explained in terms of grasping the meaning of music, but in terms of experiencing its sense. Music has neither a classifiable meaning full content nor a predicative structure, both of which are necessary in (...) order for a medium of reflection. Therefore, the second part of this notion can only be defended in a rather modest way, insofar as the cognitive function of music is limited to its role merely as a means that serves our otherwise language-based reflexive competence. (shrink)

Digital artifacts from iPads to databases pervade our lives, and the design decisions that shape them affect how we think, act, communicate, and understand the world. But the pace of change has been so rapid that technical innovation is outstripping design. Interactors are often mystified and frustrated by their enticing but confusing new devices; meanwhile, product design teams struggle to articulate shared and enduring design goals. With Inventing the Medium, Janet Murray provides a unified vocabulary and a common methodology (...) for the design of digital objects and environments. It will be an essential guide for both students and practitioners in this evolving field. Murray explains that innovative interaction designers should think of all objects made with bits--whether games or Web pages, robots or the latest killer apps--as belonging to a single new medium: the digital medium. Designers can speed the process of useful and lasting innovation by focusing on the collective cultural task of inventing this new medium. Exploring strategies for maximizing the expressive power of digital artifacts, Murray identifies and examines four representational affordances of digital environments that provide the core palette for designers across applications: computational procedures, user participation, navigable space, and encyclopedic capacity. Each chapter includes a set of Design Explorations--creative exercises for students and thought experiments for practitioners--that allow readers to apply the ideas in the chapter to particular design problems. Inventing the Medium also provides more than 200 illustrations of specific design strategies drawn from multiple genres and platforms and a glossary of design concepts. (shrink)

Stanley Cavell’s writing about movies, from the more theoretical and general The World Viewed (1971) to the later works on specific genres (Pursuits of Happiness, Contesting Tears), has a unifying theme: some movies as (successful) art investigate conditions of accomplished selfhood and interest in experience in medium-specific ways. This claim is explained and defended by explicating the details of the medium-specificity of the moving photographic image (and its history of uses) and by focusing on Michael Verhoeven’s film (...) The Nasty Girl (1990). Though the very ideas of accomplished selfhood and interest in experience naturally prompt some suspicion in a commercialized, pluralistic society, our responses to some movies show that we continue to aspire to a life that embodies them. (shrink)

In the opening of this paper I argue, contrary to a notion commonly found in the humanities and social sciences above all, and ironically yet not any less resolutely for all that, that in fact nature still exists. Subsequently I criticize the arguably more prevalent conviction that culture stands in opposition to nature. In contrast I argue for the thesis that culture is nothing more or less than a specific form of life that can only develop within nature. More than (...) this: it can only ever develop as nature; and it can only accomplish this with nature. This is shown by examples for the case of technology, which was decisive for the emergence of culture. Every technology can only start by using natural means. Hence we can show that we can only ever understand culture as a part of nature that differentiates itself, like all parts of nature, according to the external and internal conditions of that particular life. Thus culture is one of the countless evolutionary products of nature. (shrink)

The reflection on film will be situated within the framework of popular culture and lived religion as recognised themes within the discipline of practical theology. It is argued that the perspective of viewers is of importance within the process of meaning-making. By focusing on the experience and meaning-making through the act of film-watching the emphasis is not so much on the message that the producer wishes to convey but rather on the experience that is created within the viewer. Experience is (...) not viewed as only emotional, but rather that, at least, both the cognitive and emotional are key in the act of watching a film. It is therefore argued that this experience that is seldom reflected on by viewers could serve as a fruitful platform for meaning-making by the viewer. In a context where there seems to be a decline in institutionalised forms of religion, it is important to investigate emerging forms of religion. Furthermore, the turn to the self also makes people's experiences and practices in everyday life valuable resources for theological reflection. This reflection could provide a theoretical framework for especially empirical research on how film as specific form of media serves as a religious resource and plays a role in the construction of meaning and religious identity. (shrink)

Corporate social responsibility (CSR) is becoming a mainstream issue as both researchers and managers are realizing its importance, but knowledge gaps persist. In particular, the processes underlying the adoption of responsible managerial practices and the effects associated with them are still at the centre of intense debate. Not surprisingly, managers expect formalized procedures that might influence corporate managerial processes and especially corporate strategies. Given the growing emphasis on the integration of CSR into corporate strategy, the purpose of this qualitative study (...) is to explore the antecedents of this process and the dynamics underlying it. We focus on a medium-sized, family-owned Italian company, SABAF SpA. We find that: the beliefs and value systems of entrepreneurs play a fundamental role in shaping a sustainable corporate strategy; the importance of the relationship between social performance and financial performance depends to some extent on the kind of competitive strategy that a company has selected; and people need to be aware of it – that is, CSR strategies must be explicit and codified into specific managerial procedures. (shrink)

Corporate social responsibility (CSR) is becoming a mainstream issue as both researchers and managers are realizing its importance, but knowledge gaps persist. In particular, the processes underlying the adoption of responsible managerial practices and the effects associated with them are still at the centre of intense debate. Not surprisingly, managers expect formalized procedures that might influence corporate managerial processes and especially corporate strategies. Given the growing emphasis on the integration of CSR into corporate strategy, the purpose of this qualitative study (...) is to explore the antecedents of this process and the dynamics underlying it. We focus on a medium-sized, family-owned Italian company, SABAF SpA. We find that: the beliefs and value systems of entrepreneurs play a fundamental role in shaping a sustainable corporate strategy; the importance of the relationship between social performance and financial performance depends to some extent on the kind of competitive strategy that a company has selected; and people need to be aware of it – that is, CSR strategies must be explicit and codified into specific managerial procedures. (shrink)

Leadership is considered as a significant antecedent of knowledge hiding in SMEs, but the differential dimension of leadership has been evidently neglected in both theoretical and empirical areas. Drawing on conservation of resource theory and social cognitive theory, this research investigates whether and how SME differential leadership influences subordinate knowledge hiding. Specifically, we analyze the underlying mechanisms of a chain-mediator—job insecurity and territorial consciousness and a boundary condition—leadership performance expectation. Multi-wave and multi-source data were collected from a sample of 704 (...) Chinese SME employees and 140 relevant leaders and applied HLM meso-mediational frameworks, and Bootstrap technique with non-parametric percentile residuals for deviation correction. The results show that differential leadership plays a potential role in promoting subordinate knowledge hiding through the serial intervening mechanism of job Insecurity and territorial consciousness in SMEs. Furthermore, the positive relationship between SME differential leadership and job insecurity becomes stronger among subordinates under higher leadership performance expectation; the positive indirect relationship between SME differential leadership and subordinate knowledge hiding is stronger with higher levels of leadership performance expectation. This study contributes to the existing academic literature by empirically analyzing the under-investigated correlation between differential leadership and subordinate knowledge hiding in SMEs, and by exploring the underlying mechanisms and a boundary condition. (shrink)

The concept of responsible ownership was originally developed with reference to large, publicly held firms. However, the relevance of small- and medium-sized closely held firms, such as family firms, in all economies and the specific governance and organisational characteristics of these firms require further examination of the responsible ownership concept and its operationalisation. Based on the existing literature, we define the construct of responsible family ownership to fill this gap in responsible ownership theory. We propose a scale that can (...) be used to assess the responsible family ownership construct in small- and medium-sized family enterprises. The data used in this exploratory study were collected in an ad hoc survey answered by a representative sample of 84 small- and medium-sized family enterprises. The study contributes to the responsible ownership literature by presenting the responsible family ownership construct, a key driver of balance in family and firm systems that is therefore critical to the health of small- and medium-sized family enterprises. In addition, a scale is proposed as a means to operationalise the construct and to derive practical implications for the governance of this kind of firms. (shrink)

The paper responds to the recent calls for further evidence on corporate social responsibility (CSR) in small and medium‐sized enterprises (SMEs). Drawing on the extant literature, the authors identify four characteristics contended by academicians as peculiarities of SMEs’ approach to CSR: the intrinsic relationship between CSR and corporate strategy motivated by the need to continuously dialogue with stakeholders; the centrality of the entrepreneur's ethos in CSR decisions; the coexistence and the cross‐effect of economically instrumental and ethically motivated CSR policies; (...) and the finalization of CSR initiatives to specific firm growth objectives. These four peculiarities are explored in the case of an Italian medium‐sized company operating in the furniture industry. The outcomes show how the four peculiarities are salient in analyzing the CSR approach by the company and suggest areas for further research aimed at developing a thorough theory of CSR in SMEs. In particular, we deepen the analysis of the nature of the uniqueness of medium‐sized companies’ approach to CSR, providing possible interpretations of the reasons making medium‐sized companies’ approach to CSR different from both small and large companies. (shrink)

The paper responds to the recent calls for further evidence on corporate social responsibility (CSR) in small and medium-sized enterprises (SMEs). Drawing on the extant literature, the authors identify four characteristics contended by academicians as peculiarities of SMEs’ approach to CSR: the intrinsic relationship between CSR and corporate strategy motivated by the need to continuously dialogue with stakeholders; the centrality of the entrepreneur's ethos in CSR decisions; the coexistence and the cross-effect of economically instrumental and ethically motivated CSR policies; (...) and the finalization of CSR initiatives to specific firm growth objectives. These four peculiarities are explored in the case of an Italian medium-sized company operating in the furniture industry. The outcomes show how the four peculiarities are salient in analyzing the CSR approach by the company and suggest areas for further research aimed at developing a thorough theory of CSR in SMEs. In particular, we deepen the analysis of the nature of the uniqueness of medium-sized companies’ approach to CSR, providing possible interpretations of the reasons making medium-sized companies’ approach to CSR different from both small and large companies. (shrink)

The paper responds to the recent calls for further evidence on corporate social responsibility (CSR) in small and medium‐sized enterprises (SMEs). Drawing on the extant literature, the authors identify four characteristics contended by academicians as peculiarities of SMEs’ approach to CSR: the intrinsic relationship between CSR and corporate strategy motivated by the need to continuously dialogue with stakeholders; the centrality of the entrepreneur's ethos in CSR decisions; the coexistence and the cross‐effect of economically instrumental and ethically motivated CSR policies; (...) and the finalization of CSR initiatives to specific firm growth objectives. These four peculiarities are explored in the case of an Italian medium‐sized company operating in the furniture industry. The outcomes show how the four peculiarities are salient in analyzing the CSR approach by the company and suggest areas for further research aimed at developing a thorough theory of CSR in SMEs. In particular, we deepen the analysis of the nature of the uniqueness of medium‐sized companies’ approach to CSR, providing possible interpretations of the reasons making medium‐sized companies’ approach to CSR different from both small and large companies. (shrink)

In recent years there have been evergrowing concerns regarding environmental decline, causing some companies to focus on the implementation of environmentally friendly supply, production and distribution systems. Such concern may stem either from the set of beliefs and values of the company's management or from certain pressure exerted by the market - consumers and institutions - in the belief that an environmentally respectful management policy will contribute to the transmission of a positive image of the company and its products. Sometimes, (...) however, ethics and market rules are not enough to deal with this situation and specific laws must be considered. This is the case when companies base their activity on the 'ethics of self-interest' concentrating their efforts on projecting an adequate image - e.g. environmental respect - rather than fundamentally behaving in environmentally respectful ways. This article, taking as reference the SME context, discusses the reasons for implementing environmentally friendly systems. Both ethics and business seem to be relevant and, therefore, a certain balance between market and interventionism seems to be necessary. (shrink)

The primary objective of this research is to establish the extent to which small and medium-sized businesses in the Ha’il region benefit from a significant competitive advantage brought about by an entrepreneurial mindset. To achieve these objectives, the study used a questionnaire to collect data. A total of 220 SMEs in the Ha’il region were surveyed. The participants completed an online self-administered survey and used the PLS-SEM technique. The researchers found a robust link between differentiation advantage and higher levels (...) of innovativeness, proactiveness, risk-taking, competitive aggression, and autonomy. In addition, the outcomes of the survey reveal that a greater cost advantage is substantially associated with vastly greater innovativeness, proactiveness, risk-taking, and competitive aggression overall. However, cost advantage is not strongly correlated with autonomy. These findings are significant because they shed new light on how competitive advantages are formed through the entrepreneurial orientation of entrepreneurs in the Ha’il region. This is a significant theoretical contribution to the literature on entrepreneurial orientation, specifically in the context of SMEs. The findings may also be valuable in supporting SMEs in being successful by enhancing their competitiveness, as SMEs are key contributors to the development and growth of the economy. (shrink)

Carruthers’ notion that natural language(s) might serve as the medium of non-domain-specific, propositionally based inferential thought is extended to the case of effortful retrieval of autobiographical memory among bilinguals. Specifically, the review suggests that the resources of bilingual inner speech might play a role in the cyclical activation of information from various informational domains during memory retrieval.

In lieu of an abstract, here is a brief excerpt of the content:Terry Comito NOTES ON PANOFSKY, CASSIRER, AND THE "MEDIUM OF THE MOVIES" The modesty of my title is not feigned. Panofsky's essay on "Style and Medium in the Motion Pictures"1 is more often quoted than understood, and much of it proves upon examination to be curiously elusive. The notes and hypotheses offered here are tentative ones, meant only to point us in the direction of answers to (...) two questions. How might Panofsky's well-known formulation ("the medium of the movies is physical reality as such") most usefully be construed?—useful for us as viewers and then perhaps as critics of movies. And what might he plausibly be supposed to have intended? It is to be hoped that these two points are not impossibly remote from one another. In a recent discussion of "Fact and Fiction in Literature," Roger Shattuck takes Panofsky's essay as an extreme instance of a "belief in the basically documentary nature of film." According to Shattuck, Panofsky supposes that a "film grows naturally out of material things," that it is generated spontaneously, without the intervention of authorial consciousness, from the "undifferentiated reality" before which a camera needs only to be set in motion. Now this is a familiar enough parody of "realist" theories of cinema. But it would be a curious position for anyone really to assert, and particularly curious for a writer so committed as Panofsky to idealist aesthetics. There is, to be sure, a puzzle about the way such an aesthetic might take account of an art that is said somehow to "do justice" to a materialistic interpretation of the world (p. 31). (We would presumably want to know if the justice in question is distributive or commutative: rendering unto Caesar or robbing Peter to pay Paul?) But does a disciple of Cassirer really need to be lectured at about the priority of the whole to the parts, or to be informed that what we call "reality" is constituted in the act of perception? There 229 230Philosophy and Literature are confusions enough in Shattuck's essay to suggest that he is not our best guide over an admittedly strenuous terrain. He informs his readers that Panofsky (and apparently Bazin and Kracauer too) "anticipate " the views of "many structuralists and semioticians," as if there were not a fundamental difference between the autonomy of écriture and the "animistic" view of physical reality Shattuck attributes to Panofsky and his followers. He then introduces a distinction between documentary and fiction films that makes Panofsky the prophet of Warhol, Wiseman, and South American snuff-films, when in fact he talks about Disney, the Marx Brothers, and the derivation of movies from comic strips and dime novels. All this is worth bringing up because Shattuck does raise some crucial issues, if only by so noticeably fudging them. Like most of us who have responded to Panofsky's essay, he has chiefly in mind the assertion that "the medium of the movies is physical reality as such" (p. 31). He wants to construe this as saying that movies "document" or certify the world of external objects and thereby encourage certain sorts of naivete: the belief that we are secure in our knowledge of the world "out there," and that the world really is "out there," independent of our hypotheses and untainted by our uncomfortable consciousness. That movies have often fueled some such nostalgia for the world seems undeniable, but the question elided in Shattuck's discussion is the critical one. To what extent and in what ways does a statement about the "medium" of the movies commit us to a position as to their proper content, or to a specific social program, or to a particular metaphysical understanding of the world? Shattuck cuts through these knotty matters rather than unraveling them. He talks as if Panofsky claims that physical reality as such is the subject matter of movies—which is where Warhol and cinéma vérité come in, as the inheritors of the tradition of Balzac. But this is not what Panofsky says, and it does not accurately describe the parameters of his taste. He objects to "artistic prestylization" in the manner of Caligari, and he thinks... (shrink)

An important measure of the success of an academic institution is evaluation of its moral health. In order to investigate academic integrity in our institution, we administered the Academic Integrity Survey to a representative sample of 384 students from different departments. In addition we performed content analysis on 24 disciplinary hearing files from the previous academic year in order to ascertain which students were brought before the committee and why. Results show that the majority of students perceived academic misconduct as (...) a serious matter. Those who reported high on academic misconduct were concentrated among those who had not done national service, studied in the science faculty, and were Arabic-speaking students. Evaluation of the disciplinary hearings revealed that half the student brought before the committee were Arabic-speaking students despite their relatively small numbers in the college. The findings suggest that prevention of academic misconduct should focus on supporting specific at-risk populations. (shrink)

All entrepreneurs try to be timely unlimited, constant and successful in their business. In doing so, their company founding, running operations and development all depend on adequate and quality financing. The goal is to ensure a stable financing and growth and the question is how, when and from which sources should the financing be ensured. When talking of financing, it is primarily meant ensuring the money or the capital, a synonym of the entrepreneurship and its main moving strength. In order (...) to be successful, it is of high importance to meet optimal business decisions and specially investing decisions. Even though the focus of the financing process is not solely limited to money, money plays a central role and is also the basis and the requirement for business activity and the very existence and the end goal of a business as well. One important focus of entrepreneurs is the question of an optimal financial structure for their own enterprise. The specifics of every individual company together with the industry they are in and macroeconomic environment they operate in do not allow for a uniform and generally applicable solution to this problem. The focus of this problem lies in the ratio between the size and structure of assets on one side and the size and structure of equity and debt on the other side. Every entrepreneur should also know which amount and structure of long-term assets, fixed assets is necessary for his enterprise. The function of investment planning defines these requirements before the actual investment takes place. An entrepreneur who is already longer in business will at this point analyze his actual financial structure with a focus on capital accumulation and conditions of raising debt. (shrink)

In archival footage uploaded online of a concert at the University of the Western Cape in 1988 musician Robbie Jansen declared that the next composition to be performed was named 'Freedom Where Have You Been'.1 Before counting the band in, Jansen offered a short discourse on the meaning of the phrase hoya chibongo. Hearing the Afrikaans hoorie (meaning listen here) in the expression hoya, Jansen proceeded to split up the word chibongo to accentuate chi- as aurally reminiscent of the suffix (...) -tjie that is used in Afrikaans to mark the diminutive. bongo, in this context as Jansen remarked, is the drum, leading Jansen to exclaim that the phrase hoya chibongo means to 'listen to the (small) drum', the drum that is, according to Jansen, 'the truth'. In Jansen's exact words, 'the drum speaks the truth and the drum has always been our language before these funny words that we are speaking now'. Jansen's translation was markedly oral, not only in its expression of speech and languaging but also in its invocation of a historicity through the oral; an oral tradition, for all intents and purposes. In its locatedness in a musically expressive and performative moment, Jansen expressed a duality of sound that exceeds the oral itself: calling attention to how language might be a conduit for the instrument, and how in some sense the drum might speak across time and space. It usefully deepens the often cliché proclamation rehearsed in and out of music studies in particular that music is universal, or that sound might be thought of as a kind of connective tissue that allows a specific sense-making of the social.2 In Jansens invocation of 'before' in his statement about the drum as language, and in debates around the meaning of sound to the social, it is history - or, a representation of pastness - that is called upon to bring about a set of futures where sound mediates the experience of a temporal matrix where truth, or freedom, might be found. What Jansen does/did was not necessarily an act of translation into a local vernacular as it is the blurring of the oral and the aural in a moment that might express the relation between sound, its interpretation, and its social life, obliquely. The truth for Jansen was what the drum expressed; but it was also the drum itself. The oral is aural, as the aural is oral. (shrink)

In team-based tasks, successful communication and mutual understanding are essential to facilitate team coordination and performance. It is well-established that an important component of human conversation is the maintenance of common ground. Maintaining common ground has a number of associated processes in which conversational participants engage. Many of these processes are lacking in current synthetic teammates, and it is unknown to what extent this lack of capabilities affects their ability to contribute during team-based tasks. We focused our research on how (...) teams package information within a conversation, by which we mean specifically whether information is explicitly mentioned or implied, and how multiple pieces of information are ordered both within single communications and across multiple communications. We re-analyzed data collected from a simulated remotely-piloted aerial system task in which team members had to specify speed, altitude, and radius restrictions. The data came from three experiments: the “speech” experiment, the “text” experiment, and the “evaluation” experiment. We asked first whether teams settled on a specific routine for communicating the speed, altitude, and radius restrictions, and whether this process was different if the teams communicated in speech compared to text. We then asked how receiving special communication instructions in the evaluation experiment impacted the way the human teammates package information. We found that teams communicating in either speech or text tended to use a particular order for mentioning the speed, altitude, and radius. Different teams also chose different orders from one another. The teams in the evaluation experiment, however, showed unnaturally little variability in their information ordering and were also more likely to explicitly mention all restrictions even when they did not apply. Teams in the speech and text experiments were more likely to leave unnecessary restrictions unmentioned, and were also more likely to convey the restrictions across multiple communications. The option to converge on different packaging routines may have contributed to improved performance in the text experiment compared some of the conditions in the evaluation experiment. (shrink)

This article combines the disciplines of textual/linguistic analysis, anthropology, and perceptual psychology to examine selected ancient Jewish mystical texts that claim to describe the praxis for ascents into heaven and encounters with angelic spirits in order to reconstruct the psychosocial context of these literary works. Specifically, the article examines Hekhalot or "Divine Palaces" texts that deal with hydromancy, giving attention to their mythic–symbolic assumptions, their described preparatory and triggering rituals, and their accounts of the ASC (altered states of consciousness) visions (...) resulting from these rituals that are experienced by the practitioners. The article suggests that these accounts correlate with ASC practices identified in the literature and additionally suggests that although the mystical texts are written to resemble biblical accounts of revelatory experiences, the texts under consideration are more than works of fabulous imagination; they are literary artifacts of an actual ecstatic ASC praxis among the Jews of Late Antiquity. (shrink)

Nick Peim has recently revisited the work of Walter Benjamin; specifically his famous essay on art and mechanical reproduction. In this reply, I too draw upon the inspiration of Benjamin to extend the argument to the question of experience and what might count as knowledge, both in a philosophical sense and also in terms of the curriculum. To exemplify my argument I draw upon the topics of prostitution, gambling and the urban. They were all central to Benjamin's unfinished work 'The (...) Arcades Project'. (shrink)

In Dienes & Perner's analysis, implicitly represented knowledge differs from explicitly represented knowledge only in the attribution of properties to specific events and to self-awareness of the knower. This commentary questions whether implicit knowledge should be thought of as being represented in the same conceptual vocabulary; rather, it may involve a quite different form of representation.

For Hans Hofmann and Clement Greenberg, flatness–more specifically, “re-created flatness,” a term Greenberg adopted after hearing it used in the painter’s important 1938– 39 lectures–became a key term in their accounts of pictorial meaning. In this paper, I articulate what is significant about that idea and draw out its implications for understanding what Hofmann meant by artistic expression. Ultimately, I suggest that the concept of re-created flatness, and its pictorial realization, implies or entails a certain view of expression: namely, that (...) what is expressed by an artwork is the artist’s meaning (in contradistinction to the arbitrary meanings that may be imputed to her work by a viewer). This paper has three principle objectives. First, I overview Hofmann’s unpublished writings and lectures on aesthetics. So far, the critical analysis and evaluation of these materials have had little visibility in modernist studies. I aim not only to contribute a more specific account of Hofmann’s concepts as they were introduced through his program of aesthetic education but also to situate them in a wider intellectual and critical context. Second, I interpret the significance of those ideas for modernist criticism by focusing especially on the concept of re-created flatness as it appears in the writings of both Hofmann and Greenberg. Finally, I hope to demonstrate that Hofmann’s closely associated notions of flatness, depth, and the picture plane are deeply implicated in the issue of modernist painting’s autonomy, especially as formulated by Greenberg. (shrink)

By offering an original reading of J. G. Fichte's central philosophic work, The Science of Knowledge , through the prism of his much over looked "Journal of Animal Magnetism" this dissertation situates Fichte's later metaphysics of the image within the concerns of contemporary media theory. It does so by taking seriously the political consequences of the historical transformation of the faculty of imagination in age of materialism. Such a reading is made possible by approaching German Idealism through the critical apparatus (...) of 20th century Continental Philosophy . ;In the 19th century, Post-Kantian idealism's designation of the imagination as a faculty was called into question. For instance, with the appearance of Mesmerism and the rise of magnetic psychology, the very validity of the transcendental subject was rendered suspect. The subject's imagination was shown to be transparent to external influence. In his own search for a physical instantiation of idealism Fichte realized that the imagination and its power of imaging was no longer limited to the transcendental subject, but was shown to be a function of material technique. Such a transformation would have far reaching political consequences. Specifically, if Fichte articulated spirit---which defined social wholeness---in terms of the imagination, then the appropriation of the imagination by technological materialism demanded a fundamental rethinking of the communicative ground of the social. (shrink)

In recent years there have been ever-growing concerns regarding environmental decline, causing some companies to focus on the implementation of environmentally friendly supply, production and distribution systems. Such concern may stem either from the set of beliefs and values of the company’s management or from certain pressure exerted by the market – consumers and institutions – in the belief that an environmentally respectful management policy will contribute to the transmission of a positive image of the company and its products. Sometimes, (...) however, ethics and market rules are not enough to deal with this situation and specific laws must be considered. This is the case when companies base their activity on the ‹ethics of self-interest’ concentrating their efforts on projecting an adequate image – e.g. environmental respect – rather than fundamentally behaving in environmentally respectful ways. This article, taking as reference the SME context, discusses the reasons for implementing environmentally friendly systems. Both ethics and business seem to be relevant and, therefore, a certain balance between market and interventionism seems to be necessary. (shrink)

Is cinematicity a virtue in film? Is lack of cinematicity a defect? Berys Gaut thinks so. He claims that cinematicity is a pro tanto virtue in film. I disagree. I argue that the term “cinematic” principally refers to some cluster of characteristics found in films featuring the following: expansive scenery, extreme depth of field, high camera positioning, and elaborate tracking shots. We often use the word as a term of praise. And we are likely right to do so. We are (...) right if we mean that the film does well what movies often do well. We are wrong if we mean that the film is good for doing what is merely distinctive of film. This issue has important implications for understanding the role of the medium in artistic evaluation. I argue that we should reject Gaut’s claim because it entails an implausibly strong medium specificity thesis. (shrink)