Theorists in the debate on how to define lying disagree whether it is possible to lie with pictures. At the same time, they agree that definitions of lying should be consistent with how laypersons use the term ‘lie’. This calls for an empirical perspective on whether ordinary usage allows for pictorial lies. The present paper provides some initial data on this question by reporting an experiment with 623 participants investigating layperson judgements about cases of insincere linguistic and (...) class='Hi'>pictorial communication. The results indicate that ordinary usage of ‘lie’ does permit pictorial lies. (shrink)

Since the stone age humankind has created masterworks which possess a mysterious quality of solidity and grandeur or monumentality. A Paleolithic Venus and a still life by Cezanne both share this monumentality. Michelangelo likened monumentality to sculptural relief, Braque called monumentality 'space', and Hans Hoffman, himself one of the masters, called monumentality 'pictorial depth.' The masters agreed on the import of monumentality, but none of them left a clear explanation of it. In 1943 Earl Loran published his classic book (...) on Cezanne's pictorial structure but, as I demonstrate, his explanation was misleading. This book provide a clear explanation, as did an earlier book by Robert Casper. This book also traces some history of monumentality with reproductions. It also explains how some painters achieved monumentality and how a student can attempt it. Pictorial space is created in the tension between pairs of opposing planes. Opposing planes pull against each other, each containing the other, paradoxically, within the flat surface of the canvas. Sculpture also can be 'plastic': opposing masses pull against each other, each containing the other and creating tension in the space which lies between them. Painting has other aspects like subject matter, expression, style and technique but pictorial space does not depend on these. Monumentality moves us profoundly and apparently has done so since the Paleolith. Using patients' vignettes, I show that there are profound parallels between the structure of a monumental work of art and the structure of an evolving personality. In Winnicott's words, such a personality has 'depth ... an interior space to put beliefs in ... an inside ... a space where things can be held ... the capacity to accept paradox [to contain opposites] ... room and strength ... and originality and the acceptance of tradition as the basis for invention'. A monumental painting also meets this description. I argue that monumental art provides a visual portrait of an evolving personality just as myth, as Freud and Jung both showed, provides a narrative portrait of an evolving personality. An evolving personality is perhaps humankind's most important creation; an underlying purpose of both myth and art is to help us achieve it. I demonstrate in this book that monumental art represented the evolving personality since at least 35,000 BC. Thus to understand monumentality is to better understand the personality and its history. (shrink)

In this paper, I argue that, first, there is a non-verbal metaphor, specifically pictorial metaphor, second, there are differences between verbal and non‐verbal metaphor but their differences are not as big as some people expect. Theorists who argue for visual/pictorial metaphor have used some analogy withverbal metaphor in order to justify their position. This approach itself is not wrong but sometimes their analogy goes to the wrong direction. I introduce two theorists, Noel Carroll and Richard Wollheim, who have (...) a theory of visual metaphor and make an analogy with verbal metaphor. Their theories doom to fail because their analogy with verbal metaphor based on misunderstanding about verbal metaphor. Verbal metaphor is not to pair two objects belongs to unrelated realms, as pictorial metaphor is not recognize two different aspect alternatively, aspect seeing. Of course, paring two unrelated objects and aspect seeing may trigger off metaphor, but metaphor is not only about these two objects but also related to whole picture, sentence, discourse, or phrase and these things bringus to a pretense context in which metaphorical elements works and we are engaging in order to appreciate metaphor. When we see the metaphor in a whole picture, we enhance our understanding not only about visual metaphor but also verbal metaphor. Their differences lies in the way they get their primary meaning, but beyond it, there is no fundamental difference as metaphors between them. (shrink)

Lying requires asserting a disbelieved proposition, that much is widely accepted in the debate on how to define lying. But what else is required? Does lying require a particular linguistic manner of expression, such as saying? Does the proposition asserted have to be false (and not merely disbelieved)? And does lying require an intention to deceive? The aim of this chapter is to provide an opinionated introduction to the debates on these questions that takes into account both theoretical considerations and (...) empirical data. (shrink)

In the process of interpreting works of pictorial art, it is easier to understand not the "style", but the "theme", that is, not how to write, but what to write. In the history of modern art, which attaches more importance to "style", the problem of "theme" is not fundamental and is among the primitive issues worthy of the attention of amateurs who do not understand art. However, sometimes it is in simplicity that the essence lies. The simplest questions (...) that interest almost everyone are the link between works of art and society. When analyzing the "topic", the subject under study is not confined to one work of art, since an integrated approach to the consideration of the problem should be used. The author's main contribution to the study of the history of the development of Chinese painting is a new perspective – the analysis of works based on the "theme". The results of the study revealed the main themes of Chinese pictorial art, identified the main reasons for referring to them, and also established their symbolic meaning, connection with philosophical and literary traditions. The important role of literary scientists in determining the directions of thematic development of Chinese landscape painting is revealed, the significance of the images of the fisherman and the traveler as carriers of the spiritual content of the landscape is determined. The conclusion is made about the prominence of certain themes in the pictorial art, depending on the processes of social development of China. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Child's Creation of a Pictorial WorldEllen Handler SpitzThe Child'S Creation of a Pictorial World, by Claire Golomb. Mahwah, New Jersey: Erlbaum, 2004, 388 pp.Children's drawings fill us with wonder and delight. They may tend, however, to puzzle us, especially if we seek to comprehend them in terms appropriate to the drawings of mature artists or in terms relevant for other pictorial forms and expressions. (...) Likewise, they may puzzle us if we make the mistake of supposing that they represent in any direct or obvious way the cognitive development of young children or if we see them only as comical, inept efforts at depicting external reality. Children's drawings stimulate many nagging questions, among them the one as to why it should be that a child who knows so much and who is verbally so articulate may be graphically capable of depicting so little.Claire Golomb's work has proven extraordinarily helpful here as a corrective because Golomb, after many years of research and reflection, writes about these youthful creations not as "print-outs" of a child's mind. She sees them, rather, as exemplars of particular visual representational schemata that are generally available to and employed by young children. And although she regards these schemata as universal, she acknowledges that they are clearly subject to a wide range of individual variability. Over all, the value of Golomb's work lies in her extensive, descriptive research. Acknowledging her intellectual debt to her mentor, Rudolph Arnheim, Golomb reminds her readers that representation is never mimesis pure and simple. Representation is never, she tells us, the result of an "intention to copy nature." Therefore, when young children do otherwise, they ought not to be seen as failing. Their drawings ought not to be viewed as unsuccessful attempts to imitate nature or to depict with faithful realism what appears before their eyes. Rather, as Golomb states and attempts to demonstrate throughout the pages of her well-illustrated volume, children employ graphic schemata that develop over time in terms of shape, color, content, and composition. Ever seeking meaning, children create pictorial worlds that, while they have no one-to-one correlation with the perceptual world, are tied to it, importantly, nonetheless.Golomb assiduously describes and illustrates each of her studies so that her readers are treated to a panorama of this "orderly progression," as she puts it, this evolution of children's graphic work. Her book, moreover, is characterized by a certain social scientific aura; that is to say, she proffers statistics and quantifies her data to prove her points. She takes pains to argue, for example, from research conducted in tandem, apparently, with her daughter, that it is extremely difficult to differentiate, prima facie, the drawings of children who have been diagnosed as disturbed from those who are considered normal. Having worked for a couple of years in a residential treatment center for schizophrenic children, I would aver that this claim might be debatable. However, were one to be [End Page 120] able to so differentiate, this might constitute a challenge to Golomb's theory that the representational schemata are, as she puts it, "robust." According to her findings, they remain more or less in tact. Likewise with regard to the issue of cultural variables. Here Golomb argues, gently and respectfully, against positions taken by two other well-known scholars in the field, Brent and Marjory Wilson, who accord a higher priority than she does to cultural differences. According to the Wilsons, children's drawings are importantly influenced by whatever graphic models are made available to them in a given culture. For Golomb, however, these variables, while significant, do not interfere substantially with the universal classifications she proposes. As she writes, "The drawings of young children are as different one from another as fingerprints, yet they can be classified" (357).In general, then, the body of work Golomb offers in this second edition of her first volume published under the same title in 1992 by the University of California Press importantly contributes, as it initially did, to ongoing research in numerous fields, including art education, early childhood studies, art history, developmental psychology, anthropology, and art... (shrink)

To those who know little about the Middle Ages, the copying of manuscripts of “the ancients” (whether classical, such as the Roman poet Horace, or Christian, such as Saints Jerome or Augustine) often seems either a laudable act of preserving the past or an unfortunate fixation on repeating the words of others rather than penning new and original compositions. Even scholars of the Middle Ages appear sometimes more interested in new types of works such as fabliaux or courtly romances written (...) in the vernacular; when they study the practice of copying, they often concentrate on identifying prototypes or legacies. Finding old wine in old bottles has been a fairly constant theme in medieval studies; sometimes, we must admit, medievalists have just thrown out the old bottles and moved on to something completely new. In this context, it may seem strange to find a work about medieval Latin manuscript commentaries titled “The Birth of the Author,” responding to Roland Barthes's well-known essay “The Death of the Author,” published in 1984 and cited repeatedly since. What can it mean to see new, self-conscious awareness of the act of personal creation in works that are copies by scribes of other works that themselves comment on yet earlier works, often of a certain age or canonicity? Yet in this intelligent, engaging, and beautifully produced book, art historian Jeffrey Hamburger not only shows how those who wrote commentaries came to suggest that anyone who composes a work (even the scribe who copies it) could be considered a creator of meaning but also that the images in commentaries themselves sometimes make statements—indeed, statements more radical than those in the text—about the author of the work being illustrated. Long known as one of the relatively rare historians of medieval art equipped with a wide knowledge of theology and hence of how images respond to and reflect text, Hamburger here shows himself possessed of a shrewd eye for the image itself. He studies illuminated prefaces to, among other texts, the prose and poetic works of Horace as used in the medieval classroom, copies of the major biblical commentary of the High Middle Ages, the Glossa ordinaria, and Rupert of Deutz's erotically charged commentary on the Song of Songs. Changing the lens through which scholars have usually viewed such texts, Hamburger argues that images of authors of commentaries sometimes go beyond anything in the text to assert the authority not only of the author of the text commented on and of the commentator but occasionally even of the scribe.The Birth of the Author is a work of complicated analysis, and its full power demands close attention. Understanding how images construct claims that go beyond the text involves a good deal of careful looking. Hamburger is a patient and clear guide, but the reader must be prepared to flip back and forth between the magnificent colored images the publisher provides and to follow what are often painstaking arguments from comparison of small visual differences or puzzling identifications of seemingly strange details. The result of doing so is, however, to gain not only the reward of Hamburger's ingenious conclusions but also a lesson in how to look. For example, in a discussion of Gilbert Universalis's commentary on the Lamentations of the Hebrew prophet Jeremiah, Hamburger shows how Gilbert not only identifies Jeremiah as a “divine rhetorician” but also assimilates his own act of authorship to Jeremiah's prophetic speech. In the only extant copy of Gilbert's text that has a program of illustrations, the artist constructs both Jeremiah's speech and Gilbert's interpretation as similar acts of creation by framing both authors in parallel architectural images that evoke the Old Testament temple and a Christian church. Or to give a final example of Hamburger's interpretive reach: the book concludes not with yet another medieval preface but with an example of the far less usual manuscript epilogue. Here not only commentator, scribe, and illustrator but even the medieval reader construct themselves. Reception becomes interpretation, illustration becomes construction. In a commentary by the Carolingian figure Sedulius Scotus (fl. 840–60) on the Roman grammarian Donatus (mid-fourth century), the illustrator depicts Donatus as author and scribe (thus assimilating author into copier and vice versa). On the same folio, a later medieval reader constructs himself as reader/author in a charming marginal doodle that seems to entrap Donatus in a sort of hangman's noose. Thus, a bit wryly perhaps, Hamburger—himself teacher, commentator, and consummate scholar—seems to suggest that even frustrated students can construct themselves as interpreters and, yes, authors. Behind the seeming repetition and backward glance of the images in medieval commentaries lies radical and forward-looking self-awareness of the acts of authoring, interpreting, reading, and imagining. In Hamburger's analysis, the most seemingly conventional of medieval genres—the preface to commentaries on the texts of others—is a locus of the birth in illustration of the self-conscious and self-expressive author and reader. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Picture Is a Patchwork of Color Laid Out in a Private Space in Which Lie Flat Imitations of LifeDavid Socher, Independent ScholarThe fish to be fried has an ontological head, an epistemic belly, and an aesthetic tail.1 A picture is a patchwork of color laid out in a private space in which lie flat imitations of life. Such a patchwork constitutes a make-believe visual field. I roll out (...) this suggestion under the following headings: Intention, Form and Content, Ontology, Picture Space, Make-believe, Photography, and Resemblance (see Figure 1).In Annie and Alfred's house the wallpaper has daisies, the linoleum has pine trees, the carpet has tigers, and the upholstery has sailboats. In Betty and Bill's house the wallpaper is plaid, the linoleum is checkerboard, the carpet is paisley, and the upholstery herringbone. Annie, Alfred, Betty, and Bill all have a few one-dollar bills and a few five-dollar bills. As you of course know, the ones have Washington on them and the fives have Lincoln on them. It goes without saying that these daisies, pine trees, tigers, sailboats, Washingtons, and Lincolns are, in fact, pictures, a word I have not used until now. The absence of that word was not particularly noticeable. That is just the way a daisy is on wallpaper and that is just the way a president is on currency. (The word picture is not the only word to act this way, to drop out in this fashion. Take the word name. When I am on a list it is because my name, or perhaps my number is on the list.) For starters let us bring aboard the term picture to include these daisies, trees, tigers, sailboats, and presidents. And let us note that there are no pictures in Betty's wallpaper, linoleum, carpet, and upholstery.Some pictures work harder than Annie's daisies. Consider, for example, the use of pictures in pedestrian traffic lights. The pedestrian WALK sign pictures (in plain white light) a walking figure. And the DON"T WALK sign pictures (in flashing red light) an upraised hand enjoining us to stop.2 The first directs us to walk by showing us an example of walking, by picturing a walking person. We do what the figure does. It walks, we walk. In the second picture we sort of make-believe it is the hand of a traffic officer holding [End Page 105] his hand up for us to stop. This picture does not operate by example. We are certainly not expected to hold up our hand; we are expected to stop. With this sign a picture is used to command by picturing a command. In the WALK sign a picture is used to command by picturing compliance. So these are two ways of using a picture to direct our actions—picturing compliance and picturing a command. Here is a third sign—a picture of a cigarette is overlaid with a red X. The sign tells us not to smoke. It does not picture either command or compliance. It pictures, rather, the prohibited thing. This sign has a non-pictorial content, the X. It signals the prohibition. Click for larger view View full resolutionFigure 1.Annie's daisies, sailboats, and presidents are not to be imitated like the walking figure, nor obeyed like the halting hand, nor avoided like the prohibited cigarette. In merely displaying their subject these pictures fulfill their mission (see Table 1).IntentionBut what is the subject of a picture? What determines who or what is pictured? The Cracker Jack box features a boy in a sailor suit. Shortly before that [End Page 106] confection went into production, the founder's young grandson died, and the founder put that picture on the box in his memory. Since, whatever the founder had in mind, we do not take the sailor boy on the box to be that grandson, it is not him. Excluding the important special case of photographs we require, as Wolheim put it, intention fulfilled to specify the subject of a picture.3 In this case, even if the founder regarded his memorializing gesture as one of putting his grandson... (shrink)

This paper analyses Steven Vogel's claim that his account of a post-natural environmental philosophy solves the dualism problem within the field. Through what I will call a novel critique of social constructionism, this paper examines whether Vogel's attempt succeeds or whether it reinforces the problem he wants to solve. Could the ontological foundations of social constructivism themselves be in conflict with Vogel's stated aim of overcoming the human/nature dualism? The last part of the paper focuses on the significance and role (...) of a post-natural environmental philosophy for the field of environmental philosophy in general. (shrink)

The World Medical Association’s revised Declaration of Helsinki endorses the view that all trial participants in every country are entitled to the worldwide best standard of care. In this paper the authors show that this requirement has been rejected by every national and international committee that has examined this issue. They argue that the consensus view now holds that it is ethically permissible, in some circumstances, to provide research participants less than the worldwide best care. Finally, the authors show that (...) there is also consensus regarding the broad conditions under which this is acceptable. (shrink)

The current study uses a two-wave longitudinal survey to explores the influence mechanism of the family environment on adolescents’ academic achievement. The family environment is measured by parents and children’s reports, including family atmosphere, parent–child interaction, and family rules, to reveal the mediating effect of adolescents’ positive or negative peers between the family environment and academic achievement, and whether the gap between self- and parental educational expectation plays a moderating effect. This study uses the data of the China Education Panel (...) Study ; the survey samples include 9,449 eighth-grade students, establishing a multilevel moderated mediating effect model. The results showed the family environment and peer interaction quality can positively predict adolescents’ academic achievement. Using the KHB test, peer interaction quality plays a partial mediating role in the process of family environment positively affecting academic achievement, and the mediating ratio is 27.5%. The educational expectation gap moderates the effect of the family environment on academic achievement and also on peer interaction quality. Therefore, from the perspective of environment and important others, to correctly grasp the academic achievement of junior high school students in the process of socialization, it is necessary to recognize that the family environment, peer interaction quality, and educational expectation gap play an important role. (shrink)

With a specific example from Norway and inspiration from Sara Ahmed’s The Promise of Happiness, this article demonstrates how today’s educational rhetoric lacks the language and will to recognise a key pedagogical dimension in education: what happens when the normative ambitions of education and students meet. At best, teaching students life skills to mitigate their mental health issues is naive. Inspired by Ahmed, such an initiative might actually work against its purpose. At a time when educational outcomes are emphasised in (...) local and international political contexts, I argue that the task of philosophy of education should be 1) to reclaim the significance of the pedagogical dimension in education and 2) to philosophise on what negative emotions such as unhappiness require of education. (shrink)

This article explores possibilities for establishing dialogues between feminism and constructivism in the field of technology studies. Based on an overview of Norwegian feminist debates about technology, it indicates several points where feminism and constructivism meet and can mutually benefit from each other. The article critically examines feminist studies questioning the problems of technological determinism, social deternacnism, and essentialism. It criticizes constructivism for a lack of concern for gender and politics but holds that it is still possible to use theoretical (...) tools from constructivism in feminist analyses. Fruitful dialogues require the application of the principle of symmetry to the dcalogues and sharing some common ground and mutual recognation of each other's strengths and weaknesses. (shrink)

Ethical issues related to comparative effectiveness research, or research that compares existing standards of care, have recently received considerable attention. In this paper we focus on how Ethics Review Committees should evaluate the risks of comparative effectiveness research. We discuss what has been a prominent focus in the debate about comparative effectiveness research, namely that it is justified when “nothing is known” about the comparative effectiveness of the available alternatives. We argue that this focus may be misleading. Rather, we should (...) focus on the fact that some experts believe that the evidence points in favor of one intervention, whereas other experts believe that the evidence favors the alternative. We will then introduce a case that illustrates this point, and based on that, discuss how ERCs should deal with such cases of expert disagreement. We argue that ERCs have a duty to assess the range of expert opinions and based on that assessment arrive at a risk judgment about the study under consideration. We also argue that assessment of expert disagreement is important for the assignment of risk level to a clinical trial: what is the basis for expert opinions, how strong is the evidence appealed to by various experts, and how can clinical trial monitoring affect the possible increased risk of clinical trial participation. (shrink)

ArgumentDuring the 1950s it became apparent that antibiotics could not conquer all microbes, and a series of tests were developed to assess the susceptibility of microbes to antibiotics. This article explores the development and standardization of one such testing procedure which became dominant in the Nordic region, and how the project eventually failed in the late 1970s. The standardization procedures amounted to a comprehensive scheme, standardizing not only the materials used, but also the methods and the interpretation of the results. (...) Focusing on Sweden and Norway in particular, the article shows how this comprehensive standardization procedure accounted for several co-dependent factors and demanded collaboration within and across laboratories. Whereas literature on standardization has focused mostly on how facts and artefacts move within and across laboratories, I argue for the importance of also attending to regions and territories. More particularly, while arguing that the practices, ideals, and politics related to what have been called the “Nordic welfare state” were contributing to the design of the standardized procedure in the laboratory, I also argue that Scandinavia was drawn together as a unified region with and by these very same practices. (shrink)

In this issue, Alex London and Kevin Zollman provide an analysis of an influential approach to the ethics of international research, known as the “fair benefits” approach. According to them, the fair benefits approach suffers from a fatal flaw: it is either too vague to be useful, or worse, is internally inconsistent. The fair benefits approach was developed based on a presentation I gave at a workshop organized in Malawi in March 2001 by the National Institutes of Health Clinical Center’s (...) Department of Bioethics. In this presentation, I made what I still think is a valid point, which was accepted by the diverse group of participants and formed the basis of the subsequent publications: One should not .. (shrink)

This book, edited by a team of leading European bioethicists, is in all respects an innovative publication.

Du silex à l'internet l'Homme dans toute sa complexité.

This paper gives an account of theory structure in the biomedical sciences with particular emphasis on cardiology. Rather than regarding theories as axiomatizable sets of statements (the so-called received view), theories are regarded as answers to questions which are accepted as legitimate and interesting by scientists within a field of investigation at a given time. This account of theory structure is used to distinguish between theories which are quite liable to be revised during the course of scientific investigation, here called (...) theories within the field, and theories which are more securely established, here called theories of the field. These latter theories can also be regarded as patterns of reasoning which are applied again and again to answer the questions of the field. It is argued that the distinction proposed in this paper fits our intuitive understanding of what it means for a theory to be securely established within a field of research. Several examples are given which show the problems of justifying clinical intervention solely on the basis of theories within the field. (shrink)

Decision analysts sometimes use the results of clinical trials in order to evaluate treatment alternatives. I discuss some problems associated with this, and in particular I point out that it is not valid to use the estimates from clinical trials as the probabilities of events which are needed for decision analysis. I also attempt to show that an approach based on objective statistical theory may have advantages over commonly used methods based on decision theory. These advantages include the recognition of (...) uncertain data, the introduction of a third alternative, namely suspension of judgement, and the possibility of modifying the choice of probabilities based on a clinical trial with reference to other available knowledge. I have not, however, shown in detail how this modification is done, but I think the concept is sufficiently promising to be applied to an actual clinical decision problem. (shrink)

The article analyses the debate on egg donation in Norway using source material from the parliamentary debate of amendments to the Biotechnology Law. In both policy documents on bioethics and the Biotechnology Law, gender is not a spoken issue, but bringing egg and sperm directly to the fore highlights how gender is implicated in bioethics debates. Gender perceptions affect the understanding of `what egg and sperm may do' at the same time as the debate sets established perceptions of gender in (...) motion. In Norway, gender equality is a valid and important premise within the general political debate. It is, however, contested as a valid argument in the context of egg donation, which therefore becomes a field of negotiations about the limits of equal opportunities. The article analyses the egg donation debate as a process of cultural co-production and asks how the Norwegian emphasis on gender equality influences the debate on egg donation and, vice versa, how debates of assisted reproductive technology reopen debates on gender in relation to reproduction and parenthood. (shrink)

The article discusses two bioart projects that bring the symbolically core human substances of blood, sweat and tears into technologically mediated relationships with plants and fungi to explore human kinship with other species: Tarah Rhoda’s BS&T (short for ‘blood, sweat and tears’) and OurGlass, and Saša Spačal’s MycoMythologies: Patterning. The article analyses the art projects through the lens of the molecular gaze and different perspectives on kinning, bringing anthropological conceptualizations of kinship together with Haraway’s pathways to connect with other species. (...) How can bioart use technologies to explore interspecies kinship through a molecular gaze? And may such artworks contribute to the toning down of human exceptionality in the face of a precarious future? We find that artworks providing a molecular gaze on interspecies biological processes may risk a decontextualized approach to complex relational processes but may also create new visions of filiation even with biological organisms imagined to be genetically distant from humans, thus spurring awareness of the fragile interrelationships among species. (shrink)