In On the Genesis of Thought and Language, linguist Alexey Koshelev explores fundamental questions of how human concepts arise in a child, why concepts appear in a child before words, the genesis of language, and why there are so many languages. Chapter One introduces the fundamental dichotomy "visual (exogenous) vs. functional (endogenous)" cognitive units; these units are used to give non-verbal definitions of mental representations of various objects, actions, and situations. In particular, definitions of such concepts as GLASS, CHAIR, BANANA, (...) TREE, LAKE, RUN, and some others are given. Chapter Two discusses how children form concepts, hierarchical relationships, and propositions (conceptual 'utterances'). It is shown that the initial units of the child's representation of the world are pre-conceptual cognitive units--mental representations of whole situations. In the course of two consecutive cycles in the child's cognitive development, these units transform into (a) primary notions--object and motor concepts, and (b) binary role relationships. Together, they constitute the elementary language of thought which, in the process of thinking, is used to build conceptual structures--propositions. It is further demonstrated that, immediately after the formation of thought, the child begins to develop his native language in which concrete and motor concepts become initial meanings of nouns and verbs, while propositions become the meanings of the child's expressions. The chapter concludes with a contrastive analysis of the proposed approach and Aristotle's and Chomsky's views on thought and language. Chapter Three analyzes how a community's culture affects its language. It is demonstrated that the progress of a community, the main constituent of the civilizational component of its culture, enhances the development of the content component of language by extending the range of its lexical and grammatical meanings. In the context of this analysis, Daniel Everett's (2008) hypothesis that culture affects language structure is discussed. In the subsequent sections, models of the development of human and social activity are offered. These models comprise three components: Activity (main component), Thought, and Language (auxiliary components that ensure the successful realization of activities). The models are illustrated with examples of some concrete societies. (shrink)

Description: Contents: Preface 1. General Remarks on the Vedanta 2. Fundamental Distinction Between The Self and the Ego 3. The Vital Centre of the Human Being, Seat of Brahma 4. Purusha and Prakriti 5. Purusha Unaffected by Individual Modifications 6. The Degrees of Individual Manifestation 7. Buddhi or the Higher Intellect 8. Manas or the Inward Sense : The Ten External Faculties of Sensation and Action 9. The Envelopes of the Self ; The Five Vayus or Vital Functions 10. (...) The Essential Unity and Identity of the Self in all the States of the Being 11. The Different Conditions of Atma in the Human Being 12. The Waking State or the Condition of Vaishwanara 13. The Dream State or the Condition of Taijasa 14. The State of Deep Sleep or the Condition of Prajna 15. The Unconditioned State of Atma 16. The Symbolical Representation of Atma and its Conditions by the Sacred Monosyllable Om 17. The Posthumous Evolution of the Human Being 18. The Reabsorption of the Individual Faculties 19. Differences in the Posthumous Conditions According to the Degrees of Knowledge 20. The Coronal Artery and the Solar Ray 21. The Divine Journey of the Being on the Path of Liberation 22. Final Deliverance 23. Videha-mukti and Jivana-mukti 24. The Spiritual State of the Yogi : The Supreme Identity. (shrink)

The article deals with the issues of comparing the teachings of Tolstoy and Lao-zi according to the criterion of palingenesis, which is the basis for the construction of the entire ideological corpus of the most important treatise of Taoism “Tao de jing”. Lao-zi formulated the lapidary formula of palingenesis in the fortieth zhang of this treatise, recreating a picture of the harmonization of the Middle Kingdom, arguing that return is the movement of the Tao, and weakening is the action (...) of the Tao. The principle of palingenesis is one of the fundamental principles for which Tolstoy uses Christological vocabulary, and Lao-zi uses embryological vocabulary. The choice of the palingenesis criterion for comparative analysis of the teachings is due to the fact that the latter works as an immutable law when setting the task of recreating harmony in social chaos. Based on the assessments of the content of the zhangs of the “Tao de jing” canon, a representative line of palingenesis elements is built: the category of knowledge/truth; the category of ignorance; the category of simplicity; the category of naturalness; the category of “baby”; the category of non-action; the category of nonviolence. The principles of Taoism are not expressed by Tolstoy with a research sequence in logical definitions, but appear as categories and trends, working in the worldview of the Yasnaya Polyana sage. In the works “What is my faith?”, “Sayings of the Chinese sage Lao-Tse”, “Non-doing”, Tolstoy's teaching is presented in its entirety and is therefore convenient for comparison with the Taoist classics. It is noted that Tolstoy's conceptual idea is based on the desire to convert people to the good - unity with all people. This orientation towards the good is nothing else than the return to man of his original nature, on the way to which the principle of palingenesis associated with the boycott of the civilization of violence is realized. The conducted research has shown that in the teachings of Lao-zi and Tolstoy, which record the experience of theoretical exploration of the world, the categories of palingenesis are common to the Russian and Chinese spirit. (shrink)

Having explicated "refraining," "omitting," "failing" and "letting happen," it is argued that these cases are not actions but decisions, Having consequences for which one may be blamed or praised. To blame or praise properly we need a clear concept of responsibility. Extending h l a hart's "role-Responsibility," it is suggested that there are "official, Causal" and "casual" role-Responsibilities. The first two involve some people's rights--The last does not--And not discharging them is more serious.

The objective of this study is twofold: to examine the patterns that govern social reporting with reference to an Islamic framework and to identify the moral legitimacy factors that influence them. We select 146 publicly listed Sharia‐compliant companies and classify the disclosures in their annual reports according to an Islamic framework that categorises items as either Required, Expected or Desired to indicate the degree of importance each item carries from an Islamic perspective. Based on this framework, we then analyse moral (...) legitimacy factors, specifically the type of Sharia screening body and the proportion of Muslims in the population, that may influence the prioritisation of the different categories of social reporting. We find that disclosures that fall into the Required category of our framework—especially those that relate to companies’ involvement in “haram” activities (activities not permissible in Islam)—are still few among the companies studied. Our research also reveals that both moral legitimacy factors under investigation influence the three categories of social reporting, although in different ways. This research contributes to the existing literature by empirically examining how organisations prioritise their disclosure of virtues and the moral legitimacy factors that influence that prioritisation. (shrink)

ABSTRACTIn this essay, I will argue for an understanding of justice that is grounded in our imperfect world by drawing upon the works of John Dewey and the Classical Daoist philosophers. It will require a reconstructed understanding of persons as a field/continuum of interrelations and an updated understanding of human action and agency. This understanding of justice takes the form of non-coercive action, interaction that respects the particularity of each lived situation. The practice culminates in an ability to (...) respond to the environment considered to be ziran or ‘self-so’ by the Daoist Philosophers. As described in the Dao De Jing, it is the cultivation of the ‘Three Jewels of the Dao’, the most central of them being compassion making, this practice of justice as non-coercive action also understandable as the practice of compassion as described by the Classical Daoist philosophers. (shrink)

The success of a few theories in statistical thermodynamics can be correlated with their selectivity to reality. These are the theories of Boltzmann, Gibbs, end Einstein. The starting point is Carnot’s theory, which defines implicitly the general selection of reality relevant to thermodynamics. The three other theories share this selection, but specify it further in detail. Each of them separates a few main aspects within the scope of the implicit thermodynamic reality. Their success grounds on that selection. Those aspects can (...) be represented by corresponding oppositions. These are: macroscopic – microscopic; elements – states; relational – non-relational; and observable – theoretical. They can be interpreted as axes of independent qualities constituting a common qualitative reference frame shared by those theories. Each of them can be situated in this reference frame occupying a different place. This reference frame can be interpreted as an additional selection of reality within Carnot’s initial selection describable as macroscopic and both observable and theoretical. The deduced reference frame refers implicitly to many scientific theories independent of their subject therefore defining a general and common space or subspace for scientific theories (not for all). The immediate conclusion is: The examples of a few statistical thermodynamic theories demonstrate that the concept of “reality” is changed or generalized, or even exemplified (i.e. “de-generalized”) from a theory to another. Still a few more general suggestions referring the scientific realism debate can be added: One can admit that reality in scientific theories is some partially shared common qualitative space or subspace describable by relevant oppositions and rather independent of their subject quite different in general. Many or maybe all theories can be situated in that space of reality, which should develop adding new dimensions in it for still newer and newer theories. Its division of independent subspaces can represent the many-realities conception. The subject of a theory determines some relevant subspace of reality. This represents a selection within reality, relevant to the theory in question. The success of that theory correlates essentially with the selection within reality, relevant to its subject. (shrink)

In this essay, I challenge Charles Mills’s use of the category of moral personhood for advancing a robust anti-racist political critique in nonideal circumstances. I argue that the idea of the moral equality of persons is necessary but insufficient for reparative justice. I enrich the normative basis of political critique to include: (1) a clarification of what the public recognition of moral personhood can legitimately entail as a requirement of justice enforceable by the state, especially with respect to economic (...) reforms that advance equal opportunity and (2) a conception of non-alienated labor that assails identity-based occupational segregation in the labor market. These additional components do not exhaust the plausible bases for political critique, but enrich it in a way that the idea of moral equality alone cannot. (shrink)

The scheme of concepts we employ in daily life to explain intentional behaviour form a belief-desire model, in which motivating states are sorted into two suitably broad categories. The BD model embeds a philosophy of action, i.e. a set of assumptions about the ontology of motivation with subsequent restrictions on psychologising and norms of practical reason. A comprehensive critique of those assumptions and implications is offered in this work, and various criticisms of the model are met. The model’s predictive (...) and explanatory value exploits realistic notions of beliefs and desires as inner states underlying behavioural patterns. It is argued that the popular explication that beliefs and desires differ in their “direction of fit” is insufficient and inescapably normative. Essential to the model is the causal role given to desires. ‘Desire’ is therefore focussed. A dispositional and functional characterisation of desires is compatible with an eliminative view of dispositions. These views taken together do not exclude regarding desires as causes. Desires have propositional content. Content is a feature of desire’s dispositionality, and thereby causally relevant. This functional characterisation of content allows for non-linguistic content. The phenomenal conception of desire is criticised and diagnosed. A theme defended in various ways throughout the work is that desires mostly are unknown to agents and that the agent is in a less privileged position when it comes to analysis of his own motivational states, than e.g. people close to him. There are formal and empirical reasons to be pessimistic about agents’ abilities to make reliable predictions about their own intentional behaviour. The BD model’s concept of ‘intention’ is discussed and compared with non-reductive views of intentions. Criticisms of the common view that David Hume defends a BD model are presented, but it is argued that the BD interpretation of Hume is plausible, although this reading requires important qualifications in order to preserve internal consistency. The BD model leaves room for focussing attention, making foregrounded practical judgements, higher order desiring and other activities affecting one’s decision process. However, these various forms of deliberation in many cases are overrated. Three suggested norms of internal structural rationality are criticised in favour of simple Humean instrumentalism about practical reason. That position implies that criticism of other people’s ultimate ends is not a matter of internal rationality, but an inevitably social practice; it is dependent upon our concern for others, our view of their social roles and our own intrinsic desires. (shrink)

ABSTRACT The concept of ‘intimate citizenship’ stresses the right of people to choose how they organize their personal lives and claim identities. Support and interest groups are seen as playing an important role in the pursuit of recognition for these intimate choices, by elaborating visible and positive cultures that invade broader public spheres. Most studies on intimate citizenship take into consideration the exclusions these groups encounter when negotiating their differences with society at large. However, much less attention is paid to (...) the ways in which these groups internalize the surrounding ideologies, identity categories and hierarchies that pervade society and constrain their recognition as full citizens. In contrast, this paper aims to emphasize the reproduction of otherness within alternative spheres of life, and to reveal the ambiguities and complexities involved in their dialectic relationship with society at large. To address this issue, the paper focuses on the role that ‘adoption cultures’ of Flemish adoptive parents with children from Ethiopia play in the pursuit of being recognized as ‘proper’ families and full citizens. The ethnographic research among adoptive parents and adoption professionals shows a defensive discourse and action that aims at empowering against potential problems, as well as a tendency to other the adoptive child by pathologizing its non‐normativity. By showing the strong embeddedness of adoptive families' practices of familial and cultural construction in larger cultural frames of selfing and othering, characterized by biologism and nativism, one begins to understand the limits of their capacity to realize full citizenship. (shrink)

Introduction The act of caring in nursing requires previous deliberation and decision, however this perception only arises when an ethical problem emerges. Objective: Identify ethical problems of nurses action in the area of beginning of human life Method: Exploratory and descriptive method, with a qualitative approach. Semi-structured interviews were used to collect data, who were submitted to content analysis. The sample was constituted by 26 nurses. Results 18 categories of problem areas and 56 ethical problems in early human life (...) were identified. The results obtained are very diverse, including areas such as termination of pregnancy, informed consent or maintaining privacy. However, other problem areas also emerge and numerous new subcategories/ethical problems, including: dealing with miscarriage, extreme situations, minors’ pregnancy, serious malformations detected at birth, consent regarding care during childbirth, Non- identification of a ethical problem, nurse social recognition and non-involvement of the person in labour. Conclusion Nurses face different ethical problems that impact their lives. We intend to contribute in helping to make decisions in this field, which the outset is of hope and joy, but which hides, behind this evidence, countless situations of suffering for everyone involved. The identification of ethical problems in this field, it is the first step to reflect about theme and helping decision-making for nurses that are taking care in this area of beginning of human life, when confronted whit the same type of ethical problems. (shrink)

The distinction between distributive and non-distributive profiles figures prominently in current evaluations of the ethical and epistemological risks that are associated with automated profiling practices. The diagnosis that non-distributive profiles may coincidentally situate an individual in the wrong category is often perceived as the central shortcoming of such profiles. According to this diagnosis, most risks can be retraced to the use of non-universal generalisations and various other statistical associations. This article develops a top-down analysis of non-distributive profiles in which (...) this fallibility of non-distributive profiles is no longer central. Instead, it focuses on how profiling creates various asymmetries between an individual data-subject and a profiler. The emergence of informational, interest, and perspectival asymmetries between data-subject and profiler explains how non-distributive profiles weaken the epistemic position of a profiled individual. This alternative analysis provides a more balanced assessment of the epistemic risks associated with non-distributive profiles. (shrink)

Much contemporary scholarship on ziran and wuwei views these concepts, which are often coupled, as being 1) anti-intention, effort, purpose, and self-consciousness; 2) indicative of a distinct type of ethics and/or morality; and 3) a rejection of following custom and convention. This paper will draw largely on the philosophy of Guo Xiang to demonstrate that these widely agreed upon avenues of interpretation are limited and run contrary to other more nuanced readings of ziran and wuwei. I argue that ziran and (...) wuwei are better appreciated as speaking to attitudes, that they should be understood in terms of degrees rather than categories, and that the Laozi and Zhuangzi offer them as advice for ways of reflecting—they are not standardizable ethical rules. In this way, we can see how ziran and wuwei include intention and effort, are anti (most forms of) ethics and morality, and are inherently intertwined with customs and convention. (shrink)

Beginning with a discussion of adaptations of François Jullien’s understanding of ‘potential born of disposition’ and ‘silent transformation’ in two recent analyses of capitalist contemporaneity (by Bennett and Dufourmantelle), this essay argues that as a philosophical tool, ‘China’ bears within it a rich and underanalysed genealogy that reframes critical theory’s approach to nature and its objects in a new geopolitical context. The remainder of the essay then unpacks the intellectual history and textual philology of one earlier and pivotal moment of (...) critical theory’s entanglement with ‘China’: Walter Benjamin’s transformation of ‘non-action’, or wu wei, into a complex for thinking through possibilities of what he might, with Jullien, call not-being in debt to Being. (shrink)

Much contemporary scholarship on ziran and wuwei views these concepts, which are often coupled, as being 1) anti-intention, effort, purpose, and self-consciousness; 2) indicative of a distinct type of ethics and/or morality; and 3) a rejection of following custom and convention. This paper will draw largely on the philosophy of Guo Xiang to demonstrate that these widely agreed upon avenues of interpretation are limited and run contrary to other more nuanced readings of ziran and wuwei. I argue that ziran and (...) wuwei are better appreciated as speaking to attitudes, that they should be understood in terms of degrees rather than categories, and that the Laozi and Zhuangzi offer them as advice for ways of reflecting—they are not standardizable ethical rules. In this way, we can see how ziran and wuwei include intention and effort, are anti (most forms of) ethics and morality, and are inherently intertwined with customs and convention. (shrink)

Accession Number: ATLA0001712257; Hosting Book Page Citation: p 579-595.; Language(s): English; General Note: Bibliography: p 594-595.; Issued by ATLA: 20130825; Publication Type: Essay.

Two major developments of the last two decades have radically undermined traditional justifications of leftist politics: the failure of 20th-century `socialist' experiments, and what might be termed the deessentializing movement in contemporary philosophy. However, the social injustices that animated revolutionary thinkers in many respects remain, and some have arguably worsened in the era of globalized capitalism. This article investigates whether it is possible to articulate a new theoretical underpinning for progressive politics that nevertheless avoids the essentialist moves of Marxism. Ethico-political (...) readings of Derrida — one of the most influential anti-essentialist thinkers — are compared to Ernesto Laclau's attempts at formulating a post-Marxist progressive politics built around the notions of `hegemony' and `radical democracy'. Laclau's intervention in the Marxist tradition is to deconstruct its traditional categories so as to take account of contingency; his intervention in deconstruction is to introduce what in this article is described as `contestation', so as to provide a more coherent account of the political. The article concludes that neither deconstruction nor radical democracy provides an adequate basis for poltical action, but that the latter's account of the political is a meaningful development of the theoretical schema articulated by the former and does point to the possibility of a non-essentialist progressive politics. Key Words: aporia • contestation • contingency • deconstruction • Jacques Derrida • hegemony • justice • Ernesto Laclau • Emmanuel Levinas • responsibility. (shrink)

Since the advent of a post-structuralist ethos, the assertion of a notion of truth, conceived as an infallible point d’appui from which a given social order could be evaluated as ideological or non-ideological, seems no longer possible. As Rorty has pointed out ‘[we can now] see ourselves as never encountering reality except under a chosen description as…making worlds rather than finding them’. However, we could still legitimately ask whether or not an inevitable condition of the ‘post-modern world’, that is, a (...) world deprived of a manifest intrinsic meaning, is the renouncement of the assumption of a certain notion of an objective truth for a critique of ideology. I will suggest in this essay that a way to respond to this question is by revisiting Habermas's theory of communicative action, viewed through the lens of the theory of ideology formulated by Slavok Žižek. Furthermore, the main thesis of this work is that by using the notion of the Real or ‘primordial repressed’ taken from a Žižekian reading of Lacan, it would allow the production of a critique of ideology in which the truth — the unmasking of the extra-ideological place — becomes possible as a hypothetical objective category. (shrink)

Since the advent of a post-structuralist ethos, the assertion of a notion of truth, conceived as an infallible point d’appui from which a given social order could be evaluated as ideological or non-ideological, seems no longer possible. As Rorty has pointed out ‘[we can now] see ourselves as never encountering reality except under a chosen description as…making worlds rather than finding them’. However, we could still legitimately ask whether or not an inevitable condition of the ‘post-modern world’, that is, a (...) world deprived of a manifest intrinsic meaning, is the renouncement of the assumption of a certain notion of an objective truth for a critique of ideology. I will suggest in this essay that a way to respond to this question is by revisiting Habermas's theory of communicative action, viewed through the lens of the theory of ideology formulated by Slavok Žižek. Furthermore, the main thesis of this work is that by using the notion of the Real or ‘primordial repressed’ taken from a Žižekian reading of Lacan, it would allow the production of a critique of ideology in which the truth — the unmasking of the extra-ideological place — becomes possible as a hypothetical objective category. (shrink)

Introduction: Non-violent resistance, carried out by healthcare workers, has been a common phenomenon. Despite this and despite the issues this type of action raises, we know little about the healthcare workers who engage in this action and their perspectives about its justification. This exploratory study sought to address this gap, examining these fundamental questions amongst a sample of healthcare workers who have engaged in acts of resistance, exploring their understanding of non-violent resistance, its justification and the barriers they (...) faced in engaging in such action. Methods: Participants were recruited through Medact's ( https://www.medact.org/ ) member database and directed to an online survey hosted on Qualtrics. While participants were unlikely to be representative of the broader UK healthcare community, participants were in an advantageous position to comment on non-violent resistance. Descriptive quantitative analysis and a content analysis were conducted. Results: The majority of participants felt that non-violent resistance could be justified dependent on its cause and/or the action in question. Within this, most felt that if action were non-violent, that if it didn't harm patients and that if the issue in question had to do with health being compromised, action was often justified. A number of others framed their justification as being a right or duty to engage in non-violent resistance. In relation to barriers to engaging in non-violent resistance, these fell into three categories: personal, professional and broader concerns related to society or the general culture found in healthcare. Within these, time and concerns about registration or the consequences of engaging in action were cited as the greatest barriers. Conclusions: These results suggest that healthcare workers who regularly engage in non-violent action carefully thought through their actions, acknowledging the diversity of actions and issues that could be challenged, for many patient care remained a primary concern. There is a need for clarity from regulatory bodies and in particular the need for dialogue between healthcare bodies and healthcare workers who continue to engage in acts of non-violent resistance. (shrink)

This paper argues for a conception of the natural rights of non-human animals grounded in Kant’s explanation of the foundation of human rights. The rights in question are rights that are in the first instance held against humanity collectively speaking—against our species conceived as an organized body capable of collective action. The argument proceeds by first developing a similar case for the right of every human individual who is in need of aid to get it, and then showing why (...) the situation of animals is similar. I first review some of the reasons why people are resistant to the idea that animals might have rights. I then explain Kant’s conception of natural rights. I challenge the idea that duties of aid and duties of kindness to animals fit the traditional category of “imperfect duties” and argue that they are instead cases of “imperfect right.” I explain how you can hold a right against a group, and why it is legitimate to conceive of humanity as such a group. I then argue that Kant’s account of the foundation of property rights is grounded in a conception of the common possession of the Earth that grounds a right to aid and the rights of animals to be treated in ways that are consistent with their good. Finally, I return to the objections to the idea that animals have rights and offer some responses to them. (shrink)

Why should one take action to move toward a greener world if doing so will cause the birth of a totally different group of future people? This chapter starts from the metaphysical evidence that many collective climate actions imply a change in the identity of future generations, as opposed to a counterfactual laissez-faire attitude. The climatic fallout from the non-identity paradox introduced by Derek Parfit is examined to determine if and how a principle of transgenerational responsibility can be defended (...) against this metaphysical complexity. The paradox is divided into a moral argument, based on the person-affecting view of harm, and a metaphysical premise, treating non-identity as a result of variations in timing and pair combination of a person’s conception. Three strategies to circumvent the moral argument are explored: non-consequentialist accounts of harm, moral thresholds, and impersonal ethics. However, it is argued that all three strategies fall short or come with too high a cost. The metaphysical premise is then examined through the introduction of transgenerational actions in relation to the climate crisis. A principle of transgenerational responsibility applicable to climate change mitigation is inferred from the hypothetical consent to be obtained from those who will continue transgenerational actions in the future. (shrink)

The concept of the self and its relation to moral action is complex and subject to varying interpretations, not only between different academic disciplines but also across time and space. This paper presents empirical evidence from a cross-cultural study on the Buddhist and Confucian notions of self in SMEs in Vietnam and Taiwan. The study employs Hwang’s Mandala Model of the Self, and its extension into Shiah’s non-self-model, to interpret how these two Eastern philosophical representations of the self, the (...) Confucian relational self and Buddhist non-self, can lead to moral action. By demonstrating the strengths of the model, emphasizing how social and cultural influences constrain the individual self and promote the social person leading to moral action, the paper extends understanding of the self with empirical evidence of the mechanisms involved in organizational contexts. (shrink)

The cortical representation of concepts varies according to the information critical for their development. Living categories, being mainly based upon visual information, are bilaterally represented in the rostral parts of the ventral stream of visual processing; whereas tools, being mainly based upon action data, are unilaterally represented in a left-sided fronto-parietal network. The unilateral representation of tools results from involvement in actions of the right side of the body.

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 12.2 (2007) 128-130MuseSearchJournalsThis JournalContents[Access article in PDF]The Future of Environmental PhilosophyIrene J. KlaverEnvironmental philosophy is invitational: it in-vites thinking into life as well as life into thinking. Life is vita in Latin—the same vita as in vital and in vitamins. An in-vita-tion leads to new connections, or a renewal of existing relations. This affects how we understand things. As Wittgenstein says, "understanding [...] consists in (...) the very fact that we 'see connections.'"1 This is the case for philosophy in general, it makes connections, reveals relations between entities, thoughts, and events, which elucidates our understanding. Environmental philosophy has (re-)opened certain realms of relevance to philosophical inquiry by foregrounding our connections to the non-human world. It accommodates the broadest invitation: of life itself, including our relation to the conditions of life.The future of environmental philosophy lies precisely in this broad invitation. That means that it needs to occupy a profoundly interdisciplinary place, at the node of multiple institutions and practices. It deals with global issues on a local level and with the effects of local issues on a global scale. This involves science, policy, economy, law, ethics, aesthetics, religion, history, etc. An environmental philosopher is a specific generalist, someone who can connect various relations, sees the multiple angles in a particular perspective, the world in a grain of sand.The evolved environmental philosopher is a translator, translating various concerns along multiple perspectives. Translation is crucial to an understanding of the viewpoints, positions, and situations of others. Environmental philosophy enlarges the category of the "other" with many more entities. This is not a politically correct move to bring so-called repressed voices to the fore, it is to evoke different modes of knowledge and experience, to enhance cultural imagination2, a crucial component to raising awareness about environmental concerns.In her 1962 book Silent Spring3, Rachel Carson connected pesticide DDT to the decline in some predatory bird populations and sparked the rise of the environmental movement. She triggered a powerful cultural imagination by invoking a future silent spring without the singing of birds. Hegel saw the owl of Minerva as the symbol of wisdom, spreading "its wings only with the falling of the dusk."4 That is, for Hegel understanding arises after the events, philosophy can never be prescriptive. [End Page 128] Environmental philosophy, on the contrary, is engaged thinking, its understanding arises out of the practices of the everyday. The albatross around our neck is of our own shooting. Environmental ethics and environmental justice might stake out basic prescriptive rules, but these are always born from knowledge of—if not a participation in—certain practices. Environmental philosophy's bird is the spotted owl of social-political engagement, the canary in the mineshaft, but also the sparrow in the backyard. Birds that fly from dawn to dusk, seeing and reporting in the light the practical connections that reveal understanding, possible action, communication needs, and suggest a lexicon for translation. In and through practical connections rises therefore translation and understanding.Understanding is a transformative process—it changes our interpretative frameworks. When we see connections we begin to understand how the dead zone in the Gulf of Mexico is related to agriculture in the midwestern United States thousands of miles away, with watersheds within the Mississippi River Basin draining nitrogen fertilizers into the Mississippi, causing hypoxia in the Gulf.5 Environmental philosophy shows how wetlands are not just wastelands but take nitrogen and phosphorus out of the water, buffer "our" coasts, and feed the migrating birds along their long routes. By not seeing these connections, our wetlands are pumped dry; and by abusing our water, springs disappear, major rivers strand in sand, and dead zones emerge in oceans and seas. "These, too, were silent, deserted by all living things," Rachel Carson states, writing about streams.6 In the twenty first century it is no longer a "fable of tomorrow:" silent springs, silent rivers, silent seas.Environmental philosophy is empirical philosophy dealing with big issues such as global warming, biodiversity, and sustainability, but... (shrink)

The article analyses and reconstructs a broad idea of legal responsibility which underlies and normatively links tort law with the law of unjustified enrichment. The article’s central proposition is that responsibility for damage caused and enrichment-responsibility are closely interrelated. Both aspects of obligations are equally an expression of corrective justice, and ultimately serve to protect the civil rights of citizens. It is shown that the idea of civil equality and the principle against unjustified enrichment require citizens to assume responsibility not (...) only for the consequences of their misbehaviour, but also for the consequences of lawful actions that non-reciprocally endanger the rights of others. This can be seen particularly clearly in cases of necessity like Vincent v Lake Erie. Under current law, those cases fall in between the categories of unjustified enrichment and wrongs; in most legal systems, they are therefore regarded as particularly hard cases. Nevertheless, the liability of a person lawfully causing damage in a situation of necessity exemplifies the idea of legal responsibility, and thus helps in better understanding the law of non-contractual obligations. Methodologically, the article combines historical arguments derived from the late scholastic theory of restitution with a comparative analysis of Western legal systems and contemporary private law theory. This approach is designed to overcome the conceptual boundaries of national private laws on both sides of the English Channel; it may help to address difficult legal problems more appropriately. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

Purpose: The paper aims at examining whether George Herbert Mead's theory of language is an appropriate candidate for developing a non-dualistic conception of experience and empirical research. Problem: Josef Mitterer has limited his theory of a non-dualizing way of speaking to criticizing dualistic positions in philosophy and sciences but has not developed a non-dualistic conception of empirical research. To do this, the task is to forego the notion "description" as a remainder category of dualism to develop a new understanding (...) of language. Findings: Mead's communication and action theory contains a non-dualistic nucleus. His gesture theory of communication allows us to distinguish action and speech and connect them in a non-dualizing way. Further research should especially focus on the relation between immediate and reflective experience in Mead's work. (shrink)

The paper inquires the category of _performance_ in Hannah Arendt. Her concept of the political eludes the tradition-inherited approach and subtracts the praxis from instrumental reason. Arendt revisits the political experiences of ancient Greek cities, where tragedy and assembly, theater and agora, provide the propitious space for action. She avoids the instrumental approach of _homo faber_, conceptualizes action as performance and shows its connaturality with the performing arts, to the detriment of the productive ones. In “What is (...) Freedom?” Arendt understands political freedom as a “worldly fact”, and assesses the Machiavellian _virtù_ as public excellence: as _performance on stage_. (shrink)

Background Retraction is a mechanism for alerting readers to unreliable material and other problems in the published scientific and scholarly record. Retracted publications generally remain visible and searchable, but the intention of retraction is to mark them as “removed” from the citable record of scholarship. However, in practice, some retracted articles continue to be treated by researchers and the public as valid content as they are often unaware of the retraction. Research over the past decade has identified a number of (...) factors contributing to the unintentional spread of retracted research. The goal of the Reducing the Inadvertent Spread of Retracted Science: Shaping a Research and Implementation Agenda (RISRS) project was to develop an actionable agenda for reducing the inadvertent spread of retracted science. This included identifying how retraction status could be more thoroughly disseminated, and determining what actions are feasible and relevant for particular stakeholders who play a role in the distribution of knowledge. -/- Methods These recommendations were developed as part of a year-long process that included a scoping review of empirical literature and successive rounds of stakeholder consultation, culminating in a three-part online workshop that brought together a diverse body of 65 stakeholders in October–November 2020 to engage in collaborative problem solving and dialogue. Stakeholders held roles such as publishers, editors, researchers, librarians, standards developers, funding program officers, and technologists and worked for institutions such as universities, governmental agencies, funding organizations, publishing houses, libraries, standards organizations, and technology providers. Workshop discussions were seeded by materials derived from stakeholder interviews (N = 47) and short original discussion pieces contributed by stakeholders. The online workshop resulted in a set of recommendations to address the complexities of retracted research throughout the scholarly communications ecosystem. -/- Results The RISRS recommendations are: (1) Develop a systematic cross-industry approach to ensure the public availability of consistent, standardized, interoperable, and timely information about retractions; (2) Recommend a taxonomy of retraction categories/classifications and corresponding retraction metadata that can be adopted by all stakeholders; (3) Develop best practices for coordinating the retraction process to enable timely, fair, unbiased outcomes; and (4) Educate stakeholders about pre- and post-publication stewardship, including retraction and correction of the scholarly record. -/- Conclusions Our stakeholder engagement study led to 4 recommendations to address inadvertent citation of retracted research, and formation of a working group to develop the Communication of Retractions, Removals, and Expressions of Concern (CORREC) Recommended Practice. Further work will be needed to determine how well retractions are currently documented, how retraction of code and datasets impacts related publications, and to identify if retraction metadata (fails to) propagate. Outcomes of all this work should lead to ensuring retracted papers are never cited without awareness of the retraction, and that, in public fora outside of science, retracted papers are not treated as valid scientific outputs. (shrink)

The paper presents a mode of researching epistemological and conceptual implications of text focused on the category of countertextuality. Parallel to the development of the orality / literacy theory within different areas of humanities and social sciences there runs a thread of various reconceptualization of text and textuality. It implies an increasing awareness of the non-neutral character of text (as a means of communicating knowledge within the academia) for the research results, which appears on both methodological and ethical grounds.In (...) the paper the example of the project of postmodern anthropology is invoked to show how the constraints of the norms of writing texts specific of anthropology in mid-1980’s are articulated and what the proposed ways of writing are that would overcome the perceived flaws of text. The article focuses on the major manifesto of the postmodern turn in anthropology (Writng Culture), some other methodological articles of its authors, as well as some of the actual ethnographic researches. I highlight some of the major charges laid against text in these works and some of the major countertextual writing strategies. (shrink)

At Sophist 260e3-261a2, the Eleatic Stranger claims that in order to demonstrate that falsehood is, he and Theaetetus must first track down what speech (logos), opinion (doxa), and appearance (phantasia) are, and then observe the communion (koinōnia) that speech, opinion, and appearance have with non-being. The Stranger, however, never explicitly discusses the communion of speech, opinion, and appearance with non-being. Yet presumably their communion is implicit in his account of falsehood, given his claim that observing that communion is needed in (...) order to demonstrate that falsehood is (260e5-a2). This essay seeks to make the communion that speech has with non-being explicit. I argue that speech has communion with non-being in that the things and actions speech combines together by means of nouns and verbs need not be combined in a way that reveals how the being a given speech is about combines ontologically with other beings. (shrink)

Crises of forced migration are, unfortunately, nothing new. At the time of the writing of this paper, at least two such crises were in full swing – mass movements from the Middle East and parts of Africa to the E.U., and major movements from Central America to the Southern U.S. border, including movements by large numbers of families and unaccompanied minors. These movements are complex, with multiple causes, and it is always risky to attempt to craft either general policy or (...) philosophical positions in response to salient crises. However, both of these instances do bring to the foreground important questions about the proper purpose and extent of refugee protection as a means of dealing with crises of forced migration. In particular, both of these instances force us to consider what role persecution on the basis of a protected ground – race, religion, nationality, membership in a particular social group, or political opinion – ought to play in granting refugee protection, and whether our response to those in danger should change if the agents of persecution are non-state actors. This paper is not primarily about the problems arising from Syria or Central America. In a way similar to how hard cases make bad law, I contend that a too central focus on salient crises tends to lead to bad theory and often to bad general policy. However, if I am successful in my goal of clarifying the place of persecution and non-state action in refugee protection, then we may in turn be better able to think clearly about our current crisis situations. -/- In this paper I will first draw on my previous work on the normative logic of the refugee convention to argue that, while persecution should play an important, and even central, role in our thinking about refugees, this importance is shallow and pragmatic rather than deep and fundamental. Next, I will show how this conclusion supports the claim that harms amounting to persecution by non-state actors may ground an asylum claim, at least in some cases, both when the state is unwilling and when it is unable to protect its members. I consider two cases: first, instances where the authority and power of the state has been usurped by another power, and second, when the state has (implicitly or explicitly) delegated its power or authority to non-state actors. I will show how this leads to extending asylum to a broader range of people than traditional accounts would. -/- (To download this paper, please use the link from SSRN below.). (shrink)

Objectual interpretations of non-nominal quantification seems to offer a non-substitutional treatment of quantification which respects differences of grammatical category in the object language whilst only employing nominal quantification in the metalanguage. I argue that the satisfaction conditions of such interpretations makes use concepts that must themselves be explained through non-nominal quantification. As a result, the interpretation misrepresents the structure of non-nominal quantification and the relationship between nominal and non-nominal forms of generality.

The surplus of impulses is a key category in Gehlen’s anthropobiology to understand the process of hominisation and humanisation. From the dedifferentiation of human instincts and the primitivisation of man’s anatomy, to the role of experience, institutions, and speech, the surplus of impulses is a source that flows between the inner and the outer, by feeding the action circle that whether translates in activity or is redirected inwards in order to become a movement of volitional constitution. The ambivalence (...) in which Gehlen deals with this function of freedom gives rise to a pessimistic and sacrificial idea of man. However, he posits certain basic elements of a hedonistic theory of speech from which we can better understand the stabilizing task of language as cornerstone of institutions. (shrink)

There can be reasons for belief, for action, and for feeling. In each case, knowledge of such reasons requires non-empirical knowledge of some truths about them: these will be truths about what there is reason to believe, to feel, or to do – either outright or on condition of certain facts obtaining. Call these a priori truths about reasons, ‘norms’. Norms are a priori true propositions about reasons.It's an epistemic norm that if something's a good explanation that's a reason (...) to believe it. It's an evaluative norm that if someone's cheated you that's a reason to be annoyed with them. There are many evaluative norms, relating to a variety of feelings. Equally, there may be various epistemic norms, even though in this case they all relate to belief. My concern here, however, is with practical norms: a priori truths about what there is reason to do.I have a suggestion about what fundamental practical norms there are, which I would like to describe and explain. It is that there are just three distinct kinds of practical norm governing what there is reason to do – three categories or generic sources of practical normativity, one may say. I call them the Bridge principle, the principle of Good, and the Demand principle – Bridge, Good and Demand for short. I have said more about them in my book, The Domain of Reasons;1 here my aim is simply to set them out and sketch some questions to which this ‘triplism of practical reason’2 gives rise. In particular, since these norms are about practical reasons, not about morality, a question I'll touch on is how moral obligation comes onto the scene. (shrink)

The Shape of Agency offers interlinked explanations of the basic building blocks of agency, as well as its exemplary instances. The first part offers accounts of a collection of related phenomena that have long troubled philosophers of action: control over behaviour, non-deviant causation, and intentional action. These accounts build on earlier work in the causalist tradition, and undermine the claims made by many that causalism cannot offer a satisfying account of non-deviant causation, and therefore fails as an account (...) of intentional action. The second part turns to modes of agentive excellence—ways that agents display quality of form—providing a novel account of skill, including an account of the ways that agents display more or less skill. Shepherd discusses the role of knowledge in skill, and concludes that while knowledge is often important, it is inessential. This leads to a discussion of the way that knowledge of action and knowledge of how to act informs action execution. Knowledgeable action includes a unique epistemic underpinning: in knowledgeable action, the agent has authoritative knowledge of what she is doing and how she is doing it when and because she is poised to control her action by way of practical reasoning. (shrink)

In mental action there is no motor output to be controlled and no sensory input vector that could be manipulated by bodily movement. It is therefore unclear whether this specific target phenomenon can be accommodated under the predictive processing framework at all, or if the concept of “active inference” can be adapted to this highly relevant explanatory domain. This contribution puts the phenomenon of mental action into explicit focus by introducing a set of novel conceptual instruments and developing (...) a first positive model, concentrating on epistemic mental actions and epistemic self-control. Action initiation is a functionally adequate form of self-deception; mental actions are a specific form of predictive control of effective connectivity, accompanied and possibly even functionally mediated by a conscious “epistemic agent model”. The overall process is aimed at increasing the epistemic value of pre-existing states in the conscious self-model, without causally looping through sensory sheets or using the non-neural body as an instrument for active inference. (shrink)

Contemporary social theory has consistently emphasized habitual action, rule-following, and role-performing as key aspects of social life, yet the challenge remains of combining these aspects with the omnipresent phenomenon of self-reflective conduct. This article attempts to tackle this challenge by proposing useful distinctions that can facilitate further interdisciplinary research on self-reflection. To this end, I argue that we need a more sophisticated set of distinctions and categories in our understanding of habitual action. The analysis casts light on the (...) idea that our contemporary social theories of self-reflection are not consistent with everyday notions of agential knowledgeability and accountability, and this conclusion indicates the need to reconceptualize discourse and subjectivity in non-eliminative terms. Ultimately, the assumption of self-reflective subjectivity turns out to be a theoretical necessity for the conceptualization of discursive participation and democratic choice. (shrink)

Many philosophers categorise judgment as a type of action. On the face of it, this claim is at odds with the seeming fact that judging a certain proposition is not something you can do voluntarily. I argue that we can resolve this tension by recognising a category of non-voluntary action. An action can be non-voluntary without being involuntary. The notion of non-voluntary action is developed by appeal to the claim that judging has truth as a (...) constitutive goal. This claim, when combined with a conception of judging as a way of settling a question, explains both why judging is genuinely agential, and why it is nevertheless non-voluntary. (shrink)

In this Symposium contribution, I argue that ordinary moral discourse recognizes six categories of morally significant actions: positively obligatory actions ; negatively obligatory actions ; supererogatory actions ; suberogatory actions ; quasi-supererogatory actions ; and amoral or morally neutral actions . As I argue, super-, sub-, and quasi-supererogatory actions paradoxically rely upon the existence of "non-obligatory oughts"--moral injunctions to do what as a moral matter we need not do. The remainder of the article is devoted to developing a theory that (...) makes these non-obligatory oughts coherent. The theory that I advance distinguishes deontic duties from aretaic duties, and derives the oughts of super- and suberogation from our aretaic duties to develop certain dispositions or character traits. As I argue, our aretaic duties require us to perform actions that are deontically supererogatory and to refrain from actions that are deontically suberogatory. Only if we conceive of super- and suberogation as simultaneously governed by deontic permissions and aretaic obligations can we make sense of the dual claims implicit in daily gossip that we are obligated to cultivate such virtues as kindness and generosity, and that kindness and generosity consist in doing what we are not obligated to do. As the title elliptically suggests, the article thus advances the claim that we have duties to go beyond the call of duty. (shrink)

A law is one of the basic concepts of the dialectical materialist conception of determinism as a philosophical theory of the objective interrelationship and mutual conditioning of phenomena in the material and mental world. A law establishes a rigorously determined connection among circumstances, i.e., a totality of derivative components and conditions of their actions and results. By overlooking the existence of two different levels—the concept and the objective reality corresponding to it—some philosophers erroneously interpret Marx's theses concerning the approximateness of (...) the realization of the laws of society. Let us take, for example, Marx's thesis that "In general, in capitalist production general laws are realized in a very confused and approximate way, merely as a prevailing tendency, as a kind of average among constant fluctuations that is never solidly established."1 Some investigators see this as an objectively existing social law in itself, attributing to it an "inexactitude" of operation, variation, and approximation, instead of seeing it as a specific application of a particular law. They thus forget that Marx said, in the Foreword to the very first volume of Capital: "The question does not specifically have to do with a greater or lesser degree of development of the social antagonisms that derive from the natural laws of capitalist production, but rather lies in these laws themselves, these trends, which operate and are realized with iron necessity.". (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

본 논문은 동아시아의학에 대한 인류학적 현지조사를 바탕으로 동아시아 사유에 관해 논해보려는 시도이다. 이것은 철학적 인류학의 계보를 이으며, 현장에서의 참여관찰을 통한 경험철학(empirical philosophy)을 수행하는 작업이다. 언어적 재현에 일정 거리를 두고자 하는 동아시아 사유의 경향성은, 현지에서의 실천(practice)에 대한 철학적 논의의 가능성을 고무한다. 구체적으로, 이 논문에서는 한의학의 맥진(脈診)과 본초(약재)의 약성(藥性) 관련 의료실천을 주로 논의한다. 맥진의 진단 실천은 동아시아 사유가 기반하는 주체와 타자, 능동과 수동의 관계를 고찰할 수 있는 의미 있는 현지를 제공한다. 또한, 약성은 인간과 비인간의 관계에 대한 동아시아의 이해를 논의 가능하게 한다. 동아시아 (...) 의학의 맥진과 약성에 대한 고찰은 메를로-퐁티의 살 개념을 소환하면서 동서 사유의 대화 가능성도 열어놓는다. 이에 캐런 버라드의 행위적 실재론(agential realism)을 연결하여 동아시아 존재론에 대한 논의를 심화하고자 한다. 맥진과 약성의 실천에 관한 경험철학, 그리고 메를로-퐁티와의 연결을 통해 본 논문이 주목하는 것은, 동아시아의 존재론이다. 몸, 타자, 자연에 대한 존재론적 기저 위에서 실천되는 동아시아의학은, 얽힘의 관계적 존재론을 제시한다. 이는 순수한, 개별적 토대를 강조하는 서구철학의 사유 지평과 차이가 있는, 불순(non-purity)의 철학이라고 할 수 있다. (shrink)

In this thesis I consider the problem of the distinctiveness of knowledge of our own mental states and attitudes. I consider four influential approaches to this problem: the epistemic approach, the "no reasons view," the neo-expressivist approach and the rational agency approach. I argue that all of them face serious problems. I further argue that many of these problems are connected with the lack of fine-grained enough classification of the entities with respect to which we have self-knowledge. I suggest such (...) a classification, distinguishing passive occurrent mental states, mental actions and standing attitudes, and argue that we should treat each of these categories separately for the purpose of explaining self-knowledge of them. I discuss in detail self-knowledge we have with respect to two of these categories: standing attitudes and mental actions. On my account self-knowledge of standing attitudes stands in a derivative relation to self-knowledge of other kinds. In my discussion of self-knowledge of mental actions I establish that we have a distinctive non-observational kind of self-knowledge and show some specific characteristics of this kind of self-knowledge. In the end I attempt to relate self-knowledge of mental actions to practical knowledge in the ordinary sense of skill. (shrink)

In the case of rapprochement, reconciliation and possible coexistence, as they said, the Uniates and Disunians, united and united P. Moigul initiated a major action of ecumenism. This case in P.Mogile's understanding was based on a purely confessional framework, concerning the existence and survival of the entire Ukrainian people. Being an orthodox, that is, a truly Orthodox Metropolitan, P. Moghila was thinking of non-confessional and supra-confessional categories, had a European and universally Christian vision of this problem. Consequently, he was (...) not a one-sided confessional fanatic, understood the detriment of disagreement and the church split in Ukraine. (shrink)