Identity construction — the process of creating and building a new future self — is an integral part of a person’s professional career development. However, at present we have little understanding of the psychological mechanisms that underpin this process. Likewise, we have little understanding of the barriers that obstruct it, and which thus may contribute to inequality in career outcomes. Using a social identity lens, and particularly the Social Identity Model of Identity Change (SIMIC), we explore the process of academic (...) identity construction among doctoral students. Through thematic analysis of semi-structured interviews with 22 PhD candidates, we observe that the identity construction process relies on a person’s perception of a navigable pathway between their current self and their future self. Importantly, participants who were able to access multiple identity resources were more likely to perceive a navigable pathway to a future professional self (e.g., as an academic), unless they perceived these identities to be incompatible with those held by leading members of the profession (e.g., their supervisors). This research suggests that the identities that people are able to access as they progress in their careers may play an important role in their ongoing professional identity construction and career success. (shrink)

This article focuses, through a transdisciplinary perspective, on Peter Greenaway’s films, operas, installations and artworks, exploring the elements that characterize this oeuvre as encyclopaedic. In order to do so, it investigates possible concepts of encyclopaedia, the rhizomatic character of the contemporary encyclopaedic model and its consonance with the demands of plurality and heterogeneity of the globalized world. This article approaches, moreover, the critical-creative appropriation that the director makes of the scientific systems of classification, showing that the use of taxonomies (...) in his work aims at not only revealing the insufficiency and arbitrariness of such systems, but also subverting the ordering logic that defines them. The article also links Greenaway to some of his literary precursors like Jorge Luis Borges and Georges Perec, who also brought together in their encyclopaedic works the rules of classification and the parodic laws of fiction. (shrink)

_Peter Greenaway's Postmodern/Poststructuralist Cinema_ Edited by Paula Willoquet-Maricondi and Mary Alemany-Galway Lanham, MD: The Scarecrow Press, 2001 ISBN 0-8108-3892-3 xxviii + 360 pp.

This article deals with the representation of identical twins in the films Zed and Two Noughts by Peter Greenaway and Dead Ringers by David Cronenberg. It situates the films in a cultural and political context of the 20th-century controversies surrounding the issues of evolution, reproduction and cloning. The article claims that twinship represents the corporeal economy of the Same, whose ideological meanings have been shaped by the history of eugenics and social Darwinism. Identical twinship inscribes a utopia of the (...) perfect, unchanging and self-identical body, opposed to the unpredictability, confusion and contingency of sexual reproduction and evolutionary history. The films under discussion critique the utopian ideology of twinship and its imaginary cancellation of difference as narcissistic and deadly. (shrink)

In 1988, Michael Nyman composed the score for Peter Greenaway’s film Drowning by Numbers (or did something that we would ordinarily think of as composing that score). We can think of Nyman’s compositional activity as a “generative performance” and of the sound structure that Nyman indicated (or of some other abstract object that is appropriately related to that sound structure) as the product generated by that performance (ix).1 According to one view, Nyman’s score for Drowning by the Numbers—the musical (...) work—is the product generated by Nyman’s compositional activity (namely, an abstract object) and, more generally, artworks are identified with the products generated by compositional or other creative activities. Let’s call this view The Product Theory. By contrast, according to another view, Nyman’s score for Drowning by Numbers is the generative performance itself (namely, Nyman’s compositional activity) and, more generally, artworks are identified with generative performances themselves. Following David Davies in Art as Performance, let’s call this view The Performance Theory (80). In that book, Davies argues for The Performance Theory and against The Product Theory. (shrink)

Die im Reader versammelten Beiträge verstehen sich als Versuche zu einer Soziologie des Visuellen. Sie untersuchen am Beispiel des Mediums Stadtfilm, welche Rolle die dorterzeugten Bilder großer Städte bei der Produktion urbanistischer Repräsentanten spielen. Aus diesem Grund werden insbesondere Übergänge analysiert, die Spielfilme einerseits und urbanistische Diskurse andererseits miteinander verknüpfen. Gemeinsamer Ausgangspunkt ist die These, daß es vor allem Bilder sind, die solche Verknüpfungen gewährleisten. Es wird unterstellt, daß es das Medium Film erlaubt, gerade über den Einsatz von Bildern "näher" (...) an soziale Wirklichkeiten heranzukommen, als dies textzentrierter Praxis empirischer Sozialforschung möglich ist. Stadtfilme erzeugen wirkmächtige Bilder, auf die dann unter bestimmten Bedingungen in urbanistischen Kontexten zurückgegriffen wird. Die Autoren präsentieren konzeptionelle Überlegungen und Filminterpretationen zu Moebius (1991, Regie: Matti Geschonneck), Der Himmel über Berlin (1987, Regie: Wim Wenders), In weiter Ferne, so nah! (1993, Regie: Wim Wenders), Der Bauch des Architekten (1987, Regie: Peter Greenaway) und Hass (1995, Regie: Mathieu Kassovitz). Sie bedienen sich dabei sehr unterschiedlicher Verfahren. Gemeinsam sind ihnen allerdings die Anliegen, die größere Nähe der Filme zu sozialen Welten hervorzuheben und die Übergänge zwischen Stadtfilmen und Urbanistik herauszuarbeiten. -/- City and Film. Attempts at a 'Visual Sociology' Summary The contributions collected in this reader present attempts at a Visual sociology'. Based on a study on the medium 'city film' the author s determine which role the images of big cities evoked in such films can play for urbanistic representations. Therefore the analysis is, in particular, focussed on points of transition marking a connection of movies, on the one hand, and urbanistic discourse, on the othe r. The common point of departure is the hypothesis that images, more than anything else, do guarantee such connections. The authors assume that the medium film may lead 'closer' to social realities than the text- centered practices of empirical social research. City films produce powerful images which, under certain cond itions, can be utilized in urbanistic contexts. The authors present conceptual considerations and interpretations of the following films: Moebius (1991, director: Matti Geschonneck); Der Himmel über Berlin (1987, director: Wim Wenders); In weiter Ferne, so nah! (1993, director: Wim Wenders); The Belly of the Architect (1987, director: Peter Greenaway); and quite different methods they aim at the same goals: emphasizing the greater closeness of films to social worlds and bringing out the points of transition between city films and urbanistics. (shrink)

In this article I consider instances in visual culture in which artists and filmmakers aestheticize women with damaged, missing or anomalous limbs. I focus upon Joel Peter Witkin’s photomontage Las Meninas (1987), Peter Greenaway’s film “A Zed and Two Noughts” (1985), Alison Lapper Pregnant a statue by Marc Quinn, Mathew Barney’s film “Cremaster” (2002), David Cronenberg’s “Crash” (1996), Luis Buñuel’s “Tristana” (1970) and David Lynch’s short film “The Amputee” (1973). I argue that although the artists and filmmakers reveal, (...) rather than disguise the damaged, anomalous or missing limb(s) of the women, thus valorising their particular embodiment, these women are paradoxically still portrayed as deviant and monstrous. (shrink)

Taking the animal and the machine as two ontological others of the human, this paper looks into how they “are added to” and “replace” the humanist others based on race, gender, class, etc. in contemporary cinema. This “supplement” urges us to reframe identity politics and cultural studies in a larger “polis” emerging between and encompassing both the human world, which becomes ever more globally homogenized, and its radical environment, natural or technological. The topic is a global cinematic phenomenon that even (...) local films directly embody. The animal is captured on the boundaries between “the symbolic” and “the real,” between “the actual” and “the virtual” in the artistic works of Werner Herzog, Apichatpong Weerasethakul, and Peter Greenaway. The machine convolutes the issues of informatics, embodiment, and cyborgism, often through SF fantasy that pervades Hollywood blockbusters and Japanimation. The rare amalgam of animal–machine receives further attention in David Cronenberg's films, and becoming-animal/-machine in Avatar empowers the human in the posthuman sense of biopower that transforms the body and registers it on a larger network. From this perspective, discourses on the animal (zooesis) and technology (technesis) work together to bring a new political potential. Animality and technology no longer form a naïve dichotomy of nature vs. civilization but combine in ways of making more visible the new condition of life. It unfolds in a cinematic “zone,” an ephemeral “clearing” for “bare life” within the globalized world. This zone exists in the exceptional state of temporary potential to de-/repoliticize any humanistic politics. (shrink)

Les spécialistes de l’archéologie des médias défendent une conception non-linéaire de l’histoire du cinéma, en analysant la façon dont les avancées technologiques et les dispositifs concrets contribuent activement à modifier nos modes de perception. Meurtre dans un jardin anglais de Peter Greenaway constitue un exemple remarquable de « métacinéma » mettant en pratique l’archéologie des médias dans le corps même du film, par le biais de citations visuelles renvoyant à d’autres médias ou d’autres pratiques artistiques, comme la peinture de (...) la Renaissance italienne ou la peinture hollandaise. Le présent essai offre donc une analyse détaillée de Meurtre dans un jardin anglais comme archéologie du cadre cinématique. Le cadre est pour Derrida « la structure décisive de l’enjeu » en ce qu’il renvoie au parergon, marquant ainsi les limites de l’œuvre d’art. Nous nous attacherons donc à décrire les différents types de cadrages appliqués aux nombreux médias présents ou « cités » dans le film : pellicules cinématographiques, écrans, dessins de paysages, miroirs plats ou convexes, tableaux, etc. Ces différents « cadrages » nous fourniront autant de clés de lecture pour comprendre les transformations que subit un médium artistique donné quand il est « re-présenté » par un autre. (shrink)

The form of Western mainstream film is the crux of its ideological efficiency: by using established formal techniques, films ensure audiences un- derstand that aesthetic decisions support and clarify the narrative to ensure maximum spectatorial satisfaction. However, some films exploit their formal aesthetics in order to prevent clarification, thwarting satisfaction in favour of viewing practices that can be considered perverse in that they withhold, suspend or obstruct immediate pleasure. Contemporary Western filmmaking in the mid-1990s witnessed the emergence of a distinct (...) group of filmmakers and films that, in the popular discourse of cinematic criticism, were together coded as “difficult” or “perverse.” These films were, as a result of the characteristics we identify below, situated obliquely in relation to the larger economic and artistic struc- tures of a commercially oriented “mainstream” cinema. Included in this new form of cinematic production were films from directors such as Tim Burton: Edward Scissorhands ; David Cronenberg: eXistenZ ; David Fincher: Se7en ; Peter Greenaway: The Baby of Maçon ; David Lynch: Lost Highway ; Quentin Tarantino: Pulp Fiction and Lars von Trier: Breaking the Waves . Whilst Western cinema as a whole has a long history of exploring “difficult” or “perverse” material within the overt or covert content of narrative, plot and story, such films demonstrate a particular relationship between the content being explored and the specific formal characteristics utilised in the delivery of that content. Thus where previous examples would utilise standardised formal techniques as a way of both delivering and containing the difficult or objectionable material, the films instead offer instances where the material of the narrative content seems to bleed backwards, affecting the form and rendering the very materiality of the film itself suspect and problematic. (shrink)

Experience and expression are orthogonal emotion dimensions: we do not always show what we feel, nor do we always feel what we show. However, the experience and expression dimensions of emotion are rarely considered simultaneously. We propose a model outlining the intersection of goals for emotion experience and expression. We suggest that these goals may be aligned or misaligned. Our model posits these states can be separated into goals to experience and express, experience but not express, express but not experience, (...) or neither experience nor express positive and negative emotion. We contend that considering intersections between experience and expression goals will advance understanding of emotion regulation choice and success. (shrink)

Hope is an emotion that has been implicated in social change efforts, yet little research has examined whether feeling hopeful actually motivates support for social change. Study 1 confirmed that hope is associated with greater support for social change in two countries with different political contexts. Study 2 revealed that hope predicts support for social change over and above other emotions often investigated in collective action research. Study 3 replicated this finding using a hope scale and showed the effect occurs (...) independent of positive mood. Study 4 demonstrated experimentally that hope motivates support for social change. In all four studies, the effect of hope was mediated by perceived efficacy to achieve social equality. This research confirms the motivating potential of hope and illustrates the power of this emotion in generating social change. (shrink)

SummaryThis paper examines the role of health knowledge in the association between mothers' education and use of maternal and child health services in Ghana. The study uses data from a nationally representative sample of female respondents to the 2008 Ghana Demographic and Health Survey. Ordered probit regression models evaluate whether women's health knowledge helps to explain use of three specific maternal and child health services: antenatal care, giving birth with the supervision of a trained professional and complete child vaccination. The (...) analyses reveal that mothers' years of formal education are strongly associated with health knowledge; health knowledge helps explain the association between maternal education and use of health services; and, net of a set of stringent demographic and socioeconomic controls, mothers' health knowledge is a key factor associated with use of health services. (shrink)

Human existence is intrinsically community-oriented. Persons find themselves as responsible in community. This is a classical and Christian insight that is supported by significant contemporary philosophers such as Gabriel Marcel and Emmanuel Levinas. This article makes the claim that to thrive as a person is to belong; indeed, that it is the experience of belonging that satisfies the human need for meaning, value, and purpose. The article proceeds by considering the term ‘community.’ In itself, ‘community’ is a common sense term. (...) However, it is also a symbol with dimensions of meaning beyond common sense implicit within it. For the sake of a richer understanding of belonging, this article proposes to discuss some of those dimensions under three headings: Dynamism; Communion; and Consummation. ‘Dynamism’ relates to the members of a community whose mutual participation constitutes the characteristics of that community. ‘Communion’ considers the emergence of genuine community, as opposed to general association, from the prior mutual will to accommodate the Other in the self. ‘Consummation’ considers the significance of communion as both the goal and fulfilment of each person and community. Put another way, consummation is the perfection of belonging. (shrink)

A distinction between �consensual� and �critical� Conservatism would seem to provide a useful framework for analysing the intellectual approaches of conservative thinkers to the question of bureaucracy in Britain in the modern period. It is suggested here that, although in the nineteenth century there quickly emerged a dominant, liberal/conservative consensual approach to bureaucracy, there has also been a lively, countervailing and critical set of conservative ideas and concerns. This critical approach itself contains many strands; it has contributed to the vitality (...) of conservative ideas on the subject and many of the concerns of contemporary right wing critics of bureaucracy have their antecedents far back in nineteenth- and early twentieth-century ideas. (shrink)

Information on more than 400 subjects, from angels and herbalism to tarot and vampires.

Causal and predictive learning research often employs intuitive and familiar hypothetical scenarios to facilitate learning novel relationships. The allergist task, in which participants are asked to diagnose the allergies of a fictitious patient, is one example of this. In such studies, it is common practice to ask participants to ignore their existing knowledge of the scenario and make judgments based only on the relationships presented within the experiment. Causal judgments appear to be sensitive to instructions that modify assumptions about the (...) scenario. However, the extent to which prior knowledge continues to affect competition for associative learning, even after participants are instructed to disregard it, is unknown. To answer this, we created a cue competition design that capitalized on prevailing beliefs about the allergenic properties of various foods. High and low allergenic foods were paired with foods moderately associated with allergy to create two compounds; high + moderate and low + moderate. We expected high allergenic foods to produce greater competition for associative memory than low allergenic foods. High allergenic foods may affect learning either because they generate a strong memory of allergy or because they are more salient in the context of the task. We therefore also manipulated the consistency of the high allergenic cue-outcome relationship with prior beliefs about the nature of the allergies. A high allergenic food that is paired with an inconsistent allergenic outcome should generate more prediction error and thus more competition for learning, than one that is consistent with prior beliefs. Participants were instructed to either use or ignore their knowledge of food allergies to complete the task. We found that while participants were able to set aside their prior knowledge when making causal judgments about the foods in question, associative memory was weaker for the cues paired with highly allergenic foods than cues paired with low allergenic foods regardless of instructions. The consistency manipulation had little effect on this result, suggesting that the effects in associative memory are most likely driven by selective attention to highly allergenic cues. This has implications for theories of causal learning as well as the way causal learning tasks are designed. (shrink)

Belonging presents a range of problems that have been treated thematically in the social sciences. However, belonging has rarely been explored as an explicit theme in philosophy. That said, many philosophers have implicitly considered the problem of belonging in their own way. In this paper, the work of Emmanuel Levinas is presented and considered, especially where it relates to the political. In outlining Levinas’s thought on fraternity, we are presented with a belonging that is not yet political. It is in (...) some ways, but not necessarily, pre-political. On the contrary, we begin to see how all that is meant by the political—the State, citizenship, the remit of justice—is secondary or subsidiary to the primacy of the ethical which, in its only extension beyond the Other, finds expression in fraternity or in our belonging with others. (shrink)

English continues to rise as the lingua franca of academic philosophy. Philosophers from all types of linguistic backgrounds use it to communicate with each other across the globe. In this paper, we identify how the rise of English leads to linguistic injustices. We argue that these injustices are similar in an important regard: they are all instances of distributive epistemic injustice. We then present six proposals for addressing unjust linguistic discrimination and evaluate them on how well they can mitigate the (...) specific types of distributive epistemic injustice that we identify. We accept that there is much more to be said. But we hope that what we say will motivate other philosophers to take these types of injustices more seriously and encourage them to make academic philosophy a more inclusive global community. (shrink)

This paper argues that a range of current AI systems have learned how to deceive humans. We define deception as the systematic inducement of false beliefs in the pursuit of some outcome other than the truth. We first survey empirical examples of AI deception, discussing both special-use AI systems (including Meta's CICERO) built for specific competitive situations, and general-purpose AI systems (such as large language models). Next, we detail several risks from AI deception, such as fraud, election tampering, and losing (...) control of AI systems. Finally, we outline several potential solutions to the problems posed by AI deception: first, regulatory frameworks should subject AI systems that are capable of deception to robust risk-assessment requirements; second, policymakers should implement bot-or-not laws; and finally, policymakers should prioritize the funding of relevant research, including tools to detect AI deception and to make AI systems less deceptive. Policymakers, researchers, and the broader public should work proactively to prevent AI deception from destabilizing the shared foundations of our society. (shrink)

Progress Unchained reinterprets the history of the idea of progress using parallels between evolutionary biology and changing views of human history. Early concepts of progress in both areas saw it as the ascent of a linear scale of development toward a final goal. The 'chain of being' defined a hierarchy of living things with humans at the head, while social thinkers interpreted history as a development toward a final paradise or utopia. Darwinism reconfigured biological progress as a 'tree of life' (...) with multiple lines of advance not necessarily leading to humans, each driven by the rare innovations that generate entirely new functions. Popular writers such as H. G. Wells used a similar model to depict human progress, with competing technological innovations producing ever-more rapid changes in society. Bowler shows that as the idea of progress has become open-ended and unpredictable, a variety of alternative futures have been imagined. (shrink)

SummaryLeśniewski presented his logical systems in a way which conformed to his nominalism, so the question arises whether Leśniewski's logic can be given a natural formal semantics which, unlike current versions, avoids commitment to abstract entities. Building on hints in Wittgenstein's Tractatus, I develop the idea of a way of meaning which is the basis for what I call combinatorial semantics. I then consider whether this commits us to abstract objects or an intensional metalogic.

Protochemistry. The Program of a Methodical Foundation of Chemistry. "Protochemistry" - in analogy to protophysics - is sketched as the program of a methodical foundation of chemistry. "Foundation" means to reconstruct the methods (both linguistic and poietic) which lead from the prescientific every-day-practice of mastering properties of substances to scientific theories of modern chemistry. Four types of chemical terms are distinguished, depending on different methods of definition and different areas of reference. Consequences of the program if realized are pointed out.

images. But clearly, it only begs the deeper questions.

This book offers a discussion of practical as well as theoretical autonomy.