PurposeTo evaluate the relationship between intraocular straylight perception and: (i) contrast sensitivity (CS), (ii) halo size, and (iii) hazard recognition distance, in the presence and absence of glare.Subjects and methodsParticipants were 15 (5 female) ophthalmologically healthy adults, aged 54.6–80.6 (median: 67.2) years. Intraocular straylight (log s) was measured using a straylight meter (C-Quant; Oculus GmbH, Wetzlar, Germany). CS with glare was measured clinically using the Optovist I device (Vistec Inc., Olching, Germany) and also within a driving simulator using (...) Landolt Cs. These were presented under both static or dynamic viewing conditions, and either with or without glare. Hazard detection distance was measured for simulated obstacles of varying contrast. For this, the participant was required to maintain a speed of 60 km/h within a custom-built nighttime driving simulator. Glare was simulated by LED arrays, moved by cable robots to mimic an oncoming car’s headlights. Halo size (“halometry”) was measured by moving Landolt Cs outward originating from the center of a static glare source. The outcome measure from “halometry” was the radius of the halo (angular extent, in degrees visual angle).ResultsThe correlation between intraocular straylight perception, log s, and hazard recognition distance under glare was poor for the low contrast obstacles (leading/subdominant eye: r = 0.27/r = 0.34). Conversely, log CS measured with glare strongly predicted hazard recognition distances under glare. This was true both when log CS was measured using a clinical device (Optovist I: r = 0.93) and within the driving simulator, under static (r = 0.69) and dynamic (r = 0.61) conditions, and also with “halometry” (r = 0.70). Glare reduced log CS and hazard recognition distance for almost all visual function parameters.ConclusionIntraocular straylight was a poor predictor of visual function and driving performance within this experiment. Conversely, CS was a strong predictor of both hazard recognition and halo extent. The presence of glare and motion lead to a degradation of CS in a driving simulator. Future studies are necessary to evaluate the effectiveness of all above-mentioned vision-related parameters for predicting fitness to drive under real-life conditions. (shrink)

Lately, in educational research and debate, there have been discussions on a trend sometimes named as a ‘therapeutic turn’ in education. Mindfulness-oriented activities represent one therapeutic approach in education, aiming for virtues such as patience and trust. A large part of the critical viewpoints on therapeutic education among young students seem to concern problems of integrity, privacy and the autonomy of the student. It is therefore, I suggest, fair to say that meetings between teachers and students are of special concern (...) within the realm of therapeutic education. The aim of this study is to shed light upon two teachers' reflections upon their own work and their students' within a mindfulness-oriented approach in a Swedish secondary school. I turn to Iris Marion Young, a theorist who has dealt with questions of communicative ethics and respectful meetings, for guidance. I find Young's concepts of recognition and distance through the act of greetings interesting and possibly fruitful for discussing qualities in teacher–student relations in therapeutic education from a professional ethical point of view. The analysis shows that Life Competence Education has the potential to be an arena within youth education where traditional roles, hierarchies and relations within education may be challenged. Likewise, because of this potential, it may also function as an arena where traditional structures and hierarchies of education are reaffirmed. (shrink)

As the concept of recognition shifts from philosophical theory to other fields of the humanities and social sciences, this volume explores the nature of this border category that exists in the space between sociological and philosophical considerations, related as it is to concepts such as status, prestige, the looking-glass self, respect, and dignity - at times being used interchangeably with these terms. Bringing together work from across academic disciplines, it presents theoretical conceptualizations of recognition, demonstrates its operationalization in (...) historical and literary research, considers recognition as a fundamental problem of sociological theory and examines the concept as a marker of social distances and redistribution. An examination and demonstration of the full potential of recognition as a category, Understanding Recognition: Conceptual and Empirical Studies explores the contemporary meanings and manifestations of recognition and sheds light on its capacity to complement the notions of status, class or prestige. As such, it will appeal to scholars of sociology and social theory, philosophy, history and literary studies. (shrink)

Air pollution in China has been drawing considerable attention in recent years. The emergence of new energy vehicles provides hope to reduce air pollutant emission. However, consumers' recognition and acceptance of NEVs remain at the early stage. This research aims to explore how consumers' environmental concern influences their NEV purchase intention. Specifically, this research conducted an online survey and an experiment to address the following issues: how consumers' psychological distance toward air pollution influences their purchase intention for NEVs, (...) and does their risk perception of the consequences of air pollution mediate this influence; whether consumers' perceived price level of NEVs plays a moderating role in the relationship between risk perception and purchase intention; and whether the construal level of stimulus can be manipulated to influence consumers' PD toward air pollution to increase their purchase intention for NEVs. The results of study 1, based on a total of 293 valid samples, show that consumers' PD toward air pollution significantly affects their purchase intention for NEVs, and risk perception of the consequences of air pollution plays a considerable mediating role. Meanwhile, consumers' perceived price level of NEVs has a significant negative moderating effect on the relationship between risk perception and purchase intention. The results of study 2, based on an online experiment, show that the construal level of stimulus can influence consumers' PD toward air pollution, which in turn affects their purchase intention for NEVs. The findings of this research have implications for businesses' promotional strategies and governments' policies. For instance, low-construal-level promotional materials can be developed to arouse consumers' environmental concern, thereby facilitating their eco-friendly consumption behavior. Governmental financial assistance and other policies can also increase consumers' willingness to purchase NEVs. (shrink)

Listeners are able to quite accurately distinguish between different dialects of their native language, but little is known about the process of dialect identification and the phonetic cues listeners use to identify someone's regional origin. This study examines how different segments, acoustic between-dialect distance, and the listeners' knowledge about a dialect contribute to this process. Native speakers of Grison and Zurich German were asked to categorize isolated words spoken by eight speakers of Grison and eight speakers of Zurich German. (...) Stimuli contained either none, one, or two segmental cues to regional origin. The presence of one dialect-specific segment was enough to allow for an identification rate well above chance. Sensitivity measures and analysis of reaction time showed that the two dialect groups largely relied on the same segmental cues. Acoustic distance to the other dialect, quantified as Euclidean distance in the F1×F2 vowel space, generally facilitated dialect identification, but interacted with native speakers' general knowledge about the dialects: In segments which listeners explicitly associate with one of the two dialects, acoustic distance facilitated dialect recognition to a larger extent than in segments listeners are not aware of dialectal variation. The results suggest that, depending on the prior knowledge about a dialect, acoustic variation is weighted differently. Further analysis showed that Zurich listeners were more sensitive to the dialect differences, responded faster, and presented a more-marked own-dialect response bias than Grison listeners. These findings are in line with the status of Grison German as a marked and Zurich German as a neutral dialect and suggest that, depending on their own dialect's status, listeners used different decision strategies. (shrink)

The graph edit distance (GED) measures the dissimilarity between two graphs as the minimal cost of a sequence of elementary operations transforming one graph into another. This measure is fundamental in many areas such as structural pattern recognition or classification. However, exactly computing GED is NP-hard. Among different classes of heuristic algorithms that were proposed to compute approximate solutions, local search based algorithms provide the tightest upper bounds for GED. In this paper, we present K-REFINE and RANDPOST. K-REFINE (...) generalizes and improves an existing local search algorithm and performs particularly well on small graphs. RANDPOST is a general warm start framework that stochastically generates promising initial solutions to be used by any local search based GED algorithm. It is particularly efficient on large graphs. An extensive empirical evaluation demonstrates that both K-REFINE and RANDPOST perform excellently in practice. (shrink)

Although the emlocus classicus /emof the concept of recognition is the master/slave episode of the Phenomenology, it is readily portable into the emPhilosophy of Right/em. However, the fact that the term occurs only six times in the 400 pages of the emPhilosophy of Right/em has obscured its structural role, and accordingly scholarly effort is scant on the concept as it might pertain to this work. It is the argument of this paper that despite its lsquo;invisibilityrsquo; it governs foreground proceedings (...) as if from behind a curtain, for it cannot be gainsaid that the conceptual foundation of the Rights empresupposes/em the principle of recognition. The suspicion has been voiced that Hegel deliberately emsuppressed/em reminders of the presence of emAnerkennung/em in his philosophy of rights in order to distance himself from the perceived limitations of the Fichtean exposition of the concept. Accordingly this paper brings up the background of Fichte and examines the PhR in its strategic dispositions to uncover the recognitive structure implied in it. (shrink)

Clustering plays an important role in data mining, pattern recognition, and machine learning. Single-valued neutrosophic sets are useful means to describe and handle indeterminate and inconsistent information that fuzzy sets and intuitionistic fuzzy sets cannot describe and deal with. To cluster the data represented by single-valued neutrosophic information, this article proposes single-valued neutrosophic clustering methods based on similarity measures between SVNSs. First, we define a generalized distance measure between SVNSs and propose two distance-based similarity measures of SVNSs. (...) Then, we present a clustering algorithm based on the similarity measures of SVNSs to cluster single-valued neutrosophic data. Finally, an illustrative example is given to demonstrate the application and effectiveness of the developed clustering methods. (shrink)

Three studies examined the effect of primed psychological distance on level of perceptual construal, using Navon’s paradigm of composite letters (global letters that are made of local letters). Relative to a control group, thinking of the more distant future (Study 1), about more distant spatial locations (Study 2), and about more distant social relations (Study 3) facilitated perception of global letters relative to local letters. Proximal times, spatial locations, and social relations had the opposite effect. The results are discussed (...) within the framework of Construal Level Theory of psychological distance (Liberman & Trope, 2008; Trope & Liberman, 2003). (shrink)

This contribution is an attempt at a different reading of Wojciech Gutkowski’s Journey to Kalopeia, which may be of interest to both Polish and Australian readers in the twenty-first century, since it tries to connect Polish history with the dream of the Antipodes represented by Australia. Gutkowski’s book, unknown until 1913, when it was deemed a utopian novel of little scientific value, gained recognition in the 1950s, 1960s, 1970s and 1980s. At that time it was studied as a political (...) treatise and an Enlightenment model for the creation of an ideal utopian-socialist-communist state. This paper offers a new reading of the work in question, discussing its cultural-historical aspects as a precursor of a specifically Polish model of a utopian-colonial state. (shrink)

Compassion is acknowledged as a key motivational source of prosocial opportunity recognition. This study examines the underlying processes of different types of compassion that lead to prosocial OR interventions designed to solve or ameliorate social problems. Self-compassion is associated with intimate personal experiences of suffering and encompasses a desire to alleviate the distress of others based on common humanity, mental distance and mindfulness. Other-regarding compassion is associated with value structures and social awareness and is based on a desire (...) to help the less fortunate. Using a life-story analyses of 27 Israeli social entrepreneurs, we identified two OR process mechanisms, reflexivity and imprinting. The relationship between these two types of compassion are equifinal, that is, both can lead to prosocial OR; however, the mechanisms differ. We contribute to the literature by showing that compassion serves as an internal enabler based on both cognitive and affective motivations for prosocial OR. We introduce a theoretical perspective that establishes a process model for further research on the role of compassion in identifying and leading prosocial action. (shrink)

The ability of the Society of Jesus to engage in a broad and enduring tradition of scientific activity is here addressed in terms of its programmatic commitment to the consolidation and extension of the Catholic confession and its mastery of the administrative apparatus necessary to operate long-distance networks. The Society's early move into two major apostolates, one in education and the other in the overseas missions, brought Jesuits into regular contact with the educated elites of Europe and at the (...) same time placed the Society's missionaries in remote parts of the natural world. The modes of organization of travel and communication required by the Society's long-distance networks not only facilitated scientific communication and collaboration within the order, it also provided Jesuits with the resources they needed to engage successfully in 'ministries among the learned'. Evidence of a sustained attempt by Jesuit authors to assume the role of Kulturträger is found in the several genres of scientific publications that dominate the Society's scientific corpus. Thus the Society's early recognition of the "apostolic value" of scientific publications in recruiting friends and allies among Europe's intellectual elites, I argue, allowed a robust interest in natural knowledge to emerge as a legitimate part of the Jesuit vocation. (shrink)

This is a shot at expressing a few of the problems that arise when you try to understand how novels are read. I shall be trying to formulate them in very ordinary language: the subject is becoming fashionable, and most recent attempts seem to me quite unduly fogged by neologism and too ready to match the natural complexity of the subject with barren imitative complications. Of course you may ask why there should be theories of this kind at all, and (...) I can only say that they are needed because of what we have missed by always meditating on what we have read and can survey, as it were, from a distance which allows us to think it's keeping still, rather than upon the ways in which, as we read, we deal with the actual turbulence of a text. Much of what I say will seem obvious enough, but it may throw some light on a fact that we all know so intimately that we don't bother to ask questions about it: the fact of plurality, of which the plurality of our own interpretation is evidence. There are interesting side issues: why do some novels seem to be more plural than others, and why, on the whole, do the ones that seem most plural so often turn out to be fairly recent, not to say modern? Also, perhaps, how do interpretations alter in time? And what's wrong with the sorts of theories we already have? . . . For the natural or naive way of reading - a matter of recognition, the medium being a virtual transparency - is neither natural nor naive. It is conditioned and arbitrary, a false return to "story" - to the "wisdom", as Benjamin calls it, of folklore, a pretence that everybody can agree on a particular construction of reality. It is, however, no more apposite to condemn this on moral grounds than to condemn texts that reject narratives, that reject story, theme, closure, authority, that trap us into contemplation of their own opacity, on the ground that this is deceptive. It seems right to allow into the plurality of readings the naive among the rest, though such a text as Ford's is so evidently not naive that naive readers of it would probably soon grow impatient. It calls for virtuosity elaborately built on the basis of naive competence, a development on productive capacity. Even to think of what that virtuosity entails is to encounter novel problems. It is harder to describe it than to do it, like riding a bicycle. But it is worth trying, because of the errors that accumulate in the absence of serious discussion - false notions of plurality, a too simple view of the history of interpretation, even culpable negligence in the reception of new and difficult work. These are problems that arise from problems native to novels - they are the problems of modern criticism, its scope and responsibilities. We know them about as well, as Dowell knew the Ashburnhams. But that is another sad story. Frank Kermode is King Edward VII Professor of English at Cambridge University. He is the author ofThe Sense of an Ending: Studies in the Theory of Fiction, Continuities, Modern Essays, andShakespeare, Spenser, Donne: Renaissance Essays. His contributions to Critical Inquiry are "A Reply to Denis Donoghue" , "A Reply to Joseph Frank" , and "Secrets and Narrative Sequence". (shrink)

Bernard Williams proposed his relativism of distance based on the recognition “that others are at varying distances from us”. Recent work in moral psychology and experimental philosophy highlights the prevalence of folk relativism in relation to spatial and temporal distance. However, Williams’ relativism of distance as well as recent empirical findings which seem to support some of Williams’ main ideas on this issue have received scant attention. In this article, we would like to focus on the (...) phenomenon of moral relativism regarding spatiotemporal distance as an entry point to the nature of folk moral relativism and the methodology of meta-ethics. To do so, we first introduce Williams’ relativism of distance. Then we compare Williams’ approach on this matter to recent experimental approaches on folk relativism. On this score the main result is that Williams’ proposal is consistent with several well-established insights on the experimental study of folk relativism. Williams’ relativism of distance is not only empirically plausible, but it is also of relevance for shaping the methodology of an empirically informed meta-ethics. We close this paper by stressing this methodological contribution. (shrink)

Speed is one of the major factors by which the traffic safety is affected. If the speed limit traffic signs on the road are recognised and displayed to a driver, this will be a motivation to keep the vehicle's speed within the permitted range. The purpose of this paper is to investigate Eigen-based traffic sign recognition which can aid in the development of Intelligent Speed Adaptation. This system is based on invoking the PCA technique to detect the unknown speed (...) limit traffic sign and computes its best effective Eigen vectors. The traffic sign is then recognized and classified by using the shortest Euclidean distance to the different speed limit traffic sign classes. The system was trained using 24 037 images which were collected in different light conditions. To check the robustness of this system, it was tested against 1429 images and it was found that the accuracy of recognition was 97.5% which indicates clearly the high robustness targeted by this system. (shrink)

Method as Identity considers how social identity shapes methodological standpoints. With a refreshing hip hop sensibility, Miller and Driscoll reorient the contemporary academic study of religion toward recognition of the costs and benefits of manufacturing “critical” distance from our objects of study.

Automatic moving object detection and tracking is very important task in video surveillance applications. In the present work the well known background subtraction model and use of Gaussian Mixture Models have been used to implement a robust automated single object tracking system. In this implementation, background subtraction on subtracting consecutive frame-by-frame basis for moving object detection is done. Once the object has been detected it is tracked by employing an efficient GMM technique. After successful completion of tracking, moving object (...) class='Hi'>recognition of those objects using well known Principal Component Analysis, which is used for extracting features and Manhattan based distance metric is used for subsequent classification purpose. The system is capable of handling entry and exit of an object. Such a tracking system is cost effective and can be used as an automated video conferencing system and also has applications like human tracking, vehicles monitoring, and event recognition for video surveillance. The proposed algorithm was tested on standard database on complex environments and the results were satisfactory. (shrink)

Objective: Tangent Space Mapping using the geometric structure of the covariance matrices is an effective method to recognize multiclass motor imagery. Compared with the traditional CSP method, the Riemann geometric method based on TSM takes into account the nonlinear information contained in the covariance matrix, and can extract more abundant and effective features. Moreover, the method is an unsupervised operation, which can reduce the time of feature extraction. However, EEG features induced by MI mental activities of different subjects are not (...) the same, so selection of subject-specific discriminative EEG frequency components play a vital role in the recognition of multiclass MI. In order to solve the problem, a discriminative and multi-scale filter bank tangent space mapping algorithm is proposed in this article to design the subject-specific Filter Bank so as to effectively recognize multiclass MI tasks. Methods: On the 4-class BCI competition IV-2a dataset, first, a non-parametric method of multivariate analysis of variance based on the sum of squared distances is used to select discriminative frequency bands for a subject; next, a multi-scale FB is generated according to the range of these frequency bands, and then decompose multi-channel EEG of the subject into multiple sub-bands combined with several time windows. Then TSM algorithm is used to estimate Riemannian tangent space features in each sub-band and finally a liner Support Vector Machines is used for classification. Main Results: The analysis results show that the proposed discriminative FB enhances the multi-scale TSM algorithm, improves the classification accuracy and reduces the execution time during training and testing. On the 4-class BCI competition IV-2a dataset, the average session to session classification accuracy of nine subjects reached 77.33 ± 12.3%. When the training time and the test time are similar, the average classification accuracy is 2.56% higher than the latest TSM method based on multi-scale filter bank analysis technology. When the classification accuracy is similar, the training speed is increased by more than three times, and the test speed is increased two times more. Compared with Supervised Fisher Geodesic Minimum Distance to the Mean, another new variant based on Riemann geometry classifier, the average accuracy is 3.36% higher, we also compared with the latest Deep Learning method, and the average accuracy of 10-fold cross validation improved by 2.58%. Conclusion: Research shows that the proposed DMFBTSM algorithm can improve the classification accuracy of MI tasks. Significance: Compared with the MFBTSM algorithm, the algorithm proposed in this article is expected to select frequency bands with good separability for specific subject to improve the classification accuracy of multiclass MI tasks and reduce the feature dimension to reduce training time and testing time. (shrink)

This project assesses the ability of a game tutorial, “Goblin Threat” to increase university students’ ability to recognize plagiarized passages. The game tutorial covers information about how to cite properly, types and consequences of plagiarism, and the differences between paraphrasing and plagiarism. The game involves finding and clicking on “goblins” who ask questions about various aspects of plagiarism. Sound effects and entertaining visuals work to keep students’ attention. One group of 177 students enrolled in an online Psychology of Adolescence course (...) answered four multiple choice plagiarism recognition questions in the months after completing the online game tutorial while another group of over 400 students in the same online psychology course did not have access to the game tutorial, but answered the same multiple choice plagiarism recognition questions over the same period of time. The group who played the game tutorial showed an 11% improvement in recognizing plagiarized passages over the comparison group, a statistically significant difference. Results suggest the ability to keep students focused may be an important ingredient for plagiarism interventions. (shrink)

State-of-the-art facial expression methods outperform human beings, especially, thanks to the success of convolutional neural networks. However, most of the existing works focus mainly on analyzing an adult’s face and ignore the important problems: how can we recognize facial expression from a baby’s face image and how difficult is it? In this paper, we first introduce a new face image database, named BabyExp, which contains 12,000 images from babies younger than two years old, and each image is with one of (...) three facial expressions. To the best of our knowledge, the proposed dataset is the first baby face dataset for analyzing a baby’s face image, which is complementary to the existing adult face datasets and can shed some light on exploring baby face analysis. We also propose a feature guided CNN method with a new loss function, called distance loss, to optimize interclass distance. In order to facilitate further research, we provide the benchmark of expression recognition on the BabyExp dataset. Experimental results show that the proposed network achieves the recognition accuracy of 87.90% on BabyExp. (shrink)

Most of the research done with spatial demonstratives have focused on the production, not the interpretation, of these words. In addition, emphasis has been largely on demonstrative pronouns, leaving demonstrative adverbs with relatively little research attention. The present study explores the interpretation of both demonstrative pronouns and demonstrative adverbs in Estonian—a Finno-Ugric language with two dialectal-specific demonstrative pronoun systems. In the South-Estonian dialectal region, two demonstrative pronouns, see—“this” and too—“that”, are used. In the North-Estonian region, only one, see—“this/that”, is used. (...) The aim of this study is twofold. First, we test if the distance and the visual salience of a referent have an effect on the interpretation of demonstratives. Second, we explore if there is a difference in the interpretation of demonstratives between native speakers from SE and NE. We used an interpretation experiment with 30 participants per group and compared the SE and NE group responses. The results clearly show that the distance of the referent has an effect on how demonstratives are interpreted across the two groups, while the effect of visual salience is inconclusive. There is also a difference in the interpretation of demonstratives between the two dialectal groups. When using the Estonian with an influence of the SE dialect, the NE speakers rely on demonstrative adverbs in interpreting the referential utterance that includes demonstrative pronoun and adverb combinations, whereas the SE speakers also take into account the semantics of demonstrative pronouns. We show that, in addition to an already known difference in the production, there is also a difference in the interpretation of demonstratives between the two groups. In addition, our findings support the recognition that languages that have distance neutral demonstrative pronouns enforce the spatial meaning of a referring utterance by adding demonstrative adverbs. Not only is the interpretation of demonstrative pronouns affected, but the interpretation of demonstrative adverbs as well. The latter shows the importance of studying adverbs also, not just pronouns, and contributes to further knowledge of how demonstratives function. (shrink)

Maurice Merleau-Ponty was an important twentieth century contributor to the theory of recognition, even though he made literal reference to the concept only sparingly. He emphasized the importance of recognition, not only at the level of inter-personal relations and in the individual’s inclusion in the social, but also in terms of the capacity of human beings to communicate across cultures and across historical distances. The shift towards ontology in his later work provided a renewed grounding for his interest (...) in intersubjectivity and cross-cultural communication. Such continuity might be traced to lasting Hegelian and Marxian legacies in his thinking, which inflected his political interpretation of recognition. (shrink)

European theorists of childhood still tend to locate the first positive acknowledgements of childhood as a human developmental period in its own positive right between the 16th and 18th century in Europe. Even though the findings of Ariès have been constantly challenged, it still remains a commonplace, especially within the history of education, to refer to Jean-Jacques Rousseau of the 18th century as one of the earliest and most prominent conceptualisers of childhood as a positive period that must not be (...) evaluated in the light of its distance to adulthood but for its inherent value as an important and unmissable period of human life. Such a view is as unhistorical as it is biased and eurocentred. This article endeavours to shed at least a small light on the history of education and of childhood outwith the usual focus. The central objects of examination are the theoretical treatises of Zeami Motokiyo regarding the Noh theatre which have long been recognised as one of the great cultural achievements of humankind. Despite their acknowledged importance, theorists of education have hardly engaged with these treatises even though they present us with a whole theory of education that also embraces a very original and positive theory of childhood. Given that the treatises originate from the 14th-early 15th century, they pre-date everything the typical Western History of Education would bring forth as the beginning of a positive childhood and a pedagogy that acts accordingly. (shrink)

This paper shows that a simple two-stage approach to handle non-local dependencies in Named Entity Recognition (NER) can outperform existing approaches that handle non-local dependencies, while being much more computationally efficient. NER systems typically use sequence models for tractable inference, but this makes them unable to capture the long distance structure present in text. We use a Conbel.

This paper outlines the ongoing challenges faced by feminist theology in Latin America as it enters the twenty-first century, given the continuing ecclesial antipathy towards its goals, its proponents and its practitioners. This marginalized position with respect to the Catholic Church allows feminist theologians a certain distance from ecclesiastical control, but at the same time means that as a movement feminist theology lacks influence because of its distance from the centre of power. Meanwhile, socio-economic factors continue to oppress (...) the poorest, many of whom— especially women—find solace in the institutional Church and the religious models that feminist theology wishes to critique. As a result of these forces, the future of feminist theology remains uncertain. (shrink)

With the rapid development of sports science, human motion recognition technology, as a new biometric recognition technology, has many advantages, such as noncontact target, long recognition distance, secret recognition process, and so on. Traditional human motion recognition technology is affected by environmental factors such as motion background, which is prone to rough edges of the recognized objects and loss of motion tracking information, thus further reducing the recognition accuracy. In this paper, the traditional (...) snake model will be improved and optimized to improve the defect of human motion model contour extraction, so as to realize the accurate repair of image contour; in terms of algorithm running time, this paper innovatively improves the construction process of the snake model, further improves the running time of model evaluation, and solves the concave contour problem of corresponding moving objects in the snake model. In order to solve the problem of accurate convergence, this paper improves the snake model of the average moving algorithm and sets the corresponding weight coefficient to distinguish the corresponding moving target background, so as to achieve the convergence of the differential concave contour. In order to verify the superiority of the improved optimized snake model, experiments are carried out in the corresponding database. The experimental results show that the contour of the moving object extracted by the improved snake model algorithm is complete and the segmentation effect is obvious. At the same time, the running speed of the whole algorithm has been significantly improved. (shrink)

Fundamental to spatial knowledge in all species are the representations underlying object recognition, object search, and navigation through space. But what sets humans apart from other species is our ability to express spatial experience through language. This target article explores the language ofobjectsandplaces, asking what geometric properties are preserved in the representations underlying object nouns and spatial prepositions in English. Evidence from these two aspects of language suggests there are significant differences in the geometric richness with which objects and (...) places are encoded. When an object is named (i.e., with count nouns), detailed geometric properties – principally the object's shape (axes, solid and hollow volumes, surfaces, and parts) – are represented. In contrast, when an object plays the role of either “figure” (located object) or “ground” (reference object) in a locational expression, only very coarse geometric object properties are represented, primarily the main axes. In addition, the spatial functions encoded by spatial prepositions tend to be nonmetric and relatively coarse, for example, “containment,” “contact,” “relative distance,” and “relative direction.” These properties are representative of other languages as well. The striking differences in the way language encodes objects versus places lead us to suggest two explanations: First, there is a tendency for languages to level out geometric detail from both object and place representations. Second, a nonlinguistic disparity between the representations of “what” and “where” underlies how language represents objects and places. The language of objects and places converges with and enriches our understanding of corresponding spatial representations. (shrink)

Inclusive trade is taking hold in various forms in international organizations and in the trade policy of national governments. Absent empirical evidence that will take time to generate, it can be difficult to assess the achievements of this new approach to trade. Nancy Fraser's three justice idioms provide a conceptual entry point for evaluating the potential of the inclusive trade agenda. Fraser argues that the contemporary global justice conversation must acknowledge claims for recognition, representation, and redistribution. Applying this conceptualization (...) to the inclusive trade agenda shows that trade agreement provisions intended to favor women and Indigenous peoples go some distance in addressing claims for recognition and representation but accomplish less in remedying injustices associated with maldistribution. Therefore, the inclusive trade agenda does significantly advance global justice for marginalized groups, but works primarily in ways that are political and cultural, not economic. (shrink)

This article argues that, despite their distance across the colonial divide, a creolizing reading of Frantz Fanon and Paul Ricœur can yield valuable insights into decoloniality. Tracing their shared philosophical concerns with embodied phenomenology, social ontology and recognition, I argue that their respective accounts of sociogeny and hermeneutics can be productively read together as describing a shared end of mutual recognition untainted by racism or coloniality – a ‘new skin’ for humanity, as Fanon describes it. More specifically, (...) Fanon contributes to Ricœur an understanding of how divergences in social location can be overcome through liberatory action that posits a new logic of sociality; likewise, Ricœur provides Fanon with an account of how liberatory horizons are produced through this praxis, based on the imaginative connection between ideology and utopia. This article concludes by arguing that these congruent methodological and normative concerns can be read together to concretize – and potentially actualize – the utopic end of liberatory struggle in mutual recognition through fashioning this new skin. (shrink)

We used a new method called “Ghost-in-the-Machine” (GiM) to investigate social interactions with a robotic bartender taking orders for drinks and serving them. Using the GiM paradigm allowed us to identify how human participants recognize the intentions of customers on the basis of the output of the robotic recognizers. Specifically, we measured which recognizer modalities (e.g., speech, the distance to the bar) were relevant at different stages of the interaction. This provided insights into human social behavior necessary for the (...) development of socially competent robots. When initiating the drink-order interaction, the most important recognizers were those based on computer vision. When drink orders were being placed, however, the most important information source was the speech recognition. Interestingly, the participants used only a subset of the available information, focussing only on a few relevant recognizers while ignoring others. This reduced the risk of acting on erroneous sensor data and enabled them to complete service interactions more swiftly than a robot using all available sensor data. We also investigated socially appropriate response strategies. In their responses,the participants preferred to use the same modality as the customer’s requests, e.g., they tended to respond verbally to verbal requests. Also, they added redundancy to their responses, for instance by using echo questions. We argue that incorporating the social strategies discovered with the GiM paradigm in multimodal grammars of human–robot interactions improves the robustness and the ease-of-use of these interactions, and therefore provides a smoother user experience. (shrink)

This article argues that Honneth’s ‘plural conception of justice’, founded on a theory of recognition, does not succeed in distancing itself from Rawls’ liberal theory of justice. The article develops its argument by evaluating three major objections to Rawls’ liberalism raised by Honneth in his recent articles on justice: namely, first, that the parties responsible for choosing principles of justice are too individualistic and their practical reasoning too instrumentalist; second, that by taking as its ‘object-domain’ the negative liberty of (...) persons, Rawls’ theory fails to promote the actual realization of liberty; and finally, that Rawls’ method of principle justification undermines the ‘priority’ of its Kantian ‘formality’ by presupposing a substantive commitment to a conception of individual good. Arguing that Honneth’s interpretation of Rawls’ theory contains important errors, the article concludes that both theories share the basic intention of securing for all citizens the material and institutional conditions for the actualization of otherwise merely formal liberties or, in Honneth’s terms, mutual self-realization. (shrink)

Belgian data from the PIDOP project show that boys are more involved than girls in illegal political actions, namely the production of graffiti and other acts of “incivility”. These activities must be considered in both groups as complementary to conventional political and social participation and not as their opposite. The main explanatory factor is the level of the perceived efficaciousness of such actions. The lack of trust in institutions and the level of awareness of societal discrimination play no significant explanatory (...) role. In males, the involvement level in these activities depends on feelings of personal discrimination and on the lack of freedom concerning individual choice, confirming the theory of societal vulnerability and Honneth’s theory of recognition. This level also increases along with increasing opportunities to make acquaintances and have fun in the neighbourhood. In females, this involvement is explained by the distance with regard to pro-sociality level. (shrink)

In face recognition systems, highly robust facial feature representation and good classification algorithm performance can affect the effect of face recognition under unrestricted conditions. To explore the anti-interference performance of convolutional neural network reconstructed by deep learning framework in face image feature extraction and recognition, in the paper, first, the inception structure in the GoogleNet network and the residual error in the ResNet network structure are combined to construct a new deep reconstruction network algorithm, with the random (...) gradient descent and triplet loss functions as the model optimizer and classifier, respectively, and it is applied to the face recognition in Labeled Faces in the Wild face database. Then, the portrait pyramid segmentation and local feature point segmentation are applied to extract the features of face images, and the matching of face feature points is achieved using Euclidean distance and joint Bayesian method. Finally, Matlab software is used to simulate the algorithm proposed in this paper and compare it with other algorithms. The results show that the proposed algorithm has the best face recognition effect when the learning rate is 0.0004, the attenuation coefficient is 0.0001, the training method is SGD, and dropout is 0.1, and the algorithm proposed in this paper has the largest mean average precision compared to other CNN algorithms. The correct rate of face feature matching of the algorithm proposed in this paper is 84.72%, which is higher than LetNet-5, VGG-16, and VGG-19 algorithms, the correct rates of which are 6.94%, 2.5%, and 1.11%, respectively, but lower than GoogleNet, AlexNet, and ResNet algorithms. At the same time, the algorithm proposed in this paper has a faster matching time and a higher correct matching rate than the joint Bayesian method, indicating that the deep reconstruction network algorithm proposed in this paper can be used in face image recognition, FE, and matching, and it has strong anti-interference. (shrink)

Faces are complex stimuli that can be described via intuitive facial features like the eyes, nose, and mouth, “configural” features like the distances between facial landmarks, and features that correspond to computations performed in the early visual system (e.g. oriented edges). With regard to this latter category of descriptors, adult face recognition relies disproportionately on information in specific spatial frequency and orientation bands: Many recognition tasks are performed more accurately when adults have access to mid-range spatial frequencies (8-16 (...) cycles/face) and horizontal orientations (Dakin & Watt, 2009). In the current study, we examined how this information bias develops in middle childhood. We recruited children between the ages of 5-10 years old to participate in a simple categorization task that required them to label images according to whether they depicted a face or a house. Critically, children were presented with face and house images comprised either of primarily horizontal orientation energy, primarily vertical orientation energy, or both horizontal and vertical orientation energy. We predicted that any bias favoring horizontal information over vertical should be more evident in faces than in houses, and also that older children would be more likely to show such a bias than younger children. We designed our categorization task to be sufficiently easy that children would perform at near-ceiling accuracy levels, but with variation in response times that would reflect how they rely on different orientations as a function of age and object category. We found that horizontal bias for face detection (but not house detection) correlated significantly with age, suggesting an emergent category-specific bias for horizontal orientation energy that develops during middle childhood. These results thus suggest that the tuning of high-level recognition to specific low-level visual features takes take place over several years of visual development. (shrink)

The ArgumentHistorians of science naturally tend to express interest in other forms of intellectual activity only when these intersect with science. This tendncy has produced a number of enlightening studies of what happens when science and (for instance) law or theology come into contact, but little by way of how science enters into the calculations and social status of such forms of knowledge after the conjuction has passed. Recent work in the sociology of professions, in contrast, has focused attention precisely (...) on those moments when the expert knowledge produced by different group doesnotoverlap. This has been the contribution of Andrew Abbortt's theory of “jurisdictional boundaries” between competing professions. The case of Victorian actuaries who worked hard to maintain unique intellectual claims in the competitive life insurance industry while maintainiing strong social connections and overlaps in knowledge with organized science, challenges the way both historians of science and sociologists of professions view contending knowledge claims. By observing what motivated actuaries to forge an alliance with men of science in the 1820s, then tracing their gradual recognition of a need to distance themselves from certain of the “scientific” values that had earlier informed their collective identity, it is possible to make sense of connections as well as disconnections between science and other forms of knowledge. A history of quantification from the actuaries' perspective, in other words, allows us to view science bothasandincontext. (shrink)

Purpose: There is a widespread recognition that biomedical explanations offer benefits to those diagnosed with a mental disorder. Recent research points out that such explanations may nevertheless have stigmatizing effects. In this study, this ‘mixed blessing’ account of biomedical explanations is investigated in a case of philosophical interest: Tourette Syndrome. Method: We conducted a vignette survey with 221 participants in which we first assessed quantitative attributions of blame as well as the desire for social distance for behavior associated (...) with Tourette Syndrome. Results: In our study, it is confirmed that in the case of biomedical explanations, less blame is attributed than in the case of psychosocial explanations. When presented with a mixed explanation stressing an entanglement of biological and psychosocial factors this did not increase blame attribution. The desire for social distance is unaffected by the type of explanation but the participants’ free text feedback indicates this might obfuscate an underlying dilemma between stigma and blame revealed in recent research. Conclusion: There seems to be potential for blame reduction in explanations where biological and psychosocial factors are entangled. However, dynamic, ‘epigenetic’, explanations require further qualitative research to be performed as well as a philosophical framework to account for the ‘mixed blessings’ account. (shrink)

Cell communication plays a key role in multicellular organisms. In developing embryos as in adult organisms, cells communicate by coordinating their differentiation through the establishment and/or renewal of a variety of cell communication channels. Under both these conditions, cells interact by either receptor signalling, surface recognition of specific cell adhesion molecules or transfer of cytoplasmic components through junctional coupling. In recent years, it has become apparent that cells may also communicate through the extracellular release of microvesicles. They may originate (...) as either exosomes from the endosomal compartment upon fusion of multivesicular bodies with the plasma membrane or be shed directly from the plasma membrane via extensions of the cell surface. Microvesicles may disperse over long distances through body fluids and deliver their molecular cargo onto a variety of target cells. As a general rule, the metabolic fate of these cells is determined by the molecular nature of the vesicular cargo, while targeting itself depends on the affinity of the molecules expressed on the enclosing membrane. In this paper, we will be arguing that intercellular vesicular transfer is substantially different from other types of cell communication, allowing cells and molecules to interact on varying levels. Cells interacting via ligand signalling owe their specificity to the steric coupling with cognate receptor molecules. As such, it is a pure molecular process that affects target cells only upon integration into their responding repertoire. In this relationship, coupled cells are reciprocally adapted to each other through the selection of their respective signalling capacities, following exploration of their receptor specificity. Interaction by intercellular vesicles realizes a substantially different type of cell communication. Vesicular traffic allows donor cells to carry out a horizontal type of gene transfer and target this information over long distances via independently controlled mechanisms. Because of this independence, cells interacting via vesicular traffic are not expected to adapt their signalling correspondences, but to control instead the efficiency of their cargo delivery irrespective of the receptor repertoire expressed by the target tissue. In this paper, the multifaceted functions of the intercellular vesicular traffic will be discussed in a multilevel biosemiotic perspective with the aim of unravelling the cellular mechanisms devised by nature to accomplish communication. (shrink)

One version of the desire satisfaction theory of well-being (i.e., welfare, or what is good for one) holds that only the satisfaction of one's present desires for present states of affairs can affect one's well-being. So if I desire fame today and become famous tomorrow, my well-being is positively affected onlyif tomorrow, when I am famous, I still desire to be famous. Call this the present desire satisfaction theory of well-being. I argue, contrary to this theory, that the satisfaction of (...) past desires that are no longer held does indeed affect one's well-being. The satisfaction of past desires is good for one in that the present satisfaction of past desires positively affects one's past well-being. I argue for this view in stages, starting with the recognition that many of our desires are satisfied not at an instant but over an interval of time, and that it is during this interval of time that our well-being is positively affected. Once we get our foot in the door with some temporal thickness to desire satisfaction and the associated well-being, I argue, the door must open more widely to allow for greater temporal distance between present desire satisfaction and past well-being. I defend my thesis that present satisfaction of past desires increases one's past welfare against objections, including the claim that it involves backward causation and Velleman's claim that the view is highly counterintuitive whether or not it involves backward causation. I argue that some of the objections rely on hedonistic intuitions, intuitions that most desire satisfaction theories of welfare aim to correct. Once properly understood and applied, my counterintuitive and controversial thesis is really quite innocuous. (shrink)

Amid now extensive debates about cosmopolitanism in political theory, this article explores the implications of Axel Honneth’s recognition theory for issues in international justice, not least the dire situation of poverty in the world. In contrast with a purely resource-distributive approach, the essay turns particularly to Honneth’s recent revival of the Lukácsian concept of reification as a process of self-distancing from the elementary humanity of others. Specifically, Honneth re-formulates reification as a failure of an elementary or ‘antecedent’ form of (...) recognition. From the perspective of his theory, reification connotes the forgetfulness of others’ fundamental humanity. While Honneth takes such forgetfulness to become most readily apparent in dramatic violations such as the Holocaust, the article interprets his theory to explain, and eventually to challenge, the passive acceptance by many of dire material injustices. The article develops the implications of this challenge by interpreting from Honneth’s framework a duty to question international policies which tend to reify and objectify the least well off in the world, whilst remaining cognizant of the limits of de-reification to the more extensive, meaningful alleviation of poverty globally. (shrink)

In what follows, I motivate and clarify the controversy over metaphysical realism (the claim that there is a single objective way that the world is) by defending it against two objections. A clear understanding of why these objections are misguided goes a considerable distance in illuminating the complex and controversial nature of m-realism. Once the complex thesis is defined, some objections to it are considered. Since m-realism is such a complex and controversial thesis, it cannot legitimately be treated as (...) inevitable unless, of course, there are no viable alternatives to it. For this reason, a brief defense of non-realist metaphysics is offered. Since m-realism is both controversial and substantive, a commitment to it requires both explicit recognition and sustained defense. (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)

Starting symbolically from a place of transit and mobility such as the Galleria in Naples, I look at the pace of immigration movements to Italy from both ex-colonial territories and other countries. Precarity characterizes the migrant condition in Italy: entrance and stay permits; work and housing, which are difficult to obtain and always temporary; bureaucratic control is severe and the right to citizenship is distant. The collective amnesia of the colonial enterprise obscures the fact that at least some of the (...) guests of today were the hosts of yesterday. I analyse these, and other aspects, in the literature of migration that in recent decades has emerged in Italy, focusing on women's writing and confronting the problem of how long it will take for this literature to receive recognition in the Italian literary canon. In women's narratives, precarity emerges in the journey of emigration, described as a real odyssey; in tensions over identity and language; in contrasting cultures of departure and cultures of destination; in the problematic concept of ‘home’. Racial and gender differences subsumed in the colour of skin are a recurrent motif. For women, hardships may be more deeply felt: isolation and loneliness is augmented by the distance from children and family; the relationship between past and present more troublesome as it often leads to a double oppression. independence is more fiercely fought for in the affirmation of identity. Finally, I show that, alongside conditions of isolation and despair, strength and hope in the new life emerge from these writings, touching on the importance of writing in Italian and on the motives leading to this choice. (shrink)

This article suggests an enhancement of the Masek circle model approach usually used to find a trade-off between modeling complexity, algorithm accuracy, and computational time, mainly for embedded systems where the real-time aspect is a high challenge. Moreover, most commercialized systems today frame iris regions by circles. This work led to several novelties: first, in the segmentation process, the corneal reflection removal method based on morphological reconstruction and pixel connectivity was implemented. Second, the picture size reduction was applied according to (...) nearest-neighbor interpolation. Third, the image gradient of the convolved-reduced picture was then generated using four proposed matrices. Fourth, and to reduce the complexity of the traditional method for the detection of the top and lower eyelids, a new method based on the Radon transform and the least squares fitting method was applied. Fifth, eyelashes were detected via the diagonal gradient and thresholding method. Monogenic signal was used in the feature extraction process. Finally, two distance measures were selected as a metric for recognition. Our experimental results using CASIA iris database V3.0 reveal that the proposed method provides a high performance in terms of speed and accuracy. Using dissimilarity modified Hamming distance, the accuracy of iris recognition was improved, with a false acceptance rate equal to 3% and a speed at least eight times as compared with the state of the art. (shrink)

This article addresses the question whether the model of social criticism as 'connected' or 'loyal' which is advanced by Richard Rorty and Michael Walzer offers an adequate picture of social criticism. Two claims are made. First, it is suggested that loyalty is an internally conflicted concept, with three components: a recognition of situatedness in a particular relationship; an affirmation of that relationship by the loyal agent; a set of values or local principles. Where the third component is prominent, loyalty (...) is more reflective and distanced; where the second component predominates, loyalty slips into unreflective commitment. Second, it is argued that Rorty and Walzer conflate the social critic's recognition of his or her situatedness in contexts of power with the affirmation of that situatedness. It is concluded that the model of loyal social criticism is mislead mg, and that the practice of the critic must be tempered by the operation of the sense of injustice. Key Words: connection • loyalty • Rorty • social criticism • Walzer. (shrink)

The aim of this study was to separately analyze the role of featural and configural face representations. Stimuli containing only featural information were created by cutting the faces into their parts and scrambling them. Stimuli only containing configural information were created by blurring the faces. Employing an old‐new recognition task, the aim of Experiments 1 and 2 was to investigate whether unfamiliar faces (Exp. 1) or familiar faces (Exp. 2) can be recognized if only featural or configural information is (...) provided. Both scrambled and blurred faces could be recognized above chance level. A further aim of Experiments 1 and 2 was to investigate whether our method of creating configural and featural stimuli is valid. Pre‐activation of one form of representation did not facilitate recognition of the other, neither for unfamiliar faces (Exp. 1) nor for familiar faces (Exp. 2). This indicates a high internal validity of our method for creating configural and featural face stimuli. Experiment 3 examined whether features placed in their correct categorical relational position but with distorted metrical distances facilitated recognition of unfamiliar faces. These faces were recognized no better than the scrambled faces in Experiment 1, providing further evidence that facial features are stored independently of configural information. From these results we conclude that both featural and configural information are important to recognize a face and argue for a dual‐mode hypothesis of face processing. Using the psychophysical results as motivation, we propose a computational framework that implements featural and configural processing routes using an appearance‐based representation based on local features and their spatial relations. In three computational experiments (Experiments 4–6) using the same sets of stimuli, we show how this framework is able to model the psychophysical data. (shrink)

Intelligence on mass media audiences was founded on representative statistical samples, analysed by statisticians at the market departments of media corporations. The techniques for aggregating user data in the age of pervasive and ubiquitous personal media build on large aggregates of information analysed by algorithms that transform data into commodities. While the former technologies were built on socio-economic variables such as age, gender, ethnicity, education, media preferences, Big Data technologies register consumer choice, geographical position, web movement, and behavioural information in (...) technologically complex ways that for most lay people are too abstract to appreciate the full consequences of. The data mined for pattern recognition privileges relational rather than demographic qualities. We argue that the agency of interpretation at the bottom of market decisions within media companies nevertheless introduces a ‘heuristics of the algorithm’, where the data inevitably becomes translated into social categories. In the paper we argue that although the promise of algorithmically generated data is often implemented in automated systems where human agency gets increasingly distanced from the data collected, one can observe a felt need among media users and among industry actors to ‘translate back’ the algorithmically produced relational statistics into ‘traditional’ social parameters. The tenacious social structures within the advertising industries work against the techno-economically driven tendencies within the Big Data economy. (shrink)

The earth is the archetypal image of the origin of humanity, but throughout the history of Western culture it has given way to other, more heavenly allegories. Enlightenment as a paradigm of knowledge consolidated itself in Western philosophical thought in a very convincing way as a production of meanings. Through this rereading of the first Greek metaphysics, thought gradually distanced itself from its materiality, from its humanity, from the possibility of admiring the concrete world, getting closer and closer to the (...) need to create abstract objects, which, as ethical limits, political, aesthetic and epistemological, we end up meeting again in our lives. Visibility seems to be the basis of a Western mental habitus: recognition, officiality, legitimacy and certainty become visible signs with which we compare and validate our own experiences. The earth, as a less transparent element, with greater ability to hide, occult, encrypt represents, however, an image that is better suited to the discussion plan proposed in this text. The relationship with reality, in terms of visibility and invisibility, requires a new perception of the world: the underlying structure no longer assumes a transcendent level, but is understood as a plane of immanence, in which meaning is interior, produced by compositions; an amalgam of networks that intertwine in an imperceptible, invisible underground plane. What we propose here is not a vertical perspective, but a horizontal one like the ground. It is from this earthly thought that we want to reflect on what happens in philosophy and childhood; in philosophy with childhood and in the childhood of philosophy. In the present attempt of an ecophilosophy of education, the discussion plan requires a deviation from the guiding images with which we learn to do research. The intention of the following investigation is to look for another type of map: a kind of subterranean cartography, which pays attention not to what we can see, which has well-defined names and categories, but to what is hidden and inhabits a plane that is muddy, earthly, indistinguishable and absolutely alive. According to the Lipmanian model of Philosophy for Children, the subterranean and rhizomatic processes of the research community will be examined, comparing them to other collective movements that characterize the vegetable communities of plants that inhabit the natural world. Finally, three concepts considered relevant to escape the limits found in some contemporary pedagogical postures will be illustrated, suggesting other paths in the relationship between philosophy, childhood and education: reciprocity, passivity and invisibility. (shrink)