An exploration of glamour, a potent cultural force that influences where people choose to live, which careers to pursue, where to invest, and how to vote, offers empowerment to be smarter about engaging with the world.

This book is a collection of essays, weaving together cognitive psychology, psycho-linguistics, developmental psychology, modern philosophy and behavioural sciences. It raises the question, how grammar relates to our remarkable ability to cooperate for future needs and how our thought process is related to grammatical parameters.

A prominent feature of contemporary fashion has been the mainstreaming of ‘pauperist’ style in which motifs of poverty such as worn materials and frayed hems are deliberately sought after as a new form of glamour. What began as an act of rebellion amongst youth subcultures of the 1960s and ’70s has now become a widespread phenomenon. As will be argued in this paper, poverty chic has become a new form of status distinction that disavows its extravagance. Whereas in the (...) past, superior social status was often indicated through ostentatious dress, now a ‘humbler’ sartorial style is preferred in an era marked by financial, political and environmental crises. The popularity of pauperist style today lies in the fact that it assuages the anxieties provoked by these crises through its conversion of poverty into an aesthetic style. (shrink)

One of the reasons for the disappearance of beauty in the artistic ideology of the late twentieth century has been the seeming similarity of beauty to certain kinds of kitsch. Beauty has also been associated with flawlessness and with glamour. I will content that the flawless and the glamorous are actually categories of kitsch, and that the dominance of these images in marketing has contributed to our societal tendency to confuse them with beauty. The quests for flawlessness and (...) class='Hi'>glamour are both self-sabotaging, a premise on which the marketing of beauty depends. These false paradigms of beauty have ob cured the fact that human beauty manifests an ideal of balance and health that is neither self-conscious nor a consequence of deliberate effort. I will defend the relevance of this ideal to beauty to our personal and cultural well-being. (shrink)

The glamour and misery of mankind are at the heart of this book, but it also addresses the tradition and the renewal of the human image. Significant photographers of the 20th and 21st centuries engage in a sometimes surprising dialogue with Masters of European painting from the late Middle Ages to the 19th century.

This would have been a better book if Sampson had argued his main point, the usefulness of the Simonian principle as an explanation of the evolution, structure, and acquisition of language, on its own merits, instead of making it subsidiary to his attack on ‘limited-minders’ (e.g., Noam Chomsky). The energy he has spent on the attack he might then have been willing and able to employ in developing his argument at reasonable length and detail. He might then have found that (...) argument faulty, or even wrong. Underdeveloped as it is, however, his point about the Simonian principle does seem to have thepossibility of some significance in understanding the empirical issues of this book (and the dichotomy of ‘limited’ and ‘creative’ minds is certainly not one of these).What Sampson has done inMaking Sense has the appearance of science, and theoretical linguistics, and therefore it is somewhat puzzling to find the conclusions that the human mind cannot be scientifically studied (p. 10), and that theoretical linguistics is a “mirage” (p. 210). His statement that It may still seem worthwhile to some to work out the exact implications for present-day linguistic structure of the fact that languages are evolved systems, but I cannot see that there is much glamour or, indeed, much substance in this task (p. 210) would surely be surprising to a geneticist or ethologist. We hope his apparent misunderstanding on this point will not lead him to give up his profession, in which he seems willing and able to make a significant contribution.What in particular is required is a clear indication of how the Simonian principle imposes itself in the ontogenesis of language. Consider Chomsky's example of the rule for forming questions in English. For sentence (1) below, children able to deal with such examples would give (2) but not (3) as the corresponding question (Chomsky, 1975, p. 31).The man who is tall is in the room.Is the man who is tall in the room?*Is the man who tall is in the room?Now compare Sampson's evolutionary explanation for the structure-dependence of rules which is illustrated in (1)-(3): “once a behavior-pattern has become thoroughly established, it will tend to be treated as a fixed given when used as a constituent of a more complex, later-learned behavior-pattern” (p. 183). In order for this to account for Chomsky's example it would have to be the case that children learn relative clauses before they learn questions, which simply isn't true.In conclusion, we wish not to seem unaware of the problems with the position Sampson is attacking, or unaware of the sometimes dogmatic way it too has been presented. Chomsky's hypothesis of innate linguistic ideas seems, fundamentally, to derive from the claimed rapidity and uniformity of language acquisition in the face of limited and degenerate data. Chomsky appears to have been unwilling to argue these points directly or to show their relation to others, for which he has argued, for example, the implausibility of some abstract constraint's having been learned (cf. 1971, pp. 22–44; 1975, pp. 30–33; 1980, pp. 35–52). And almost from his first invoking of rationalism in support of his linguistic method, Chomsky has himself resorted to an unnecessarily polemical attack on empiricism (cf. 1965, p. 58, n. 33). The innateness issue is just not clear or simple enough to justify so much animus, or even conviction. (shrink)

Species : visions and values -- Fantasies : seeing without what was within -- Prestiges : illusions in magic and art -- Glamours : demons and virtual worlds -- Images : the reformation of the eyes -- Apparitions : the discernment of spirits -- Sights : King Saul and King Macbeth -- Seemings : philosophical scepticism -- Dreams : the epistemology of sleep -- Signs : vision and the new philosophy.

In various official documents, the European Union has declared its goal to pursue a citizen-centric governance of digital transformation. Through a critical review of several of these documents, here we show how “citizen-centric” is more a glamouring than a driving concept. De facto, the EU is enabling a federated data system that is corporate-driven, economic-oriented, and GDPR-compliant; in other words, a Digital Single Market (DSM). This leaves out societal and collective-level dimensions of digital transformation—such as social inclusion, digital sovereignty, and (...) environmental sustainability—which are acknowledged, but not operationalized, by the EU as pillars of a citizen-centric governance. Hence, the door is open to a complementary approach to the governance of digital transformation. We argue that, while a federated data model can constitute the tech-legal backbone of the emerging DSM, a commoning of data, as an ecosystemic approach that maintains a societal and collective outlook by default, can represent a complement to enact a truly citizen-centric governance. (shrink)

Building on my previous exploration of the role of dance in the contemporary French political philosopher Jacques Rancière’s Aisthesis: Scenes from the Aesthetic Regime of Art, first published in French in 2011, the present essay turns to another book originally published in the same year, The Intervals of Cinema. Having previously established that the core of Rancière’s philosophical method is an analysis of philosophical homonyms into figurative dancing conceptual partners, I begin by applying that method to the first chapter of (...) Intervals, “Cinematic Vertigo: Hitchcock to Vertov and Back.” There I identify two series of such dancing partners, as follows: Hitchcock’s image-controlling, capitalist vertiginous fall, and Vertov’s movement-equalizing, communist balanced dance. I then critique the implicit marginalizing of women and female bodies in the films and chapter, including Hitchcock’s protagonist’s best friend and ex-fiancé, and Vertov’s cosmetologists and switchboard operators. Finally, I offer a corrective from the proto-feminist life of my grandmother, a onetime cosmetologist, switchboard operator, and Glamour Shots amateur model, my grandmother, Louise Nunnelley, or “Mamaw.” Such are the unacknowledged material basis of Rancière’s radical democratic philosophy, the specifically-embodied and positioned female dancers who continue to get lost in his figurative dance. (shrink)

What is colour vision for? In the popular imagination colour vision is for “seeing the colours” — adding hue to the achromatic world of shape, depth and motion. On this view colour vision plays little more than an ornamental role, lending glamour to an otherwise monochrome world. This idea has guided much theorising about colour within vision science and philosophy. However, we argue that a broader approach is needed. Recent research in the psychology of colour demonstrates that colour vision (...) is integral to a variety of visual processes, helping us to perform many types of visual tasks. We discuss some of this research and consider its implications for philosophical theories of colour. (shrink)

The idea that we acquire knowledge by trial and error has been one of the truly great ideas of the twentieth century. As no reader of his philosophical and autobiographical work could have failed to notice, Karl Popper credits himself for having invented this idea. The theory of trial and error or, in Popper's words, the Searchlight theory of knowledge and mind, is not just a part of Popper's comprehensive philosophy but rather one of its key features. It is at (...) the bottom of some of his most spectacular achievements in methodology, epistemology, the philosophy of biology, and even political philosophy. Indeed, it is put forward at once as a model for the growth of individual knowledge (both human and animal), the growth of life (Darwin's theory of evolution), and the growth of scientific knowledge (philosophy of science). As happens so often with innovative ideas, the Searchlight theory derives much of its glamour from the theory it rejects: the view of the mind being a tabula rasa and sense perception the origin of all (human) knowledge. Popper nicknames this empiricists' view as the Bucket theory since it conceives of the mind as nothing but the conduit for sense-impressions, an empty bucket to be filled by the accumulation and storage of information. 1 In his hands the Bucket theory collapses under the strain of philosophical arguments and scientific facts and is replaced by a theory which maintains that our knowledge of the physical world is drawn from our mind and constructed from the repertoire of knowledge dispositions we already possess. Acquiring dispositions proceeds according to the method of trial and error elimination. This method, Popper contends, consists essentially of three stages: forming a problem or expectation, trying out a number of solutions of the problem, and eliminating or discarding false solutions as erroneous. 2 A key feature of Popper's theory of trial and error elimination, and the reason for speaking of a Searchlight theory of knowledge and mind, is his insistence that problems or expectations take precedence over observations. Observations are always preceded by expectations, points of view, questions or problems which, as a searchlight, illuminate a certain area, thereby enabling the organism or the scientist to know what to observe in the first place. -/- The question arises how and when did Popper come to this theory of the growth of knowledge and mind which was to have such radical implications for the philosophy of science, epistemology, and the philosophy of psychology? My aim in this article is to trace the roots of his theory of the Searchlight. The earliest traces of the theory are to be found in his unpublished dissertation, Zur Methodenfrage der Cognitive psychology (1928). Here I will focus upon this "hasty last minute affair" written in the tradition of early German cognitive psychology and supervised by one of its most outstanding proponents, Karl Bühler. Scrutiny of this manuscript, however, reveals not so much the formative influence of Bühler as that of Otto Selz. Indeed, I will argue that Popper borrowed his crucially important Searchlight theory from Selz. Thus having found the origin of the key notion of his epistemology in psychology, the relation between psychology and philosophy in Popper's work, always fraught with tension, is up for thorough reconsideration. (shrink)

No contexto da indústria cultural, os mitos e narrativas mitológicas desempenham um papel crucial na construção da identidade visual de muitos artistas. Na trajetória de Rachel Reis, uma cantora e compositora baiana natural de Feira de Santana, é notável a integração dos símbolos e ícones relacionados aos itãs da orixá Iemanjá em sua identidade artística. No ensaio fotográfico produzido especificamente para a revista Glamour em fevereiro de 2024, a artista revela elementos visuais que ajudam a compreender a sua identidade (...) e conexão com a divindade marítima iorubá. Ao explorar o conceito de arkhé, conforme definido por Muniz Sodré (2005) como a base primordial que impulsiona a cultura e os rituais dos orixás, este trabalho busca investigar como a artista utiliza esses elementos, destacados especialmente nas fotos da revista Glamour, para construir sua identidade visual. Essa análise será embasada em uma abordagem semiótica, seguindo os princípios estabelecidos por Martine Joly. (shrink)

Philosophical aesthetics emerges out of eighteenth-century discussions of taste that paid scant attention to the experience of tasting and ingesting food. Sarah Worth diagnoses this historical oversight and offers an unexpected remedy. She argues that we should start our analysis of aesthetic taste over again, this time beginning with the pleasures of the tongue and mouth, and work out from there to consider the kinds of experience, knowledge, and appreciation that belong to eating and savoring. As she argues, our ability (...) to make gustatory discriminations and to determine what tastes good and why is not as different from our aesthetic judgments as philosophers and other aesthetic theorists might have led us to believe. In this engaging and readable book, Worth persuasively argues that food and its many tastes deserve serious philosophical consideration.Worth explores a number of puzzles that arise when we try to make sense of the concept of taste. She disentangles the metaphorical sense of taste understood as a reasoned judgment expressing aesthetic preferences from the literal sense of taste which involves our sensory experiences when food is in our mouths. She discusses good and bad taste, food and pleasure, authentic and inauthentic food, “food porn”—those impossibly glamourized images of food that we find in advertising and magazines and cookbooks and social media—and the role of recipes in the practice of cooking. She places our everyday experiences of food in the context of wider relationships and activities including cultivation, harvesting, processing, shipping, and purchasing, as well as the preparation and cooking meals for family and friends. The book is punctuated by many of the usual philosophical suspects (Plato and Aristotle, Hume and Kant, Bullough and Sibley) as well as critical and feminist theorists, food sociologists, and a number of famous chefs including Fannie Farmer, Julie Child, and Nigella Lawson. If Worth endorses a particular metaphilosophy of food, it would be that of the Slow Food movement, which is the subject of Chapter Three. (shrink)

What is considered ugly, grotesque or unpleasant by the fashion world? The first collection presented by Rei Kawakubo in Paris was classified as offensive to Western aesthetic standards, for it questioned the French ideal of beauty and elegance. Through silhouettes covered in frayed, perforated and monochromatic fabrics, Kawakubo disrupted the established notion of the beautiful body, stripping it of the clichés of femininity, explicit sexuality and glamour. Under the lens of Vilém Flusser’s philosophy, the Japanese fashion designer created the (...) new, the beautiful, that which is capable of expanding the parameters of the real. (shrink)

Even in the increasingly individualized American medical system, advocates of 'personalized medicine' claim that healthcare isn't individualized enough. With the additional glamour of new biotechnologies such as genetic testing and pharmacogenetics behind it, 'Me Medicine'-- personalized or stratified medicine-- appears to its advocates as the inevitable and desirable way of the future. Drawing on an extensive evidence base, this book examines whether these claims are justified. It goes on to examine an alternative tradition rooted in communitarian ideals, that of (...) the common good as a goal in medicine. (shrink)

If you just can't decide what to wear, this enlightening guide will lead you through the diverse and sometimes contradictory aspects of fashion in a series of lively, entertaining and thoughtful essays from prominent philosophers and writers. A unique and enlightening insight into the underlying philosophy behind the power of fashion Contributions address issues in fashion from a variety of viewpoints, including aesthetics, the nature of fashion and fashionability, ethics, gender and identity politics, and design Includes a foreword by Jennifer (...) Baumgardner, feminist author, activist and cultural critic, editor of Ms magazine and regular contributor to major women's magazines including Glamour and Marie-Claire. (shrink)

Fora human being, intimacy is relevant for bis self-conception, bis relationships with others, with material objects and with god. Intimacy proves its glamour and its susceptibility to trouble in these four perceptional areas. The essay covers positive and negative aspects of some changes in perceptions of intimacy that result from social change and the introduction of new technologies. Theological ethics serves to limit and protect intimacy. At the same time, theological ethics has to emphasise and to substantiate the meaning (...) of christian commandment of love beyond the human close-up range. (shrink)

Love and Death move through this world of ours like things apart-underrunning it truly, and everywhere present, yet seeming to belong to some other mode of existence. When Death comes, breaking into the circle of our friends, words fail us, our mental machinery ceases to operate, all our little stores of wit and wisdom, our maxims, our mottoes, accumulated from daily experience, evaporate and are of no avail. These things do not seem to touch or illuminate in any effective way (...) the strange vast Presence whose wings darken the world for us. And with Love, though in an opposite sense, it is the same. Words are of no use, all our philosophy fails-whether to account for the pain, or to fortify against the glamour, or to describe the glory of the experience.These figures, Love and Death, move through the world, like closest friends indeed, never far separate, and together dominating it in a kind of triumphant superiority; and yet like bitterest enemies, dogging each other's footsteps, undoing each other's work, fighting for the bodies and souls of mankind.Is it possible that at length and after ages we may attain to liberate ourselves from their overlordship-to dominate them and make them our ministers and attendants? Can we wrest them from their seeming tyranny over the human race, and from their hostility to each other? Can we persuade them to lay aside their disguise and appear to us for what they no doubt are-even the angels and messengers of a new order of existence? (shrink)

"Pop'philosophie" : si l'on en croit la morgue méprisante que ce simple mot provoque, il s'agirait du nom d'une étrange maladie. Celle d'une philosophie se prostituant aux industries culturelles ou, pire, aux sirènes du populisme. Avec la pop' philosophie, on assisterait à la ruine de la philosophie tout court, devenue tantôt gadget pédagogique, tantôt tentative pathétique de capitaliser sur le glamour frelaté de la pop culture. Et si c'était faux? Pour Gilles Deleuze, en tout cas, rien n'était plus important (...) que l'invention d'une pop'philosophie qui sauverait la pensée de la correction professorale et de la pontification esthétique. Inventer une pensée véritablement anarchiste, enterrant la philosophie pour l'ouvrir à des devenirs inédits : tel était l'objectif qu'il donna au concept de pop'philosophie. Rien n'était moins simple ni plus ambitieux. Il est temps de comprendre en quoi."--Page 4 of cover. (shrink)

The attention that prominent fashion houses have been paying to climate change and environmental concerns has never been so prominent. Fashion week of 2019 and 2020 made such a concern a staple of the fashion discourse. Designers and fashion houses are exploring fabric alternatives such as Piñatex (derived from discarded pineapple skins), they are advertising their runways as “carbon neutral,” and fashion colossuses such as Burberry, Gap, Levi’s, and H&M are vowing to reduce greenhouse gas emission by 30% by 2030. (...) However, the genuine nature of such intentions is not impermeable to criticism. While “sustainable fashion” – arguably the “it” vocabulary choice of the past couple of years – certainly has its praiseworthy sides, it is also, at times, another strategy to spike consumerism. In this chapter, I aim to investigate the viability of fashion’s current interest in environmental concerns in light of an analysis of fashion’s most indisputably prominent side: its relation to the aesthetic realm. Playing along the lines of the analytic debate gauging the relative impact of ethical values over aesthetic values and vice versa, I will consider how aesthetic demands can be steered by the necessity of ethical reflection without for this reason erasing, or at least hiding, the appreciation of style, glamour, and couture. I will conclude with a reassessment and potential solution, based on the inherently performative side of fashion, to the question of whether sustainable fashion can be seen as a current, viable, and potentially effective way of responding to contemporary environmental concerns. (shrink)

Walter Benjamin's writings on the Paris shopping arcades and nineteenth- century urban industrial culture are frequently referenced in contemporary examinations of ‘modernity'. In current cultural studies Benjamin's investigation of the aesthetics of merchandise and his insights into the social fact of mass consumerism are repeatedly invoked. Indeed these investigations may be alluded to even more frequently than reference is made to Benjamin's once much reproduced essay ‘The Work of Art in the Age of Mechanical Reproduction'. A decade and a half (...) ago Benjamin's ‘Artwork’ essay was one of the most frequently cited essays in new art history and cultural studies academic textbooks. To put it crudely, a turnaround has occurred. In the 1970s academic attention spotlit Benjamin's materialist history of artistic production, distribution and reception as presented in the ‘Artwork’ essay and in ‘The Author as Producer’. The political events of 1968 had made Benjamin extremely readable. His thoughts discharged after some years delay. Most alluring to the German 68ers were the statements on political art and Benjamin's dissections of fascism. Also entrancing were Benjamin's analyses of experience. Benjamin wrote extensively, and from early on, about ways of expanding the conceptualisation of experience: sometimes philosophically - by means of Kant-critique, sometimes aesthetically — by a probing of surrealism and psychoanalysis, and sometimes practically – through experiments with hashish, which were later written up as protocols. John Berger's Ways of Seeing represented an original attempt to introduce Benjamin to an English audience, via the appropriately mass mediation of television. Benjamin was adopted as a leftist mascot, and a materialist who could recommend directions for art interpretation and more importantly, cultural practice. The approaches of the 1980s and 1990s, inflected by the priorities of feminist and postmodernist scholarship as they have loomed in cultural studies, art history and sociology, increasingly turned to those aspects of Benjamin's work that appear to illuminate a burgeoning interest in urbanism and consumerism. Interest has shifted away from cultural production and critique towards consumption and characterization. These days, Benjamin is regularly served up as one of the theorists who can vindicate a feel-good consumerism, lending a glamourizing and theoretical loftiness to the activity of shopping. Indeed, far from blasting the chimeras of commodity fetishism, Benjamin becomes the commodity's high-priest. (shrink)

In the ultimate meeting of the sublime with the ridiculous" (London Evening Standard) My Beautiful Despair blends the existential philosophy of Søren Kierkegaard with the superficial musings of Kim Kardashian West, based on the popular Twitter feed @KimKierkegaard. The love child of Søren Kierkegaard and Kim Kardashian, the @KimKierkegaard Twitter account has been admired, praised, and adored in The New Yorker, The Washington Post, The New York Times, Financial Times, The Economist, New York, Buzzfeed, and more, and has amassed nearly (...) a quarter of a million Twitter followers, including J.K. Rowling and Anna Kendrick. A mash-up of Kim's tweets and observations with Kierkegaard's philosophy, Kim Kierkegaardashian shares their musings on fashion, beauty, brunch, and the relentless waves of existential dread that wash over us day after day. Now in a humorous, illustrated gift book, perfectly suited for our existential times, Kierkegaardashian's philosophical insights are juxtaposed for the first time with Dash Shaw's brilliant black-and-white illustrations. A sample of the revelations included in My Beautiful Despair include: - I have majorly fallen off my workout-eating plan! AND it's summer. But to despair over sin is to sink deeper into it. - Obsessed with protecting your skin, lips, hair & face from the sun? Close the cover of the coffin tight, really tight, and be at peace. - I like my men like I like my coffee: a momentary comfort in the midst of all my suffering. - What is the operation by which a self relates itself to its own self, transparently? Selfie. - What if everything in life were a misunderstanding, what if laughter were really tears? Scared LOL!! - Glamour, menswear, top hat. (shrink)

Why does lust demand beauty? How does it differ from functional beauty and from the beauty of what is purposive without definable purpose? Does eroticism really aim at visions of immortality ? How does erotic craving differ from the cognitive or practical intentions that aim at objects or objectives ? What is the difference between sexual satisfaction and the erotic transport ? Is erotic passion really a craving for the quiescence of the inert? What is erotic glamour in women (...) and in men ? What kind of animality does eroticism see and crave in human bodies? Why is it youth that inflames the extreme emotions of eroticism ? (shrink)

Do the meanings of the innumerable fetish-signs appearing in recent artworks depend on the senders' intentions? Is the meaning of postfeminist glamour the celebration of femininity that its practitioners tout to counter ersatz macho posturing? To fully examine and clarify these and other issues involving gender, postcolonial, and artistic otherness, this book argues for a more adequate view of performativity than presently available from speech-act theory and certain strains of linguistic pragmatics. In drawing simultaneously on Charles Sander Peirce’s pragmatic (...) analysis of signs, Freudian and post-Freudian psychoanalytic inquiry, and radical feminist thought, the concern of Beyond Fetishism is with the ethical and aesthetic import of the psychopragmatics resulting from this intermingling. (shrink)

The unique character of the socio-economic negociations in Belgium has lost much of its glamour and prestige during the last quarter of the 20th century. While before 1975, there was more or less agreement among the social partners to redistribute welfare to the whole society, after the first oil crisis employers tended to see themselves in competition with other employers, with the trade unions and with the state. Both employers' organisations as trade unions wanted to safeguard their own priorities, (...) respectively the competitiveness of the enterprises and the system of indexation. As a consequence, it became very difficult to reach agreements and hence, there have been no or only very small interprofessional agreements signed since 1975.The role of the government in this period evolved from the role of host for the negociations to that of co-actor and finally to director. When no agreement was possible between the social partners, the govenrment itself took the initiative and both trade unions and employers' organisations tried to lobby the government rather than being partners in negociations. The measures of the government, especially those taken with extra-ordinary powers, were often beneficial for the employers. Despite the emphasis by the trade unions on employment, their efforts beared not much fruit. The first priority of both the government and the employers was the enhancement of the financial and the economic situation of the country. Since the interprofessional agreement of 1999-2000, a new period bas begun. Trade unions and employers' organisations are constrained by what happens in the rest of Europe. Between these constaints, they can negociate and conclude agreements on the basis of freedom and responsibility.The level of negociations shifted in this period from the interprofessional level to the level of the sector or even to the level of the enterprise. Another trend is the creation of an institutional framework for social talks on the Flemish level.The challenges for the future are the installation of a European or even an international world-wide institutional framework for social negociations and the development of themes as permanent education, quality of life and work and the enhancement of the socio-economic democracy. (shrink)

Senior physicians of modern medicine in India play a key role in shaping policies and public opinion and institutional management. This paper explores their perceptions of medical tourism (MT) within India which is a complex process involving international demands and policy shifts from service to commercialisation of health care for trade, gross domestic profit, and foreign exchange. Through interviews of 91 physicians in tertiary care hospitals in three cities of India, this paper explores four areas of concern: their understanding of (...) MT, their views of the hospitals they work in, perceptions of the value and place of MT in their hospital and their views on the implications of MT for medical care in the country. An overwhelming majority (90%) of physicians in the private tertiary sector and 74.3 percent in the public tertiary sector see huge scope for MT in the private tertiary sector in India. The private tertiary sector physicians were concerned about their patients alone and felt that health of the poor was the responsibility of the state. The public tertiary sector physicians’ however, were sensitive to the problems of the common man and felt responsible. Even though the glamour of hi-tech associated with MT dazzled them, only 35.8 percent wanted MT in their hospitals and a total of 56 percent of them said MT cannot be a public sector priority. 10 percent in the private sector expressed reservations towards MT while the rest demanded state subsidies for MT. The disconnect between their concern for the common man and professionals views on MT was due to the lack of appreciation of the continuum between commercialisation, the denial of resources to public hospitals and shift of subsidies to the private sector. The paper highlights the differences and similarities in the perceptions and context of the two sets of physicians, presents evidence, that questions the support for MT and finally analyzes some key implications of MT on Indian health services, ethical issues emerging out of that and the need for understanding the linkages between public and private sectors for a more effective intervention for an equitable medical care policy. (shrink)

No fresh-minted concept like the fluid genome or indeed sexual harassment , consciousness has become immensely fashionable, but this time round as part of the new found cultural popularity of the natural sciences. However, what is immediately noticeable about the proliferation over the past decade of books and journals with ‘consciousness’ in their titles or invoked in their texts is that they seem to be drawn to the cultural glamour of the concept, but with little sense that the concept (...) of consciousness has an entirely other history. Consciousness seems to lie around in the culture like a sparkling jewel, irresistible to the neuro-theorists. There seems to be no recognition amongst the many biologists, artificial intelligencers, physicists and philosophers who have played in print with their new toy that consciousness is part of another discourse and has an entirely other history. Above all, I want to underline that while for these neuro-theorists, consciousness is located within the individual human organism , the older tradition, coming from the humanities and social theory, sees consciousness as located in subjectivity and inter-subjectivity in historical context. The methodological individualism expressed in the objectivist language of the natural sciences erases both ‘me’ and ‘you'; by contrast, in social theory, both agency and structure are crucial. For social theory there can be no development of individual consciousness without a social context. (shrink)

In a world of massive extinctions where not all taxa can be saved, how ought biologists to decide their preservation priorities? When biologists make recommendations regarding conservation, should their analyses be based on scientific criteria, on public or lay criteria, on economic or some other criteria? As a first step in answering this question, we examine the issue of whether biologists ought to try to save the endangered Florida panther, a well known glamour taxon. To evaluate the merits of (...) panther preservation, we examine three important arguments of biologists who are skeptical about the desirability of panther preservation. These arguments are (1) that conservation dollars ought to be spent in more efficient ways than panther preservation; (2) that biologists and conservationists ought to work to preserve species before subspecies; and (3) that biologists and conservationists ought to work to save habitats before species or subspecies. We conclude that, although all three arguments are persuasive, none of them provides convincing grounds for foregoing panther preservation in favor of other, more scientifically significant conservation efforts. Our conclusion is based, in part, on the argument that biologists ought to employ ethical, as well as scientific, rationality in setting conservation priorities and that ethical rationality may provide persuasive grounds for preserving taxa that often are not viewed by biologists as of great importance. (shrink)

On the surface, the world of fashion may seem like a utopia: the glamour, the ability to purchase confidence and performance, giving people the freedom of self-expression. However, many of us are masked from the dystopia that drives this industry. The business models of fast fashion often thrive on exploiting land and people, through supply chains that are as opaque as offshore banking scandals, with many middlemen and much finger- pointing. The way clothing is consumed is much like a (...) subscription model, with consumers paying low costs more frequently, rather than investing a large amount into a long-lasting garment. This all results in poor-quality and -performance clothing, excessive waste of... (shrink)

Partiendo de mi exploración previa sobre el papel de la danza en la obra del filósofo político francés contemporáneo Jacques Rancière en su libro Aisthesis, publicado por primera vez en francés en 2011, el presente ensayo se centra en otro libro publicado originalmente en el mismo año, Las distancias del cine. Después de haber establecido previamente que el núcleo del método filosófico de Rancière implica un análisis de homónimos filosóficos en parejas conceptuales figurativas de baile, comienzo aplicando ese método al (...) primer capítulo de Distancias titulado “El vértigo cinematográfico: Hitchcock-Vertov y vuelta”. Allí identifico dos series de tales parejas de baile de la siguiente manera: la caída vertiginosa capitalista controlada por la imagen de Hitchcock y el baile equilibrado y comunista de Vertov que iguala los movimientos. Luego, critico la marginalización implícita de las mujeres y los cuerpos femeninos en las películas y el capítulo, incluyendo a la mejor amiga y ex prometida del protagonista de Hitchcock, así como a las cosmetólogas y operadoras de centralita de Vertov. Finalmente, ofrezco una corrección basada en la vida protofeminista de mi abuela, una vez cosmetóloga, operadora de centralita y modelo amateur de Glamour Shots, mi abuela Louise Nunnelley o “Mamaw”. Estos son la base material no reconocida de la filosofía democrática radical de Rancière, las bailarinas específicamente encarnadas y posicionadas que siguen perdiéndose en su baile figurativo. (shrink)

If human motivation is "enactive" rather than merely a series of passive reactions to extemal stimuli, then a correspondingly "enactive" approach to education should be taken seriously. This paper argues that recent research on the emotional brain by such neuropsychologists as Jaak Panksepp, combined with a self-organizational approach to the concept of action, and the importance of the questioning process in human understanding of information, suggests that treating humanities education as intrinsically valuable, and not just as means toward other ends, (...) is cmcially important. The questioning process that appealsto students' natural exploratory tendencies, or what Hume called a "love of truth," is fostered by an approach that, rather than dumbing down, actually appeals to the "glamour of the complex." The glamour of the complex cannot stop with interesting application of memorized information; it must go all the way down to basic epistemology and the basic questioning of human nature itself that are encouraged by taking the humanities seriously and for their own sake. (shrink)

The dramatic impact of online shopping on ‘bricks and mortar’ retail is well known, and large, well-established department stores have been no exception. This article provides a case study of one department store, ‘David Jones’ in Sydney, which has been a long-term feature of the retail landscape in Australia. This store’s embodiment of glamour and service has come to define David Jones as an institution, but the affordances of the conventional department store have been challenged in the current environment, (...) disrupting a once-stable social practice. Using Spatial Discourse Analysis and the concepts of discourse, design, production and distribution, the article compares the key attributes which defined David Jones in the past, how those attributes have been disrupted, how the store has responded to those disruptions, and why its responses seem less effective than those of some of its competitors. (shrink)

The controversy between the Anomalists and Analogists has not, I think, attracted as much of the attention of scholars as it deserves. It was perhaps not a very practical matter, though, as I shall point out presently, it probably had indirectly some important practical results. The interest of the controversy lies rather in the spirit in which it was conducted. Anyone who reads for instance Varro, De Ling. Lat. VIII. 31–32, where the anomalist argues that as in life variety of (...) furniture and the like is necessary for aesthetic enjoyment, so in language anomaly is desirable; or IX. 24, etc., where the analogist argues from the unchanging order that prevails in the heavenly bodies, in the tides, in the continuity of species, will feel that he is moving in a world of thought very different in one way from our own, though in another rather like it. By the analogist language is conceived as a world in itself, much as we conceive of the visible world. Its phenomena are being laid bare and constantly reveal fresh signs of law and order. The investigator sometimes finds facts which prima facie suggest anomaly, but he is as confident that behind them must lie some unifying principle as the scientific man of to-day is with regard to the phenomena of the visible world, as impatient of the suggestion of disorder as he is of any miraculous interference with the order of nature. Even the anomalist, sceptic as he is, approaches the question not in a spirit of mere denial, but of aesthetic consideration. We get a glimpse of a lost point of view. The world of words had a glamour and a wonder for them which it cannot have for us. (shrink)

The success of movies like The Artist and Hugo recreated the wonder and magic of silent film for modern audiences, many of whom might never have experienced a movie without sound. But while the American silent movie was one of the most significant popular art forms of the modern age, it is also one that is largely lost to us, as more than eighty percent of silent films have disappeared, the victims of age, disaster, and neglect. We now know about (...) many of these cinematic masterpieces only from the collections of still portraits and production photographs that were originally created for publicity and reference. Capturing the beauty, horror, and moodiness of silent motion pictures, these images are remarkable pieces of art in their own right. In the first history of still camera work generated by the American silent motion picture industry, David S. Shields chronicles the evolution of silent film aesthetics, glamour, and publicity, and provides unparalleled insight into this influential body of popular imagery. Exploring the work of over sixty camera artists, Still recovers the stories of the photographers who descended on early Hollywood and the stars and starlets who sat for them between 1908 and 1928. Focusing on the most culturally influential types of photographs—the performer portrait and the scene still—Shields follows photographers such as Albert Witzel and W. F. Seely as they devised the poses that newspapers and magazines would bring to Americans, who mimicked the sultry stares and dangerous glances of silent stars. He uncovers scene shots of unprecedented splendor—visions that would ignite the popular imagination. And he details how still photographs changed the film industry, whose growing preoccupation with artistry in imagery caused directors and stars to hire celebrated stage photographers and transformed cameramen into bankable names. Reproducing over one hundred and fifty of these gorgeous black-and-white photographs, Still brings to life an entire long-lost visual culture that a century later still has the power to enchant. (shrink)

What happens to artist and to viewer when painting or sculpture emancipates itself from all physical mediums? What happens to art-world experts and to museum goers and amateurs when the piece of art turns immaterial, becoming indiscernible within its surrounding empty space and within the parergonal apparatus of the exposition site? What type of verbal depiction, of critical understanding and specific knowledge is attempted under these programmed and fabricated conditions? What kind of aesthetic experience–namely embodied and sensitive–is expected when a (...) performative utterance of the artist about his art takes the place of a real piece of artwork seen or perceived, or that may be seen or perceived? For Andy Warhol, «wasted space is any space that has art in it.» In the spring of 1958, in Paris, an artist already well-known among the neo-avantgardes and accredited by the international art-world, shows up empty-handed and presents himself as a painter without paintings in a empty space. In a singular never-wasted space, Yves Klein displays himself as a snob, with an extraordinary showbiz glamour and literally sine-nobilitate, without the traditional marks of artistic manual skills. Against the modernist issues, he writes: «Credit was given to me. The gesture alone was enough. The public had accepted the abstract intention.» What’s the matter with this powerful prestige and its influence on the critic and public? How to understand the public trust in the artist as a producer of an institutional “make-believe” without any objecthood, devoid of any individual artwork presented to the sight or to any other sense? For Modernism and Minimalism, the work of art seems to have an internal coherence, whether formal or expressive, and is thus autonomous from the surrounding world, existing with only the clear opposition to the living space and set as a specialized and situated objection to the enclosing field. Instead, now the object melts into the air and becomes undetectable, confused with the atmosphere of the theory of art and with the stylish and snobbish life of the artist. What type of interpretation is put on regarding this unclassifiable and ambiguous field, simultaneously an-aesthetic and existential, theoretical and sensitive, charismatic and motionless, at same time without a specialized position in the world made by the artist himself? And what kind of embodied experience is performed by the spectatorship? What type of phenomenology and pragmatics of aesthetic relationship is necessary to describe how the body of the beholder absorbs this vacated and boring space via a direct and immediate perception-assimilation? What kind of artistic rhetoric, what kind ontology of art? Until this day, after more than 50 years, Yves Klein’s The Void has not ceased asking these and other questions on aesthetics, philosophy and the history of art. (shrink)