Uses arguments from Dharmakirti to construct an attack on Sellars' idea of an ideal scientific image.

psychological terms, the [Japanese] system relies on positive rather than negative reinforcement, emphasizing loving acceptance in exchange for genuine repentance. An analogue of what the Japanese policeman wants the offender to feel is the tearful relief of a child when confession of wrongdoing to his parents results in a gentle laugh and a warm hug. In relation to American policemen, Japanese officers want to be known for the warmth of their care rather than the strictness of their enforcement.1Much of the (...) most disturbing police behaviour stems from two connected facts: the system's overwhelming dependence on admissions of guilt, and the absence of checks on police power in the interrogation room. In Japan, the conditions of interrogation—the duration and intensity of questioning, the duty to endure questioning even after the right to silence has been invoked, and the unavailability of defence lawyers—means that an ‘overborne will’ is more than merely an occasional problem.2. (shrink)

This study aims to apply self-congruity theory to examine the relationship between self-congruity of tourists and their perceived image of a gambling destination. This study employs the Euclidean distance model and extends Malhotra's pars of adjectives with five new items about gambling motives. A face-to-face questionnaire survey was used, and a total of 152 samples were collected from tourists in Macau. The results show that the actual self-image of tourists is more related to their perception of Macau (...) class='Hi'>image. For actual congruence, tourists exhibit a greater tendency to match the informal, liberal, and emotional image of Macau. For ideal congruence, they have a tendency to match the contemporary, organized, and pleasant image of Macau. This study makes up for the deficiency of self-congruity theory in tourism research. This study helps tourism departments to develop appropriate strategies to promote gambling tourism and disseminate relevant information that can bring gambling destinations closer to tourists. (shrink)

The author will look at aspects of thinking about the idea of Europe at the crossroads of the digital and post-digital epochs – through Edgar Morin’s text Thinking Europe and Guy Debord’s Comments on the Society of the Spectacle, published in the late 1980s, in an attempt to understand their fundamental positions and implicit views on how to approach and pursue something like the political and supranational union of European countries in parallel with the rapid development of digital technologies and (...) new media, which fundamentally change our experience of the world. The very idea of a united Europe appears here as a Kantian “suspicious pleonasm”, whose value is questioned today, especially with the development of new global policies and post-cultural virtual environments that make – notions such as Europe, the Mediterranean, and the Western world – only artifacts of decadent Occidental cultures whose real ruins are overshadowed by an overly real spectacle of virtual abundance. (shrink)

While Weber’s distinction between ‘ideal’ and ‘material’ interests is one of the most enduring aspects of his theoretical legacy, it has been subjected to little critical commentary. In this article, we revisit the theoretical legacy of interest-based explanation in social theory, with an eye to clarifying Weber’s place in this tradition. We then reconsider extant critical commentary on the ideal/material interest distinction, noting the primarily Parsonian rendering of Weber and the unproductive allegiance to ‘generic need’ readings of Weber’s action theory. (...) We reconstruct the basis of the ideal/material interest distinction in the work of Rudolph von Ihering and provide a sounder basis for its analytic role in Weber’s ‘grand’ project. (shrink)

An advertiser develops visual associations of signs and symbols to create a product image that motivates consumers. Today is characterized by a solid consumer culture based on visual identity consumption that articulates and interacts with each consumer's daily actions, words, and visual perceptions. The frequent use of female role portrayals and physical attractiveness in advertising contributes to an increase in society's awareness of women. Some scholars have developed an ethical discussion out of the phenomenon of female role portrayals not (...) matching the public expectations because the portrayals are too narrowly defined and women are unfavorably depicted. But another group has studied the product-type match-up hypothesis, which emphasizes effectively employing attractive female endorsers that closely match the product type. The shift in female social status in Taiwan contributes to the importation of foreign ideas such as feminine values, rituals, and esthetics. Women in Taiwan have been introduced to a new feminism, a modified perception of appropriate personal appearance and behavior. This current research utilizes content analysis and in-depth interviews to explore contemporary female role portrayals in advertising. In addition, this article examines the relationship between the formation of contemporary physical attractiveness and visual consumption in advertising. The results reveal that most endorsers were celebrities, with fit bodies and pleasant expressions, portrayed as product users who offer personal experiences to deliver product knowledge. Conservation classical beauty was the most common depiction, while sexual expression was the least common. Finally, this article recommends that different types of beauty, posture, and appeal should be carefully selected to match domestic and foreign magazines' readers. (shrink)

An examination of the idealized image of Rome before 146b.c.constructed in theJugurtha reveals that despite the narrator's own stated opinions, his depiction of it is perverse and unhistorical. The narrator's value judgements are unappealing, his archaizing affected, his history plainly wrong: these are serious interpretative problems. Is this an attempt, as in the dialogues of Cicero, to re-educate the moral intuitions of his day by means of a fictitious past? Perhaps; but narratological analysis of the relevant sections suggests another (...) solution, an extrapolation to the narratorial persona of the technique of ironic subversion used in the speeches. The key to understanding the depiction of Rome before 146 lies in the identification of political and historical discourse and the consequent extension to the latter of the factionalization characteristic of the former. The problematic aspects of the depiction of Rome before 146 empower the reader to articulate a critique of faction; the text needs to be surmounted to be understood. (shrink)

In the article, through the prism of the existential philosophy of S. Kierkegaard, K. Jaspers, G.-G. Gadamer and J.-P. Sartre, as well as the theory of ideology of K. Manheim, the personality of the main character of M. Y. Lermontov's drama "Masquerade" – Arbenin is analyzed. The author of the article claims that Arbenin is in a state of existential despair and finds himself in a borderline situation. At the same time, in the drama "Masquerade", the ideals of Romanticism are (...) reduced to a post-Romantic ideology. Lermontov does this intentionally in order to condemn the ideological perversion of the ideals of romantic culture. The drama also focuses on the general cultural border situation: how to protect yourself from the temptations of ideology at a time when existing ideals and values are disappearing. The author of the article comes to the conclusion that in "Masquerade" Lermontov praises the romantic ideals of rebellious spirit and will, transcendent love and insight, even when he shows the dangers of turning these ideals into ideology. But "Masquerade" is not a romantic drama. This is a drama about romanticism, that is, about how the ideals of romantic culture can be perverted into an ideology that deceives and destroys people, destroying their unique existence, instead of elevating them. "Masquerade" is a variant of Lermontov's reaction to the difficulties that arose in his post–romantic, transitional time. Conveying his admiration for the ideals of romantic culture, Lermontov embodies one of the types of reaction to the realization of the decline of these ideals – the stereotypical reduction of the romantic worldview and values to a set of ideological concepts. But by portraying Arbenin, Lermontov hints at the possibility of recognizing that the worldview and values of Romanticism are losing their authority and integrity and that turning them into an ideology does not compensate for this loss. We need to find a new worldview, new values, new ideals. (shrink)

Anatomical studies propose that the primate auditory cortex contains more fields than have actually been functionally confirmed or described. Spatially resolved functional magnetic resonance imaging (fMRI) with carefully designed acoustical stimulation could be ideally suited to extend our understanding of the processing within these fields. However, after numerous experiments in humans, many auditory fields remain poorly characterized. Imaging the macaque monkey is of particular interest as these species have a richer set of anatomical and neurophysiological data to clarify the source (...) of the imaged activity. We functionally mapped the auditory cortex of behaving and of anesthetized macaque monkeys with high resolution fMRI. By optimizing our imaging and stimulation procedures, we obtained robust activity throughout auditory cortex using tonal and band-passed noise sounds. Then, by varying the frequency content of the sounds, spatially specific activity patterns were observed over this region. As a result, the activity patterns could be assigned to many auditory cortical fields, including those whose functional properties were previously undescribed. The results provide an extensive functional tessellation of the macaque auditory cortex and suggest that 11 fields contain neurons tuned for the frequency of sounds. This study provides functional support for a model where three fields in primary auditory cortex are surrounded by eight neighboring ‘‘belt’’ fields in non-primary auditory cortex. The findings can now guide neurophysiological recordings in the monkey to expand our understanding of the processing within these fields. Additionally, this work will improve fMRI investigations of the human auditory cortex. (shrink)

A successful vision system must solve the problem of deriving geometrical information about three-dimensional objects from two-dimensional photometric input. The human visual system solves this problem with remarkable efficiency, and one challenge in vision research is to understand howneural representations of objects are formed and what visual information is used to form these representations. Ideal observer analysis has demonstrated the advantages of studying vision from the perspective of explicit generative models and a specified visual task, which divides the causes of (...) image variations into the separate categories of signal and noise. Classification image techniques estimate the visual information used in a task from the properties of “noise” images that interact most strongly with the task. Both ideal observer analysis and classification image techniques rely on the assumption of a generative model. We show here how the ability of the classification image approach to understand how an observer uses visual information can be improved by matching the type and dimensionality of the model to that of the neural representation or internal template being studied. Because image variation in real world object tasks can arise from both geometrical shape and photometric (illumination or material) changes, a realistic image generation process should model geometry as well as intensity. A simple example is used to demonstrate what we refer to as a “classification object” approach to studying three-dimensional object representations. (shrink)

In this paper we consider the impact of digitally altered images on individuals’ body satisfaction and beauty aspirations. Drawing on current psychological literature we consider interventions designed to increase knowledge about the ubiquity and unreality of digital images and, in the form of labelling, provide information to the consumer. Such interventions are intended to address the negative consequences of unrealistic beauty ideals. However, contrary to expectations, such initiatives may not be effective, especially in the long-term, and may even be counter-productive. (...) We seek to understand this phenomenon of our continued aspiration for beauty ideals we know to be unreal and even impossible. We draw on our respective disciplines to offer psychological and philosophical accounts for why this might be. We conclude that beauty ideals are deeply embedded in our aspirations, practices, and in our constructions of ourselves. Given this, it is not surprising that simply increasing knowledge, or providing information, will be insufficient to challenge them. (shrink)

Crisis jargon has become endemic in modernity. Whether in radical or in affirmative versions, the idea that ‘crisis’ offers ‘opportunity’, in accordance with the meaning of crisis as ‘decision’, is widespread. This paper questions the relationship between modernity and crisis, first by highlighting the ways in which modernity itself has been cast as ‘crisis’: first as crisis of tradition, then as crisis of modernity itself. The main part of this paper then consists of a reading of modernity-as-crisis inspired by Walter (...) Benjamin, most notably by his Passagen-Werk. It consists of an attempt to consider ‘crisis’ as what Benjamin calls a ‘wish image’, an image that contains hidden utopian ideals. In invoking ‘crisis’, I argue, a conception of modernity as shock, raised to the level of the collective, becomes apparent. Crisis jargon thereby remains wedded to what Benjamin calls a mythical conception of history. The paper ends with a discussion of the political consequences that follow from this that are grounded in the relation between messianism and profane politics in Benjamin. (shrink)

Artificial intelligence (AI) is increasingly relied upon by clinicians for making diagnostic and treatment decisions, playing an important role in imaging, diagnosis, risk analysis, lifestyle monitoring, and health information management. While research has identified biases in healthcare AI systems and proposed technical solutions to address these, we argue that effective solutions require human engagement. Furthermore, there is a lack of research on how to motivate the adoption of these solutions and promote investment in designing AI systems that align with values (...) such as transparency and fairness from the outset. Drawing on insights from psychological theories, we assert the need to understand the values that underlie decisions made by individuals involved in creating and deploying AI systems. We describe how this understanding can be leveraged to increase engagement with de-biasing and fairness-enhancing practices within the AI healthcare industry, ultimately leading to sustained behavioral change via autonomy-supportive communication strategies rooted in motivational and social psychology theories. In developing these pathways to engagement, we consider the norms and needs that govern the AI healthcare domain, and we evaluate incentives for maintaining the status quo against economic, legal, and social incentives for behavior change in line with transparency and fairness values. (shrink)

ExcerptIn “Thoughts for the Times on War and Death,” Freud defines nations as “the collective individuals of mankind” and suggests that their development recapitulates individual development.1 Like individuals, nations provide a structure for the internal organization of the passions, and, also like individuals, each nation has ideals that exhort, order, and orient its constitution and forces, imparting an image of unity that establishes borders, delimits hostilities, and guards equilibrium. In this essay, I read Freud and Schmitt through the existential (...) concerns and insights of the other in order to draw out the convergence between the energetic constitution of the ego…. (shrink)

The construction of body image consists of the ways in which the body is considered, perceived, and evaluated. The ideal body image has been changing considerably over the centuries; the discrepanc...

Photomontage, the combining of two or more negatives, can be traced back to the 1850s. Scott Mutter is a modern master of the art. His subtle images have enthralled viewers in exhibitions and galleries, mainly in the Midwest, for a decade. "The response has been overwhelming," curator Martin Krause commented of an exhibition at the Indianapolis Museum of Art. "I've had people calling me on the telephone telling me what a great show this is. That happens so rarely. For whatever (...) reason, Scott's work is connecting with people." In the past year his work has attracted attention nationwide, and his posters are now available in galleries from coast to coast. Richly and immediately accessible, yet deeply resonant, Mutter's photomontages provoke strong responses: curiosity, awe, laughter, and then contemplation. They are creative fusions of elements that draw us irresistibly to look again at what first appears unbelievable. Boundaries dissolve miraculously; the impossible becomes seductively tangible. But the logic of his images is exact, reasoned - in his own term, "surrational." Although his work shares the recursive wit of Rene Magritte and M. C. Escher, Mutter never relies simply upon ironic effects. With precision and authority his art explores the ideals and mythologies of our culture, history, language, and art, both lamenting and celebrating contemporary civilization. "From the very beginning," states Mutter, "I tried to make images that people would find accessible and exciting. Art is no idle thing; people want to see something and be held in wonder." In short, he is a master at turning a glance into a gaze. In his foreword Martin Krause reviews the hundred-year history of photomontage and examines Mutter's unparalleled influence within that tradition. (shrink)

We study the relationship between a computably enumerable real and its presentations. A set A presents a computably enumerable real α if A is a computably enumerable prefix-free set of strings such that equation image. Note that equation image is precisely the measure of the set of reals that have a string in A as an initial segment. So we will simply abbreviate equation image by μ. It is known that whenever A so presents α then A (...) ≤wttα, where ≤wtt denotes weak truth table reducibility, and that the wtt-degrees of presentations form an ideal ℐ in the computably enumerable wtt-degrees. We prove that any such ideal is equation image, and conversely that if ℐ is any nonempty equation image ideal in the computably enumerable wtt-degrees then there is a computable enumerable real α such that ℐ = ℐ. We also prove a kind of Rice Theorem for these ideals, namely that if the index set of such a equation image ideal is not empty or equal to ω then it is equation image-complete. (shrink)

The image of jazz in Ukrainian pop music is reproduced, the subcultures that dominate its modern manifestations are shown: African music, Irish-European melodies and rhythms, the interaction between pop music and folklore, a diametrically symmetrical structure, the appropriate composition of variable phrases (voice-instrument), various combinations of timbre acoustic electronics, a fusion of Ukrainian folklore and rock music. But, first of all, it is a harmonious combination of Afro-European traditions with Ukrainian folklore, its best examples. The article also talks about (...) the leading masters of Ukrainian jazz who managed to do this - Leonid Goldshtein and Igor Zhuromskyi, for whom the processing of folklore materials - household and African) with a predominance of appeals to the traditional folkloric Ukrainian musical stratum is characteristic. The aim. To reveal the image of jazz in Ukrainian pop music and its significance in the subculture. The tasks of the research are the analysis of the constituent subcultures in the modern representation of the art of Ukraine and their significance for the world artistic treasury. Research methodology. The methodology of the author’s research is based on the paradigmatic method, which allows determining the priority of artistic paradigms, the ratio of traditionally established and non-traditional vision of Ukrainian jazz culture. Reconstruction was also used - to reproduce the main milestones of the development of art of the 20th century within the scope of the research. Also, the methodology is based on a transdisciplinary approach, thanks to which we can study jazz not only in an art-historical aspect, but as a structure of European life of the given period. Research results: The results are as follows - it is 1) a feature of rock music style, such as heavy metal, punk rock, rock and roll, instrumental composition, the use of distinctive fans and unique sounding productions and vocals Intonation technology. 2) Saxophone melodies are built according to the Hutsul system with a characteristic degree of saxophone. 3) Official use of colomous rhythm in the voice. 4) Application of antique blues harmonic sequence. 5) Use of bluesy principles of questions and answers when alternating statements and instrumental episodes. 6) For vocal improvisation. Conclusion.So, we analyzed the interaction of Ukrainian modern pop and real folklore and jazz. Jazz, rock and pop styles were found, which are ideal for interpenetration with various Ukrainian subcultures, jazz-rock, free jazz, alternative music, rock and roll, blues-rock, trip-hop, pop ballad, disco music. The characteristics of the processing of folklore materials (domestic and African) are, first of all, an appeal to the traditional folklore layer, the method of performance (expressed by a real saxophone), the use of folk instruments or their tones. Depending on the genre that created jazz, rock and pop groups, the composition can be divided into folk songs and original compositions based on folklore. Popular music quotes folk and jazz material from pop music. (shrink)

Remote sensing image simulation is a very effective method to verify the feasibility of sensor devices for ground observation. The key to remote sensing image application is that simultaneous interpreting of remote sensing images can make use of the different characteristics of different data, eliminate the redundancy and contradiction between different sensors, and improve the timeliness and reliability of remote sensing information extraction. The hotspots and difficulties in this direction are based on remote sensing image simulation of (...) 3D scenes on the ground. Therefore, constructing the 3D scene model on the ground rapidly and accurately is the focus of current research. Because different scenes have different radiation characteristics, therefore, when using MATLAB to write a program generated by 3D scenes, 3D scenes must be saved as different text files according to different scene types, and then extension program of the scene is written to solve the defect that the calculation efficiency is not ideal due to the huge amount of data. This paper uses POV ray photon reverse tracking software to simulate the imaging process of remote sensing sensors, coordinate transformation is used to convert a triangle text file to POV ray readable information and input the RGB value of the base color based on the colorimetry principle, and the final 3D scene is visualized. This paper analyzes the thermal radiation characteristics of the scene and proves the rationality of the scene simulation. The experimental results show that introducing the chroma in the visualization of the scene model makes the whole scene have not only fidelity, but also radiation characteristics in shape and color. This is indispensable in existing 3D modeling and visualization studies. Compared with the complex radiation transmission method, using the multiple angle two-dimensional image generated by POV rays to analyze the radiation characteristics of the scene, the result is intuitive and easy to understand. (shrink)

From 2001 to 2004, Alain Badiou's lectures focused on the relationship between philosophy and the present moment. The "end of metaphysics," the "death of God," the meaning of life, the goals of society, and other perennial topics raise the question as to whether philosophy can ultimately be contemporary with individual human experience as its object. How can the present moment be legitimately addressed? In response to the classical philosophical issue of existence, Alain Badiou reflects on time not in the sense (...) of its constant unfolding but of its urgency in the present, of being fully engaged with what is taking place in our own lives. The seminar addresses the most fundamental role of philosophy: for Badiou, it cannot confine itself to narrow academic issues but must always return to its eternal question--what does it mean to be fully human, a subject, rather than merely an individual, a speaking animal? This book contains some of Badiou's most inspiring and original work, involving ideas very much at odds with the emphasis one finds in much postmodern philosophy on limitation, repetition, and death. At the same time, Badiou's ideas here are quite different from the modes of "vitalism" that we find in such modern thinkers as Henri Bergson and Gilles Deleuze. For Badiou, the distinctively human characteristic is the possibility of living one's life oriented by one or more truths--that is, intrinsically egalitarian and universalist ideas that are developed collectively in a variety of human practices. This seminar will serve as an ideal introduction to the practical as well as conceptual possibilities that Badiou's thought implies for human life. (shrink)

The approach adopted by Posner & Raichle in this book, with its strong emphasis on the cognitive level of description, is ideally suited to the study of psychotic illnesses. However, their discussion of depression and schizophrenia is based on a very small number of studies and involves ad hoc arguments derived largely from neuroanatomy. Their conclusions are almost certainly wrong.

Motivated by discourses that link early child development and health, nurses engage in seemingly benign surveillance of children. These practices are based on knowledge claims and technologies of developmental science, which remain anchored in assumptions of the child body as an incomplete form with a universal developmental trajectory and inherent potentiality. This paper engages in a critical discursive analysis, drawing on Donna Haraway's conceptualizations of technoscience and figuration. Using a contemporary developmental screening tool from nursing practice, this analysis traces the (...) effects of this tool through production, transformation, distribution, and consumption. It reveals how the techniques of imaging, abstraction, and measurement collide to fix the open, transformative child body in a figuration of the developing child. This analysis also demonstrates how technobiopower infuses nurses' understandings of children and structures developmentally appropriate expectations for children, parents, and nurses. Furthermore, it describes how practices that claim to facilitate healthy child development may inversely deprive children of agency and foster the production of normal or ideal children. An alternative ontological perspective is offered as a challenge to the individualism of developmental models and other dominant ideologies of development, as well as practices associated with these ideologies. In summary, this analysis argues that nurses must pay closer attention to how technobiopower infuses practices that monitor and promote child development. Fostering a critical understanding of the harmful implications of these practices is warranted and offers the space to conceive of human development in alternate and exciting ways. (shrink)

The ArgumentSociologists of Third World science, who share the dominant assumption in the philosophy of science that the “culture” of specific substantive fields of scientific inquiry is invariant across the globe, have, after a period of blind optimism devoted to building a critical mass of scientists in the developing countries, relapsed into a bleaker mood and see the Third World as a peripheral region lacking in “creativity” in its research programs.Challenging the doctrine of the universality of scientific practice by means (...) of an in situ study of an Indian physics laboratory, an attempt is made to bring to light a particular community's shared ideals of knowledge which animate the everyday practice of its field of study and fashion its choice of problems, style of professional communication, attitudes toward experiment, etc. These local ingredients should not be understood as deficiencies with respect to some arbitrary norm but as what differentiates research practices in different parts of the world. (shrink)

While Maimonides reread his sources to reconcile biblical and rabbinic texts with the demands of reason, Hermann Cohen, in his construction of a “religion of reason,” rereads Maimonides' rereadings of those very same texts. Maimonides' Judaism often bridges the sources toward Cohen's religion of reason by providing a philological anchor that nudges a term or verse now viewed through a more modern historical and evolutionary lens toward its ultimate reason-infused meaning. This paper will explore a hitherto neglected feature of their (...) oeuvres that unites Maimonides and Cohen as much as it distinguishes them: the “Jewishness” shared by both, as evident in the most Jewish of all exercises that suffuses both their works, biblical and midrashic exegesis. Their exegetical nets are systematically cast widely throughout the breadth of the Hebrew Bible, but more often than not they offer highly discrepant readings of the same passage or prooftext. Cohen's referencing of many of the same sources appeals to their Maimonidean rationalist refurbishment, but at the same time often places them in combative discourse in order to subvert and reorient Maimonides' exegesis. The notions of divine names, the “image” ( tselem ) of God, “nearness” to God, and divine “glory” ( kavod ) are closely examined to demonstrate this intertextual relationship between these two seminal Jewish thinkers. While Cohen may be misreading Maimonides' rereading of scripture, he remains a true hermeneutical disciple in his exegetical restructuring and realignment of scripture. Cohen's programmatic exegetical idealization of Maimonidean prooftexts to reconstruct a new Kantianized God forms a common ground of discourse with Maimonides that traverses seven centuries of a quintessential Jewish enterprise. (shrink)

Two Fraenkel-Mostowski models are constructed in which the Boolean Prime Ideal Theorem is true. In both models, AC for countable sets is true, but AC for sets of cardinality 2math image and the 2m = m principle are both false. The Principle of Dependent Choices is true in the first model, but false in the second.

This article traces how the sociologist Norbert Elias understands what leads an individual to say ‘we', to form a mental unit with a group, but also to refuse to form a unit or to feel part of it, or even to deny being an integral part of a ‘we’ to which close interdependent relationships nonetheless like him. His social and group theory of identity, which rejects the division between the individual and society, led Elias to develop the idea that two (...) types of image, the I-image and the We-image, organise how individuals perceive themselves, and to forge the idea that the representation they have of themselves is made up of both an I-ideal and a We-ideal. After giving a detailed presentation of this approach to identity, which, based on Freudian principles, radically alters and modifies the Freudian perspective and topic, we propose to highlight the questions it raises and, in some cases, leaves unanswered. (shrink)

The poetic image results from the effort undertaken by affectivity to express itself in a language that is not originally its very own, but that holds the advantage of being communicable not only at the level of representation, but at the level of feeling as well. The image is not considered, therefore, to be a synthesis of true and false. In the process of creation, the affect is the material principle of the image as an ideal unity (...) of syntheses. It is implied here that poetic writing is not about a content of internal aiming, previously possessed by consciousness, that is made to correspond with an element of the world, even­tually represented by means of sensible intuition. In order to illustrate this, the author interprets a poem by Nadia Tueni, showing that it is essentially about its own production. (shrink)

The article is devoted to philosophical anthropology in the works of Russian religious thinkers of the 20 th century during their period of emigration. The author conducts a comparative analysis of the main approaches to understanding human nature and its image in the philosophy of Russia abroad. The article identifies a common direction in the development of anthropological concepts, despite individual differences in the views of Russian religious philosophers. The review and analysis begin with the personalism of N.A. Berdyaev, (...) who considered the problem of man to be central to philosophy. In his work The Fate of Man in the Modern World, Berdyaev offered a personal understanding of the new epoch of the 20 th century and proposed his own project of Christian anthropology. His intellectual ally, B.P. Vysheslavtsev, in the book The Ethics of Transfigured Eros, developed an interpretation of anthropological ideas based on an original understanding of the conscious and unconscious in man. Vysheslavtsev extended his ethical framework by introducing the concept of self-knowledge, which he considers the essence of a creative personality. The article further examines the book Reality and Man by S.L. Frank, which provides a comprehensive view of this philosopher’s anthropological beliefs. The foundation for Frank’s anthropology is the idea of personal being, which has been substantiated and developed in Christian thought. L.P. Karsavin developed anthropology from the perspective of the philosophy of all-unity, understanding individual personality as dependent on higher (“symphonic”) personalities. He fully incorporated the doctrine of personality into the metaphysics of all-unity, in which the Trinity serves as the main principle in the development of the entire created world. The last section of the article delves into an analysis of anthropological ideas as presented in the works of V.V. Zenkovsky. In his work Principles of Orthodox Anthropology, Zenkovsky built his argument on the image of God found in human consciousness and justified an anthropological ideal grounded in church doctrine and Orthodox theology. According to the author of the article, all the considered thinkers of Russia abroad recognized the significance of philosophical anthropology and the need for its further substantiation in the context of the Christian worldview. (shrink)

La tradition manuscrite de la lyrique occitane nous a transmis quatre recueils, tous réalisés en Vénétie à la fin du xiiie siècle, qui sont décorés de miniatures évoquant chaque troubadour en tête des poèmes qui lui sont attribués. Parmi eux se sont glissées quelques femmes trobairitz. Huit d’entre elles sont ainsi représentées en train de chanter, mais dénuées de tout caractère individuel. À défaut de pouvoir révéler qui ont été ces poétesses-musiciennes dont l’identité souvent incertaine laisse planer un doute quant (...) à leur existence réelle, ces images témoignent d’abord de la célébrité dont elles bénéficiaient plusieurs décennies après leur disparition dans les milieux lettrés italiens. Images stéréotypées, rehaussées par l’éclat des fonds d’or et le chatoiement des couleurs, elles relèvent avant tout d’une fiction destinée à mettre en évidence la « noblesse », tant morale que sociale, des personnages. De telles représentations ne pouvaient mieux répondre à l’idéal même de la fin’amor, l’amour courtois : en elles se cristallise une vision idéale de la dame inaccessible et parfaite, la domna, chantée par les troubadours. (shrink)

A musical phrase, or, for that matter, a musical unit of any size or shape, becomes an image whenever we imagine it to be invested with a content whose origins lie outside music. Such a content, according to the theory developed here, constitutes the image's conventional significance; it accounts for whatever strikes us about the image as having a common and familiar ring. That being so, the origins in question must be coincident with the fundamental ideas--the archetypes--that (...) have been traditionally represented as underlying and unifying Western culture. As the theoretical constructs they are, arehctypes are never encountered directly. It is in the form of their local variants that we make contact with the archetypes, and it is at this local level that the present book sets its sights: style, the typical or shared element in the musical imagery of a time and place, is studies as a function of Zeitgeist, the complex of beliefs, values, and ideals of a community. The approach is both thematic and historical, in keeping with a key objective of archetypal criticism. Far from repudiating the popular notion that music expresses the human emotions, this study attempts to recast emotion theory by examining musical images for kinds of behavior from which we may infer not only emotion (pathos, effectus) but also personality (ethos). Ethical and affective distinctions are very sharply drawn, in an effort to clarify and widen the vocabulary of musical commentary, as well as to provide cultural and historical backing for contents long considered the cliches of musical expression. (shrink)

IntroductionResearch indicates that body image disturbance is associated with poorer psychosocial outcomes for individuals with physical health conditions, with poorest body image reported for individuals with visible bodily changes. Using White’s theoretical model of body image the present paper aimed to examine the nature of these relationships in two distinct groups: individuals with an amputation and individuals with diabetes. It was hypothesized that body image disturbance would be associated with psychosocial outcomes and would mediate the relationships (...) between self-ideal discrepancy and personal investment in psychosocial outcomes.MethodsIndividuals with diabetes and individuals with an amputation provided details regarding their medical condition, and completed measures assessing body image, investment, self-ideal discrepancy, depression, anxiety, and quality of life. Structural equation and invariance modeling were used to test the model paths and the invariance of the model.ResultsAs hypothesized, body image disturbance was found to mediate the relationships between personal investment and psychosocial outcome, and between self-ideal discrepancy and psychosocial outcome. The predicted paths were invariant across groups, although the model accounted for more variance in people with an amputation than people with diabetes.ConclusionBody image disturbance, personal investment, and self-ideal discrepancy are important factors contributing to psychosocial outcome for individuals with diabetes and individuals with an amputation. These findings not only confirm the validity of the model in these two groups, but they emphasize the importance of targeting body image in future psychological interventions for individuals with a health condition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.2 (2003) 114-121 [Access article in PDF] TRANSFORMING IMAGES: HOW PHOTOGRAPHY COMPLICATES THE PICTURE, by Barbara E. Savedoff. Ithaca, New York: Cornell University Press, 2000, 233 pp., $35.00 hardcover. The very title of Barbara Savedoff's book invites us on a journey into photography's multiple roles. Photographic images transform their subjects at the same time that they themselves are the results of transformations. They also (...) complicate comfortable distinctions between fact and fiction because the world from which they come is complicated.This book appears at a time full of fear (felt by some) and excitement (felt by others) sparked by digital image-making, in which the culture of photography is undergoing transformations of its own. It is a passionate time, with some unwilling to throw the still photograph into the "defunct" pile, while others are all too ready to do so. The limits and possibilities of the still photograph need to be redefined if it is going to have any meaning to anyone anymore.Through the din of voices, through the heated discussions, Savedoff's voice rings clear. Her meditations on the nature of still photography and its relation to the pictorial forms that preceded it (painting, drawing, printmaking) and proceed from it (film, digital photography) are written in a style that seeks to include, not exclude the reader. Art is complicated enough. Writing about art need not complicate it further.Savedoff focuses her inquiry on the way photographs transform works of art and other representations. From the insight that this specificity allows, she attempts to build a more general account of photographic transformation. First, she examines the fascination in Western painting — a fascination that has been influenced by legends and literature — with the idea that representations are alive or can come to life. She begins with paintings that actually illustrate such legends. Then she goes on to paintings where the distinction between the "real" and the "represented" is ambiguous. One such type she calls "gestural ambiguity," found frequently in Northern Renaissance and late Italian Renaissance paintings, "where figures that are given the placement and coloring of stone statues are at the same timegiven the expressive aspect or functions of living beings. Artworks are depicted as though they were alive" (p. 14). Another type, "perceptual ambiguity," is found in Postimpressionist paintings, when artworks and "real" things are painted in the same manner (p. 24). The latter type of ambiguity is created when paintings or sculptures within a painting are depicted in a styleand scale similar to their surroundings, blurring the distinction between what is "real" and what is "represented" in the painting.Savedoff uses some excellent examples in analyzing these ambiguities. And just when the reader begins [End Page 114] to question whether, if there are different ways of achieving ambiguity in paintings of artworks, there must also be different purposes for each, Savedoff addresses precisely this. "In paintings from the Renaissance to Impressionism," she writes, "ambiguity is used to further an ideal of illusionism in art: the artwork is shown as capable of life or at least of being confused with real things" (p. 30). Although this kind of ambiguity may animate representations within the painting, it does so without casting doubt on the status of the "real" things depicted. In contrast, ambiguity used in Postimpressionist paintings were done so for quite a different effect: "to undermine any tendency of the painting toward illusionism and to undercut the status of the 'real' things depicted" (p. 30).Although she critiques the nature and purpose of ambiguity in paintings thoroughly, when Savedoff addresses ambiguity in photography her conclusions are not as well defended. In photography, she writes, "perceptual ambiguity"— that is, the blurring of the distinctions between people and representations — can result from the nature of the medium itself: "the stillness, the flatness, and, in black and white photographs, the limitation of monochrome values" (p. 43). A deliberate choice of angle, framing, and lighting by the photographer can alsoreduce the differences. "Gestural ambiguity" in photography, she continues, can be created when the photographer juxtaposes... (shrink)

Abstract:Discussions of the ethics of advertising have been based on a general distinction between informative and persuasive advertising without looking at specific techniques of persuasion. Self-identity image ads persuade by presenting an image of an idealized person-type such as a “beautiful” woman (Chanel) or a sexy teen (Calvin Klein). The product becomes a symbol of the ideal, and target consumers are invited to use the product to project the self-image to themselves and others. This paper argues that (...) image ads are not false or misleading, and that whether or not they advocate false values is a matter for subjective reflection. Image ads can undermine a consumer’s self-esteem by collectively omitting images authentic for that sort of person (such as large women), and by combining impossible images with implied gaze. Image ads generally do not undermine autonomy of choice, internal autonomy, or social autonomy. It is concluded that image advertising is a basically ethical technique, but several recommendations are given on how use of image advertising can avoid specific harms. (shrink)

Research in diverse populations has often found that thin media images negatively affect women’s state body image, with many women reporting lower body satisfaction after exposure to pictures of thin models than before exposure. However, there is evidence that theistic affirmations might buffer against the negative effect of media on body image. Furthermore, based on cross-sectional and correlation analyses, religiosity and the Islamic body covering are discussed as protective factors against a negative trait body image. However, there (...) is no experimental research on veiled Muslim women’s state body image. Therefore, the current study experimentally investigated whether the body satisfaction of veiled Muslim women (n = 66) decreased after exposure to thin media images compared to pictures of furniture as a control condition. Christian women (n = 90) and atheist women (n = 74) were included as control groups, and participants were randomly assigned to the two conditions. Prior to the experimental session, participants’ trait body image was assessed using an online questionnaire comprising questions about body satisfaction, thin-ideal internalization, pressure to be thin, and physical appearance comparisons. The results showed that body satisfaction decreased in the experimental condition and not in the control condition, but no significant differences in pre-post changes were found between the three groups. However, in the experimental condition, veiled Muslim women reported a more positive state body image than did Christian women. Moreover, veiled Muslim women had a more positive trait body image than did Christian women and atheist women. Thus, veiled Muslim women reported lower levels of thin-ideal internalization, pressure to be thin, and physical appearance comparisons than did Christian women and atheist women. As the pre-post changes in body satisfaction did not differ between the three groups, veiling might not buffer against the negative effect of thin media images on state body image. Nevertheless, given the more positive trait body image of veiled Muslim women compared to Christian and atheist women, veiling might positively influence body image in the longer term. (shrink)

Idealization is a central feature of human thought. We build ideal models in the sciences, our politics is guided by pictures of impossible utopias, and our thinking about the arts and moral life is guided by images of how things might have been. In all these cases we sometimes proceed with a representation of the world that we know is not true or aim at a world we accept we cannot realize. This is the world of the "as if," which (...) the philosopher Hans Vaihinger delineated at the turn of the century, in ways he traced back to Kant. In this book, I aim to explore idealization in aesthetics, ethics, and metaphysics, as well as in the philosophy of mind, of language, of religion, and of the social and natural sciences. No one could be an expert on all of these things, but sometimes in philosophy it helps to stand back and take a broader view. On the way I hope to illuminate many issues, large and small, but there is one over-arching lesson: our best chance of understanding the world must be to have a plurality of ways of thinking about it. This book is about why we need a multitude of pictures of the world. It is a gentle jeremiad against theoretical monism. (shrink)

When censorship was reformed during the era of Joseph II publishing and the book trade underwent a liberalisation. Enlightenment conceptions helped create the image of the ideal reader—someone who reads to acquire knowledge or to improve his spiritual life. During the reign of Joseph II reading spread to all social strata, but readers’ preferences did not follow a reading ideal. This is demonstrated by significant urban-rural disparities. The publishing projects of the Protestant elite met with failure in the distribution (...) phase and with the indifference country people displayed towards spiritual literature. This relates to several other social phenomena such as literacy and living conditions. Archival sources, which are relevant to lending library research, indicate the reading preferences of the urban classes. An uncontrollable reading mania targeted literature and short political and anticlerical writing, which triggered public discussions on the dangers of uncontrolled reading. The print medium helped shape a “reading public“, whose reading activities occupied an area between mainstream cultural consumption and the dissemination of political news. (shrink)

In this paper I tackle the question of what basic form an analytical method for articulating and ultimately assessing visual representations should take. I start from the assumption that scientific images, being less prone to interpretive complication than artworks, are ideal objects from which to engage this question. I then assess a recent application of Nelson Goodman's aesthetics to the project of parsing scientific images, Laura Perini's ‘The truth in pictures’. I argue that, although her project is an important one, (...) her Goodmanian conventionalism produces a method of analysis that is incapable of adequately parsing a certain class of pictures and her focus on truth is unnecessary. This speaks against the promise of Goodman's analytical strategy for elucidating visual content and reasoning in the sciences and elsewhere. As an alternative, I develop John Willats’ analytical method and compare it to Perini's through engaging three of her examples—a chemical diagram, a graph and an electron micrograph. Ultimately, a space remains open for a mixed system where Willats’ account provides pictorial analysis and the Goodman–Perini approach parses visual languages. (shrink)

Although there is ample interrogation of advertising/commercial/media culture in critical pedagogy, there is little attention paid to the fine arts and to aesthetic experience. This lacuna is all the more perplexing given Paulo Freire’s use of artist Francisco Brenand’s illustrations for his culture circles. In this essay I will return to Freire’s original description of the relationship between fine art images and conscientizacao in order to map out the future of the image in critical pedagogy. This return to the (...) origin of the use of images in literacy programs will highlight the interdependent nature of word and image but also will demonstrate some of the long standing misconceptions of the way fine art images function in relation to education and politics. In conclusion I will suggest that if images have a future in critical pedagogy, then this future must ultimately move beyond Freire. As an alternative genealogical anchoring point for the development of the aesthetics of critical literacy, I suggest a turn to the work of Jacques Rancière. Through his conceptualization of the “pensive image” as well as the “emancipated spectator” we can begin to understand how the fine art image can work to realize Freire’s democratic ideals without relying on Freire’s problematic formulation of the image-pedagogy relationship. In conclusion, I suggest that the philosophical model necessary to support critical literacy is not Freire’s culture circle so much as Kant’s aesthetic community now revitalized via Rancière’s own aesthetics of dissensus. (shrink)

Between the radical, creative capacity of our imagination and the social imaginary we are immersed in is an intermediate space philosophers have termed the imaginal, populated by images or (re)presentations that are presences in themselves. Offering a new, systematic understanding of the imaginal and its nexus with the political, Chiara Bottici brings fresh perspective to the formation of political and power relationships and the paradox of a world rich in imagery yet seemingly devoid of imagination. Bottici begins by defining the (...) difference between the imaginal and the imaginary, locating the imaginal's root meaning in the image and its ability to both characterize a public and establish a set of activities within that public. She identifies the imaginal's critical role in powering representative democracies and its amplification through globalization. She then addresses the troublesome increase in images now mediating politics and the transformation of politics into empty spectacle. The spectacularization of politics has led to its virtualization, Bottici observes, transforming images into processes with an uncertain relationship to reality, and, while new media has democratized the image in a global society of the spectacle, the cloned image no longer mediates politics but does the act for us. Bottici concludes with politics' current search for legitimacy through an invented ideal of tradition, a turn to religion, and the incorporation of human rights language. (shrink)

There are two main discussions of poetry in Plato's Republic: the first one is in Books II and III, the other in Book X. Their conclusions are not entirely coherent. In Books II and III, only some poetry is considered imitative, and certain forms of it are allowed in the ideal city. In Book X all poetry is considered imitative, and all of it is banned from the city. Jeff Mitscherling's book deals with Plato's criticism of poetry and art. It (...) (i) reviews and discusses the main interpretations of the topic, paying special attention to those of Havelock (who argues that under attack is the Athenian educational system) and Gadamer (who argues the real target are the Sophists and their influence); (ii) discusses .. (shrink)

There seem to be some very good reasons for a philosopher of science to be a deductivist about scientific reasoning. Deductivism is apparently connected with a demand for clarity and definiteness in the reconstruction of scientists' reasonings. And some philosophers even think that deductivism is the way around the problem of induction. But the deductivist image is challenged by cases of actual scientific reasoning, in which hard-to-state and thus discursively ill-defined elements of thought nonetheless significantly condition what practitioners accept (...) as cogent argument. And arguably, these problem cases abound. For example, even geometry--for most of its history--was such a problem case, despite its exactness and rigor. It took a tremendous effort on the part of Hilbert and others, to make geometry fit the deductivist image. Looking to the empirical sciences, the problems seem worse. Even the most exact and rigorous of empirical sciences--mechanics--is still the kind of problem case which geometry once was. In order for the deductivist image to fit mechanics, Hilbert's sixth problem (for mechanics) would need to be solved. This is a difficult, and perhaps ultimately impossible task, in which the success so far achieved is very limited. I shall explore some consequences of this for realism as well as for deductivism. Through discussing links between non-monotonicity, skills, meaning, globality in cognition, models, scientific understanding, and the ideal of rational unification, I argue that deductivists can defend their image of scientific reasoning only by trivializing it, and that for the adequate illumination of science, insights from anti-deductivism are needed as much as those which come from deductivism. (shrink)

In terms of image processing, encryption plays the main role in the field of image transmission. Using one algorithm of deep learning, such as neural network backpropagation, increases the performance of encryption by learning the parameters and weights derived from the image itself. The use of more than one layer in the neural network improves the performance of the algorithm. Also, in the process of image encryption, randomness is an important component, especially when used by smart (...) learning methods. Deep neural networks are related to pixels used to manipulate position and value according to the predicted new value given from a variable neural system. It also includes messy encrypted images used via applying randomness and increasing the key space in addition to using the logistic and Henon map for complexity. The main goal of any encryption method is to increase the complexity of the encrypted image to be difficult or impossible to decrypt the image without the proposed key. One of the important measurements for image encryption is the histogram and how it can be uniformed by the proposed method. Variables of randomness are used as features for the deep learning system, with feedback during iteration. An ideal image processing encryption yields high messy images by keeping the quality. Experimental results showed the backpropagation algorithm achieved better results than other algorithms. (shrink)

Developing work in the theories of action and explanation, Eldridge argues that moral and political philosophers require accounts of what is historically possible, while historians require rough philosophical understandings of ideals that merit reasonable endorsement. Both Immanuel Kant and Walter Benjamin recognize this fact. Each sees a special place for religious consciousness and critical practice in the articulation and revision of ideals that are to have cultural effect, but they differ sharply in the forms of religious-philosophical understanding, cultural criticism, and (...) political practice that they favor. Kant defends a liberal, reformist, Protestant stance, emphasizing the importance of liberty, individual rights, and democratic institutions. His fullest picture of movement toward a moral culture appears in Religion within the Bounds of Mere Reason, where he describes conjecturally the emergence of an ethical commonwealth.Benjamin defends a politics of improvisatory alertness and consciousness-raising that is suspicious of progress and liberal reform. He practices a form of modernist, materialist criticism that is strongly rooted in his encounters with Kant, Hölderlin, and Goethe. His fullest, finished picture of this critical practice appears in One-Way Street, where he traces the continuing force of unsatisfied desires.By drawing on both Kant and Benjamin, Eldridge hopes to avoid both moralism and waywardness. And in doing so, he seeks to make better sense of the commitment-forming, commitment-revising, anxious, reflective and sometimes grownup acculturated human subjects we are. (shrink)