This article sets out to draft a preliminary sketch of an environmental history of photography, as opposed to a history of environmental photography. It shows that such a history should be rooted in a conceptualization of our geological epoch as the Capitalocene: the age of capital. Seen in this light, photography can be understood as part of a longer history of what the article describes – building on the work of activist and journalist Raj Patel and environmental historian Jason W. (...) Moore (2018) – as the ‘cheap image’. In this way, photography is shown to offer a succinct expression of the Cartesian dualism that Patel and Moore see as being at the heart of the Capitalocene: the externalized image of capital N nature that this world ecology necessitated. The article considers Mining Photography: The Ecological Footprint of Image Production (Museum für Kunst und Gewerbe, Hamburg, 2022) a recent exhibition and catalogue that attempted to narrate in exhibition form a history of photography from such a perspective. Finally, it concludes with a discussion of the work of several artists from this exhibition who are seen as exemplifying ‘metabolic realism’, a new critical photo-based artistic approach. (shrink)

Computational modeling of sketch understanding is interesting both scientifically and for creating systems that interact with people more naturally. Scientifically, understanding sketches requires modeling aspects of visual processing, spatial representations, and conceptual knowledge in an integrated way. Software that can understand sketches is starting to be used in classrooms, and it could have a potentially revolutionary impact as the models and technologies become more advanced. This paper looks at one such effort, Sketch Worksheets, which have been used in multiple classroom (...) experiments already, with students ranging from elementary school to college. Sketch Worksheets are a software equivalent of pencil and paper worksheets commonly found in classrooms, but they provide on-the-spot feedback based on what students draw. They are built on the CogSketch platform, which provides qualitative visual and spatial representations and analogical processing based on computational models of human cognition. This paper explores three issues. First, we examine how research from cognitive science and artificial intelligence, combined with the constraints of creating new kinds of educational software, led to the representations and processing in CogSketch. Second, we examine how these capabilities have been used in Sketch Worksheets, drawing upon experiments with fifth-grade students in biology and college students in engineering design and in geoscience. Finally, we examine some open issues in sketch understanding that need to be addressed to better model high-level aspects of vision, and for sketch understanding systems to reach their full potential for supporting education. (shrink)

The other way marries a designer's visual response to the details and textures of the land with poetic, descriptive and philosophical writing about the land and his relationship with it. There are 13 themed Chapters, each one of which is based on one trip that David has made to a--usually--remote part of the world, often off the beaten track. But in Europe he also turns his eye to more domestic environments. As well as his own photographs, there are pencil (...) sketches and doodles from his diaries. The book itself is a beautiful designed object, printed and bound in New Zealand with the option for a limited edition carved wooden box. (shrink)

A decision delay can translate into significant financial and business losses. One way to accelerate the decision process is through improved communication among the stakeholders engaged in the project. Capturing, transferring, managing, and reusing data, information, and knowledge in the context it is generated can lead to higher productivity, effective communication, reduced number of requests for clarification, and a shorter time-to-market cycle. We formalized the concept of reflection in interaction during communicative events among multiple project stakeholders. This concept extends Donald (...) Schon’s theory of reflection in action of a single practitioner. We model the observed reflection in interaction with a prototype system called TalkingPaperTM. It is a ubiquitous client-server collaborative environment that facilitates knowledge capture, sharing, and reuse during synchronous and asynchronous communicative events. TalkingPaperTM bridges the paper and digital worlds. It transforms the analog verbal discours, annotated paper corporate documents, and the paper and pencil sketches into indexed and synchronized digital content that is published on and streamed on-demand from a TalkingPaperTM web server. The TalkingPaperTM sessions can be accessed by all stakeholders for rapid knowledge sharing and decision-making. (shrink)

The self is presented as a semeiotic matrix with the three categories each articulated with a fitting semeiosis.

⭐⭐⭐⭐⭐ Unleash your child's creativity for color and attention to detail with over 48 unique dolphin designs! The coloring book with dolphins is perfect for the little ones in your life! The beautiful images of dolphins in this coloring book will provide hours of relaxation and creativity. This book creates a wide range of coloring books that help your child relax and express their creativity, paying attention to detail. Our dolphin coloring book offers: Each coloring page is printed on a (...) separate page to avoid bleed-through. Suitable for markers, gel pens, coloring pencils, fine liners, watercolors. Test different color ideas on those blank pages before you start with the main dolphins. Use those pages to sketch your own dolphins, write ideas, or whatever your creativity wants! Large 8.5 x 11 "format, professional-quality designs 102 pages BONUS: A diploma for excellent work submitted by the child Coloring books make a great gift for your little ones. Our coloring books are often one of the most gifted items. (shrink)

Two hundred years ago, J.M.W. Turner packed up two large leatherbound sketchbooks, pencils, and watercolors and set off for the north of England. When he returned from the tour that he regarded as one of the most important of his career, Turner had completed more than two hundred sketches - works that later became the basis of more than fifty major oil paintings and watercolors. For this illustrated book, David Hill has taken photographs of many of the actual sites Turner (...) sketched on his northern tour. The result is an look at the whole of Turner's creative process, from site to exhibited picture, and at the quality and intensity of the artist's experience. (shrink)

Featuring an exceptionally clear writing style and a wealth of real-world examples and exercises, Logic, Second Edition, shows how logic relates to everyday life, demonstrating its applications in such areas as the workplace, media and entertainment, politics, science and technology, student life, and elsewhere.Thoroughly revised and expanded in this second edition, the text now features 2600 exercises, more than 1000 of them new; three new chapters on legal arguments, moral arguments, and analyzing a long essay; enhanced pedagogy; and much more.FEATURES* (...) 2600 exercises--more than 1000 of them new--breathe new life into logic* Real-world examples help bring logic down to earth for students* A unique, extended explanation or model of the answer to the first question of each "Check Your Understanding" section shows students what is expected of their answers* An additional 25% of the exercises are answered at the back of the book* "Profiles in Logic" provide short sketches of logicians, philosophers, mathematicians, and others associated with logic* "Logic Challenge" problems present puzzles and paradoxes that end each chapter on a fun note* Additional pedagogical elements--marginal definitions, key terms, a glossary, reference boxes, and bulleted chapter summaries--make the material even more accessible* Detailed guides help students learn to create "truth tables" and Venn diagramsSUPPORT PACKAGEAn Instructor's Manual with Computerized Test Bank on CD includes: Solutions to all exercises in the book, enhanced by explanations and answers that elucidate the details of the correct answersKey Terms and a summary for each chapterA customizable Computerized Test Bank--with multiple-choice, true/false, and fill-in-the-blank questions--that allows instructors to give exams or homework problems that can be auto-gradedA traditional "pencil-and-paper" Test Bank and answer key containing the same questions as the Computerized Test BankPowerPoint-based lecture outlinesThe Instructor's Manual with Computerized Test Bank and the traditional Test Bank are also available in printed format.A Companion Website offers:Instructor Resources :A downloadable version of the Instructor's Manual PowerPoint-based lecture outlinesStudent Resources:Brief chapter summariesInteractive Flash Cards with key terms and definitionsWeb links and other media resourcesPractice quizzes with answers and explanations The Learning Management System Cartridges include, in a fully downloadable format:Instructor's Manual and Computerized Test Bank Student material from the companion websiteThe Perfect Text for Your Course... No Matter How You Teach ItYour course is unique; you have your own teaching philosophy and style. Whether you teach traditional Introduction to Logic, Critical Thinking/Informal Logic, or Formal Logic, Baronett: Logic, Second Edition, can be tailored to fulfill your course needs.We'll make it easy for you; choose one of our Alternate Editions or build the book you want, chapter by chapter.Option 1. Author Stan Baronett has suggested four Alternate Editions that may work for you. Each Alternate Edition comes in full color, with answers to problems, a full glossary, and an index. The books are in stock and available for ordering. Please see the ISBN information below.Logic: Concise EditionChapters 1, 3, 4, 5, 6, 7, 8Order using ISBN: 978-0-19-994129-2Logic: An Emphasis on Critical Thinking and Informal LogicChapters 1, 2, 3, 4, 10, 11, 12, 13 A-E, 14, 15Order using ISBN: 978-0-19-994128-5Logic: An Emphasis on Formal LogicChapters 1, 5, 6, 7, 8, 9Order using ISBN: 978-0-19-994126-1Logic: With Diagramming used in Chapter 4. Informal FallaciesFull textOrder using ISBN: 978-0-19-997081-0Option 2. Create your own customized textbook by choosing the specific chapters that you need for your course. Please contact your Oxford University Press Sales Representative or call 800.280.0280 for details. (shrink)

The goal of this paper is to illuminate the connections between agency, perception, subjectivity, space and the body. Such connections have been the subject matter of much philosophical work. For example, the importance of the body and bodily action on perception is a growth area in philosophy of mind. Nevertheless, there are some key relations that, as will become clear, have not been adequately explored. We start by examining the relation between embodiment and agency, especially the dependence of agency on (...) perception and the dependence of perception on agency. We also consider the nature of subjectivity itself: In virtue of what do humans and animals but not rocks and pencils have genuine perceptual and agentive intentional contents? We sketch a hylomorphic account of subjects and subjectivity, which highlights connections between the conclusions argued for in the previous sections and some basic principles of teleosemantics. (shrink)

I seek to provide a systematic and comprehensive framework for the description and analysis of scientific practice—a philosophical grammar of scientific practice, ‘grammar’ as meant by the later Wittgenstein. I begin with the recognition that all scientific work, including pure theorizing, consists of actions, of the physical, mental, and ‘paper-and-pencil’ varieties. When we set out to see what it is that one actually does in scientific work, the following set of questions naturally emerge: who is doing what, why, and (...) how? More specifically, we must arrive at some coherent philosophical accounts of the following elements of scientific practice: the agent—free, embodied, and constantly in second-person interactions with other agents; the purposes and proximate aims of the agent; types of activities that the agent engages in; ontological principles necessarily presumed for the performance of particular activities; instruments and other resources that the agent pulls together for the performance of each activity. After sketching the general framework, I also give some illustrative contrasts between the more traditional descriptions of scientific practice and the kind of descriptions enabled by the proposed framework. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesAdrien BugariAdrien Bugari is a graduate of the École Supérieure d’Art et de Design (ESAD, Reims, France). In 2007, his work was exhibited at the Salon du Meuble de Paris and the Salon d’Art et de Design Contemporain de Montrouge (France). In 2008, he worked with the Italian designer Martino Gamper and continued his studies at the École Cantonale d’Art de Lausanne (ECAL, Switzerland), receiving a degree in 2009. (...) His work, Round Box, appeared at the Milan Salon du Design in 2008. While his early work focuses almost exclusively on objects and their functionality, Bugari’s practice engages with contemporary art in general and design in particular. His drawings—most often done with felt tip marker or pencil—are concerned with space and matter. Bugari lives and works in Paris.www.adrienbugari.comCristalThe series, Cristal—comprising fifteen drawings on recycled paper—was completed during a stay in Ithaca, New York, in 2011.Cristal is a specimen study inspired by a reading of A Field Guide and Introduction to the Geology and Chemistry of Rocks and Minerals by Charles Sorrell. Minimally sketched, the structures are set off by white oil pastel. The substance of each drawing is produced by the contrast between the rigid outlines of each facet and the brilliance of the white pastel. The light materiality of the sketches creates a delicate effect: the transparency covers the drawn lines without minimizing their imperfections. The structure—as nothing more than the relation between parts—naturally implies a point of view. It calls into question the necessity of form and the way that differences and similarities are established. It plays with resemblances, or, les airs de famille. It asks what in the drawing is regular or continuous and what is not. And it wonders where to begin. The series, Cristal, is also a magnetic proximity, a minimalist rhythm: it creates the possibility of successive metamorphoses, until there is nothing left to say.It is no doubt possible to interpret Cristal as a geometric abstraction. I prefer to define it as a moment rather than a concept. Viewed in that light, Cristal can be said to have endured for the season of one Ithaca winter. [End Page 1] Click for larger view View full resolutionIMAGE: Adrien Bugari, CRISTAL 14Felt tip marker and oil pastel on recycled paper, 65 × 48 cm.Courtesy the artist[End Page 2]Copyright © 2012 The Johns Hopkins University Press... (shrink)

This article discusses the epistemology of design as a process, arguing specifically that sketching and drawing are essential modes of thinking and reasoning. It demonstrates that the commonly accepted notion of a spontaneous and intuitive vision in the mind’s eye—encapsulated in the cliché of the napkin sketch—obscures the exploratory inferences that are made while scribbling with a pencil on a sheet of paper. The draughtsperson, along with their work tools, modes of notation, specific techniques, and epistemic strategies as (...) well as the resulting design artefacts form milieus of reflection that facilitate complex processes of exploration. Case studies, including the genesis of the Mini by Alec Issigonis, samples of work by Alvar Aalto, and a reinterpretation of student sketches from a classical design study by Gabriela Goldschmidt, serve to illustrate how drawing inferences with pencil and paper occurs. (shrink)

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

‘Pencil’, ‘Tiger’, ‘Christianity’. What kind of reference (if any) do these terms have? Do they have the same semantics? In his celebrated The Meaning of ‘Meaning’ (1975), Hilary Putnam suggests so when arguing that they have externalist semantics. However, this claim is highly controversial. A lengthy discussion has been going on the matter. So far, neither Putnam’s nor other defenses of Externalism proposed within this debate have actually succeeded in showing that the terms at stake (and their likes) are (...) semantically on a par. Here I examine further options left to the externalist. I conclude that, still, none is a viable alternative for defending that Externalism applies to the mentioned terms (and their likes). (shrink)

Externalism about artifactual words requires that (a) members of an artifactual word’s extension share a common nature, i.e. a set of necessary features, and (b) that possession of such features determines the word’s extension independently of whether the linguistic community is aware of them (ignorance) or can accurately describe them (error). However, many common artifactual words appear to be so used that features that are universally shared among members of their extensions are hard to come by, and even fewer can (...) be plausibly regarded as necessary; morevoer, it is highly doubtful that a speaker could manage to refer to kind A while being utterly ignorant of the role the As play in the A-producing community, and it is no less doubtful that an artifactual word that was used to refer to certain objects would keep referring to them (and be regarded as having referred to them) once it has been shown that the associated description is utterly false of such objects, the reason being that we could easily make things that do fit the associated description. Against generalized externalism, it is suggested that artifactual words come in (at least) three different semantic varieties: a few have an externalist semantics, others have an internalist semantics, still others have neither but rather behave as “family names” in Wittgenstein’s sense. (shrink)

Engineering sketches and drawings are the building blocks of technological design and production. These visual representations act as the means for organizing the design to production process, hence serving as a "social glue" both between individuals and between groups. The author discusses two main capacities such visual representations serve in facilitating distributed cognition in team design work As conscription devices, they enlist and organize group participation. As boundary objects, they facilitate the reading of alternative meanings by various groups involved in (...) the design process. The introduction of computer-aided design into this visual culture of engineering restructures relationships between workers in ways that can hamper the flexibility necessary for these crucial capacities to take place. The data are drawn from a study of the daily practices of engineers engaged in redesigning a turbine engine package. The method is participant observation. (shrink)

The goal of this study was to explore two accounts for why sketching during learning from text is helpful: sketching acts like other constructive strategies such as self-explanation because it helps learners to identify relevant information and generate inferences; or that in addition to these general effects, sketching has more specific benefits due to the pictorial representation that is constructed. Seventy-three seventh-graders were first taught how to either create sketches or self-explain while studying science texts. During a (...) subsequent learning phase, all students were asked to read an expository text about the greenhouse effect. Finally, they were asked to write down everything they remembered and then answer transfer questions. Strategy quality during learning was assessed as the number of key concepts that had either been sketched or mentioned in the self-explanations. The results showed that at an overall performance level there were only marginal group differences. However, a more in-depth analysis revealed that whereas no group differences emerged for students implementing either strategy poorly, the sketching group clearly outperformed the self-explanation group for students who applied the strategies with higher quality. Furthermore, higher sketching quality was strongly related to better learning outcomes. Thus, the study's results are more in line with the second account: Sketching can have a beneficial effect on learning above and beyond generating written explanations; at least, if well deployed. (shrink)

Sketching as a scientific practice goes beyond the simple act of inscribing diagrams onto paper. Scientists produce a wide range of representations through sketching, as it is tightly coupled to model-based reasoning. Chemists in particular make extensive use of sketches to reason about chemical phenomena and to communicate their ideas. However, the chemical sciences have a unique problem in that chemists deal with the unseen world of the atomic-molecular level. Using sketches, chemists strive to develop causal mechanisms that (...) emerge from the structure and behavior of molecular-level entities, to explain observations of the macroscopic visible world. Interpreting these representations and constructing sketches of molecular-level processes is a crucial component of student learning in the modern chemistry classroom. Sketches also serve as an important component of assessment in the chemistry classroom as student sketches give insight into developing mental models, which allows instructors to observe how students are thinking about a process. In this paper we discuss how sketching can be used to promote such model-based reasoning in chemistry and discuss two case studies of curricular projects, CLUE and The Connected Chemistry Curriculum, that have demonstrated a benefit of this approach. We show how sketching activities can be centrally integrated into classroom norms to promote model-based reasoning both with and without component visualizations. Importantly, each of these projects deploys sketching in support of other types of inquiry activities, such as making predictions or depicting models to support a claim; sketching is not an isolated activity but is used as a tool to support model-based reasoning in the discipline. (shrink)

Sketching is a powerful means of working out and communicating ideas. Sketch understanding involves a combination of visual, spatial, and conceptual knowledge and reasoning, which makes it both challenging to model and potentially illuminating for cognitive science. This paper describes CogSketch, an ongoing effort of the NSF-funded Spatial Intelligence and Learning Center, which is being developed both as a research instrument for cognitive science and as a platform for sketch-based educational software. We describe the idea of open-domain sketch understanding, (...) the scientific hypotheses underlying CogSketch, and provide an overview of the models it employs, illustrated by simulation studies and ongoing experiments in creating sketch-based educational software. (shrink)

According to Hempel, historians do not offer full-blown explanations. Rather, they typically present explanation-sketches which need filling out. On his account, … Such a sketch consists of a more or less vague indication of the laws and initial conditions considered as relevant, and it needs ‘filling out’ in order to turn into a full fledged explanation. This filling out requires further empirical research for which the sketch suggests the direction ….

St. Thomas Aquinas envisaged theology to be a kind of scientia which was considered as a kind of first cause science. However, science of that time is different from “modern” science. Recently, a theory of scientific study is developed, which outlines science by a theory and some models similar to knowledge in physics. According to this theory, sciences organize their knowledge consisting of theories, models and experiments interacting with physical situations. Perhaps, it is possible to organize knowledge of Christian theology (...) in a similar way as science (from the perspective of Christian belief). Doing this requires extensive and deep knowledge of both science and Christian theology. This paper only attempts to sketch such a theology, which is coined scientia theology to distinguish it from the existing scientific theology of McGrath. Our theology consists of a theory that is outlined here, several historical event models as well as various experiments that provide us with observations supporting the related models and principles. The theory of our theology interacts with the models which may retrodict or are supported by observations from the experiments that interact with the physical situations. (shrink)

In this introductory chapter to my collection of papers, Modal Matters, I present my tripartite account of reality. First, I endorse a plenitudinous Platonism: for every consistent mathematical theory, there is in reality a mathematical system in which the theory is true. Second, for any way of distributing fundamental qualitative properties over mathematical structures, there is a portion of reality that has that structure with fundamental properties distributed in that way; some of these portions of reality, when isolated, are the (...) possible worlds. Third, there is a fundamental ontological distinction between those portions of reality that are absolutely actual, and those that are merely possible. In the course of developing this account of reality, I sketch my views on logic, mathematics, modality, qualitative character, and actuality. An austere Humeanism that rejects all primitive modality motivates and constrains my views. (shrink)

This early work by Sydney Smith was originally published in 1854 and we are now republishing it with a brand new introductory biography. 'Elementary Sketches of Moral Philosophy' is a collection of lectures delivered by Smith at the Royal Institution in the years 1804, 1805, and 1806. Sydney Smith was born on 3rd June 1771 in Woodford, Essex, England. Smith's first book 'Six Sermons, preached in Charlotte Street Chapel, Edinburgh' was published in 1800. He married Catharine Amelia Pybus in the (...) same year and the couple settled in Edinburgh. While there, he helped set up the 'Edinburgh Review' and became its first editor in 1802. He continued to write articles for the review for the next quarter of the century which were a key element to the publication's success. (shrink)

This paper sketches one possible form that a pragmatist philosophy of science might take. It defends general philosophy of science, although not in the form it has traditionally taken, and along with this, a focus on methodology as a legitimate concern for philosophers of science. Connections are made between some classical pragmatist themes and issues in contemporary philosophy of science. My intention is to be provocative.

Writing under the pseudonym "Jotabeche," José Joaquín Vallejo wrote forty-one short articles on Chilean life and society in the early republic. Known for their caustic wit, his writings were an instant success when they were first published in Chilean magazines and newspapers. This volume presents these vivid essays for the first time in English. Vallejo made famous the style of writing termed "costumbrista"—sketches and vignettes of society and local customs. He focused on the Norte Chico, or the mining zone of (...) Copiapó where he was born and where he lived most of his later life. His essays include vivid studies of mineworkers; the advancement of modernity in the steamships at Caldera; the religious, intensely cultural province of Copiapó; and the general atmosphere of liberalism beginning to pervade the country of Chile during that time. Considered the founder of his country's "genuinely national literature," he is the first creative writer of stature to emerge in Chile after the country's wars of independence. A provincial northerner, his writings give a sense of what these parts of Chile looked and felt like during the years of the early Chilean republic, and are consequently of ultimate value. (shrink)

Novice designers produced a sequence of sketches while inventing a logo for a novel brand of soft drink. The sketches were scored for the presence of specific objects, their local features and global composition. Self‐assessment scores for each sketch and art critics' scores for the end products were collected. It was investigated whether the design evolves in an essentially random fashion or according to an overall heuristic. The results indicated a macrostructure in the evolution of the design, characterized by two (...) stages. For the majority of participants, the first stage is marked by the introduction and modification of novel objects and their local and global aspects; the second stage is characterized by changes in their global composition. The minority that showed the better designs has a different strategy, in which most global changes were made in the beginning. Although participants did not consciously apply these strategies, their self‐assessment scores reflect the stages of the process. (shrink)

Research from cognitive science and geoscience education has shown that sketching can improve spatial thinking skills and facilitate solving spatially complex problems. Yet sketching is rarely implemented in introductory geosciences courses, due to time needed to grade sketches and lack of materials that incorporate cognitive science research. Here, we report a design-centered, collaborative effort, between geoscientists, cognitive scientists, and artificial intelligence researchers, to characterize spatial learning challenges in geoscience and to design sketch activities that use a sketch-understanding program, (...) CogSketch. We developed 26 CogSketch worksheets that use cognitive science–based principles to scaffold problem solving of spatially complex geoscience problems and report observations of an implementation in an introductory geoscience course where students used CogSketch or human-graded paper worksheets. Overall, this research highlights the principles of interdisciplinary design between cognitive scientists, geoscientists, and AI researchers that can inform the collaborative design process for others aiming to develop effective educational materials. (shrink)

First published in 1881, as part of the Pitt Press Series, this book presents a guide to classical philosophy aimed at undergraduates and those studying the works of Cicero, Plato or Aristotle. All quotations are in the original Greek and Latin. This book will be of value to anyone with an interest in the history of philosophy and perspectives on classical thought.

Abstract This paper sketches a Levinasian theory of action. It has often been pointed out that Levinas' ethics are incapable of providing principles of adjudication for guiding actions. However, a much more profound problem affects Levinas' metaphysical ethics and negates the possibility of adjudication and that is a patent lack of freedom from the yoke of the ethical. If ?ethics is primordial? indeed, then no act can be unethical in that there is no alternative possibility to the acceptance and performance (...) of the law. In this paper, I will argue that it is from the totalization of the acceptance and performance of law ?implicit in the subject's action? that alternative possibilities become visible. This is to say, it is through totalization that the subject demarcates the locus for the emergence of principles, which can permit adjudication among different acts without negating the radical primacy of ethics, which is probably Levinas? greatest contribution to the field. (shrink)

In this paper I sketch an account of moral blame and blameworthiness. I begin by clarifying what I take blame to be and explaining how blameworthiness is to be analyzed in terms of it. I then consider different accounts of the conditions of blameworthiness and, in the end, settle on one according to which a person is blameworthy for φ-ing just in case, in φ-ing, she violates one of a particular class of moral requirements governing the attitudes we bear, and (...) our mental orientation, toward people and other objects of significant moral worth. These requirements embody the moral stricture that we accord to these others a sufficient level of respect, one that their moral worth demands. This is a familiar theme which has its roots in P. F. Strawson’s pioneering views on moral responsibility. My development of it leads me to the conclusion that acting wrongly is not a condition of blameworthiness: violating a moral requirement to perform, or refrain from performing, an action is neither necessary nor sufficient for being blameworthy. All we are ever blameworthy for, I will argue, are certain aspects of our mental bearing toward others. We can be said to be blameworthy for our actions only derivatively, in the sense that those actions are the natural manifestations of the things for which we are strictly speaking blameworthy. (shrink)

(Supplement to Monty Python’s Australian Philosophers ‘Bruce’ Sketch, Occasioned by the large number of Australian philosophers called ‘Karen’) Dramatis Personae: KAREN 1 (Head of Department: rugged and decisive. Farm animals instinctively obey.) KAREN 2 (Hume Studies: tough lady cop from ‘Water Rats’.) KAREN 3 (Wittgenstein and Philosophy of Science: more aggressive – tough lady crime lord from ‘Water Rats’.) KAREN 4 (Practical Reasoning: Put upon - still fairly rugged but it is not an accident that she is the one who (...) often ends up mucking out the stables.) AISLING (Young woman with slight Irish accent tempered by some years at the ANU.). (shrink)

Over the past four decades, French sociologist Pierre Bourdieu produced one of the most imaginative and subtle bodies of social theory of the postwar era. When he died in 2002, he was considered to be the most influential sociologist in the world and a thinker on a par with Foucault and Le;vi-Strauss—a public intellectual as important to his generation as Sartre was to his. Sketch for a Self-Analysis is the ultimate outcome of Bourdieu’s lifelong preoccupation with reflexivity. Vehemently not an (...) autobiography, this unique book is instead an application of Bourdieu’s theories to his own life and intellectual trajectory; along the way it offers compelling and intimate insights into the most important French intellectuals of the time—including Foucault, Sartre, Aron, Althusser, and de Beauvoir—as well as Bourdieu’s own formative experiences at boarding school and his moral outrage at the colonial war in Algeria. (shrink)

Dreaming as lived experience qualifies as intentional life, despite its strangeness. Yet the dream-phenomena themselves receive little direct clarification consistent with Edmund Husserl's major work on conscious intentionality. With fundamental accomplishments of Husserlian phenomenology in play, how could a study of these neglected appearances begin? First it is necessary to describe the essential relevant Husserlian concepts. From Husserl's descriptions in his phenomenological psychology, his analysis of internal time-consciousness, and his theory of wholes and parts in Logical Investigations, the sense of (...) intentionality as a streaming indivisible nexus, a double continuity of inseparable wholeness, becomes evident. Immersed in this self-awareness, we do not find it difficult to access dream-appearances and account for their connection in intentional life. A claim can be made for their presentational objectivity as well as for their "gnomonic" subjectivity. A systematic sketch of their typology or fundamental structure is thus possible without reducing dream-intentionality to something other than itself. Hence, a Husserlian sense of conscious lived experience is first presented. Dream evidence is then considered, despite possible bewilderment, in order to provide a clue to an extended sense of both subjectivity and objectivity. Lines toward a development of dream typicality are thereby indicated. (shrink)

Sketches of Democracy is a captivating book that chronicles the first year in the life of a new urban high school. Based on journal entries and educational literature, this book traces the author’s challenging journey toward creating a democratic community of learners within a tangle of socio-economic and political issues. An experienced public school teacher and university educator, DeLorenzo brings a unique perspective to the teaching/learning process. Her poignant anecdotal stories, along with information from authoritative sources, provide a narrative that (...) is deeply reflective and affecting. This book is a must-read for teachers, teacher candidates, and teacher educators who share a passion for teaching those on the margins of society. (shrink)

I went to Trinity College, Cambridge, in 1961 with a scholarship in Physics and Mathematics. But, coming under the influence of William Rushton, I soon decided that I wanted to study how the mind works - and I took my final degree in Psychology and Physiology.

Reconciliation is a biblical concept, wherein God reconciled himself with humanity through the death and resurrection of Jesus Christ. The concept of reconciliation remains complicated in nature, and for the church to be an agent of reconciliation, prescriptive elements such as confession, repentance, forgiveness, restoration, restitution, mercy, truth, justice, peace and reconciliation will be discussed. The elements needed for the church to be an agent of change are action-driven and include a vision for change, the acceptance of responsibility, the acceptance (...) of failure, repentance, confession, forgiveness, action towards change justice, peace and mercy, and reconciliation. The aim of this article is to describe a possible process for reconciliation through change agency by using the biblical perspective of the concept as a foundation. The research will then focus on different perspectives of change and the church’s role as a change agent to bring about positive change in the transformation of existing and persistent forms of injustice that are problematic in society. Many theories of change exist; I will briefly refer to some theories of change and will then move on to sketching the elements that are necessary for the church to fulfil its calling as a change agent towards reconciliation as a core biblical principle. (shrink)

Argument-mapping software abounds, and one of the reasons is that using the software has been shown to teach/promote/improve critical thinking skills. These positive results are very encouraging, but they also raise the question of whether the computer tutorial environment is producing these results, or whether learning argument mapping, even with just paper and pencil, is sufficient. Based on the results of two empirical studies, I argue that the basic skill of being able to represent an argument diagrammatically plays an (...) important role in the improvement of critical-thinking skills. While these studies do not offer a direct comparison between the two methods, it is important for anyone wishing to employ argument mapping in the classroom to know that significant results can be obtained even with the most rudimentary of tools. (shrink)

Quantum computers are hypothetical quantum information processing (QIP) devices that allow one to store, manipulate, and extract information while harnessing quantum physics to solve various computational problems and do so putatively more efficiently than any known classical counterpart. Despite many ‘proofs of concept’ (Aharonov and Ben–Or 1996; Knill and Laflamme 1996; Knill et al. 1996; Knill et al. 1998) the key obstacle in realizing these powerful machines remains their scalability and susceptibility to noise: almost three decades after their conceptions, experimentalists (...) still struggle to maintain useful quantum coherence in QIP devices with more than a pair of qubits (e.g., Blatt and Wineland 2008). This slow progress has prompted debates on the feasibility of quantum computers, yet the quantum information community has dismissed the skepticism as “ideology” (Aaronson 2004), claiming that the obstacles are merely technological (Kaye et al. 2007, 240). In a recent paper (Hagar 2009) I’ve argued that such a skepticism with respect to the feasibility of quantum computers need not be deemed ideological at all, and that the aforementioned ‘proofs of concept’ are physically suspect. Using analogies from the foundations of classical statistical mechanics (SM), I’ve also argued that instead of active error correction, the appropriate framework for debating the feasibility of large–scale, fault–tolerant and computationally superior quantum computers should be the project of error avoidance: rather than trying to constantly ‘cool down’ the QIP device and prevent its thermalization, one should try to locate those regions in the device’s state space which are thermodynamically ‘abnormal’, i.e., those regions in the device’s state space which resist thermalization regardless of external noise. This paper is intended as a further contribution to the debate on the feasibility of large–scale, fault–tolerant and computationally superior quantum computers. Relying again on analogies from the foundations of classical SM, it suggests a skeptical conjecture and frames it in the ‘passive’, error avoidance, context.. (shrink)

In many fields of biology, both the phenomena to be explained and the mechanisms proposed to explain them are commonly presented in diagrams. Our interest is in how scientists construct such diagrams. Researchers begin with evidence, typically developed experimentally and presented in data graphs. To arrive at a robust diagram of the phenomenon or the mechanism, they must integrate a variety of data to construct a single, coherent representation. This process often begins as the researchers create a first sketch, and (...) it continues over an extended period as they revise the sketch until they arrive at a diagram they find acceptable. We illustrate this process by examining the sketches developed in the course of two research projects directed at understanding the generation of circadian rhythms in cyanobacteria. One identified a new aspect of the phenomenon itself, whereas the other aimed to develop a new mechanistic account. In both cases, the research resulted in a paper in which the conclusion was presented in a diagram that the authors deemed adequate to convey it. These diagrams violate some of the normative “cognitive design principles” advanced by cognitive scientists as constraints on successful visual communication. We suggest that scientists’ sketching is instead governed by norms of success that are broadly explanatory: conveying the phenomenon or mechanism. (shrink)

This essay treats the growth and development of Charles S. Peirce’s three categories, particularly studying the qualities of Peirce’s Firstness, a basic formula of “airy-nothingness” (CP: 6.455) serving as fragment to Secondness and Thirdness. The categories of feeling, willing, and knowing are not separate entities but work in interaction within the three interpretants. Interpretants are triadomaniac elements through the adopted, revised, or changed habits of belief. In works of art, the first glance of Firstness arouses the spontaneous responses of musement, (...) expressing emotions without the struggle and resistance of factual Secondness, and not yet involving logical Thirdness. The essential qualities of a loose or vague word, color, or sound give the fugitive meanings in Firstness. The flavor, brush, timbre, color, point, line, tone or touch of the First qualities of an aesthetic object is too small a base to build the logic of aesthetic judgment. The genesis art is explained by Peirce’s undegeneracy growing into group and individual interpretants and building into the passages and whole forms of double and single forms of degeneracy. The survey of the flash of Firstness is exemplified in a variety of artworks in language, music, sculpture, painting, and film. This analysis is a preliminary aid to further studies of primary Firstness in the arts. (shrink)