In 1963 Duchamp described his vertical installation of three Readymades at the Pasadena Art Museum as “readymade talk of what goes on in the Large Glass.” Elsewhere, he spoke of the Readymades as “vehicles for unloading ideas,” and during the years 1912-15 his mind was filled with ideas as he invented the “playful physics” for his techno-scientific allegory of quest, The Bride Stripped Bare by Her Bachelors, Even [The Large Glass]. This essay argues that the “ideas” being unloaded in the (...) Readymades were rooted in his extensive study of contemporary science and technology as well as the biographical experience of his stay at Herne Bay on the English seacoast during August 1913. Readymades addressed include the Bicycle Wheel, With Hidden Noise, Paris Air, and Fresh Widow. Central themes include string or thread, traced from his preoccupation with tennis during his holiday, and the impact of the electrical spectacle of the illuminated Pier Pavilion at Herne Bay. (shrink)

This issue of Science in Context presents a sampling of current work by art historians examining modern artists' engagement with science as well as the relationship of photography to both science and art. The essays' topics span the mid-to-later nineteenth century to the 1960s and, thus, in a series of case studies provide an introduction to aspects of artistic modernism. Indeed, it is impossible to understand fully many of the radical innovations of modern art without some knowledge of an artist's (...) cultural context, and developments in science have often played a critical role in defining that milieu. Collected together, these essays also represent methodological models of historical work on art and science that serve as useful examples in this developing field. (shrink)

The twentieth century began with the deconstruction of the image, as it is ending with the effort to restore it. Cubism, dada, and abstract expressionism took apart what, in their various ways, pop art, magic realism, and neoexpressionism have tried to put back together. Tonality in music and narrative in literature have undergone similar change.1 What has been at stake in each case has been the redefinition of a center, a normative or ordering principle as such. Yeats intuited this general (...) phenomenon in his famous observation that “the center cannot hold,” and though whether one applauds or, with Yeats, condemns the result, it is undeniable that the crisis of contemporary culture has been in large part experienced as a deprivation of norms.This sense of deprivation has been most apparent in the plastic arts. The fashioning of images has been one of the primary impulses of human art. It has been the basis of most systems of visual representation and constitutes the earliest record we have off art itself. Its loss or abandonment has been in good part responsible for the bewilderment and hostility much of the general public continues to express toward modern art.The experience of this loss, however, has not been confined to the public alone. For many artists, the sense of modern art’s expressive potential has been tempered by an anxiety about its ultimate direction.2 For these artists, the image had not been transcended but rather rendered inaccessible, and implicitly or explicitly they sought its restoration. At the same time, they were keenly aware that there could be no return to exhausted modes of representation, no looking back except as parody or quotation.3 1. Among the studies comparing changes across the arts in the early twentieth century are Georges Edouard Lemaître, From Cubism to Surrealism in French Literature , and Bram Dijkstra, The Hieroglyphics of a New Speech: Cubism, Stieglitz, and the Early Poetry of William Carlos Williams . More recently, visualization in cubist art and relativity theory has been compared in Linda Dalrymple Henderson, The Fourth Dimension and Non-Euclidean Geometry in Modern Art . For a general overview, see Stephen Kern, The Culture of Time and Space, 1880-1918 . Marxist critics, notably Walter Benjamin, have long insisted on the relationship between modernism in the arts and the crisis of the traditional order.2. This is clearly visible in the work and writing of pioneers such as Kandinsky and Klee or, to take a later case, Adolph Gottlieb. The correspondence between Kandinsky and Schönberg is illuminating as well.3. Much of the neoimagistic art of the past twenty-five years falls into these categories, and thus signals a prolongation rather than a resolution of the crisis. Pop art was clearly an art of parody, while work of an artist such as Malcolm Morley might almost be taken as an illustration of Benjamin’s thesis about the work of art in an age of mechanical reproduction. His “imitations,” like those of Robert Lowell in verse, betray a deep anxiety about mastery and tradition. Much the same can be said for such musical compositions as Lukas Foss’ “Baroque Variations” and “Phorion” or Luciano Berio’s “Sinfonia,” to name but a random few among many. Robert Zaller is professor of history and head of the department of history and politics at Drexel University. He was formerly on the faculties of Queens College , the University of California at Santa Barbara, and the University of Miami. His books include The Parliament of 1621: A Study in Constitutional Conflict and The Cliffs of Solitude: A Reading of Robinson Jeffers. (shrink)

Investigating the concepts and material realities of energy coursing through the arts: a foundational text. This book investigates energies—in the plural, the energies embedded and embodied in everything under the sun— as they are expressed in the arts. With contributions from scholars and critics from the visual arts, art history, anthropology, music, literature, and the history of science, it offers the first multidisciplinary investigation of the concepts and material realities of energy coursing through the arts. Just as Douglas Kahn's earlier (...) books helped introduce sound as a category for study in the arts, this new volume will be a foundational volume for future explorers in a largely uncharted domain. The modern concept of energy is only two hundred years old—an abstraction grounded in extraction—but this book takes a more expansive view. It opens with a clap: the sonic energies in a ceremony of the indigenous Goolarabooloo people of Australia. Other chapters explore the energies of photography; responses of artists in the early twentieth century—including Marcel Duchamp—to scientific discoveries in electricity and electromagnetism; the aestheticization of entropy in works by Hans Haacke and Robert Smithson; free-jazz musician Milford Graves's cross-cultural engagement with music, science, and spiritualism; energy field performance; and the self-generating energy of rumor and gossip as artwork. Contributors include such leading scholars as Linda Dalrymple Henderson, John Tresch, and Caroline A. Jones. Practicing artists and students of art history will find Energies in the Arts an essential work. Contributors Susan Ballard, Jennifer Biddle, Marcus Boon, Joan Brassil, Steven Connor, Milford Graves, Daniel Hackbarth, Linda Dalrymple Henderson, Caroline A. Jones, Douglas Kahn, David Mather, Stephen Muecke, James Nisbet, Daniela Silvestrin, Michael Taussig, John Tresch, Melissa Warak. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on DuchampBergson ReadymadeFederico Luisetti (bio)Translated by David Sharp[I]nside the person we must distinctly perceive, as through a glass, a set-up mechanism.—Henri Bergson, Laughter: An Essay on the Meaning of the Comic (1901)In spite of the enormous critical attention paid to Marcel Duchamp’s art and theoretical background, the dialogue with Bergsonism is mostly confined to scattered references and erudite observations.1 Paradoxically, the major obstacle to this encounter has been (...) the immense popularity of Henri Bergson’s philosophy since the initial decade of the twentieth century. Such success has come with a price, however, for the proliferation of neutralizing schematizations has progressively suffocated the specificity of his thought and subsequently impeded the understanding of his epistemological radicalism, so cherished by Duchamp and the historical avant-garde.2Consider, for example, how the specter of Bergson constantly hovers over Linda Dalrymple Henderson’s authoritative discussion of Duchamp’s scientific sources. Although Henderson recognizes the diffuse presence in Duchamp of various Bergsonian motives, because she regards Bergson as the antiscientific philosopher of the “inner self” and of “profound self-expression,”3 Bergsonian notions seem to her incompatible with the artistic revolution prompted by Duchamp. A historiographical exorcism is therefore needed in order to heal the consequences of the traumatic Bergson-Duchamp incest. Herein lies Henderson’s solution: since Duchamp rejects the aesthetic principles of the Puteaux Cubists, he also abandons Bergsonism, which represents their philosophical matrix. Thus, the Bergsonian ideas “undoubtedly” present in Duchamp’s artistic lexicon are nothing but debris accumulated in the course of his battle with the Cubist disciples of Bergson.4To counter these approaches, in the following pages I will map Duchamp’s absorption and creative distortion of Bergsonism,5 concentrating on key terms of both Bergson’s philosophy and Duchamp’s speculations on art: space, “readymade,” delay, body, virtual, circuit, machine.6 I will then discuss the theoretical implications of Duchamp’s Bergsonism and place the readymade7 within its proper context: the deconstruction of the Western metaphysics of reflection. [End Page 77]SpaceBeginning with Time and Free Will (1889), Bergson distinguishes between two types of multiplicities: on the one hand, “duration” (durée), “an internal multiplicity of succession, of fusion, of organization, of heterogeneity, of qualitative discrimination... a virtual and continuous multiplicity that cannot be reduced to numbers,” and on the other, “a multiplicity of exteriority, of simultaneity, of juxtaposition, of order, of quantitative differentiation... a numerical multiplicity, discontinuous and actual.”8 This opposition is generally understood as a clear-cut differentiation between the inner experience of time and the objective consistence of space. In Time and Free Will and Matter and Memory (1896), there are several passages that can be read accordingly, since duration is often described as a continuous, indivisible temporal experience, and space as that which “by definition, is outside us.”9Yet for Bergson space and time are mixed terms, and their internal complexity does not coincide with the semantic distinction between the two multiplicities. Deleuze has clearly formulated the central difficulty that a reductionist theory of space and time would imply, a problem of which Bergson is fully aware. Since the concept of duration has an ontological span, space must find a place within time and vice versa: “If things endure, or if there is duration in things, the question of space will need to be reassessed on new foundations. For space will no longer simply be a form of exteriority.... Space itself will need to be based in things... to have its own ‘purity’” [Deleuze, Bergsonism 49]. Hidden behind the motif of the “spatialization of time,” Bergson has devised a stratified theory of space, whose origins we can trace back to his philosophical apprenticeship [see Heidesick 29–42].Departing from Kant, Bergson introduces a boundary between the “perception of extension” and the “conception of space,” between qualitative space, which he calls “extensity” (étendue), and “abstract,” “homogeneous” space: “We must thus distinguish between the perception of extensity and the conception of space.... [S]pace is not so homogeneous for the animal as for us... determinations of space, or directions, do not assume for it a purely geometrical form” [Bergson, Time... (shrink)

This article relates the emergence of a group of faculty researchers utilizing complexity science approaches. The narrative emerges from three projects combining research into complexity, communities, and technologies. Details of how the research was initiated, and the nature and quality of the conversational method, are provided. In addition, theoretical concepts that were consciously applied and others that arose through insights from the data as it was collected are discussed. Although this is like most real narratives, a never-ending story, it concludes (...) with a presentation of some of the ideas that separate complexity-informed research from other paradigms. (shrink)

BetweenContent and and and Expression:AffectensitiesThe book hopes only to engender lines of flight. [P]repare to dance … responding and contributing to a rhythm that moves you-me-book with the...

Democracy and the problem of judgment -- Judging at the "end of reasons": rethinking the aesthetic turn -- Historicism, judgment, and the limits of liberalism: the case of Leo Strauss -- Objectivity, judgment, and freedom: rereading Arendt's "Truth and politics" -- Value pluralism and the "burdens of judgment": John Rawls's political liberalism -- Relativism and the new universalism: feminists claim the right to judge -- From willing to judging: Arendt, Habermas, and the question of '68 -- What on earth is (...) a "form of life"? Judging "alien" cultures according to Peter Winch -- The turn to affect and the problem of judgment: making political sense of the nonconceptual -- Conclusion: judging as a democratic world-building practice. (shrink)

The statistical interpretation introduced by Born in mid-1926 is not the interpretation now associated with his name. Born's own understanding of that interpretation is revealed by looking at some of its roots in Born's earlier work with Franck on collisions, his collaboration with Jordan on that topic, his contributions to matrix mechanics, his attempt in collaboration with Wiener at an operator formulation of quantum mechanics, and at the exposition of the interpretation in Born's first papers on a wave mechanical treatment (...) of collisions. (shrink)

Henderson and Horgan set out a broad new approach to epistemology. They defend the roles of the a priori and conceptual analysis, but with an essential empirical dimension. 'Transglobal reliability' is the key to epistemic justification. The question of which cognitive processes are reliable depends on contingent facts about human capacities.

Refutes the methodological separatists who hold that the logic of explanation and testing in the human sciences is fundamentally different than in the natural sciences, and develops complementary accounts for interpretation and explanation, ...

In this paper I set out the problem of feminist social science as the need to explain and justify its method of theory choice in relation to both its own theories and those of androcentric social science. In doing this, it needs to avoid both a positivism which denies the impact of values on scientific theory-choice and a radical relativism which undercuts the emancipatory potential of feminist research. From the relevant literature I offer two possible solutions: the Holistic and the (...) Constructivist models of theory-choice. I then rate these models according to what extent they solve the problem of feminist social science. I argue that the principal distinction between these models is in their contrasting conceptions of truth. Solving the problem of feminist social science will require understanding that what is at stake in the debate is our conception of truth. This understanding will serve to clarify, though not resolve, the various approaches to and disagreements over methodologies and explanations in feminist social science. (shrink)

The author argues that the fourth-century philosophers used protreptic discourses to market philosophical practices and to define and legitimize the school of higher learning.

This paper introduces the model of Utilitarian Principlism as a framework for crisis healthcare ethics. In modern Western medicine, during non-crisis times, principlism provides the four guiding principles in biomedical ethics—autonomy, nonmaleficence, beneficence, and justice; autonomy typically emerges as the decisive principle. The physician–patient relationship is a deontological construct in which the physician’s primary duty is to the individual patient and the individual patient is paramount. For this reason, we term the non-crisis ethical framework that guides modern medicine Deontological Principlism. (...) During times of crisis, resources become scarce, standards of care become dynamic, and public health ethics move to the forefront. Healthcare providers are forced to work in non-ideal conditions, and interactions with individual patients must be considered in the context of the crisis. The COVID-19 pandemic has forced healthcare to shift to a more utilitarian framework with a greater focus on promoting the health of communities and populations. This paper puts forth the notion of Utilitarian Principlism as a framework for crisis healthcare ethics. We discuss each of the four principles from a utilitarian perspective and use clinical vignettes, based on real cases from the COVID-19 pandemic, for illustrative purposes. We explore how Deontological Principlism and Utilitarian Principlism are two ends of a spectrum, and the implications to healthcare as we emerge from the pandemic. (shrink)

How we experience space by listening: the concepts of aural architecture, with examples ranging from Gothic cathedrals to surround sound home theater. We experience spaces not only by seeing but also by listening. We can navigate a room in the dark, and "hear" the emptiness of a house without furniture. Our experience of music in a concert hall depends on whether we sit in the front row or under the balcony. The unique acoustics of religious spaces acquire symbolic meaning. Social (...) relationships are strongly influenced by the way that space changes sound. In Spaces Speak, Are You Listening?, Barry Blesser and Linda-Ruth Salter examine auditory spatial awareness: experiencing space by attentive listening. Every environment has an aural architecture.The audible attributes of physical space have always contributed to the fabric of human culture, as demonstrated by prehistoric multimedia cave paintings, classical Greek open-air theaters, Gothic cathedrals, acoustic geography of French villages, modern music reproduction, and virtual spaces in home theaters. Auditory spatial awareness is a prism that reveals a culture's attitudes toward hearing and space. Some listeners can learn to "see" objects with their ears, but even without training, we can all hear spatial geometry such as an open door or low ceiling. Integrating contributions from a wide range of disciplines—including architecture, music, acoustics, evolution, anthropology, cognitive psychology, audio engineering, and many others—Spaces Speak, Are You Listening? establishes the concepts and language of aural architecture. These concepts provide an interdisciplinary guide for anyone interested in gaining a better understanding of how space enhances our well-being. Aural architecture is not the exclusive domain of specialists. Accidentally or intentionally, we all function as aural architects. (shrink)

Over the past twenty years, traditional commitments of policy analysis to empirical inquiry and expert knowledge have shaped the policy "solution" for addressing a public perception of ethical decline. Separation of facts and values, basic assumptions regarding the limits and fallibility of human reason, and confidence in the use of objective techniques to achieve social control have all contributed to a regulatory approach to ethics policy within our organizations. Few have questioned these assumptions. This dissertation argues that policy addressing the (...) ethical conduct of individuals cannot avoid a discussion of values, cannot reject the importance of human reason in resolving ambiguous ethical dilemmas, and cannot legislate ethical behavior by tightening the legal and bureaucratic system of rules and regulations. ;By integrating the perspectives of moral philosophy and policy inquiry, this dissertation presents a theoretical critique of the influence traditional regulatory policy approaches to organizational ethics can have on individuals within these organizations. An examination of diverse goals associated with ethics policy reveals three perspectives common to public administration debates--ethics policy as a vehicle for demonstrating social responsibility, as a tool of social control , and as window dressing to appease the public and to avoid further regulation . Concluding that morally responsible ethics policy requires the use of an interdisciplinary policy approach, a judgment-focused model is recommended to enable and empower individuals to develop a moral self capable of addressing ambiguous ethical dilemmas as they arise. (shrink)

White identity is in ferment. White, European Americans living in the United States will soon share an unprecedented experience of slipping below 50% of the population. The impending demographic shifts are already felt in most urban centers and the effect is a national backlash of hyper-mobilized political, and sometimes violent, activism with a stated aim that is simultaneously vague and deadly clear: 'to take our country back.' Meanwhile the spectre of 'minority status' draws closer, and the material advantages of being (...) born white are eroding. This is the political and cultural reality tackled by Linda Martín Alcoff in The Future of Whiteness. She argues that whiteness is here to stay, at least for a while, but that half of whites have given up on ideas of white supremacy, and the shared public, material culture is more integrated than ever. More and more, whites are becoming aware of how they appear to non-whites, both at home and abroad, and this is having profound effects on white identity in North America. The young generation of whites today, as well as all those who follow, will have never known a country in which they could take white identity as the unchallenged default that dominates the political, economic and cultural leadership. Change is on the horizon, and the most important battleground is among white people themselves. The Future of Whiteness makes no predictions but astutely analyzes the present reaction and evaluates the current signs of turmoil. Beautifully written and cogently argued, the book looks set to spark debate in the field and to illuminate an important area of racial politics. (shrink)

In this study, we argue that contemporary nursing care has been overtaken by new public management strategies aimed at curtailing budgets in the public hospital sector in Australia. Drawing on qualitative interviews with 15 nurses from one public acute hospital with supporting documentary evidence, we demonstrate what happens to nursing work when management imposesroundingas a risk reduction strategy. In the case study outlined rounding was introduced across all wards in response to missed care, which in turn arose as a result (...) of work intensification produced by efficiency, productivity, effectiveness and accountability demands. Rounding is a commercially sponsored practice consistent with new public management. Our study illustrates the impact that new public management strategies such as rounding have on how nurses work, both in terms of work intensity and in who controls their labour. (shrink)

This paper is located within the critical management tradition of management education and development. The paper seeks to introduce the overlooked area of Actor Network Theory and Mol’s anti-foundationalist ontological politics and demonstrates their potential to developing alternative critical pedagogy and management practice. Following a discussion of problem-based learning, the paper goes on to introduce the emergent pedagogic practice termed contingent support. Through a series of vignettes drawn from fieldwork collected from a second year undergraduate decision-making module, the paper demonstrates (...) how the practice termed contingent support is informed by Actor Network Theory and ontological politics in particular. The paper goes on to reveal the significance of contingent support sensibilities of materiality, situatedness and performance and shows how they can give a new vigour to educators interested in developing more responsible management. Finally, the paper considers contingent support’s transformational potential and sets out an agenda for future research. (shrink)

Name der Zeitschrift: Das Mittelalter Jahrgang: 20 Heft: 1 Seiten: 139-159.

This chapter reflects on public apologies as means of moral repair by considering the various roles the public might play in these moral dramas. Audiences to public apologies include people who are related to the transgression in different ways. This chapter focuses on those parties in front of whom public apologies are intentionally performed but who are neither victims nor wrongdoers. Do such third parties add something of value to the apology? If so, how? How might they play their role (...) well? Under what circumstances might they forgive? How might things go poorly? This chapter argues that public apologies face a problem of “mission creep.”. (shrink)

This paper concerns the connection between perceived country risk and corporate social responsibility (CSR) strategies and the communication of CSR strategychoices to consumers. This study incorporates the idea of explicit (voluntary) and implicit (regulated) CSR and presents possible CSR strategies that managers might choose based on risk. Using a convenience sample, this study finds that as managers perceive greater country risk, managers choose predominately compliance based CSR strategies. The purpose of this study is to understand strategies that managers choose based (...) on perceived country risk and to recommend future research for CSR strategy implementation. (shrink)

This study examines the psychological contract between academics and their institutions during a time of great stress—the COVID-19 pandemic. Given that relationships between these parties have been found to be deteriorating prior to the pandemic, we believed it pertinent to explore how environmental changes brought about through lockdown conditions may have shifted the academic-institution relationship. Through a qualitative research design, our data is from 2029 women academics across 26 institutions of higher learning in South Africa. The major shifts in the (...) psychological contract were found to be workload and pressure, provision of resources, top-down communication, as well as trust and support. Whilst these shifts altered the transactional and interactional nature of the psychological contract, violation, rather than breach, occurred since the emotional responses of participants point to incongruence or misalignment of expectations between academics and their institutions during this time of crisis. We offer recommendations for rebuilding trust and negotiating the psychological contract to re-engage academics in the institution. (shrink)