Because he introduces a nonplastic element in his definition of the plasticity of mental life—that is, elasticity—Freud ruins the possibility of thinking what he precisely wishes to think, the plastic coincidence between creation and destruction of form. The characterization of the death drive as “elastic” deprives it of its plastic power and of its capacity to resist the pleasure principle. If we are not able to prove that the destruction of form has and is a form, if form (...) is always on the side of Eros and of pleasure, it becomes impossible to prove that there is anything beyond the pleasure principle. (shrink)

Hyperplasia and hypertrophy are elements of phenotypic plasticity adjusting organ size and function. Because they are costly, we assume that they are beneficial. In this review, the authors discuss examples of tissue and organ systems that respond with plastic changes to osmotic stress to raise awareness that we do not always have sufficient experimental evidence to conclude that such processes provide fitness advantages. Changes in hydranth architecture in the hydroid Cordylophora caspia or variations in size in the anal papillae (...) of insect larvae upon changes in medium salinity may be adaptive or not. The restructuring of salt glands in ducklings upon salt‐loading is an example of phenotypic plasticity which indeed seems beneficial. As the genomes of model species are recently sequenced and the animals are easy to rear, these species are suitable study objects to investigate the biological significance of phenotypic plasticity and to study potential epigenetic and other mechanisms underlying phenotypic changes. (shrink)

Plasticity is a central concept in the philosophy of Catherine Malabou and the theory of animation. And yet, the temporal dimension of transformation and mutability that Malabou foregrounds in her philosophy is missing from recent theoretical accounts of plasticity in animation studies​. ​In these accounts, plasticity appears as a mode of spatial extension, conveying the elasticity of form across a Cartesian timeline, whereas Malabou aims to understand time’s own metamorphosis and self-differentiation. This article invokes Malabou’s theorization (...) of plasticity as the becoming of time itself rather than the becoming of things in time to rethink the perception of life-like movement in animation. Reviewing the techniques of animation that Frank Thomas and Ollie Johnston describes in The Illusion of Life as “drawing in the fourth dimension”, I argue that Malabou’s characterization of plasticity as the capacity “to see (what is) coming” (voir venir) gets to the heart of animation as an art of subjective anticipation. Utilizing the human perceptual system’s tendency to invent new structures and relationships in response to changing inputs from the environment, animation prepares us to anticipate the unforeseeable and to perceive an order of movement typically concealed by the movement of objects in space. (shrink)

Theories are processes modelled by thought. When they evolve in time, they are transformed and become new theories. They may cross from one academic discipline to another, then open up to new areas of human knowledge, mixing together the humanities, art, science and even spirituality. The way they are modelled reveals their plasticity and their elasticity is tested in their potential for transfer from one field to another, while the different contacts they make and mergers they undergo generate (...) a certain hybridity. Plasticity, elasticity and hybridity are the triad which makes the transfer of theories possible. (shrink)

Theories are processes modelled by thought. When they evolve in time, they are transformed and become new theories. They may cross from one academic discipline to another, then open up to new areas of human knowledge, mixing together the humanities, art, science and even spirituality. The way they are modelled reveals their plasticity and their elasticity is tested in their potential for transfer from one domain to another, while the different contacts they make and mergers they undergo generate (...) a certain hybridity. Plasticity, elasticity and hybridity are the triad which make the transfer of theories possible. (shrink)

The Ascent of Man develops a comprehensive theory of human nature. James F. Harris sees human nature as an emergent property that supervenes a cluster of properties. Despite significant overlap between individuals that have human nature and those that are biologically human, the concept of human nature developed in this book is different. Whether biologically human or not, an individual may be said to possess human nature. This theory of human nature is called the"cluster theory." Harris takes as his point (...) of departurePlato's comment that in learning what a thing is we should look to the ways in which it acts upon or is acted upon by other things. He commits to a methodological naturalism and draws upon current views from the social and biological sciences. The cluster theory he develops represents one of the very few completely novel theories of human nature developed in the post-Darwin era. It will prove most useful in dealing with philosophical questions involving such contemporary issues as cloning, cybernetics, and the possibility of extraterrestrial life. The fundamental conceptual issue is how plastic and elastic is the nature of human nature. Just how different might we imagine human beings to be and still be human in the sense that they still possess whatever it is that accounts for a unique nature? The theory of human nature developed in this book is a descriptive, dynamic, bottom-up, non-essentialist, naturalist theory. Harris is well versed in classical philosophy and contemporary behavioral science. He writes in a graceful, open-ended way that both educates and illuminates renewed interest in what it means to be human. (shrink)

Prior research flags the inherent incompatibilities between for-profit and nonprofit partners and cautions that clashing value creation logics and conflicting identities can stall social innovation in cross sector partnerships. Process narratives of successful versus unsuccessful cross sector partnerships paint a more optimistic picture, whereby the frequency, intensity, breadth, and depth of interactions may afford frame alignment despite partners' divergent value creation approaches. However, little is known about how cross sector partners come to recognize and reconcile their divergent value creation frames (...) in order to co-construct social value. Using longitudinal narratives of four dyads, we show that partners initially contrast their sector-embedded diagnostic frames and then work together to deliberately develop partnership-specific prognostic frames. We extend the literature on framing by developing a four-stage grounded model of frame negotiation, elasticity, plasticity, and fusion which unpacks the relational process of value creation in cross sector partnerships. Our qualitative analyses further show how partners orchestrate multilevel coordination that helps scaffold and calibrate this relational process of frame fusion. (shrink)

Undoubtedly the Penrose-Hameroff Orch OR model may be considered as a good theory for describing information processing mechanisms and holistic phenomena in the human brain, but it doesn’t give us satisfactory explanation of human perception. In this work a new approach explaining our perception is introduced, which is in good agreement with Orch OR model and other mainstream science theories such as string theory, loop quantum gravity and holographic principle. It is shown that human perception cannot be explained in the (...) terms of elementary particles and we should introduce new indivisible holistic objects with geometry based on smooth infinitesimal analysis - elastic membranes. The example of such a membrane is our Universe which is an indivisible whole. It is shown that our perception may be considered as the result of elastic oscillations of two dimensional (2D) elastic membranes with closed topology embedded in our bodies. Only one elastic membrane responsible for its perceptions will correspond to the selected organism, but there may be other membranes, even at the cell level. In other words, reality may be considered as the process of time evolution of holistic energetically very weak macro objects - elastic membranes with the geometry based on smooth infinitesimal analysis. An embedded membrane in this multidimensional world will look different for the external and internal observers: from the outside it will look like a material object with smooth infinitesimal geometry, while from the inside our Universe-like space-time fabric. When interacting with elementary particles and other membranes, a membrane will transform their energy into its elastic energy (a new form of energy) - the energy of stretching of the infinitesimal segments. The theory postulates that these elastic deformations will not be observable from the point of view of the internal observer. Heisenberg’s uncertainty principle will work in this physics only from the point of view of the internal observer. For the external observer each embedded elastic membrane may be stretched and even a very small region will become observable. For example, living organisms play the role of internal observers of the Universe, and at the same time they serve as external observers for 2D membranes embedded into our Universe. We can observe our 2D self-membranes through our perceptions, which are encoded in elastic oscillations of the elastic membrane. According to the theory, elastic membranes occupy energetically favorable positions around microtubules involved into Orch OR. The theory not only gives us a really multidimensional holistic picture of reality, but it also provides us with a new method for understanding such phenomena as perception, self-awareness and will. (shrink)

The article’s aim is to present plastic semiotics, one of the most recent branches of the Greimassian School. In his Structural Semantics: An Attempt at a Method (1966) Algirdas Julius Greimas stated that sensorial perception was the dimension in which the grasping of meaning takes place, but explicit principles of the analysis of this nonlinguistic dimension were published only years later, in his article “Figurative semiotics and plastic semiotics” (1984). Since then, plastic semiotics has been leading independent existence, focused on (...) the eff ects of sense generated by the form and the substance of expression. Plastic analysis has turned out to be a fruitful approach not only in the field of visual studies, but also in the research into other sensorial expressions.Статья знакомит с одной из наиболее молодых ветвей греймасовской семиотики – пластической. В книге Греймаса ≪Структурная семантика: поиск метода≫ (1966) чувственное восприятие было определено как измерение, в котором осуществляется схватывание смысла/значения. Основы анализа этого неязыкового измерения были изложены им позднее в статье ≪Фигуративная семиотика и пластическая семиотика≫ (1984). С тех пор пластическая семиотика превратилась в самостоятельную дисциплину, которая фокусируется на сенсорных эффектах смысла, произведенных формой и сущностью выражения. Пластический анализ оказался плодотворным подходом не только в области визуальных исследований, но и в исследованиях других сенсорных выражений.Artikli eesmargiks on tutvustada plastilist semiootikat, uht Greimase koolkonna uuemat haru. Greimase teoses “Strukturaalne semantika: meetodi otsingul” (1966) nimetati meeletaju selleks mootmeks, milles leiab aset tahenduse tabamine. Selle mittekeelelise mootme analuusi sonaselged pohimotted ilmusid aga aastaid hiljem Greimase artiklis “Figuratiivne semiootika ja plastiline semiootika”. Sestsaadik on plastiline semiootika muutunud iseseisvaks distsipliiniks, keskendudes meelelistele tagajargedele, mida tekitavad valjenduse vorm ja sisu. Plastiline analuus on osutunud viljakandvaks lahenemiseks mitte uksnes visuaaluuringute vallas, vaid ka teiste meeleliste valjenduste uurimisel. (shrink)

Probably colour is the best worked-out example of allegedly neurophysiologically innate response categories determining percepts and percepts determining concepts, and hence biology fixing the basic categories implicit in the use of language. In this paper I argue against this view and I take C. L. Hardin's Color for Philosophers [1988] as my main target. I start by undermining the view that four unique hues stand apart from all other colour shades (Section 2) and the confidence that the solar spectrum is (...) naturally divided into four categories (Section 3). For such categories to be truly universal, they have to be true for all peoples and in Section 4 I show that Berlin and Kay's [1969] widely quoted theory of basic colour categories is not sufficiently supported to lend it any credibility.Having disposed of the view that inspection of language or ‘pure’ perception unveils the universal colour categories. I turn to neurophysiological and psychophysical theories of colour vision to see whether they provide a more solid basis for deciding what the innate response categories are. In Section 5 I show that Hardin's account of the opponent-process theory neither supports his view that ‘colour-coding’takes place early in the visual neural pathway, nor his view that knowledge of colour vision science will help us solve many philosophical mysteries about colour.In Section 6 I give a more detailed review of what is known today about the neurophysiology of colour vision and I show that there's nothing in the brain which could be called a colour module, let alone a module with homunculi for particular basic colour categories. In Section 7 I show that psychophysical models do not support such rigid constraints on category formation either. Hence (Section 8), at least in the case of colour, current science supports a plasticity in the formation of categories that goes far beyond the requirements of those naturalistic philosophers who would like to ground primitive concepts in biology. (shrink)

Titin, the largest protein identified to date (over 1 μm long, almost 3 million daltons in mass) is the third most abundant component of the sarcomere. In the mature myofibril, titin molecules span from M line to Z line, forming a third filament system which provides sarcomeric alignment and elastic recoil. In the developing sarcomere, accumulating evidence from studies both in vivo and in vitro implicates titin as part of a morphogenetic scaffolding, upon which critical events in myofibrillogenesis are coordinated (...) in a time‐ and spacedependent manner. (shrink)

Ghosh introduces the term 'plastic turn' and gives a new direction for how we can interpret and experience the turn today. By what he calls the material-aesthetic, he opens up a fresh direction in our experience and understanding of plastic through the correspondence that plastic as a material brings with the aesthetic that it inspires and figures"-.

The paper describes the context and the origin of a particular debate that concerns the evolution of phenotypic plasticity. In 1965, British biologist A. D. Bradshaw proposed a widely cited model intended to explain the evolution of norms of reaction, based on his studies of plant populations. Bradshaw’s model went beyond the notion of the “adaptive norm of reaction” discussed before him by Dobzhansky and Schmalhausen by suggesting that “plasticity” the ability of a phenotype to be modified by (...) the environment should be genetically determined. To prove Bradshaw’s hypothesis, it became necessary for some authors to identify the pressures exerted by natural selection on phenotypic plasticity in particular traits, and thus to model its evolution. In this paper, I contrast two different views, based on quantitative genetic models, proposed in the mid-1980s: Russell Lande and Sara Via’s conception of phenotypic plasticity, which assumes that the evolution of plasticity is linked to the evolution of the plastic trait itself, and Samuel Scheiner and Richard Lyman’s view, which assumes that the evolution of plasticity is independent from the evolution of the trait. I show how the origin of this specific debate, and different assumptions about the evolution of phenotypic plasticity, depended on Bradshaw’s definition of plasticity and the context of quantitative genetics. (shrink)

After defining plasticity in terms of its active embodiments, Malabou applies the notion to the work of Hegel, Heidegger, Levinas, Levi-Strauss, Freud, and ...

ABSTRACT Education appears to bear responsibility on the one hand to do justice to society’s need for reproduction and continuation, and on the other to do justice to the individual’s capacity for and need to express resistance, critique and political action. How we navigate this problem is tied to how we understand justice. ‘Plastic justice’ is the suggestion that questions concerning justice and education might find a materialist expression instead of the usual transcendental ideals of justice. In this perspective, ‘justice’ (...) appears not as an achievable ideal but as a philosophical void that allows us to identify and react to injustice. An example of this is the void that allows for social selection – in the form of admissions or exams – that must be kept open if we wish to avoid encouraging social conformism and reproduction. (shrink)

Philosophy & Social Criticism, Volume 48, Issue 8, Page 1140-1173, October 2022. This article explores the complexities of Marcuse’s philosophical anthropology in light of Foucault’s criticisms of Marcuse and the Frankfurt School. While Marcuse’s theory of human nature is grounded upon a dialectical conception of essential human potentialities striving for realization, it secretes a radically plastic conception of life that undermines all anthropological essentialism. This fundamental tension between essentialist and plastic conceptions of human nature has significant implications for rethinking Marcuse’s (...) project and legacy. (shrink)

Despite its uniform appearance, the cerebellar cortex is highly heterogeneous in terms of structure, genetics and physiology. Purkinje cells (PCs), the principal and sole output neurons of the cerebellar cortex, can be categorized into multiple populations that differentially express molecular markers and display distinctive physiological features. Such features include action potential rate, but also their propensity for synaptic and intrinsic plasticity. However, the precise molecular and genetic factors that correlate with the differential physiological properties of PCs remain elusive. In (...) this article, we provide a detailed overview of the cellular mechanisms that regulate PC activity and plasticity. We further perform a pathway analysis to highlight how molecular characteristics of specific PC populations may influence their physiology and plasticity mechanisms. (shrink)

The basic problem of perceptual change is how to account for both variation and constancy in perceiving the world. Is order learned? How deep does plasticity go in that respect? I argue that different kinds of perceptual plasticity have been confused in recent debates, notably between J. Fodor and P. M. Churchland. By focusing on changes in the use of concepts, the issues in the Fodor-Churchland debate can be resolved. Beyond that debate, I propose a generalized encoding approach (...) to perception as a way of accounting for a significant form of perceptual change. (shrink)

A career-spanning collection of published and unpublished writings from one of today's leading French philosophers 25 essays showcase Malabou's rounded philosophical project: 17 previously published and 8 brand newDemonstrates the interdisciplinary range and expansive applicative scope of her concept of plasticity Presents a full portrait of Malabou's philosophy which shows her project as a coherent conceptual problem rather than a collection of disparate topics and themesIncludes a critical introduction by Malabou expert Ian JamesCatherine Malabou is one of the foremost, (...) most innovative intelligences working in contemporary French philosophy today. Her work articulates a coherent conceptualisation of 'plasticity' by merging recent neurobiology and medicinal sciences with the history of philosophy and political theory.Across the essays gathered in Plasticity: The Promise of Explosion, Malabou carves a philosophical space between structuralism, deconstruction, cognitive psychology, psychoanalysis and speculative realism. By demonstrating the plastic transformability at the heart of these disciplines, a change that always promises future explosion, Malabou, as a female philosopher, also articulates the need to 'change difference' within patriarchal concepts of tradition itself.The collection is divided into four thematic parts, each of which showcases a major aspect of Malabou's conceptualisation of plasticity. In his introduction, Ian James situates Malabou's work within contemporary philosophy and navigates the contours of her unique work.--Back cover. (shrink)

Short-term motor practice leads to plasticity in the primary motor cortex. The purpose of this study is to investigate the factors that determine the increase in corticospinal tract excitability after motor practice, with special focus on two factors; “the level of muscle activity” and “the presence/absence of a goal of keeping the activity level constant.” Fifteen healthy subjects performed four types of rapid thumb adduction in separate sessions. In the “comfortable task” and “forceful task”, the subjects adducted their thumb (...) using comfortable and strong forces. In the “comfortable with a goal task” and “forceful with a goal task”, subjects controlled the muscle activity at the same level as in the C and F, respectively, by adjusting the peak electromyographic amplitude within the target ranges. Paired associative stimulation, which combines peripheral nerve stimulation and transcranial magnetic stimulation, with an inter-stimulus interval of 25 ms was also done. Before and after the motor tasks and PAS25, TMS was applied to the M1. None of the four tasks showed any temporary changes in behavior, meaning no learning occurred. Motor-evoked potential amplitude increased only after the FG and it exhibited a positive correlation with the MEP increase after PAS25, suggesting that FG and PAS25 share at least similar plasticity mechanisms in the M1. Resting motor threshold decreased only after FG, suggesting that FG would also be associated with the membrane depolarization of M1 neurons. These results suggest task-dependent plasticity from the synergistic effect of forceful muscle activity and of setting a goal of keeping the activity level constant. (shrink)

The study of phenotypic plasticity has progressed significantly over the past few decades. We have moved from variation for plasticity being considered as a nuisance in evolutionary studies to it being the primary target of investigations that use an array of methods, including quantitative and molecular genetics, as well as of several approaches that model the evolution of plastic responses. Here, I consider some of the major aspects of research on phenotypic plasticity, assessing where progress has been (...) made and where additional effort is required. I suggest that some areas of research, such the study of the quantitative genetic underpinning of plasticity, have been either settled in broad outline or superseded by new approaches and questions. Other issues, such as the costs of plasticity are currently at the forefront of research in this field, and are likely to be areas of major future development. (shrink)

Drawing on Catherine Malabou’s notion of plasticity, this article argues for a conception of resilience as plastic. Resilience has proven an important concept in health care, describing how we manage life-changing illnesses. Yet, resilience is not without its critics, who suggest it neglects a political, social, or personal dimension in illness. In this article, I propose that a concept of plastic resilience can address these criticisms. On this account, success should not be based on a return to function, but (...) rather on how actively we are involved in the formation of a new self after illness. I address some approaches that can benefit from “plastic resilience,” namely, art therapy, expert companionship, and shared decision-making. In each case, I underline how we should help patients thematize and engage with their new selves, while also being constantly vigilant for how these changes might impact our current assumptions around their preferences for treatment. (shrink)

The “puzzle” of emotional plasticity concerns making sense of two conflicting bodies of evidence: evidence that emotions often appear modular in key respects, and evidence that our emotions also often appear to transcend this modularity. In this paper, I argue a developmentalist approach to emotion, which builds on Karmiloff-Smith’s (1986, 1992, 1994, 2015) work on cognitive development, can help us dissolve this puzzle.

A response to Via about the existence (or not) and role of plasticity genes in evolution.

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Del Giudice's model belongs among those that highlight the role of adaptive developmental plasticity in human reproductive strategies; but at least three other forms of evolutionary adaptation also influence reproductive behavior. Similar to earlier models, the existing evidence suggests that Del Giudice's hypothesized effects are rather weak. In particular, adult attachment styles are hardly predictive of outcomes visible to natural selection.

Several lines of evidence have underscored the remarkable neuroplasticity of the primate sensorimotor cortex, characterizing these cortical areas as dynamic constructs that are modelled in a use-dependent manner by behaviourally significant experiences. Their plasticity likely provides a neural substrate that may contribute to the dynamic systems paradigm argued by Shanker & King (S&K) as crucial for development of communication skills.

Sensation is a concept with a conflicted philosophical history. It has found as many allies as enemies in nearly every camp from empiricism to poststructuralism. Polyvalent, with an uncertain referent, and often overshadowed by intuition, perception, or cognition, sensation invites as much metaphysical speculation as it does dismissive criticism. -/- The promise of sensation has certainly not been lost on the phenomenologists who have sought to ‘rehabilitate’ the concept. In Plastic Bodies, Tom Sparrow argues that the phenomenologists have not gone (...) far enough, however. Alongside close readings of Merleau-Ponty and Levinas, he digs into an array of ancient, modern, and contemporary texts in search of the resources needed to rebuild the concept of sensation after phenomenology. He begins to assemble a speculative aesthetics that is at once a realist theory of sensation and a philosophy of embodiment that breaks the form of the ‘lived’ body. Maintaining that the body is fundamentally plastic and that corporeal identity is constituted by a conspiracy of sensations, he pursues the question of how the body fits into/fails to fit into its aesthetic environment and what must be done to increase the body’s power to act and exist. (shrink)

Consciousness is known to be limited in processing capacity and often described in terms of a unique processing stream across a single dimension: time. In this paper, we discuss a purely temporal pattern code, functionally decoupled from spatial signals, for conscious state generation in the brain. Arguments in favour of such a code include Dehaene et al.’s long-distance reverberation postulate, Ramachandran’s remapping hypothesis, evidence for a temporal coherence index and coincidence detectors, and Grossberg’s Adaptive Resonance Theory. A time-bin resonance model (...) is developed, where temporal signatures of conscious states are generated on the basis of signal reverberation across large distances in highly plastic neural circuits. The temporal signatures are delivered by neural activity patterns which, beyond a certain statistical threshold, activate, maintain, and terminate a conscious brain state like a bar code would activate, maintain, or inactivate the electronic locks of a safe. Such temporal resonance would reflect a higher level of neural processing, one that is independent from sensorial or perceptual brain mechanisms. (shrink)

Some scientists and philosophers claimed that there is a converse to multiple realizability. While a given higher-level property can be realized by different lower-level properties (multiple realizability), a given lower-level property can in turn serve to realize different higher-level properties (this converse I dubbed the unfortunately obscure "constructival plasticity" to emphasize the constructive metaphysics involved in this converse to multiple realizability). I began by defining multiple realizabilty in a formal way. (Looking back, one point of interest is that I (...) defined modally weak and strong versions of realization, which is relevant to later views about contingent versus necessitarian grounding.) I then turned to the relation in question. By my analysis, for the converse claim to be true, a lower-level property G1 that realizes a higher-level F must be taken in conjunction with some other base condition G2 so that a difference in G2 allows G1 to determine some other higher-level property E but not F (otherwise there would be violations of supervenience). The realization law thus has the form: (G1 & G2) => F. As such, the base property G1 is insufficient by itself to produce F. It is an insufficient but necessary part of a sufficient condition. I also point out that this makes the realization base property an INUS condition, if combined with multiple realizability. Specifically, if F is multiply realized by properties other than the pair G1 and G2, then G1 is an insufficient but necessary part of an unnecessary but sufficient condition. This is just the first clear and explicit INUS condition view of realization in the literature. Looking back, this converse is also relevant to later views, such as Robert Wilson's view about metaphysically contextual realization. (shrink)

Purpose. The article is devoted to the analysis of corporality as an attribute of plastic art in the Ancient art, the Middle Ages, the Renaissance, the modernism and the postmodernism. Theoretical basis. The authors consider historical development of the art as a change of paradigms. Within each paradigm a special understanding of art is created, which is characterized both by the act of creativity itself and by the evaluation of its results. Particularly urgent is the task to identify the origins (...) of these changes, to indicate their stages, the direction of the evolution of artistic creativity. In this context, corporality as a paradigm of European plastic art is considered in the article in the concrete historical dimension from the classics to the postmodernism. Originality. Postmodern experiments stimulate blurring the borders between the traditional forms and genres of art. Review of canonical ideas about the creation and destruction, order and chaos in art illustrates conscious reorientation from the classical understanding of artistic creativity to the construction of artifacts-simulacra, which is a characteristic feature in the oeuvre of contemporary artists, ranging from the pop art to the present day. Conclusions. The ideas of postmodern philosophers found their visual embodiment in modern artistic practices. Reconstruction of the body, re-switching of its elements according to the principle of chaotic collage, the interpretation of the human body as a separate substance isolated from the individual him/herself, which is presented as a phenomenon of mass culture, became the basis of the creative method of contemporary plastic art. The ideas of postmodern philosophers have found their visual embodiment in the contemporary artistic practices. (shrink)