continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

Some evolutionary psychologists (EP) are strong nativists about Theory of Mind (TOM). They argue that the development of specialised cognitive competence required for TOM requires genetic specification of the developmental trajectory of a specialised cognitive system. EP arrives at this conclusion via conceptual arguments concerning the inadequacy of blank slate neuroconstructivism (strong neuroconstructivism) and empirical evidence from developmental and neuropsychology. I argue that the correct understanding of the conceptual argument applied to the case of TOM supports a moderate form (...) of neuroconstructivism which does not itself require genetic prespecification. In this respect there is no useful analogy with arguments which support stron nativism about linguistic competence. Understanding this debate has consequences for our understanding of modularity, autism, developmental disorders and nativism about high level cognition. (shrink)

In this article I take an unusual starting point from which to argue for a unified cognitive science, namely a position defined by what is sometimes called the ‘life-mind continuity thesis’. Accordingly, rather than taking a widely accepted starting point for granted and using it in order to propose answers to some well defined questions, I must first establish that the idea of life-mind continuity can amount to a proper starting point at all. To begin with, I therefore assess the (...) conceptual tools which are available to construct a theory of mind on this basis. By drawing on insights from a variety of disciplines, especially from a combination of existential phenomenology and organism-centered biology, I argue that mind can indeed be conceived as rooted in life, but only if we accept at the same time that social interaction plays a constitutive role for our cognitive capacities. (shrink)

The American Journal of Bioethics, Volume 11, Issue 8, Page W1-W3, August 2011.

Elaborates some of the background assumptions made by the chapters that follow and situates the theory that the author espouses within a wider context and range of alternatives. More specifically, it distinguishes between creature consciousness and state consciousness, and between access consciousness and phenomenal consciousness. And it defends representationalist accounts of consciousness against brute physicalist accounts. The chapter also introduces the remaining 11 chapters.

In this book, a distinguished international group of legal theorists re-examine legal positivism as a prescriptive political theory and consider its implications for the constitutionally defined roles of legislatures and courts. The issues are illustrated with recent developments in Australian constitutional law.

This is the editors' preface to a special issue of Philosophia on 'Religion and Limits of Liberalism'. It begins by noting the challenges which the 'return' of religions to liberal democracies poses to the liberal commitment to respect citizens’ freedom and equality. Then, with particular reference to Rawls' theory of liberal politics, it situates the papers in relation to three different senses of liberal ‘respect’ that are challenged by contemporary religions – one understood in terms of the justification of political (...) power, another as tolerance of diversity, and the third in terms of freedom from interference. (shrink)

Over fifteen years after first reporting to the State of New York, the Harvard Medical Practice Study continues to have a significant impact in medical malpractice policy debates. In those debates the HMPS has come to stand for four main propositions. First, “medical injury… accounts for more deaths than all other kinds of accidents combined” and “more than a quarter of those were caused by substandard care.” Second, the vast majority of people who are injured as result of substandard care (...) do not file a claim. Third, “a substantial majority of malpractice claims filed are not based on provider carelessness or even iatrogenic injury.” Fourth, “whether negligence or a medical injury had occurred… bore little relation to the outcome of the claims.”Medical malpractice researchers have long known that the HMPS provides far stronger support for the first two of these propositions than for the last two; the HMPS was not designed or powered to reach strong conclusions about the validity of medical malpractice claims. (shrink)

“Moral Character: An Empirical Theory” and “Character and Moral Psychology” represent part of the research output of the Templeton-funded Character Project, which was headed by Christian Miller. In ‘Moral Character’, Miller develops his “mixed trait” account of character. The first two parts consist in conceptual background and the empirical grounding for his account . In part three Miller develops and describes his account, before showing the extent of its application in part four . In ‘Character and Moral Psychology”, he gives (...) the reader more details about the metaphysics of his view , places it in relation to other accounts of character and personality , shows the normative and meta-ethical implications of his account , and opens a discussion of what could follow from his account in terms of improving character .The first thing to note about these books is the impressive rang .. (shrink)

Selections (with introductions) intended to introduce college students at all levels of sophistication to philosophical problems which grow naturally out of everyday concerns. Emphasis is on moral and social philosophy with which the student is presumed to be familiar: killing and rescuing, racial and sexual equality, liberty and its limitation, love and sexual behavior. No index. Annotation copyrighted by Book News, Inc., Portland, OR.

In this essay, I describe Bob Veatch’s career from the perspective of a colleague and friend. Bob and I started our professional careers at the same time and quickly came into professional contact. With Bob’s move from the Hastings Center to the Kennedy Institute, we became colleagues and worked for almost a decade on our book on death and dying. He was an outstanding co-editor and author. I believe he knew more about the philosophically connected issues in this area of (...) bioethics than anyone publishing in the area, and it was an area of intellectual interest that he pursued throughout his career. Beyond bioethics, Bob and I shared our shared love of contemporary bluegrass music, especially the songs of The Seldom Scene. Bob studied them much as he studied bioethics—with deep knowledge and seriousness. He was just a scholar by nature and with excellent training and experience. If we were to create a Hall of Fame for bioethics, Bob might be the first person elected. (shrink)

In this commentary, we assess the propositional approach to associative learning not only in terms of veridicality and falsifiability, but also in heuristic value. We remark that it has furthered our knowledge and understanding of human, as well as animal, associative learning. At the same time, we maintain that models developed from the association formation tradition continue to bear great heuristic value as well.

Quid est veritas? -- What is science? how we understand the physical world -- What a piece of work is man: the rise of the social sciences -- Educational science and pseudo science -- Multiple intelligences: if everyone's smart, no one is -- My NLP and brain gym hell -- Group work: failing better, together -- I'm with stupid: emotional intelligence -- Buck Rogers and the 21st century curriculum -- Techno, techno, techno, techno: digital natives in flipped classrooms -- The (...) holy trinity of the three-part lesson -- There are no such things as learning styles -- Game over: the gamification of education -- Learning to learn to learn to learn -- The hard smell: smell/ dance/ box/sing yourself smarter/ happier/ healthier -- Thinking hats on! -- School uniform armageddon -- What everyone in education should do next. (shrink)

This paper defends the use of quasi-experiments for causal estimation in economics against the widespread objection that quasi-experimental estimates lack external validity. The defence is that quasi-experimental replication of estimates can yield defeasible evidence for external validity. The paper then develops a different objection. The stable unit treatment value assumption, on which quasi-experiments rely, is argued to be implausible due to the influence of social interaction effects on economic outcomes. A more plausible stable marginal unit treatment value assumption is proposed, (...) but it is demonstrated to severely limit the usefulness of quasi-experiments for economic policy evaluation. (shrink)

The idea to utilise cognitive neuroscientific research for educational purposes is known as Mind-Brain Education or Educational Neuroscience. Despite some calls for an uncritical endorsement of such an agenda, a growing number of educational scholars argue that it must remain impossible to translate neurological descriptions into mental or educationally relevant descriptions. This paper takes these well-established arguments further by not only focusing upon these different levels of description but going beyond this issue to assess the theoretical foundations of cognitive science (...) as a functional theory of the mind. With relevance to education it is argued that because of its functional character a cognitive-psychological approach to education suffers from an inherent blind spot regarding the actor’s feelings and motivations. The paper concludes with the claim that, because of this experiential poverty, any cognitive neuroscientific approach must face severe limitations when utilised for educational purposes. (shrink)

Plato Tom Angier -- Aristotle Timothy Chappell -- Stoics Jacob Klein -- Aquinas Vivian Boland O.P -- Hume Peter Millican -- Kant Ralph Walker -- Hegel Kenneth Westphal -- Marx Sean Sayers -- Mill Krister Bykvist -- Nietzsche Ken Gemes and Christoph Schuringa -- Macintyre David Solomon.

Philosophy, which does not begin again, always unfolds against the background of the ongoing philosophical tradition, which it needs to interpret. I argue that Heidegger’s theories, like all philosophical theories, can neither be reduced to, nor separated from, the historical context. In that sense they are like all other philosophical views, perhaps in theory ahistorical but in practice historical, hence always bound up with and inseparable from their historical moment. If, as I believe, Heidegger’s theories led him in part toward (...) National Socialism, there is no alternative, if philosophy is to survive in a meaningful sense, to rejecting those aspects of his position, which must now be considered as simply and wholly dead, in favor of other aspects of Heidegger’s thinking that, if they are still living, can possibly be saved. (shrink)