In this famous work by a pioneer in the movement to free art from the bonds of tradition—a work long considered essential to understanding the evolution of 20th-century art—Kandinsky explores the role of the line, point and other key elements of non-objective painting. 127 illustrations.

Moral licensing theory posits that individuals who initially behave morally may later display behaviors that are immoral, unethical, or otherwise problematic. While previous literature mainly focused on individual moral licensing, the influences from the social environment have barely been investigated. To address this issue, the present paper develops a conceptual framework of social moral licensing and outlines two main avenues for future research via six propositions. The first avenue entitled “the conspicuousness of moral licensing” considers moral licensing that comes into (...) play when people are observed by others. The second avenue entitled “the relativity of moral licensing” focusses on social comparisons between individuals, their ingroups and outgroups. Specific and testable social moral licensing effects are derived in both avenues. By doing so, this paper outlines promising directions for future studies in this new research stream. (shrink)

O dukhovnom v iskusstve -- Tekst khudozhnika. Stupeni -- Tochka i linii︠a︡ na ploskosti -- Statʹi.

Media reports that a company behaves in a socially nonresponsible manner frequently result in consumer participation in a boycott. As time goes by, however, the number of consumers participating in the boycott starts dwindling. Yet, little is known on why individual participation in a boycott declines and what type of consumer is more likely to stop boycotting earlier rather than later. Integrating research on drivers of individual boycott participation with multi-stage models and the hot/cool cognition system, suggests a “heat-up” phase (...) in which boycott participation is fueled by expressive drivers, and a “cool-down” phase in which instrumental drivers become more influential. Using a diverse set of real contexts, four empirical studies provide evidence supporting a set of hypotheses on promotors and inhibitors of boycott participation over time. Study 1 provides initial evidence for the influence of expressive and instrumental drivers in a food services context. Extending the context to video streaming services, e-tailing, and peer-to-peer ridesharing, Study 2, Study 3, and Study 4 show that the reasons consumers stop/continue boycotting vary systematically across four distinct groups. Taken together, the findings help activists sustain boycott momentum and assist firms in dealing more effectively with boycotts. (shrink)

This collection of writings provides the only comprehensive introduction to the input-output model for which Leontief was awarded the Nobel Prize in 1973. The structural approach to economics developed by Leontief, and known as input-output analysis, paved the way for the transformation of economics into a truly empirical discipline that could utilize modern data processing technology. This thoroughly revised second edition includes twenty essays--twelve of which are new to this edition--that reflect the past developments and the present state of the (...) field. Beginning with an introductory chapter, the book leads the reader into an understanding of the input-output approach--not only as formal theory but also as a research strategy and powerful tool for dealing with a complex modern economy. (shrink)

In areas of land conflict, fear and the threat of violence work to reproduce imaginaries of land as a resource that powerful people can grab. An urgent question for agrarian scholars and activists is how people can overcome fear so that alternative imaginaries might flourish. In this article, we argue for attention to the affective dimension of imaginaries; ideas of what land is and should be are co-constituted through the material and social, imbued with powerful emotions that enable imaginaries to (...) be reproduced, to be challenged, and even to be transformed. We draw from long-term research projects in Cambodia—a country known for plantation-fuelled dispossession—where the Prime Minister’s surprise announcement of a land titling campaign in 2012 ruptured the wave of land grabbing, creating openings to imagine different outcomes that are rooted in the potential for legal recognition of smallholder claims. Although the campaign was an uncertain rupture in land imaginaries, these moments matter. Land claimants sought to create affective ties with volunteer land surveyors that embedded hopeful land imaginaries in rural areas and into the national cadastral system. The land title in this context is the material bearer of a land imaginary that centres on rural people’s connection to the land, and also reinforces rural people’s connection to the Cambodian state and the potential to gain the state’s protection. We contribute to an emerging literature that locates the formative effects of hope as an orientation and as a method by exploring the possibilities inherent in rupture. (shrink)

This collection of writings provides the only comprehensive introduction to the input-output model for which Leontief was awarded the Nobel Prize in 1973. The structural approach to economics developed by Leontief, and known as input-output analysis, paved the way for the transformation of economics into a truly empirical discipline that could utilize modern data processing technology. This thoroughly revised second edition includes twenty essays--twelve of which are new to this edition--that reflect the past developments and the present state of the (...) field. Beginning with an introductory chapter, the book leads the reader into an understanding of the input-output approach--not only as formal theory but also as a research strategy and powerful tool for dealing with a complex modern economy. (shrink)

Abstract:Qu Yuan (c. 340–278 BC) is often called “the first Chinese poet,” because the primary work attributed to him, Li sao (“Sublimating Sorrow”), is the first in the tradition to evoke a distinctive persona engaged in self-reflection and personal narrative. To explain why this story of frustrated political ambition became arguably the first instance of Chinese autobiography or life writing, this paper uses the notion of “biological handicap,” proposed by Amotz Zahavi. As a peacock’s cumbersome tail feathers reduce its individual (...) chances of survival but communicate valuable information to potential mates, the Li Sao’s poetic persona uses images its audience understood as external marks of invisible, spiritual potency, like long eyebrows and fragrant adornments, to evoke unfulfilled political potential, resulting in an early model of literary interiority. (shrink)

I argue that Taylor’s engagement with secularity demonstrates his deep concern for preserving key humanist insights, an abiding commitment to moral pluralism, and the sincerity of his religious faith. Taylor insists on transcendence as the best hope for securing the continued commitment to the moral legacy of humanism in the west, but while he personally advocates a renewed Christian humanism, his notion of transcendence is amenable to other interpretations, including non-religious options, and so allows for a potential overlapping consensus on (...) humanism from what Taylor calls the “transformation perspective.”. (shrink)

Many consumers implicitly associate sustainability with lower product strength. This so-called ethical = less strong intuition (ELSI) poses a major threat for the success of sustainable products. This article explores this pervasive lay theory and examines whether it is a key barrier for sustainable consumption patterns. Even more importantly, little is known about the underlying mechanisms that might operate differently at the implicit and explicit levels of the consumer’s decision-making. To fill this gap, three studies examine how the implicit judgments (...) that consumers activate automatically shape their consumption behaviors, in concert with their more controlled explicit beliefs about sustainable products. The Main Study investigates the ELSI’s imprint on actual shopping patterns and disentangles the implicit and explicit mechanisms of the lay theory. This paper also asks how this negative influence can be attenuated by examining whether the consumer’s interest in sustainable consumption reduces reliance on the ELSI. Two follow-up studies confirm the robustness from different methodological and practical perspectives. Implications for companies and policy makers are derived. (shrink)

First published in 1999. Routledge is an imprint of Taylor & Francis, an informa company.

Rebound effects on the consumer level occur when consumers’ realized greenhouse gas emission savings caused by behaviors that might be beneficial to the environment are lower than their potential greenhouse gas emission savings because the savings are offset by behavioral adjustments. While previous literature mainly studied the economic mechanisms of such rebound effects, research has largely neglected the moral-psychological mechanisms. A comprehensive conceptualization of rebound effects on the consumer level can help fill this void and stimulate more empirical research in (...) this relevant area. To this end, the paper introduces three focal dimensions of rebound effects on the consumer level: mechanism of rebound effects, product category, and consumption context. Based on this conceptualization, and integrating assumptions from the theory of moral licensing, the theory of categorization, and the construal level theory, this paper further refines the conceptualization of the moral component as an explanatory factor for rebound effects and highlights that the moral-psychological mechanisms of indirect rebound effects are more complex and diverse than the economic mechanisms. The paper outlines promising directions for future studies considering the different quantification and characteristics of economic and moral currencies that explain rebound effects on the consumer level and the strategic categorization of products and consumption contexts. (shrink)

The experience of stress is receiving increasing attention in the context of adolescent mental health, which is why a valid and reliable stress assessment instrument is of great importance. For this purpose, an English-language adolescent stress questionnaire was developed, which assesses the subjective stress experience of adolescents in different areas of life. However, the latest long version of the questionnaire with 56 items was found to be too extensive, so a more economical short version ASQ-S with 27 items was developed. (...) The aim of this study was to validate a German and a Greek version of the ASQ-S. In order to investigate the psychometric properties of the German and Greek ASQ-S confirmatory factor analysis, analyses of variance and correlations were applied to sample data from Switzerland, Germany, and Greece. The results yielded only poor to moderate internal reliability across all three countries and the suggested 9-dimensional factor structure could not be confirmed. Instead, a modified 6-factor structure was tested which showed acceptable model fits while demonstrating form invariance across the three countries. Furthermore, the ASQ-S scales correlated positively with depressive symptoms and anxiety and negatively with self-esteem and life satisfaction, all of which supported adequate concurrent validity. The results revealed that the utility of the ASQ-S appears to be limited when translated to other languages and should be used with caution when administered in international contexts. (shrink)

This paper is an elaborate response to Stanely Cavell's suggestion that Schoenberg's idea of the 12-tone row is a serviceable image of Wittgenstein's idea of grammar. I argue that this suggestion underplays what must be a major premise in any argument for yoking Wittgenstein and Schoenberg: Wittgenstein's philosophically entrenched rejection of modern music. I consider this omission in the context of Wittgenstein's idiosyncratic emulation of Schenker's theory of music in order to facilitate a direct comparison between Wittgenstein's and (...) Schoenberg's sharply contrasted visions of the music of the future. I conclude that Cavell's suggestion is ultimately misleading. (shrink)

Duas primeiras razões incitam fazer de Schoenberg um teórico da Forma. Uma - musical - não se discute, porque ele é efetivamente o autor de um Tratado de harmonia e de diferentes outros escritos de pedagogia musical, como Problemas do ensino de arte (1911), ou de questões sobre método de composição, notadamente Fundamentals of Musical Composition (póstumo, 1967). A outra está mais articulada à filosofia e à sua vontade de atribuir à música uma intenção de verdade. Sua posição é (...) notável em relação a isso, porque ele não se pretendia um especialista em estética musical e desdenhava os "fazedores" de teorias estéticas, com suas "pretensas leis artísticas". Sua obra teórica também tem origem na história das teorias estéticas de filósofos que defendem concepções de belo. Num sentido, suas ambições de "pensador da música" - qualidade que ele reivindicava com insistência - eram mais altas. Seu objetivo era menos o de atingir a beleza do que a verdade. Uma verdade que, a seus olhos, a música deveria atingir e servir, mas também uma verdade que se endereçasse da mesma maneira ao filósofo. (shrink)

In his lecture “Philosophy and the Unheard,” Cavell invites us to observe a pervasive analogy between Schoenberg’s idea of the twelve-tone row and Wittgenstein’s idea of grammar, which is supposed to encapsulate an expansive, sweeping philosophical program—Cavell’s own. For Cavell, the analogy evinces not only the kind of reading of Wittgenstein’s Philosophical Investigation, which is attuned to Wittgenstein’s seemingly paradoxical amalgamation of embrace and resistance in regarding to the conditions of modernity, but also a kind of philosophy of music, (...) which is illuminated by musical procedure. In this essay I probe into Cavell’s analogy, which, I contend, rests on Cavell’s interpretation (contra Von Wright) of Spengler’s influence on Wittgenstein. I argue that Cavell delineated the analogy in a way which does not consider a deeply felt gradation in Wittgenstein’s philosophical attitude toward modern music. This ultimately renders Schoenberg’s composition with twelve-tone incommensurate with Wittgenstein’s Spenglerian scheme of musical decline. I also argue that “Schoenbergian unheard” is not analogous to its purported Wittgensteinian counterpart. While the former inheres in comprehensibility—namely, correct, conscious application of the kind of contrived rules that would ensure coherence—the latter inheres in transparency, namely, a familiar physiognomy, which is internally related to the preconditions as well as the lived, embodied realities of musical intelligibility. From Wittgenstein’s perspective, the Schoenbergian idea of the row with its unforeseen yet pervasive consequences turns out to be tantamount to an idea of grammar for music for the meaning-blind. I conclude that in this “tale of two unheards,” Cavell invariably remains on the side of Wittgenstein. Philosophy, as it mattered most to him, has no business with music for the meaning-blind. (shrink)

This article challenges a widespread assumption, arguing that Wittgenstein and the Austrian composer Arnold Schoenberg had little in common beyond their shared cultural heritage, overlapping social circles in fin-de-ciecle Vienna. The article explores Wittgenstein's aesthetic inclinations and the intellectual and philosophical influences that may have reinforced them. The article culminates in an attempt to form a Wittgensteinian response to Schoenberg's dodecaphonic language and to answer the question as to why Wittgenstein and Schoenberg arrived at very different ideas (...) about contemporary music and the music of the future. (shrink)

In this paper, I consider how it would be possible to think about the historicity of music through Hegel’s thought. I will compare Hegel’s idea with a historical event that is considered relevant in the history of music: Schoenberg’s twelve-tone music, taken here also as a model of immanent negation and Aufhebung of tonal system in music. Furthermore, I will take Schoenberg’s twelve-tone music as an instance and wonder about the role of music and its history in the (...) sociocultural formation (or, in Hegelian words, in the absolute Geist). I divide the exposition into four parts, namely: (1) the position of art before the absolute Geist; (2) a general exposition of art in the Lectures on the Philosophy of Art, placing music as a singular form of art; (3) an analysis of the characteristics of music in Hegel and (4) the comparison with Schoenberg’s twelve-tone music. I conclude that music, as an artistic form, brings the form of an internal feeling of a social subjectivity – a way to feel and understand sounds that transforms itself through history; in turn, both music and the form of an internal feeling of social subjectivity, have a historicity that can be understood as developed dialectically. Along these lines, the beginning of the Twentieth Century in music reveals, through Schoenberg and other composers, new intuitive configurations of this social subjectivity. (shrink)

Resumo: O artigo pretender elucidar a teoria das cores e das formas Gráficas de Wassily Kandinsky. Nossa interpretação é que esta teoria é uma lógica das relações entre os elementos da pintura, formas coloridas e formas gráficas. Esta lógica se baseia em uma concepção tensional da composição a partir da noção de contrariedade e de oposição. A obra de arte abstrata se apresenta como uma série de tensões internas e contrastes entre cores e formas gráficas permitindo a quem a (...) compreende estabelecer um significado à composição. Pretendemos analisar esta lógica da composição entre as formas gráficas e coloridas permitindo que possamos discernir uma cerda ordenação destes elementos em um quadro. Palavras-chave: Elementos da Pintura; Kandinsky; Cores; Formas Gráficas Wassily Kandinsky's Theory of Colors and Graphic Forms Abstract: The article intends to elucidate Wassily Kandinsky's theory of colors and graphic forms. Our interpretation is that this theory is a logic of the relationships between the elements of painting, colored forms and graphic forms. This logic is based on a tensional conception of composition based on the notion of contrariety and opposition. The abstract work of art presents itself as a series of internal tensions and contrasts between colors and graphic forms, allowing those who understand it to establish a meaning to the composition. We intend to analyze this logic of composition between graphic and colored forms, allowing us to discern a bristle ordering of these elements in a painting. Key-words: Elements of Painting; Kandinsky; Colors; Graphic Forms La Théorie des Couleurs et des Formes Graphiques de Wassily Kandinsky Résumé: L'article vise à élucider la théorie des couleurs et des formes graphiques de Wassily Kandinsky. Notre interprétation est que cette théorie est une logique des relations entre les éléments de la peinture, les formes colorées et les formes graphiques. Cette logique repose sur une conception tensionnelle de la composition fondée sur la notion de contrariété et d'opposition. L'œuvre d'art abstraite se présente comme une série de tensions internes et de contrastes entre les couleurs et les formes graphiques, permettant à ceux qui la comprennent d'établir un sens à la composition. Nous nous proposons d'analyser cette logique de composition entre formes graphiques et colorées, permettant de discerner un ordre hérissé de ces éléments dans un tableau. Mots-clés: Éléments de Peinture; Kandinsky; Couleurs; Formes Graphiques Data de registro: 11/12/2022 Data de aceite: 18/10/2023. (shrink)

In this book the concept of functionalism, well-known in 20th-century architecture and design, is used to investigate the musical thoughts of two of the leading composers at the time of the Bauhaus, the time of Adolf Loos and Le Corbusier. Functionalism may be characterized by the functional treatment of the chosen material, by functional design, and by a focus on the work's intended function. This tripartite requirement also defines the concept of musical functionalism as developed in this study, and it (...) serves as the foundation for a presentation of Schoenberg's and Hindemith's thoughts on the subject. Examined through the lens of musical functionalism, common traits between the two composers become evident, despite all their individual characteristics as artists of noticeable integrity. Discussions of the musical material, of musical form, and of the function of music allow the author to reveal a shared epistemological base underlying the external dissimilarities of the two composers' style and language. (shrink)

This contribution to the Common Knowledge symposium “Fuzzy Studies” considers how the ultramodernist aesthetics of Central Europe has related to and reacted against the region's political history and cartography. Central Europe has been a rich source of “soluble” realities that can be observed as they emerge, mature, and rapidly decay. Central European modernism, represented here by Adolf Loos in architecture and by Arnold Schoenberg and Leoš Janáček in music, experimented with blurry regions between presence and absence, light and shadow, (...) sound and silence. Loos disrupted the logic of architecture, while Schoenberg and Janáček nearly dissolved the acoustic paradigm of sound. This essay argues that the curious positioning of Central Europe, with its frequently changing borders and national entities, conduced both to positive experiments in cultural vagueness and to a corrosive reaction against existing and potential identities, parameters, distinctions, foci, and logics. (shrink)

What does it mean to say that music is deeply moving? Or that music's aesthetic value derives from its deep structure? This study traces the widely employed trope of musical depth to its origins in German-language music criticism and analysis. From the Romantic aesthetics of E. T. A. Hoffmann to the modernist theories of Arnold Schoenberg, metaphors of depth attest to the cross-pollination of music with discourses ranging from theology, geology and poetics to psychology, philosophy and economics. The book (...) demonstrates that the persistence of depth metaphors in musicology and music theory today is an outgrowth of their essential role in articulating and transmitting Germanic cultural values. While musical depth metaphors have historically served to communicate German nationalist sentiments, Watkins shows that an appreciation for the broad connotations of those metaphors opens up exciting new avenues for interpretation. (shrink)