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The purpose of this paper is to present the results of a natural experiment involving academic cheating by university students. We explore the relationship of moral judgment to actual behavior, as well as the relationship between the honesty of students self-reports and the extent of cheating. We were able to determine the extent to which students actually cheated on the take-home portion of an accounting exam. The take-home problem was not assigned with the intent of inducing cheating among students. However, (...) the high rate of observed cheating prompted the instructor to return to class and ask the students to provide information on their motivation. The students' responses are the data analyzed in this natural experiment. We found that in a simple regression the relationship between moral judgment scores and cheating behavior was insignificant. However, when we tested whether including Utilizer scores affected the relationship of cheating and moral judgment we found that Utilizer affected the relationship significantly. Finally, we found that moral judgment and honesty were not related, but higher levels of cheating behavior related to less honesty. (shrink)

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Historically, interjections have been treated in two different ways: as part of language, or as non-words signifying feelings or states of mind. In this paper, I assess the relative strengths and weaknesses of two contemporary approaches that reflect the historical dichotomy, and suggest a new analysis which preserves the insights of both. Interjections have a natural and a coded element, and are better analysed as falling at various points along a continuum between ‘showing’ and ‘saying’. These two notions are characterised (...) in theoretical terms, and some implications of the proposed approach are considered. (shrink)

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A range of extremely plausible moral principles turn out to generate “deontic cycling”: sets of actions wherein I have stronger reason to do B than A, C than B, and A than C. Indeed, just about anything recognizable as commonsense morality generates deontic cycling. This matters for two reasons. First, it creates a problem for the widely held view that agent-centered rankings can square consequentialism with commonsense morality. Second, it forces a choice between some deeply plausible views about rationality—wherein someone (...) cannot have stronger reason to do A than B, B than C, and C than A—and commonsense morality. (shrink)

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The ability to focus on relevant information is central to human cognition. It is therefore hardly unsurprising that the notion of relevance appears across a range of different dis- ciplines. As well as its central role in relevance-theoretic pragmatics, for example, rele- vance is also a core concept in the affective sciences, where there is consensus that for a particular object or event to elicit an emotional state, that object or event needs to be relevant to the person in whom (...) that state is elicited. Despite this, although some affective scientists have carefully considered what emotional relevance might mean, surprisingly little research has been dedicated to providing a definition. Since, by contrast, the relevance-theoretic notion of relevance is carefully defined, our primary aim is to compare relevance as it exists in affective science and in relevance theory, A further aim is to redress what we perceive to be an imbalance: Affective scientists have made great strides in understanding the processes of emotion elicitation/responses etc., but despite the fact that among humans the communication of information about emotional states is ubiquitous, pragmatists have tended to ignore it. We conclude, therefore, that affective science and relevance theory have much to learn from each other. (shrink)

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In some cases, you may release someone from some obligation they have to you. For instance, you may release them from a promise they made to you, or an obligation to repay money they have borrowed from you. But most take it as clear that, if you have an obligation to someone else, you cannot in any way release yourself from that obligation. I shall argue the contrary. The issue is important because one standard problem for the idea of having (...) duties to oneself relies on the impossibility of self-release. The argument is that a duty to oneself would be a duty from which one could release oneself, but that this is an absurdity, and so there can be no duties to oneself. This argument is to be rejected because a duty from which one can release oneself is perfectly possible, and such release occurs quite properly from time to time. (shrink)

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Grice (1957) drew a distinction between natural(N) and non–natural(NN) meaning, and showed how the latter might be characterised in terms of intentions and the recognition of intentions. Focussing on the role of natural signs and natural behaviours in communication, this paper makes two main points. First, verbal communication often involves a mixture of natural and non–natural meaning and there is a continuum of cases between showing and meaningNN. This suggests that pragmatics is best seen as a theory of intentional verbal (...) communication rather than a theory of meaningNN. Second, some natural behaviours have a signalling function: they are, in effect, natural codes. Such behaviours do not fit easily into Grice's distinction between natural and non–natural meaning, which suggests it is not exhaustive. (shrink)

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I argue that attempts to give philosophical accounts of meaningfulness in life are largely empty since there is no unitary concept to be analysed, and there are no criteria for what will count as success in that project. I suggest that there is a better prospect for giving an account of meaninglessness in life, and that efforts are more usefully directed at this project. I then offer such an account in which it is proposed that what often (but not always) (...) underlies feelings that life is meaningless is a matter of the person concerned finding nothing worth doing, pursuing or aspiring to; that is, their finding nothing to be of value. The account is then modified and expanded, and is found to usefully explain the phenomena of anhedonia, distress and failure of motivation frequently associated with feelings of meaninglessness. The account is not intended as a conceptual analysis, but as an explanation of what is (often) happening when people find life meaningless. The paper concludes with discussions of what may be said about meaningfulness in the light of the offered account of meaninglessness, and of the distinction between life being felt to be meaningless, and life actually being meaningless. (shrink)

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Deirdre Wilson (2018)provides a reflective overview of a volume devoted to the historic application of relevance-theoretic ideas to literary studies. She maintains a view argued elsewhere that the putative non-propositional nature of (among other things) literary effects are an illusion, a view which dates to Sperber and Wilson (1986/1995: 224): “If you look at [non-propositional] affective effects through the microscope of relevance theory, you see a wide array of minute cognitive [i.e., propositional] effects.” This paper suggests an alternative, that modern-day (...) humans have two apparently different modes of expressing and interpreting information: one of these is a system in which propositional, cognitive effects dominate; the other involves direct, non-propositional effects. The paper concludes by describing two ways such affects might be assimilated into relevance theory. The first, to accept that humans are much more than merely cognitive organisms; the second, to rethink quite radically what we mean by cognition. (shrink)

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The 'Second Sophistic' is arguably the fastest-growing area in contemporary classical scholarship. This short, accessible account explores the various ways in which modern scholarship has approached one of the most extraordinary literary phenomena of antiquity, the dazzling oratorical culture of the Early Imperial period. Successive chapters deal with historical and cultural background, sophistic performance, technical treatises (including the issue of Atticism and Asianism), the concept of identity, and the wider impact of sophistic performance on major authors of the time, including (...) Plutarch, Lucian and the Greek novelists. (shrink)

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This chapter begins with Augustine of Hippo’s curious assumption, in The City of God, that in The Golden Ass the claim to have been transformed into a donkey was Apuleius’, rather than that of the fictional narrator, Lucius. Why should Augustine have made such a glaring error? The chapter argues that antiquity lacked a strong sense of ‘the narrator’. What we tend to call ‘first-person’, antiquity would have understood as ‘fictional autobiography’, in which the author illusionistically impersonates the narrating character.

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Hardcore increases the speed, intensity, and contradictions of punk rock. Considering prevailing theories of rock music ontologies in the light of hardcore art practices provides reasons to rethink what we thought. Hardcore shows how recording-centered ontologies, underemphasizing what goes into playback, miss the materiality of some recording artworks. Hardcore art practices also show how performance-centered ontologies force us to divorce the played music from its full, embodied performanced artwork. In both cases, I highlight hardcore art practices and how they conceive (...) of artworks in a more multi-faceted fashion than either predominant view can fully capture. (shrink)

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Epistemic infinitism, advanced in different forms by Peter Klein, Scott Aikin, and David Atkinson and Jeanne Peijnenburg, is the theory that justification of a proposition for a person requires the availability to that person of an infinite, non-repeating chain of propositions, each providing a justifying reason for its successor in the chain. The reductio argument is the argument to the effect that infinitism has the consequence that no one is justified in any proposition, because there will be an infinite chain (...) of reasons supporting any proposition (and similarly, a chain supporting its negation). Four ways of defending infinitism against the reductio argument are considered and found wanting: Peijnenburg and Atkinson’s use of probabilistic chains of reasons; Klein’s concept of emergent justification; Aikin’s insistence that there be non-propositional input in the justification of any proposition; and Klein’s use of the distinction between reasons that are and are not available to a person. I contend that, in the absence of some further defence, the reductio argument makes infinitism untenable. (shrink)

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Were the Greek novels titled according to a consistent convention? This article confronts the view that the original titles were always historiographical in form (Assyriaka, Lesbiaka, Aithiopika, etc.) and that readers were thus steered to expect, in the first instance, realistic narrative. Examining the evidence in detail, it argues that the formula the novels were likeliest to have shared was ta kata + girl's name (or girl's + boy's names). On this basis, it is concluded that what the titles of (...) the novels promised was primarily invasive narratives of private life. (shrink)

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Despite liberalism's considerable internal heterogeneity, liberal approaches to the management of ethno‐cultural relations in diverse societies are unified in one respect: they revolve around the implicit assumption that there are three distinct approaches the state can take toward this issue, namely, domination by one cultural group, a politics of recognition, and state neutrality. This articles argues that in the context of an unequal distribution of societal power among ethno‐cultural groups there are, in fact, only two basic state approaches to the (...) management of diversity: privilege and recognition. The liberal idea of state neutrality, instead of representing a third alternative, falls squarely within the privilege approach. State neutrality is a cornerstone of currently predominant strands of liberalism. However, drawing on Walzer's distinction between the two types of liberalism, the article demonstrates that a politics of recognition is not necessarily irreconcilable with liberal tenets. (shrink)

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Other Greek novels open in poleis, before swiftly shunting their protagonists out of them and into the adventure world. Why does Achilles Tatius' Leucippe and Clitophon open in a house , and stay there for almost one quarter of the novel? This article explores the cultural, psychological, and metaliterary role of the house in Achilles, reading it as a site of conflict between the dominant, patriarchal ideology of the father and the subversive intent of the young lovers. If the house (...) principally embodies the authoritarian will of the father to order and control, it nevertheless provides the lovers with opportunities to re-encode space opportunistically as erotic. The house cannot be reconstructed archaeologically , but it is nevertheless clearly divided into different qualitative zones—diningroom, bedrooms, garden—each of which has its own psychosocial and emotional texture, its own challenges, and its own resources. Achilles' modelling of the house may reflect Roman ideas of domestic aristocratic display, and perhaps even the influence of Roman literature. (shrink)

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In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Love and Providence: Recognition in the Ancient Novel by Silvia MontiglioTim WhitmarshSilvia Montiglio. Love and Providence: Recognition in the Ancient Novel. New York: Oxford University Press, 2013. ix + 255 pp. Cloth, $74.Terence Cave’s Recognitions: A Study in Poetics (Oxford: Clarendon Press, 1988) opened up the subject of recognition scenes to a new readership, with sparkling discussions not just of the medieval and renaissance literature of his own (...) specialism, but also of its Classical antecedents. Without offering (and without claiming to offer) a systematic study of the ancient sources, Cave demonstrated the power and capaciousness of the motif, in particular through a wonderfully dexterous reading of Heliodorus’ Aethiopica. For Cave, recognition is a dangerous force at both the social and the literary levels: it threatens to expose the fictionality of identity as a construct of human relations (for recognition is an act of collective assent, not an acknowledgement of any kind of deep truth), and indeed the fictionality of fiction itself.Silvia Montiglio’s new book treats not the entirety of Classical literature but an impressive range of novelistic texts, covering not just the canonical Greek and Latin works but also Jewish and Christian material such as Joseph and Aseneth, the pseudo-Clementine Recognitions (unavoidable, perhaps!), and Apollonius, King of Tyre. Montiglio avoids Cave’s grand, theoretical claims about what recognition is and focuses instead on what it does within the texts. Her procedure is to stick closely to the contours of the text, tracing the progress of themes through the narrative. In contrast to Cave, Montiglio sees recognition as primarily running along the dominant ideological grains of the individual novels: in the Greek and Judaeo-Christian texts at any rate it exists in order to affirm the idealising thrust, be it matrimonial or religious. Recognition’s primary role, for Montiglio, is to affirm identity, to validate the relationships to which texts normatively commit.The book proceeds via a series of close, immersive encounters with the texts. Although prodigiously widely read in the modern literature on the novels, Montiglio has little interest in wider social frameworks, and is virtually immune to the theoretical and cultural-historical bugs doing the rounds: intertextuality (though she is certainly alive to the power of literary precedent), narratology, cognitive theory, gender, sexuality, identity, cultural transfer, and so forth. Her story, rather, concerns the fluctuations of literary form across a range of periods and texts, and comparisons between different handlings of this central (but rather [End Page 166] neglected) topos. Although rather more detailed, sophisticated, and wide-ranging in its subject-matter, it harks back in a way to some of the motif-based, formalist novel scholarship of the 1980s and 1990s: Consuelo Ruiz Montero’s La estructura de la novela griega: análisis funcional (Salamanca 1988), Bryan Reardon’s The Form of Greek Romance (Princeton 1991), Françoise Létoublon’s Les lieux communs du roman: stéréotypes grecs d’aventure et d’amour (Leiden 1993).Five substantial chapters deal with Chariton and Xenophon (chap. 1), Achilles and Longus (chap. 2), Heliodorus (chap. 3), Petronius and Apuleius (chap. 4), and the Jewish and Christian “novels” (chap. 5). This cumulative approach allows her to ease a story out of her material by progressively comparing later to earlier treatments of similar themes. To restate it simply, her argument is that Chariton and Xenophon handle recognition relatively “straight,” presenting it as an opportunity for the lovers to reunite triumphantly and to reassert their love (although there are multiple other recognitions that interact with the lovers’ own). In Chariton there is an interesting emphasis on the power of the voice to impel recognition. Achilles, characteristically, turns the topos inside out: in this novel preoccupied with self-presentation, display, and disguise, Clitophon repeatedly fails to recognise Leucippe. In Longus, the central recognition is the New Comedy–style acknowledgement of the lovers by their parents, which not only validates their identities as urban aristos but also legitimises their love for each other. Heliodorus has the most elaborate recognition scene of all, with the extended revelation of Charicleia’s identity offsetting and finally banishing all the perceptual misdirection of the earlier parts of the... (shrink)

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This paper asks whether workers’ experience of working with new technologies and workers’ perceived threats of new technologies are associated with expected well-being. Using survey data for 25 OECD countries we find that both experiences of new technologies and threats of new technologies are associated with more concern about expected well-being. Controlling for the negative experiences of COVID-19 on workers and their macroeconomic outlook both mitigate these findings, but workers with negative experiences of working alongside and with new technologies still (...) report lower expected well-being. (shrink)

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Unter dem Titel Hans Blumenberg: Pädagogische Lektüren erkunden die Autorinnen und Autoren Hans Blumenbergs Werk nach bildungsphilosophischen und erziehungswissenschaftlichen Problem- und Fragestellungen. Das Werk des Münsteraner Philosophen erscheint der Erziehungswissenschaft bisher nicht nur deshalb als terra incognita, weil er sich zu pädagogischen Themen kaum geäußert hat, sondern auch, weil sein Werk bereits zu Lebzeiten einen beachtlichen Umfang aufwies und durch zahlreiche Veröffentlichungen aus dem Nachlass nochmals bedeutend erweitert wurde. Nur vereinzelt und verstreut liegen bisher disziplinbezogene Anschlussversuche vor. Mit diesem Band (...) wird deshalb der erste Sammelband zur erziehungswissenschaftlichen Blumenberg-Rezeption vorgelegt, der Beiträge zu Blumenbergs Metaphorologie, Anthropologie und seiner kritischen Auseinandersetzung mit Platons Höhlenmythos zusammenträgt. (shrink)

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"Postmodernism" has become the buzzword of contemporary society. Yet it remains baffling in its variety of definitions, contexts and associations. Beginning Postmodernism aims to offer clear, accessible and step-by-step introductions to postmodernism across a wide range of subjects. It encourages readers to explore how the debates about postmodernism have emerged from basic philosophical and cultural ideas. With its emphasis firmly on "postmodernism in practice," the book contains exercises and questions designed to help readers understand and reflect upon a variety of (...) positions in the following areas of contemporary culture: philosophy and cultural theory; architecture and concepts of space; visual art; sculpture and the design arts; popular culture and music; film, video and television culture; and the social sciences. (shrink)

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In late August 2012, artist Paul Thomas and philosopher Timothy Morton took a stroll up and down King Street in Newtown, Sydney. They took photographs. If you walk too slowly down the street, you find yourself caught in the honey of aesthetic zones emitted by thousands and thousands of beings. If you want to get from A to B, you had better hurry up. Is there any space between anything? Do we not, when we look for such a space, encounter (...) a plenitude of other things —a slice of plaster, an old vinyl record, a flattened piece of aluminum, painted metal surfaces, nameless interstitial powder, the reflection of sky, some letters of the alphabet, roughened concrete. Between what we take to be things there exist other things, as if the universe were jammed with entities like clowns in a crowded Expressionist painting. An abyss of things that emanates from them, not a yawning void that threatens to engulf them, but a sunlit nothingness filled with dust that seems to spray out of them like dry mist sparkling with firefly swarms. In these so-called spaces, we encounter the work of causality. Look: someone painted over this crack, some sunlight rippled in a mirage, a hole appeared. When we look for causes and effects, we don't encounter a basement of efficiently whirring machinery. Rather, we encounter these in-between spaces, where we had not thought to look. What we see are stage hands moving the scenery about—they are doing it in plain sight, the best place to hide, right in front of you, in the place we call the aesthetic dimension . In Tibetan Buddhism these spaces are called bardo , which just means the between. There is no such thing as a moment of your life that is not a between, according to this view. There is the between of living. There is the between of dying. There is the between of the transition between lives. There is the between of dreaming. There is the between of meditation. There is the between of two humans holding cameras walking down a street in Sydney. The between of two buildings, a space bursting with objects as if a billion jack in the boxes had exploded at once. Some of the lids are stuck, sometimes a nose bursts out and the hinge won't open any further; at other times, the jack in the box flies right out and pulps against the wall on the opposite side of the room. Time opens up. Each surface is a poem about the past. A myriad stories begin to proliferate, as if a thing were a crisscrossing of books, a whole library of them, each page whispering parts of paragraphs and broken pieces of word. The stories tell us things—they are quite literal, look, this guy painted part of this wall, then they came and stripped off the panel and touched up the holes. Form is the past. When you look at appearance, you are looking at the past. Where is the present? And essence is the future. The hints of unknown, unseen things, the absolute impossibility of grasping everything about this plastic pipe, the way photons entering the camera lens obey a speed limit and splash onto receptors, going into and out of coherence. At the electronic level, it's quite clear that causality is aesthetic. I can't see an electron without deflecting it. Everything is a refrigerator with a light on—or off—inside. For me, for you, for this arrangement of tiles sandwiched between a door and a slab of marble. To a photon, an electron is a refrigerator with a closed door, and a light that might be on—or off—inside. How can you know whether the light is on inside? Why, you open the door of course. But then you are looking at the past. You never see the light in the refrigerator before you open the door. This future is not a predictable future that is a specific number of now-points away. You will never reach it. You will never be able to sneak up from the side and see through the refrigerator. Nor can a photon see through the refrigerator of an electron. Nor can paint see through the refrigerator of this plastic pipe. You take a photo—click—the past appears, another open refrigerator. But the thing you have just made, the photograph, the graphing of the photons—it is another thing, another story. You can read the words, but the meaning always eludes you. It always lurks just off the edge of the sentence, just at the very edge of this ragged slice of paint, just at the edge of this building, between this one and that one. Thousands of secrets, everywhere. Masks that lie and tell the truth at the same time: this pink paint is not blue paint, that's true. But the thing, the thing in itself, that paint sliding off a brush onto that pipe—it is nowhere to be seen, like a light behind a closed door. When you walk too slowly down the street, you start walking into millions of levels of pastness, levels emitted not just by the humans or the dogs and cats, but also by this garbage can, this mottled pink surface pockmarked with nail holes. You walk surrounded by as many futures as there are things. You walk, or rather you occupy a peculiar shifting ground of nowness, created by the relative motion of the past sliding against the future, not touching. You begin to realize that the present does not exist. A thing is a train station where one train is always arriving and one train is always leaving. Hundreds of train stations everywhere, hundreds of relative motions. The idea of a universal, regular, atomic sequence of instants that contains everything is absolutely ludicrous, the philosophers have known this for thousands of years, and to hide the absurdity, to get from A to B, Houston to Sydney, crossing the International Date Line without too much laughter, you have embedded piezoelectric devices in as many pieces of hardware as possible, devices in which quartz talks to electrons, making train stations where the trains seem to run on time. When you walk too slowly down the street, you begin to realize that Zeno had a point. You can seemingly divide each moment, each step, infinitesimally. So perhaps there are no moments, no steps. Or perhaps time is not a box that everything goes in. Perhaps time is, as Einstein argued after all, a way that things send out ripples. Where one house touches another house, there arise hundreds of things, hundreds of meeting places (Old English thing , meeting place). Hundreds of times. I have a thing for you. Come over here, let's do a thing. Stay in the sunlight and shadow between worlds, in the sunlit canyon between this building and that building. See how paint touches this pipe, caressing then leaving, no one will notice if a surface is left exposed, not quite filled in. See how shadows are reflected in pale cream glass—see the luminous abyss of causality spreading out before your very eyes, right in front of security. All kinds of beautiful crimes are committed right here, and as American cars keep telling you, and you never notice, OBJECTS IN MIRROR ARE CLOSER THAN THEY APPEAR. They are here, or rather, here is them, and now is them. Kissing in the shadow. Tim Morton Rice University. (shrink)

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Millianism is the familiar view that some expressions, such as proper names, contribute only their referent to the semantic content of sentences in which they occur. Inan (Philosophical Studies 2010) has recently argued that the Millian is committed to the following odd conclusion: There may be questions that he is able to grasp but that he cannot answer, either affirmatively, negatively, or with a simple I don’t know . The Millian is indeed committed to this conclusion. But we intend to (...) show that Inan’s argument generalizes, so that everyone who accepts certain largely uncontroversial principles is committed to the odd conclusion that there may be questions that are graspable but not answerable. (shrink)

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Bridging between psychological and neurobiological systems requires that the system components are closely specified at both the psychological and brain levels of analysis. We argue that in developing his dynamic systems theory framework, Lewis has sidestepped the notion of a psychological level systems model altogether, and has taken a partisan approach to his exposition of a brain-level systems model.

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This chapter proposes an extension of Georges Canguilhem's historical analysis toward contemporary concepts of milieu as flexible and dissipative territories, and as "adaptive landscapes" of living organisms such as the monarch butterfly and common swift. The chapter deploys and develops an understanding of certain vital processes in Canguilhem's account of milieu, by charting the experience to be found in various migration landscapes which cannot be understood independently of their taking place over time (and certainly not in abstraction). This is reflected (...) in the second section where an account of dissipative images is given as a way of thinking the ephemerality of structures whose ramifications occlude the ongoing radiance of their energy. This much can be seen, as the chapter concludes, in the work of Gemma Anderson whose drawings of mitosis and epigenetic landscapes contemplate, through a set of visual "notes," how we might begin to both think and render energy fluctuations. We can thus visualize migratory patterns not as a series of fixed points but in a way that might help us to see "sky" as a unique, dynamic milieu of lived time and space. (shrink)

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:The problems of poor or biased information and of misleading health and well-being advice on the Internet have been extensively documented. The recent decision by the Internet Corporation for Assigned Names and Numbers to authorize a large number of new generic, top-level domains, including some with a clear connection to health or healthcare, presents an opportunity to bring some order to this chaotic situation. In the case of the most general of these domains, “.health,” experts advance a compelling argument in (...) favor of some degree of content oversight and control. On the opposing side, advocates for an unrestricted and open Internet counter that this taken-for-granted principle is too valuable to be compromised, and that, once lost, it may never be recovered. We advance and provide evidence for a proposal to bridge the credibility gap in online health information by providing provenance information for websites in the.health domain. (shrink)

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Cet article se penche sur la représentation de la famille des Éolides dans le Catalogue des femmes du pseudo-Hésiode. Les Éolides, qui apparaissent très tôt dans le cycle mythique (et de façon particulièrement proche de la phase originelle de la vie humaine dans laquelle dieux et mortels ont été convives), présentent un cas remarquable de jalousie du divin. Ils cherchent en particulier à rivaliser avec la divinité en faisant usage d’artefacts humains : le langage, l’artisanat, le spectacle. Cette emphase sur (...) l’artificiel implique la croyance, parmi certains d’entre les Éolides (croyance qui cependant n’est pas à première vue assumée par le poème) que la divinité peut être elle-même considérée comme une invention humaine. On peut contextualiser cette croyance en la comparant aux forces culturelles de créativité technologique plus vastes à la période archaïque, en particulier au développement des représentations artistiques des dieux. (shrink)

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Possessing slack resources enables businesses to invest in innovative and stakeholder-focused initiatives. Therefore, we posit that higher slack resources encourage businesses to allocate these resources to improve their environmental, social, and governance (ESG) performance. Moreover, as a central sustainability governance mechanism, we hypothesize that the corporate social responsibility (CSR) committee supports investing slack resources in ESG initiatives. Using data from Nasdaq-100 firms, we find initial support for a positive effect of slack resources for ESG. However, further analyses reveal that slack (...) resources become detrimental to ESG after an economically relevant threshold, indicating an inverted U-shaped effect of slack resources. Additionally, despite their generally positive effect, we uncover that CSR committees cannot effectively enhance the benefits of low or moderate slack levels for ESG nor prevent the detriments of elevated slack levels for ESG. Therefore, our study significantly contributes to the ongoing discourse surrounding slack resources, ESG, and the usefulness of CSR committees. These findings hold significant implications for ethical resource allocation, urging firms and their decision-makers to reconsider the dual-edged role of slack resources in the unique ESG context and support the CSR committee in realizing its potential for promoting sustainability and ethical practices within the organization. (shrink)

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Name der Zeitschrift: Semiotica Jahrgang: 2017 Heft: 216 Seiten: 479-495.

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The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host of (...) other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

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Simmels Buch gehört zu den Werken, die durch die Simmel-Gesamtausgabe, in deren Rahmen die Philosophie des Geldes 1989 erschien, erst wieder nachdrücklich in der Diskussion einer Theorie der Kultur um 1900 und darüber hinaus Berücksichtigung gefunden haben. Vormals v. a. als Soziologe bzw. unter Sozialwissenschaftlern bekannt, hat Simmel seitdem einen Ruf als Philosoph erhalten, der in Wiederaufnahme eines für ihn zeitgenössischen Streites in stellvertretend geführten Debatten erneut gegen das Pejorativum eines bloßen bzw. vulgären, jedenfalls potentiell gefährlichen Relativismus verteidigt wird.

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The contributors to Nervous Systems reassess contemporary artists' and critics' engagement with social, political, biological, and other systems as a set of complex and relational parts: an approach commonly known as systems thinking. Demonstrating the continuing relevance of systems aesthetics within contemporary art, the contributors highlight the ways that artists adopt systems thinking to address political, social, and ecological anxieties. They cover a wide range of artists and topics, from the performances of the Argentinian collective the Rosario Group and the (...) grid drawings of Charles Gaines to the video art of Singaporean artist Charles Lim and the mapping of global logistics infrastructures by contemporary artists like Hito Steyerl and Christoph Büchel. Together, the essays offer an expanded understanding of systems aesthetics in ways that affirm its importance beyond technological applications detached from cultural contexts. (shrink)

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Safe Safety arguments are key components in a safety case. Too often, safety arguments are constructed without proper reasoning. To address this, we argue that informal logic argument schemes have important roles to play in safety argument construction and reviewing process. Ten commonly used reasoning schemes in computer system safety domain are proposed. The role of informal logic dialogue games in computer system safety arguments reviewing is also discussed and the intended work in this area is proposed. It is anticipated (...) that this work will contribute toward the development of computer system safety arguments, and help to move forward the interplay between research in informal logic and research in computer system safety engineering. (shrink)

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There has been increasing use of argument-based approaches in the development of safety-critical systems. Within this approach, a safety case plays a key role in the system development life cycle. The key components in a safety case are safety arguments, which are designated to demonstrate that the system is acceptably safe. Inappropriate reasoning in safety arguments could undermine a system's safety claims which in turn contribute to safety-related failures of the system. The review of safety arguments is therefore a crucial (...) step in the development of safety-critical systems. Reviews are conducted using dialogues where elements of the argument and their relations are proposed and scrutinised. This paper investigates an approach of conducting argument review using dialectical models. After studying five established dialectical models with varying strengths and drawbacks, a new dialectical model specially designed to support persuasion and information-seeking dialogues has been proposed to suit the requir... (shrink)

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Few philosophers believe that G. E. Moore's notorious proof of an external world can give us justification to believe that skepticism about perceptual beliefs is false. The most prominent explanation of what is wrong with Moore's proof—as well as some structurally similar anti-skeptical arguments—centers on conservatism: roughly, the view that someone can acquire a justified belief that p on the basis of E only if he has p-independent justification to believe that all of the skeptical hypotheses that undermine the support (...) lent by E to p are false. In this paper I argue that conservatism does not make trouble for Moore's proof. I do this by setting up a dilemma concerning the notion of "justification to believe" that figures in conservatism. On one understanding of justification to believe, conservatism is subject to obvious counterexamples. On another understanding of justification to believe, conservatism is consistent with Moore's "proof conferring justification upon its conclusion. Since these two understandings exhaust the logical space, the conservative indictment of Mooreanism fails. (shrink)

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