Artículos de revistas sobre el tema "Posture of openness"

Abstract Expansive body posture is the most commonly studied and widely described in psychological literature. For many years, expansive posture was universally identified as a pose of power, but more recent research has revealed that the link between expansive posture and power may be moderated by gender, culture or even contextual cues. Our findings show that with little variation added to expansive posture it does not necessarily lead to the sense of power, and may actually trigger the opposite effect: a feeling of submissiveness. In three studies, persons assuming their body in a standing-at-attention posture were perceived as being more obedient (Experiment 1), thus participants who expanded their body in a standing-at-attention manner (although actually doing a non-obedient unrelated task) displayed greater compliance to requests (Experiment 2) and declared greater submissiveness toward social norms (Experiment 3). We discuss how the cultural and interpersonal context imprinted in specific body posture can modify the feedback of innate and universal body states.

Subsurface engineering projects with high socio-environmental impacts raise strong controversies among stakeholders, which often affects the projects’ implementation. These controversies originate from a loss of public confidence in the decision-making process, lack of information about new technologies, and the desire of some promoters to avoid conflict. The lack of methodologies to structure each stage of the debate can, in this context, lead to the crystallization of the stakeholders’ positions and to the failure of the project. To promote mutual understanding and constructive exchanges, this article presents a combination of methods based on psychosocial engineering principles to support debate and encourage stakeholders to participate with an openness posture. The method is based on a set of studies conducted as part of the “Social Governance for Subsurface Engineering” project and includes three stages: (1) develop stakeholders’ knowledge so that they are able to participate in the debate with an informed viewpoint; (2) commit stakeholders to participate in the debate by adopting a posture conducive to constructive exchanges; and (3) structure exchanges between stakeholders through the use of cooperative methods facilitating the adoption of an openness posture.

This study had two aims: to attempt to verify the construct validity of the measure of international posture—which refers to attitudes toward the international community—in foreign language education and to explore how international posture structurally relates to personality traits. A total of 163 Japanese undergraduate students participated in the study. To examine the first aim, exploratory factor analysis was conducted, followed by confirmatory factor analysis. Results of the exploratory factor analysis showed that three latent constructs were extracted from 23 items of the measure. Next, confirmatory factor analysis confirmed the constructs with the fit indices except the chi-square score. To investigate the second aim, structural equation modeling was used. It showed that two personality traits—openness to experience and extraversion—were strongly associated with international posture. Furthermore, our study indicated a second-order configuration structured in the verified measure in relation to the two personality traits.

Recently, Japanese medical students are expected to acquire a high degree of English proficiency with the tacit understanding that it will feature in their future profession through interactions with non-Japanese patients and/or engagement with medical research. However, to the best of our knowledge, the motivation of Japanese medical students to learn English as a second language (L2) has not been studied. Using quantitative and qualitative questionnaires, we investigated the L2 learning motivation of second-year Japanese medical students and the degree to which the students have international posture, i.e., their awareness and openness to internationalization. The results revealed that the students were primarily instrumentally and vocationally motivated; in other words, their chief motivation for L2 learning came from an understanding of the usefulness of L2 proficiency for their future profession. The results also showed that the students had strong international posture, as evidenced by a deep desire to communicate internationally and an understanding of the role of English as a tool for global communication. The findings suggest that, to sustain or improve L2 learning motivation, educators should employ study materials that are pertinent to students’ future needs and professions.

This article examines the integration of doctrine and spirituality in selections of the work of Rowan Williams. The contours of this integration are elucidated through attention to the ways that Williams critiques the notion, prevalent in several modern spiritualties, of a stable hidden self that is to be excavated through various forms of therapy. In place of this notion, Williams articulates a view of the self that is always in the process of becoming, and he does so by deploying resources drawn from the Christian theological tradition. Williams's theologically derived convictions about the self mesh nicely with his contemplative spirituality: a posture of silent attentiveness and patient openness to the presence of God and so also to other creatures.

The previous researchers have assumed that the impact of the Silla’s pirate case caused in 896 drove Japanese society lost its diplomatic openness. However, I cannot accept the causality between the transformation of Japan’s posture and this case. In the former half of the 9th century, the cosmology which divided the entire Japan’s territory into two parts; pure and impure had formed. The process of its formation synchronized with the process the new emperor’s image, “inactive” and “hidden”, had formed during the emperor Saga’s reign. The Silla’s pirate case was therefore not cue but outcome of the transformation of the recognition. This paper demonstrates the necessity making clear the background of the transformation of Japan’s recognition on foreign countries from the perspective of the change of the cosmology.

This article aims to answer the main question raised – is Rorty’s moral philosophy possible? To what extent is it possible to treat it as an authentic theory? Rorty’s criticism of Kant and the Kantians, as one of the key points of contemporary moral philosophy, determines the posture in the moral domain and provides a certain place in discourse. The article states that, despite the fact that Rorty’s moral philosophy is not based on a particular theoretical concept, it can be considered as a fragmented whole consisting of several parts, one of which is the agent’s openness to the choice of moral identity. At the same time, we will critically question the position of Rorty himself – while maintaining the suspicion towards the sources of moral knowledge, he maintains an insufficient distance with one of his own sources of moral knowledge, namely historical progress.

Abstract Communitarians and public theologians alike tend to discuss the church’s identity as a clearly demarcated community separated from the world or public life, each defining publicness as something that is found outside the church. It is a more likely argument that publicness is already present in the congregation as a place of difference: it is possible for the particulars of the community to interact, engage, and mutually benefit the various social realms present in and through the congregants. This public identity renders engagement with the public an unavoidable reality and provides an opportunity for the congregation to become a fruitful space for the work of public theology by embracing this reality through the development of a public posture of openness, accessibility, and accountability, which would improve both the church’s internal ministry and its ministry in the world beyond its community.

This research tries to evaluate the extent to which local culture impacts the financial management of villages. This research was done using a qualitative methodology. The author of this research collected data via observation, interviews, and documentation. These methods allow the author to have an intimate awareness of the field's circumstances. According to the findings of this research, the local administration has a comprehensive awareness of the cultural norms and values of the community. The incorporation of regional cultural norms into village financial management has a good effect. This is carried out to deter dishonesty, illegal activity, and greed. The administrative officials of the village are able to conduct themselves in a more fair and trustworthy manner while maintaining a tough and responsible posture. Since the principles of openness, accountability, and participatory management have been adopted, the administration of the fund has been very effective.

The purpose of the research is to describe the methods of multicultural values implanting for early students in madrasah ibtidaiyahs on MWCNU LP Ma’arif Kraksaan subdistrict. The method that used to succeed the implanting of multicultural values are story telling, playing, study tour, inuring, modelling and reading poems. The most used method is story telling and inuring. The using of those methods are to give mutual understanding for the multicultural values such as openness, humanity, tolerance, mutually help, justness, equality and brotherhood, good thought, and have a great affection to the nation. By using those methods, the students behaviour could be changeable from refusing the others that differents become accepting and friendly with the others. The constrains also appear while impalnting multicultural values, such as the lack of knowledge in story telling techniques media used by teachers, the inconsistency of posture in school and the circumstances where the students live.

The purpose of the research is to describe the methods of multicultural values implanting for early students in madrasah ibtidaiyahs on MWCNU LP Ma’arif Kraksaan subdistrict. The method that used to succeed the implanting of multicultural values are story telling, playing, study tour, inuring, modelling and reading poems. The most used method is story telling and inuring. The using of those methods are to give mutual understanding for the multicultural values such as openness, humanity, tolerance, mutually help, justness, equality and brotherhood, good thought, and have a great affection to the nation. By using those methods, the students behaviour could be changeable from refusing the others that differents become accepting and friendly with the others. The constrains also appear while impalnting multicultural values, such as the lack of knowledge in story telling techniques media used by teachers, the inconsistency of posture in school and the circumstances where the students live.

The Community of Inquiry is a pragmatic philosophy concept by John Dewey (1916) representing a "social, cognitive and teaching presence" in a process of collaborative research and learning experience. This article is meant to present a case study based on the experience of forming a community of inquiry with students of a Romanian university. The report will include aspects like: the process of group forming and group facilitation to foster collaborative critical thinking, a few philosophical methods that aimed the consolidation of the group as a community of learning and inquiry as well as the training of individual critical thinking, self-reflective posture and openness to otherness. Results reveal students' initial preoccupations with certainty and difficulties in self expression at the beginning of the semester and presented increasingly more attitudes characteristic to collaborative learning and inquiry by the end of the semester, which is probably an effect of deliberately setting up a specific group culture to facilitate this goal.

Robots with openness and flexibility have attracted a large number of researchers to conduct in-depth studies in the field of surface machining. However, there is a redundant degree of freedom (DOF) in 6-DOF robot machining: when a ball end milling cutter is used to process curved parts, the tool point needs to strictly follow the planned milling trajectory, but the tool axis vector only needs to be within a certain range. During the machining process, the rotation of the tool around its axis is not constrained. Therefore, it is necessary to optimize the redundant DOF. Aiming at the redundant DOF of the tool axis vector in ball end milling for surface parts, a Redundancy Optimization strategy for Minimum Joint trajectory (ROMJ) is proposed. It takes the shortest trajectory of robot joints as the optimization objective, and the numerical optimization method is adopted to carry out the optimal design of tool axis vector trajectory in the milling process. Before optimization, to decrease the data volume, the number of track points is sampled and adjusted based on curve characterization errors. In the optimization process, considering the obvious difference in the load quality characteristics of the robot joints, a Redundancy Optimization strategy for Minimum Joint trajectory considering the different Load of joints (ROMJ-L) is proposed. The load difference coefficients of each joint are introduced into the optimization objective of the trajectory of robot joints. By using this method, the optimal design of each joint trajectory of the robot is realized. In order to verify the methods proposed in this paper, a comparison experiment is carried out. The results show that under the same tool point trajectory, the proposed methods can significantly reduce the robot joint trajectory, and the joint trajectory is influenced by the load difference of each joint. Finally, an Eflin-10 robot is used to process the butterfly trajectory tool path by the trajectory planned by the ROMJ-L method, and the results show that the method is practical.

From many places to exercise, one of the place that favored by people was gym. Gym was favored by people because in the gym members can achieve their goals such as losing weight, building muscle, improving posture or just overcoming stress. One of the supporting factors for the members to get their results is good communication between Personal Trainers and gym members and one of the communication type is interpersonal communication. The purpose of this study is to identify and describe the effectivity of interpersonal communication between Personal Trainers and members at Starfit Gym. This research uses an approach with a case study method with a joint approach of Personal Trainers and Starfit gym members. Hubberman and Miles data analysis model used in this study such as data reduction, data presentation, and data conclusions. This study uses validity of triangulation of sources to compare data from sources and triangulation of techniques to test it. From the results of this study, it was found that there was good communication between the Personal Trainer and the members. This can be seen from the dimensions of effective interpersonal communication and from various existing aspects such as opennes, empathy, supportiveness, positiveness, and equality. Dari banyaknya tempat untuk berolahraga, salah satu tempat yang digemari oleh masyarakat yaitu gym. Gym digemari oleh masyarakat karena di gym member dapat menurunkan berat badan, membentuk otot, memperbaiki postur tubuh atau hanya sekedar menghilangkan stress. Salah satu faktor pendukung agar member dapat memperoleh hasil yang diinginkan yaitu adanya komunikasi yang efektif antara Personal Trainer dengan member gym dan salah satu bentuk komunikasinya yaitu komunikasi interpersonal. Tujuan dari penelitian ini yaitu untuk mengetahui dan menggambarkan keefektifan komunikasi interpersonal antara Personal Trainer dengan member di Starfit Gym. Penelitian ini menggunakan pendekatan kualitatif dengan metode studi kasus dengan pendekatan wawancara bersama Personal Trainer dan member gym Starfit. Teknik analisis data Hubberman dan Miles digunakan pada penelitian ini yaitu reduksi data, penyajian data, dan penarikan kesimpulan. Penelitian ini menggunakan teknik keabsahan berupa triangulasi sumber untuk memudahkan membandingkan data dari narasumber serta triangulasi teknik untuk menguji kredibilitasnya. Dari hasil dari penelitian ini didapatkan hasil bahwa terjalin komunikasi yang baik antara Personal Trainer dengan member. Hal ini terlihat berdasarkan dimensi komunikasi interpersonal yang efektif dan terlihat dari berbagai aspek yang ada seperti keterbukaan (openness), empati (empathy), sikap mendukung (supportiveness), sikap positif (positiveness), dan kesetaraan (equality)

Postural control is a term used to describe how the central nervous system regulates sensory information from other systems to produce adequate motor output to maintain a controlled, upright posture. Emotions (fear, anxiety) and thus personality type can affect the strategy of body control. This study aimed to evaluate the impact of personality on postural control. Thirty-three healthy individuals participated in this study. The big-five model was used to examine personality traits. Each participant performed four different standing tasks (one and both legs standing with eyes open (eo) and closed (ec): 2eo, 2ec, 1eo, 1ec). We showed that the dominant personality traits in the study group were extraversion and agreeableness. There were significantly low negative associations between nonlinear parameters and personality traits. A moderate correlation was noted for the 1eo trial between Openness and the Lyapunov exponent. In conclusion, nonlinear measures provide a possible link between personality and postural control. The relationships detected are weak. It shows that factors such as visual control and the size of the support area rather than personality will play a significant role in describing postural control.

In this article, I suggest that Lynette Roberts develops a ‘naïve’ modernism that emphasizes tropes of folk art, home-made craft, and creative labour as a therapeutic response to war and a means of carving out a public role for the woman writer in the post-war world. Bringing high modernist strategies down to earth through an engagement with localized rural cultures, she strives to bridge the divide between the public and the private in order to open up a space for the woman writer within public life. As part of my discussion, I draw on Rebecca L. Walkowitz’s contention that literary style—conceived broadly as ‘attitude, stance, posture, and consciousness’—is crucial to modernist writers’ attempts to think in—and beyond—the nation. Embracing a liberating openness to experience and ‘amateurish’ passion, Roberts’s ‘home-made’ style challenges imperial constructions of nationhood centred in authority and control with a more collective, constructivist, improvisatory concept of belonging (Roberts 2005, p. xxxvi). Probing the intersections between folk art, national commitments, and global feminist projects in British modernism, I investigate how a radically transformed ‘naïve’ subtends the emergence of a new kind of feminist modernism, rooted in concepts of collective making and creative labour.

Abstract In the post-pandemic era we’re living through, it can seem as though real life resides in the virtual world – the one driven by screens and the sedentary lifestyle that shapes a human being’s posture and intellectual faculties (Vincent, 2018). As we look back over this period of enforced confinement, it is worth examining how being at home has changed our perception of personal space. In the best cases it has generated an openness in which thoughts, images and actions ‘converge’, allowing us to turn our attention to the self. At the precise moment that body and space become vehicles for memories and emotions, the value and significance of the body re-emerges. Based on the epistemological aspects of motor praxeology as developed by Parlebas, which aims to move beyond dichotomies of mind/body and theory/practice, this study offers a consideration of the communicative or semi-motor value of movement, as well as the importance of teaching artistic movement in school (Crispiani, 2006). Finally, based on a hybrid set of practical experiences in person and online, we consider the methods that enhance the centrality of the body and perception through the imparting of movement through dance: a type of action in which the self becomes manifest through seeing, moving, perceiving and doing (Husserl, 1950).

"Abstract: This article is a progressive phenomenological enquiry into ‘contact’. It leads us back to that most originary, non-constructed, and totally-given condition which Merleau-Ponty calls ‘primordial contact’. This is the source for what we call our ‘human nature’. The author suggests that the Gestalt therapist is called upon to embrace a lifestyle which embodies this most basic intuition of the world. This will facilitate her/his ability to engage with those closed ‘acquired worlds’ of clients, to speak from within those viewpoints, while at the same time maintaining a solid grip on their own world. Openness to dialogue is the basic posture of the Gestalt therapist, informed by humility and sustained by thankfulness. It is, however, quite clear that constituted speech, as it operates in daily life, assumes that the decisive step of expression has been taken. Our view of man will remain superficial so long as we fail to go back to that origin, so long as we fail to find, beneath the chatter of words, the primordial silence, and as long as we do not describe the action which breaks this silence. The spoken word is a gesture and its meaning a world. (Merleau-Ponty, 1986, p. 184; F214)1 Key words: acquired world, awareness, contact, dialogue, perception, transcendence, primordial contact."

Since 1949, diplomacy of the People's Republic of China has successively undergone transformation for three times, namely diplomacy of establishing the PRC, diplomacy of enriching the country and major-country diplomacy. Developing a new type of international relations is an effective way to achieve diplomatic transformation of New China, but its connotations vary with different periods of history. During the two turnarounds from 1949 to 2012, New China's diplomacy, which holds up the Principle of Independence and Five Principles of Peaceful Coexistence, took shape in the practice of developing a new type of international relations. The former principle have played an important role in safeguarding China's sovereignty and dignity, protecting national security and promoting the country's development. The latter became basic norm of international relations and basic principle of international law due to its openness and inclusiveness. Since the 18th CPC National Congress, in face of profound changes unseen in a century and a new posture for China to increasingly move toward the center of the world arena, President XI Jinping made great endeavors to promote major country diplomacy with Chinese characteristics, and actively touched upon building a new type of international relations featuring mutual respect, fairness, justice, and win-win cooperation, which innovates on and develops the Principle of Independence and Five Principles of Peaceful Coexistence, as well as pushes forward the world multi-polarization process and the building of a community with a shared future for mankind.

Abstract: this article is at the point of convergence between the universes of politics and religion, trying to demonstrate the limits of one against the other, especially in view of the growth of "ideologically converted" initiatives within the current Brazilian political scenario. To this end, it pursues and exposes the understanding of the English philosopher John Locke regarding the relationship between politics and religion from the concept of religious tolerance. For Locke, politics and religion represent two distinct spheres of human action, each of which is governed by an internal logic both as to its scope over individuals and as to its social role - the first directed to the sphere of security , order and maintenance of life and property and the second to the internal forum and the search for the salvation of souls. At the end of this study we intend to highlight how Lockean thought can contribute to the construction of a posture of openness to dialogue with differences, which the author has named: tolerance.Sobre os Limite entre a Religião e a Política: contributos de John Locke para se pensar o presenteResumo: o presente artigo situa-se no ponto de confluência entre os universos da política e da religião, procurando demonstrar os limites de um em face do outro, sobretudo em vista do crescimento de iniciativas “ideologicamente convertidas” dentro do atual cenário político brasileiro. Para isso, persegue e expõe o entendimento do filósofo inglês John Locke no que tange à relação entre política e religião a partir do conceito de tolerância religiosa. Para Locke política e religião representam duas esferas distintas da ação humana, sendo cada uma gerida por uma lógica interna tanto no que diz respeito ao seu alcance sobre os indivíduos, quanto no que se refere ao seu papel social – a primeira dirigida à esfera da seguridade, da ordem e da manutenção da vida e da propriedade e a segunda ao foro interno e à busca pela salvação das almas. Ao término deste estudo pretende-se realçar em quê o pensamento lockeano pode contribuir na construção de uma postura de abertura ao diálogo com as diferenças, o que o autor nomeou: tolerância.

Thomas J. Joudrey, “‘Well, we must be for ourselves in the long run’: Selfishness and Sociality in Wuthering Heights” (pp. 165–193) This essay traces a problem that has long dogged criticism of Emily Brontë’s Wuthering Heights (1847): why is a novel concerned with passionate love for others populated by characters who are radically selfish? Brontë, drawing on the Byronic tradition and eschewing contemporary exhortations to self-renunciation, validates selfish desire even at the expense of communal responsibility. In so doing, she is forced to contend with the possibility that selfishness risks disabling sociality and marooning the self in shame, isolation, or solipsism. Brontë shows, however, that selfishness and sociality are symbiotically implicated, in that selfishness acts as a precondition of robust sociality. After a series of failures—represented in Lockwood’s shame-saturated retreat into childish sociality, Heathcliff and Catherine’s self-destroying soul fusion, and Linton Heathcliff’s masturbatory selfishness—Brontë ultimately locates a brokered compromise between selfishness and sociality in the relationship of Cathy and Hareton. By maintaining their respective boundaries of self and yet making them selectively permeable, the two demonstrate that susceptibility to interpersonal exchange proves vital to fostering their autonomy as discrete selves. Wuthering Heights wages battle on two fronts, excoriating the temptation to enclose the self behind impenetrable barriers, but simultaneously denouncing the other extreme that would eradicate all difference through metaphysical soul-fusion. Brontë posits instead that mature selfhood can only be yielded by a posture of openness to external influences, even as the coherence of the self must be fortified against appropriation by those influences.

Purpose To trace a shift in attitudes towards control since the mid-twentieth century, as reflected in a shift in rhetoric that accompanied the extension from first- to second-order cybernetics. Design/methodology/approach Narratives of exploration that have emerged from NASA’s lunar programme and recent design cybernetics are juxtaposed to show a transition away from the legitimisation of goal-oriented decision-making and control towards advocacy of partial control avoidance and accommodation of the unanticipated. Findings Contemporary cybernetic theory recognises the importance of both the partial presence and the partial absence of control in creative epistemic practice. It is thus unsurprising that, according to historical records, NASA’s journey to the moon was enabled not only by the assurance of control but also by lapses of control. However, NASA’s rhetorical posture during the race to the moon focused on predictable control and goal orientation, differing notably from the recent design-cybernetic openness towards uncertainty, error, and serendipity. This difference is encapsulated by the “Failure is not an option” dictum that was associated with NASA’s lunar programme and the “Try Again. Fail Again. Fail Better” equivalent associated with design cybernetics. Recognition of the more recent cybernetic perspective is impeded by its continuing omission from narratives of earlier cybernetic accomplishments. Research limitations/implications To the extent that narratives examined in this paper refer to exceptional initiatives and spontaneous events, the repeatability and generalisability of the presented argument are limited. Originality/value The paper highlights changing cybernetic narratives of creative invention by examining how spontaneous changes in variety were reported to have been addressed in NASA’s lunar programme, and how recent cybernetic design theory suggests they should be addressed.

AbstractThe contemporary theology of inter-religious dialogue is marked by a debate between pluralism on the one hand and post-liberal particularism on the other. According to the first, religious identity implies an openness for religious otherness. Post-liberal particularists, in contrast, draw attention to the value of identity. What matters in the context of plurality is to show more commitment and to stress the particularity of the irreducible difference between the religious languages. From this perspective post-liberal particularism claims an untranslatability of religions. This claim appears to construct a serious barrier within the dialogue between religions. Recently, this discussion between pluralists and post-liberalists has reached an impasse. In this article I set out to give this impasse a new turn. With this view in mind, I am inspired by Ricœur's latest publication On Translation (2006), which is dedicated to the enigma of linguistic diversity and the question of the (un-)translatability of languages. Beyond the mesmerizing discussion concerning the theoretical possibility or impossibility of translation, Ricœur states that the appropriate attitude of a translator is one of linguistic hospitality. Ricœur suggests that this linguistic hospitality can model for inter-religious dialogue. However, he does not elaborate on this thought and challenges others to think through his suggestion. In this article I gladly accept this challenge, hoping that this will throw new light on the current discussion between pluralists and post-liberal particularists. In line with Ricœur's position, I argue that religious languages are not untranslatable and that inter-religious dialogue is possible, provided that the ethical posture of hermeneutical hospitality for the religious other is adopted.

Indonesia is one country that is now entering a new phase, a variety of things that were once not a child's behavior - children, now prevalent in our country. Crime and violations of public life as well as deviant behavior by adults only done when it is now in almost every area we have encountered in the lives of children - children of Indonesia, and we can not deny that many children - children who commit criminal acts.In line with the times, followed by the development of various aspects of life, such as the economy, science and technology and then giving both positive and negative impacts. The positive effect is the creation of a wide range of quality products and technology, openness and ease of information obtained through the mass media, electronic media or through the Internet system that aims to enable people to access the information needed. While the negative impact of the current era of globalization, among others, an increase in value crisis of ethics and morals, a lack of a sense of togetherness in public life, concern for fellow human beings thinning, where it has the potential to grow and improve posture against the law in various forms of life both by adults even done by children - children. Establishment of Law - Law No. 23 of 2002 on Child Protection suggests that the Republic of Indonesia is obliged to ensure the welfare of each - each of its citizens, including the protection of children's rights are a basic human right, but the reality is far desire from what is described in the constitution and laws - laws that apply in the country of Indonesia. In accordance with the Act - Act N0. 11 of 2012 on Juvenile Court expressly pointed out that the investigator who handled the case child should be experienced as an investigator, has an interest, attention, dedication and understanding the problems of children, and no less important is have followed technical training on juvenile justice. In response to these conditions, to note the legal protection of children and juvenile justice systems.This study is a doctrinal and non-doctrinal combines normative research and empirical research using annotations through library research methods and field research method. Keywords : Legal Protection, Criminal acts of child, Police investigation.

Intisari— Investigasi kecelakaan yang dilakukan oleh pihak internal operator swasta Transjakarta menunjukkan bahwa hampir semua kecelakaan diakibatkan oleh human error (pengemudi). Faktor utama terjadinya kecelakaan diduga adalah mengabaikan prosedur keselamatan yang ditentukan, tidak pekanya pengemudi terhadap kondisi berbahaya. Tujuan penelitian ini adalah untuk memodelkan hubungan safety culture, safety behavior, dan safety knowledge, dan merancang rekomendasi peningkatan safety behavior melalui faktor safety culture dan safety knowledge. Pembangunan model hipotesis dilakukan dengan studi literatur. Pengujian model dilakukan dengan teknik analisis multivariat yaitu structural equation modeling-partial least square. Hasil pengujian hipotesis menunjukkan bahwa hubungan antara safety culture dengan safety behavior positif. Demikian pula dengan hubungan antara safety culture dan safety knowledge. Sedangkan hubungan safety knowledge dengan safety behavior ternyata berpengaruh negatif. Hasil dari pengujian model hipotesis akan digunakan sebagai dasar penyusunan rekomendasi strategi peningkatan safety behavior. Rekomendasi yang berkaitan dengan indikator safety culture diantaranya adalah Perancangan sistem penilaian kinerja sebagai dasar pemetaan kualitas kinerja sumber daya manusia dan pemberlakuan sistem reward and punishment, pemberlakuan dasar perhitungan gaji menggunakan rupiah per jam kerja untuk menurunkan kecenderungan pelanggaran batas kecepatan kendaraan, membentuk media dan forum komunikasi yang memiliki standar prosedur yang lebih jelas, termasuk dengan pencatatan umpan balik atas informasi dari kedua belah pihak, perancangan display yang ergonomis sebagai media penyampaian pesan yang berkaitan dengan keselamatan. merancang media dan prosedur yang lebih jelas untuk penyampaian keluhan dan saran dari pengemudi untuk manajemen, perancangan survei untuk menilai apakah budaya keterbukaan manajemen telah terbangun baik di organisasi. adaptasi prinsip continuous improvement perancangan strategi peningkatan kualitas pelayanan dan keselamatan yang berkelanjutan. Sedangkan rekomendasi perbaikan yang berkaitan dengan indikator safety knowledge adalah dengan melengkapi dan memperkaya materi pelatihan untuk pengemudi dengan materi risiko penyakit akibat kerja, definisi penyakit akibat kerja, materi mengenai cara menghindari penyakit akibat kerja dalam program pelatihan untuk membangun awareness para pengemudi, dan materi mengenai kesalahan postur sebagai faktor risiko pada keselamatan, materi mengenai beban psikologis pengemudi.Abstract— Accident investigation conducted by internal parties of the Transjakarta operator private company that almost all accidents are caused by human error (driver). The main factor in the alleged accident is ignoring the specified safety procedures, not the driver's sensitivity to dangerous conditions. The purpose of this study is to model the relationship between safety culture, safety behavior, and safety knowledge, and design recommendations for improving safety behavior through safety culture and safety knowledge factors. Development of a hypothetical model is carried out with literature studies. Model testing is done by multivariate analysis technique that is structural equation modeling least square. The results of hypothesis testing indicate that the relationship between culture safety and safety behavior is positive. Similarly, the relationship between safety culture and safety knowledge. While the relationship of safety knowledge with safety behavior turned out to have a negative effect. The results of testing the hypothesis model will be used as the basis for preparing recommendations for strategies to improve safety behavior. Recommendations relating to safety culture indicators include the design of performance appraisal systems as a basis for mapping the quality of human resource performance and the implementation of a reward and punishment system, basic application of salary calculation using rupiah per working hour to reduce the tendency of vehicle speed limits, establish media and communication forums who have clearer standard procedures, including by recording feedback on information from both parties, the design of displays is ergonomic as a medium for delivering messages related to safety. designing the media and clearer procedures for submitting complaints and suggestions from drivers to management, designing surveys to assess whether the culture of openness of management has been built well in the organization. continuous improvement principle adaptation design strategies to improve service quality and sustainable safety. While recommendations for improvements relating to safety Knowledge indicators are to equip and enrich training materials for drivers with material on the risk of occupational diseases, definitions of work-related diseases, materials on how to avoid work-related illnesses in training programs to build driver awareness, and material about errors posture as a risk factor for safety, material regarding the driver's psychological burden..

This paper explores a variety of practices and classroom activities that engage the whole student. Grounded in a somatic perspective (from “soma” meaning the body in its wholeness – the integration of thinking, feeling, and acting), the discussion shows how students can be brought fully into learning through movement, music, and interaction. Examples include: “The Leaders Body: Moving to the Next Level,” which incorporates postures, moving to selected music clips, and working in small groups to learn about five dispositions of the body (determination, openness, flexibility, stability, and centre); “Finding Flow,” which includes an experiential process in groups of five that brings alive the spectrum from boredom to optimal experience to anxiety; and “Building a Humour Body,” which is based on both Reich’s (1960) notions about armoring and the chakra system.

Abstract The “good news” is central to evangelical theology and the movement known as evangelicalism, but the news has not always been good for minorities who inhabit evangelical communities and institutions in the United States. Vincent Bacote argues a reckoning with questions of race is necessary for evangelical theology to help cultivate an evangelical movement more hospitable to minorities, particularly African-Americans. Evangelicalism is here regarded not only as a set of beliefs about the Bible, Christ’s work on the cross, conversion and witness but also as a set of dispositions and postures that create openness to the concerns of minorities. With a perpetually uneasy conscience, Christians within the evangelical movement can cultivate a disposition ready to learn from the questions and contributions of minorities in evangelical spaces, such as William Bentley and Carl Ellis. A better evangelical theology is proposed as doctrines that yield actions that are truly good news for all.

The recent statistic reveals the number of Canadian Muslims increases multifold in decades. It is predicted that the Canadian Muslim population will grow significantly. The demographic postures of varied Canadian Muslims offer several features requiring scholarly attention and action from all interested stakeholders to look into the situation. That is to evoke Canadianness among those newly emergent Canadian Muslims who came to Canada as immigrants or born here and grown-up as Muslim. When each boundary is negotiated, the spectrum of Muslimness and Canadian-ness is synthesized in the making. This ongoing situation demands particular action to nurture a sense of belongingness for newly emergent Canadian Muslims to protect and promote Canadian multicultural society amidst external and internal challenges such as Islamophobia and radicalism. Based on scoping reviews on selected pieces of literature, the idea of finding a new model or denomination of Islam in Canada is a convincing step to synthesize Canadianness and Muslimness, which reflect the empirical situation of newly emergent Muslims in Canada. The history of the first mosque built in Canada taught us how the synthesis can be practically applied, how flexible Islam can be genuinely promoted, and the lines of doctrine and cultural difference can be deliberately blurred. This ethos demonstrates compatibility with Canadian values of openness and respect for diversity.

Resumo: O presente texto busca realizar um estudo na perspectiva de que a hermenêutica carrega consigo um fundamento ético, tomando como princípio a postura de responsabilidade e honestidade. Neste sentido, trabalha-se na construção de um texto que aborda a imperfeição, a incompletude, a finitude e a abertura, tomando Mateus 9.2-8, como texto referência. Entendemos que pensando, sonhando, agindo ou repousando, o ser humano está a interpretar. Tem-se como referencial teórico a fenomenologia da vida de Michel Henry, bebedor da fonte heidegariana. O texto neotestamentário é em si mesmo um texto hermenêutico, que procura ensinar a linguagem da fé, compreendendo esta como vida, ou seja, a Palavra da Vida, pois somente a vida experimenta-se a si mesma, sendo que a vida permite conhecer a vida, e é assim que a vida fala, ela fala na vida. Palavras-chave: Hermenêutica. Ética. Vida. Abstract: This text presents a perspective that Hermeneutics carries out with itself an Ethical ground, based on responsibility and honesty. In this way, the paper presents imperfection, finiteness and openness, having Mathew 9.2-8 as a text of reference. Human being interprets in all the circumstances of its life. The text starts from the phenomenology of Michel Henry, who was influenced by Heidegger. New Testament text is in itself a hermeneutical text that intends to teach the language of faith. It also understands the language of faith as life, that is, the Word of Life. Life experiments itself, life permits us to know life. In this way, life speaks, it speaks in the life. Keywords: Hermeneutics. Ethics. Life.

Uma Igreja centrada em Cristo, toma consciência do mistério que a fundamenta, colocando-se diante da sociedade como servidora da vida através da prática do cuidado pastoral. O mundo atual, com seus desafios, requer da Igreja uma postura de abertura e atualização constante para que ela possa corresponder aos anseios e às necessidades do ser humano em crise. A Igreja só será um sinal de esperança na medida em que buscar resplandecer a luz de Cristo. O presente artigo trabalha o tema do cuidado pastoral da Igreja como expressão do próprio cuidado de Deus pela humanidade, expresso na economia da salvação, que ganha, na Igreja, um instrumento eficaz, capaz de ser sinal de esperança para a humanidade, especialmente, em tempos de crise. Palavras-chave: Cuidado Pastoral; Igreja; Esperança; Crise. Abstract: A Church centered on Christ, aware of the mystery that is fundamental, placing itself before society as a servant of life through the practice of pastoral care. The current world, with its challenges, requires an attitude of openness and constant updating from the Church so that it can respond to the desires and needs of the human being in crisis. The Church will only be a sign of hope as it seeks to shine in the light of Christ. This article deals with the theme of the pastoral care of the Church as an expression of God’s own care for humanity expressed in the economy of salvation, which gains in the Church an effective instrument, capable of being a sign of hope for humanity, especially in times of crisis. Keywords: Pastoral Care; Church; Hope; Crisis.

Este ensayo intenta pensar la renovada relevancia de la intuición en el husserliano Principio de todos los principios (Ideen I, 1913) como requisito inexcusable del compromiso de la Fenomenología. En este sentido, son muy ilustrativas las lecturas de Heidegger y Jean-Luc Marion. Heidegger, aunque en Das Ende der Philosophie (1966) critica el Principio, sin embargo, en Die Idee der Philosophie und das Weltanschauungsproblem (1919) había defendido el Principio como una prueba del vitalismo de la Fenomenología. Marion, por su parte, evoluciona hacia una postura cada vez más radical (desde Reducción y donación (1984-1989) a Étant donné (1997)) con respecto a la importancia concedida a la intuición sin concepto. La afirmación implícita en el Principio permite reinterpretar algunos recursos decisivos de la fenomenología husserliana de 1913, así como permite inferir algunas claves para una ética basada en valores extraídos de la apertura de la Fenomenología.This essay attempts to think the renewed relevance of Intuition in Husserl's Principle of all principles (Ideen I, 1913) as a inexcusable requirement of the Engagement of the Phenomenology. In this sense, are very illustrative the readings of Heidegger and Jean-Luc Marion. Heidegger, although in Das Ende der Philosophie (1966) criticizes the Principle, however, in Die Idee der Philosophie und das Weltanschauungsproblem (1919) he defended the Principle as a proof of vitalism of Phenomenology. Marion, meanwhile, evolves to an increasingly radical stance (from Réduction et donation (1984-1989) to Étant donné (1997)) regarding the importance given to intuition without concept. The implicit claim in Principle allows reinterpret some important resources of the Husserlian Phenomenology (1913), and also allows infer some keys for a Ethics based on values extracted from the openness of the Phenomenology.

This journal was written because of the difference in price fixing by lime seed sellers in Nagari Padang Ganting. Where there is a difference in pricing for buyers from within Padang Ganting and buyers outside Padang Ganting. The price difference excludes postage. Based on this, the author wants to know about the pricing carried out by sellers of lime seeds. Then how does the mu'amalah fiqh perspective look at the pricing. This research was conducted in Nagari Padang Ganting. The research method used by the author is a mixed research, namely field research and library research. Field research conducted on sellers, buyers and the local community. And the library research that the writer did used various existing literature in the library that was relevant to the problem to be studied. Research materials were collected through interviews, observation, and documentation. Based on the results of the study, it can be concluded that the price fixing by sellers of lime seeds to buyers from Padang Ganting is the same as the price of one kilogram of lime for one seed. Meanwhile, the price of one seed set for buyers from outside Padang Ganting is more than the price of one kilogram of lime. So there are differences in pricing made by sellers and there are three reasons why sellers differentiate these prices. Firstly, buyers from Padang Ganting are native so prices are lowered. Second, because there is an opportunity to take excess profits from outside buyers. Third, because the seller has been doing this price difference for a long time, so it has become a habit. If seen from the concept of pricing from a mu'amalah fiqh perspective. The difference in pricing by sellers of lime seeds in Nagari Padang Ganting has not fulfilled all the principles of pricing, because there are prices that are not fair for buyers from outside compared to buyers from within Padang Ganting. Then, from a marketing point of view, it has not been fulfilled because the seller is not open in providing information about the price difference. And taking advantage of the ignorance of buyers from outside to gain additional profits, including unjust acts. Because in marketing there are four elements, namely ar-ridha, a healthy comparison of resistance, honesty, justice and openness.

Los organismos genéticamente modificados (OGM) son aquellos cuyo material genético ha sido alterado de alguna manera mediante la manipulación genética. Los OGM se han utilizado ampliamente en la agricultura para crear cultivos resistentes a las plagas y a los herbicidas, así como, en la producción de alimentos y medicamentos. Aunque los OGM han sido objeto de controversia debido a preocupaciones sobre su seguridad y su impacto en el medio ambiente, la mayoría de los estudios científicos sugieren que los OGM son seguros para su consumo y que su uso puede tener beneficios significativos en la agricultura y la producción de alimentos y medicamentos. La opinión pública sobre los organismos genéticamente modificados (OGM) en México es bastante dividida y polémica. Por un lado, existen grupos que están a favor del uso de los OGM en la agricultura y la producción de alimentos, argumentando que esta tecnología puede ayudar a aumentar la producción de alimentos, mejorar su calidad y reducir los costos. El objetivo de esta investigación es la evaluación de la percepción de los OGM a Hidalguenses, México. Para este fin se aplicó un cuestionario integrado por 4 secciones y 18 reactivos. El estudio no probabilístico midió la opinión relacionada con: Información sobre los OGM, su postura frente a ellos y el impacto en el ambiente. Esta encuesta dio como resultado que el 36% de la población tiene una buena aceptación; mientras que el 58% estaría dispuesto a consumir un organismo genéticamente modificado. Este estudio demostró que, a pesar de tener poca información sobre estas tecnologías, existe una apertura al consumo de los OGM en los hidalguenses. Genetically modified organisms (GMOs) are organisms whose genetic material has been altered in some way through genetic manipulation. GMOs have been widely used in agriculture to create pest- and herbicide-resistant crops, and in food and drug production. Although GMOs have been the subject of controversy due to concerns about their safety and impact on the environment, most scientific studies suggest that GMOs are safe for consumption and that their use can have significant benefits in agriculture and food and drug production. Public opinion on genetically modified organisms (GMOs) in Mexico is quite divided and controversial. On the one hand, there are groups that are in favour of the use of GMOs in agriculture and food production, arguing that this technology can help increase food production, improve food quality and reduce costs. The purpose of this study is to analyse the public opinion that people in the state of Hidalgo, Mexico have regarding GMOs. The objective of this research is to evaluate the perception of GMOs among the people of Hidalgo. For this purpose, a questionnaire composed of 4 sections and 18 items was applied. The non-probabilistic study measured the opinion related to: information about GMOs, their position towards them and the impact on the environment. This survey resulted in 36% of the population having a good acceptance; while 58% would be willing to consume a genetically modified organism. This study showed that, despite having little information about these technologies, there is an openness to the consumption of GMOs among the people of Hidalgo.

Introduction. The relevance of the conducted research is determined, on the one hand, by the unfavorable epidemiological situation regarding myopia among students, and on the other hand, by extremely incomplete knowledge of the mechanisms that mediate its development, progression, and stabilization. The aim of this study is to carry out a comprehensive analysis of factors that contribute to the development of myopia, as well as the development of methods for assessing the risk of its occurrence, prevention of progression and psychological correction of myopia, research on the role of physical exertion in the prevention of visual fatigue and psychological correction of myopia with the help of therapeutic exercises. Materials and methods. The study covered a representative sample of students from different regions of Ukraine. The number of participants was determined on the basis of statistical calculations to achieve sufficient representativeness of the results – 62 first- and second-year students of the Yuri Kondratyuk Poltava Polytechnic National University. The study of the peculiarities of the stability of attention and the speed of attention switching of myopic and normally ophthalmologically healthy students using the "Correction test" method by B. Burdon. Results and discussion. Analyzing the results of the projective method, we can note that myopic individuals have more often (25%) the influence of the family in their lives, in contrast to healthy individuals (10%). Differences are also observed in the indicators of anxiety, in particular, myopic people show more anxiety in relation to society and feel insecurity (41%), in contrast to healthy people (23%). At the same time, there are insignificant differences in openness to communication – myopic people show a high level (56%) in contrast to healthy people (67%). Among students with a reduced relative reserve of accommodation, a decrease in the static endurance of the back muscles was more often observed. It was 17.74% for boys and 22.58% for girls. 32.25% of boys and 77.41% of girls had incorrect postures. To increase the static endurance of the muscles of the back, neck, and press, a technique was developed that included two repetitions of 2-3 exercises for each muscle group with a short interval between repetitions. Conclusions. 1. Refractive disorders corresponding to mild and moderate myopia include restructuring of function at the level of the retina, visual pathways, and cerebral cortex. 2. Under conditions of the presence of myopia in a person, changes occur in the functioning of both the visual sensory system and higher nervous activity, in particular, attention. 3. The presence of myopia is also related to the psychological characteristics of the individual, in particular, the level of anxiety, the degree of independence and the feeling of attachment to the family, the search for protection from society and a safe environment for self-development. 4. Corrective and preventive measures should include a set of measures, such as psychophysiological stimulation of visual analyzers, selection of individual modes of performance of visual loads, increasing the variety of methods of intra-family interaction. 5. The analysis of the results of the study in the university environment of the impact of physical exercises on the problem of myopia among students showed the high effectiveness of physical activity and adapted physical exercises for the prevention of the development of myopia among students.

To understand the role seating plays in the support of posture and spinal articulation, it is necessary to study the interface between a human and the seat. However, a method to quantify lumbar curvature in commercially available unmodified seats does not currently exist. This work sought to determine if the lumbar curvature for normal ranges of seated posture could be documented by using body landmarks located on the anterior portion of the body. The development of such a methodology will allow researchers to evaluate spinal articulation of a seated subject while in standard, commercially available seats and chairs. Anterior measurements of boney landmarks were used to quantify the relative positions of the ribcage and pelvis while simultaneous posterior measurements were made of lumbar curvature. The relationship between the anterior and the posterior measures was compared. The predictive capacity of this approach was evaluated by determining linear and second-order regressions for each of the four postures across all subjects and conducting a leave-one-out cross validation. The relationships between the anterior and posterior measures were approximated by linear and second-order polynomial regressions (r2 = 0.829, 0.935 respectively) across all postures. The quantitative analysis showed that openness had a significant relationship with lumbar curvature, and a first-order regression was superior to a second-order regression. Average standard errors in the prediction were 5.9° for the maximum kyphotic posture, 9.9° for the comfortable posture, 12.8° for the straight and tall, and 22.2° for the maximum lordotic posture. These results show predictions of lumbar curvature are possible in seated postures by using a motion capture system and anterior measures. This method of lumbar curvature prediction shows potential for use in the assessment of seated spinal curvatures and the corresponding design of seating to accommodate those curvatures; however, additional inputs will be necessary to better predict the postures as lordosis is increased.

BACKGROUND: Prolonged sitting during work is common and has been shown to cause health issues. However, changing working postures has been reported to reduce musculoskeletal issues and impact other health issues; thus, there is a need for an office environment with multiple choices of working postures. OBJECTIVE: The purpose of this study was to evaluate changes in body position, body loading, and blood perfusion while in a seated, standing, and new office seating position, termed the in-between position. METHODS: Ground reaction forces, joint angles, pelvic tilt, openness angle (angle between the pelvis plane and thorax), and blood perfusion were evaluated for three positions. A motion capture system with markers was used to capture the position of anatomical landmarks. A six-axis force plate was used to collect the ground reaction forces, and a laser doppler perfusion monitor was used to obtain the blood perfusion. RESULTS: Data showed that the in-between position articulated the hips, which provided a hip and lumbar position closer to a standing posture than a seated posture. The average vertical ground reaction force in the in-between position was larger than the seated position but significantly smaller than during standing (p < 0.0001). There were no significant differences in anterior/posterior ground reaction forces between the seated and the in-between positions (p = 0.4934). Lastly, blood perfusion increased during the dynamic transitions between positions indicating changes in blood flow. CONCLUSION: The in-between position provides benefits of both standing (larger pelvic tilt and increased lumbar lordosis) and sitting (reduction in ground reaction forces).

Abstract Background This study aimed to assess the risk of work-related musculoskeletal disorders (WMSDs) using the path analysis models. Methods This study was carried out on 350 office employees with good general health. All variables were collected using a questionnaire. Personality traits and mental workload of employees were evaluated using the NEO Personality Inventory and the NASA-task load index software, respectively. The individual and personality traits were used as predictor variables, and mental workload (MWL) and body posture scores as mediating variables of the musculoskeletal discomforts. The role of predictor and mediating variables on discomforts was explained based on the path analysis models. Results The impact coefficient of MWL and posture on WMSDs was significant. The coefficient of the direct effect of body mass index (BMI) and gender on musculoskeletal disorders was significant and positive and the women have reported a higher rate of discomforts. The strongest positive impact of personality traits on MWL and posture was conscientiousness, followed by neuroticism and agreeableness. In return, the strongest negative impact was extroversion, followed by openness. The strongest positive impact of individual factors on MWL and posture was BMI, followed by work experience. Conclusion Gender, BMI, neuroticism, extraversion, and conscientiousness can be strong predictors for musculoskeletal discomforts which can mediate the impact of body posture and mental workload (mediating factors) on musculoskeletal discomfort. Therefore, personality and individual traits can be strong alarming and indicators for risk identification and preventing musculoskeletal disorders when choosing people for a job or task.

Personal recovery from psychiatric disorders is a journey toward a satisfying and hopeful life despite the possible persistence of symptoms. This concept has gained interest and become an increasingly important goal in mental health care programmes. Personal Recovery is well described in the context of severe mental illnesses in general, but little is known about this journey in bipolar disorders and the factors underlying it. A systematic review was conducted according to the PRISMA recommendations, focusing on studies exploring personal recovery in bipolar disorder specifically. The latter have integrated a comprehensive approach to the concept, the existing means of measurement or have explored the levers of recovery in care. Twenty-four articles were selected, including seven qualitative, 12 observational, and five interventional studies. The Bipolar Recovery Questionnaire was the only scale developed de novo from qualitative work with bipolar people. Personal recovery did not correlate very closely with symptomatology. Some elements of personal recovery in bipolar disorder were similar to those in other severe mental illnesses: meaning in life, self-determination, hope, and low self-stigma. Specific levers differed: mental relationships with mood swings, including acceptance and decrease in hypervigilance, and openness to others, including trust and closeness. The studies highlighted the role of caregiver posture and the quality of communication within care, as well as the knowledge gained from peers. The choice to exclude articles not focused on bipolar disorder resulted in the provision of very specific information, and the small number of articles to date may limit the scope of the evidence. New components of personal recovery in bipolar disorder emerged from this review; these components could be taken into account in the construction of care tools, as well as in the caregiving posture. Strengthening skills of openness to others could also be a central target of recovery-focused care.

Abstract Background Therapeutic patient education (TPE) programs are psycho-educational treatments suggested for all chronic diseases. For several years, these programs have been developing for people living with bipolar disorder. However, to date, only few qualitative studies have explored the experience of caregivers. We wanted to explore the experience of caregivers working in psychiatry as facilitators of a therapeutic education program for people living with bipolar disorder. Method A single-center qualitative study was carried out. We conducted an inductive exploration, examining the content of the discourse produced in a focus group of eight caregivers in therapeutic education. The corpus was transcribed manually and a thematic analysis was conducted by two authors in a blinded fashion before combining. Results Four dimensions and twenty themes were identified: i) facilitators' pleasant experiences of the TPE sessions with a secure climate and a sense of belonging to a group, ii) being a TPE facilitator with a new horizontal and collaborative posture valuing the experiential knowledge, iii) the role of the TPE sessions with knowledge provision, empowerment and destigmatization, and iv) perceived changes in patients with an appeasement, the awareness of a shared experience, openness to others, a phenomenon of identification to peers and a new commitment. Conclusions and implications for practice The observations noted overlap with the elements of the personal recovery well known CHIME framework (Connectedness, Hope, positive Identity, Meaning in life and Empowerment). Therapeutic education is a developing form of psychosocial rehabilitation care: through the mobilization of a new attitude of caring, the facilitation of TPE programs could be a lever for changing the posture of caregivers in favor of supporting the personal recovery of people with bipolar disorder. These results would need to be confirmed by further studies.

Much more than a simple thematic figure, the beekeeper is, for the poet and art critic Jacques Dupin, the medium for a poetic game with the figures of the lyrical subject to renew our thinking on poetry. Thanks to a verbal materialism that both captures and provokes the encounter between the subject and the world, the wax produced by the beekeeper is equivalent to the page of the poem, on which the poem can be engraved, and nourishes the poet's lamp, who learns from the beekeeper an ethic conveyed by simplicity, humility, a taste for the essential, and an openness to the infinitesimal elemental world that is thus fully inhabited. By representing himself under the mask of the beekeeper and pursuing his swarm-poems and bee-words, Jacques Dupin encounters an authentic poetry that is fuelled by the transfer of the playful, moral and hermeneutic figure of the beekeeper to the critical figure of the poet. The posture, gesture and wisdom of the beekeeper thus promise the poet access to a fair knowledge of the things of the world, but also of the power of the poem. To look at oneself as a beekeeper and to confront the bee is also to look at oneself as a poet and to question the possibility of a renewal of lyricism in the poetry of the 20th and 21st centuries.

In everyday life, interactions between humans are generally modulated by the value attributed to the situation, which partly relies on the partner's behavior. A pleasant or cooperating partner may trigger an approach behavior in the observer, while an unpleasant or threatening partner may trigger an avoidance behavior. In this context, the correct interpretation of other's intentions is crucial to achieve satisfying social interactions. Social cues such as gaze direction and facial expression are both fundamental and interrelated. Typically, whenever gaze direction and facial expression of others communicate the same intention, it enhances both the interlocutor's gaze direction and the perception of facial expressions (i.e., shared signal hypothesis). For instance, an angry face with a direct gaze is perceived as more intense since it represents a threat to the observer. In this study, we propose to examine how the combination of others' gaze direction (direct or deviated) and emotional facial expressions (i.e., happiness, fear, anger, sadness, disgust, and neutrality) influence the observer's gaze perception and postural control. Gaze perception was indexed by the cone of direct gaze (CoDG) referring to the width over which an observer feels someone's gaze is directed at them. A wider CoDG indicates that the observer perceived the face as looking at them over a wider range of gaze directions. Conversely, a narrower CoDG indicates a decrease in the range of gaze directions perceived as direct. Postural control was examined through the center of pressure displacements reflecting postural stability and approach-avoidance tendencies. We also investigated how both gaze perception and postural control may vary according to participants' personality traits and emotional states (e.g., openness, anxiety, etc.). Our results confirmed that gaze perception is influenced by emotional faces: a wider CoDGs was observed with angry and disgusted faces while a narrower CoDG was observed for fearful faces. Furthermore, facial expressions combined with gaze direction influence participants' postural stability but not approach-avoidance behaviors. Results are discussed in the light of the approach-avoidance model, by considering how some personality traits modulate the relation between emotion and posture.

We analyze in this article the effects of personality on attitudes toward foreign policy through a comprehensive aspect-level approach. We claim that previous observed null domain-level effects are the product of the aspect-level effects of opposing signs. By and large, we show that some personality effects are of comparable size or bigger than demographics studied in the literature, and that some of these effects are unique and independent of demographic covariates. Our results show that openness, orderliness, and compassion render people to be more supportive of cooperation. Assertiveness is the primary driver of support for the use of military force, whereas politeness and withdrawal ground reverse effects. Volatility roots isolationism postures, whereas industriousness, enthusiasm, and compassion show strong opposing effects. Moving beyond the Big Five personality domain approach provides us with a deeper and more nuanced understanding of how personality is associated with attitudes toward international issues.

RESUMENEn el presente artículo se analiza la fundamentación leibniziana de la voluntad libre entendida como capacidad de autodeterminación, a partir de sus notas esenciales: espontaneidad, deliberación y contingencia. Al estar la voluntad determinada por la serie de percepciones que brotan de la naturaleza de la sustancia, el dominio de esta sobre sus propios actos es indirecto y diacrónico. Si bien Leibniz elude el necesitarismo mediante la atribución a la voluntad de la posibilidad lógica de obrar de forma que como obra, la imputabilidad moral de las acciones queda seriamente comprometida. El artículo concluye con una valoración crítica de la postura de Leibniz desde una perspectiva de la naturaleza de la voluntad como apertura trascendental al bien en cuanto tal.PALABRAS CLAVELIBERTAD, AUTODETERMINACIÓN, IMPUTABILIDAD, DETERMINISMO, LEIBNIZABSTRACTIn the present article we analyze Leibniz’s foundation of free will, understood as a potency of self-determination, examining it from its essential features: spontaneity, deliberation and contingency. Since will is determined by the series of perceptions which flow from the nature of substance, its dominion over its own acts is indirect and diachronic. Even if Leibniz avoids necessitarianism by attributing the logical possibility of doing otherwise to the will, the actions’ moral imputability is seriously compromised. The article concludes with a critical evaluation of Leibniz’s position, from a perspective in which the nature of will is considered as a transcendental openness towards good as such.KEY WORDSFREE WILL, SELF-DETERMINATION, IMPUTABILITY, DETERMINISM, LEIBNIZ

La propuesta filosófica fundamental de Thomas Nagel es buscar una visión absoluta, que evite los sesgos y trate de ser imparcial, a la que llama una visión de ningún lugar. El artículo analiza las implicaciones de tal postura para la antropología filosófica. Se hace una valoración positiva de su fuerte rechazo al naturalismo, y de su talante de apertura filosófica, honestidad y valor, que lo posiciona como un filósofo analítico sui generis que marcha a contra corriente. Se valora también su pretensión de que la filosofía debe retomar las cuestiones sustantivas del sentido de la vida desde una reflexión sobre el universo entero. Se critica que la visión de ningún lugar no incluya suficientemente el problema de otros puntos de vista, por ser demasiado deudora, aún, de la ciencia y de la perspectiva del observador. Thomas Nagel’s main philosophical project is to search for an absolute vision or absolute viewpoint that avoids biases and tries to be impartial, which Nagel calls the view from nowhere. This paper examines the implications of such stance for philosophical anthropology. Specifically, a positive evaluation is made of Nagel’s strong rejection of naturalism and of his philosophical spirit of openness, honesty and courage, both which distinguishes him as a unique analytic philosopher that goes countercurrent. Also, the paper welcomes Nagel’s proposal that philosophy should address again substantive issues about the meaning of life from a re ection about the whole universe. However, a critique is made on the basis that the view from nowhere does not fully take into consideration the problem of other perspectives because it is too indebted, still, to science and to the observer’s perspective.

Abstract The development of technology affects all spheres of human life, including children's play. The changes resulting from the fast development of technology and new media leave a huge dent in the process of children's play.This paper tends to answer the question how the development of technology and new media influences the changes in the context of children's play, whether the new media has become just a good excuse for some other, deeper social changes taking place in a society and influencing all segments of human life, including children. It is concluded that, with the development of technology, children's play has evolved in another direction, a direction that has not been sufficiently explored, often unfavourably judged and blamed for all the negative changes in children's life. A basic developmental characteristic of children is their openness to something new and different. Children are by nature explorers who investigate everything in their environment and beyond. The possibilities of technology and new media in children's play are just another segment that requires exploration and investigation, and that is interesting for children to research. Simplicity and openness to new things is something one needs to appreciate and nurture in children. On the trail of these changes adults are faced with new tasks, such as showing complete openness to new things and discarding all prejudices, limitations and ignorance. When all of this is behind us, we can help children get into great exploration of the new media as a new and inevitable part of their new play. Accepting the strong impact of the new media on children's play allows us a certain amount of control over the quality of play in order to protect children.Technology and the new media have become part of children's play, of the way children play in the 21st century.Key words: change; educators; technology.---SažetakRazvoj tehnologije utječe na sve sfere ljudskog života, pa tako i na dječju igru. Promjene koje nastaju utjecajem ubrzanog razvoja tehnologija i novih medija ostavljaju velik trag na dječju igru.U ovom radu pokušava se odgovoriti na pitanje koliko je razvoj tehnologije i novih medija utjecao na promjene u kontekstu razvoja dječje igre, te postaju li novi mediji samo dobar izgovor za neke druge, dublje socijalne promjene koje se zbivaju u društvu i utječu na sve segmente ljudskog života, pa tako i na dječju igru. Zaključuje se kako je razvojem tehnologije dječja igra evoluirala u jednom drugom smjeru, smjeru koji još nije dovoljno istražen, koji je često negativno osuđivan i optuživan za sve negativne promjene u dječjem životu. Osnovna razvojna karakteristika djece je otvorenost za novo i drugačije. Djeca su po svojoj prirodi istraživači koji istražuju sve u svom okruženju i šire. Mogućnosti tehnologije i novih medije u dječjoj igri samo su još jedan novi segment koji je potrebno istražiti i koji postaje zanimljiv predmet dječjeg istraživanja. Jednostavnost i otvorenost prema novome je nešto što je u djece potrebno cijeniti i njegovati. Na tragu tih promjena pred odrasle se postavljaju novi zadaci, zadaci kao što su potpuna otvorenost za novo, odbacivanje svih predrasuda, ograničenja i neznanja. Kada je sve to iza nas, možemo zajedno s djecom krenuti u veliko istraživanje novih medija kao novog i neizbježnog dijela nove dječje igre. Prihvaćanje snažnog utjecaj novih medija na dječju igru omogućuje nam određenu dozu kontrole nad kvalitetom igre s ciljem zaštite djece. Tehnologija i novi mediji postali su dio dječje igre, igre djece 21. stoljeća.Ključne riječi: nastavnici, promjene, tehnologija

Background information Sandscript was programmed with the web application « Tchat-scene », created by Carol-Ann Braun and the computer services company Timsoft (). It organizes a data-base of raw material into compositions and sequences allowing to build larger episodes. Multimedia resources are thus attributed to frames surrounding the chat space or to the chat space itself, thus “augmented” to include pre-written texts and graphics. Sandscript works best on a PC, with Internet Explorer. On Mac, use 0S9 and Internet Explorer. You will have to download a chat application for the site to function. Coded conversation General opinion would have it that chat space is a conversational space, facilitating rather than complicating communication. Writing in a chat space is very much influenced by the current ideological stance which sees collaborative spaces as places to make friends, speak freely, flip from one “channel” to another, link with a simple click into related themes, etc. Moreover, chat users tend to think of the chat screen in terms of a white page, an essentially neutral environment. A quick analysis of chat practices reveals a different scenario: chat spaces are highly coded typographical writing spaces, quick to exclude those who don’t abide by the technical and procedural constraints associated with computer reading/writing tools (Despret-Lonné, Gentès). Chatters seek to belong to a “community;” conversely, every chat has “codes” which restrict its membership to the like-minded. The patterns of exchange characteristic of chats are phatic (Jakobson), and their primary purpose is to get and maintain a social link. It is no surprise then that chatters should emphasize two skills: one related to rhetorical ingenuity, the other to dexterity and speed of writing. To belong, one first has to grasp the banter, then manage very quickly the rules and rituals of the group, then answer by mastering the intricacies of the keyboard and its shortcuts. Speed is compulsory if your answers are to follow the communal chat; as a result, sentences tend to be very short, truncated bits, dispatched in a continuous flow. Sandscript attempts to play with the limits of this often hermetic writing process (and the underlying questions of affinity, participation and reciprocity). It opens up a social space to an artistic and fictional space, each with rules of its own. Hyper-linked dialogue Sandscript is not just about people chatting, it is also about influencing the course of these exchanges. The site weaves pre-scripted poetic content into the spontaneous, real-time dialogue of chatters. Smileys and the plethora of abbreviations, punctuations and icons characteristic of chat rooms are mixed in with typographical games that develop the idea of text as image and text as sound — using Morse Code to make text resonate, CB code to evoke its spoken use, and graphic elements within the chat space itself to oppose keyboard text and handwritten graffiti. The web site encourages chatters to broaden the scope of their “net-speak,” and take a playfully conscious stance towards their own familiar practices. Actually, most of the writing in this web-site is buried in the database. Two hundred or so “key words” — expressions typical of phatic exchanges, in addition to other words linked to the idea of sandstorms and archeology — lie dormant, inactive and unseen until a chatter inadvertently types one in. These keywords bridge the gap between spontaneous exchange and multimedia content: if someone types in “hi,” an image of a face, half buried in sand, pops up in a floating window and welcomes you, silently; if someone types in the word “wind,” a typewritten “wind” floats out into the graphic environment and oscillates between the left and right edges of the frames; typing the word “no” “magically” triggers the intervention of an anarchist who says something provocative*. *Sandscript works like a game of ping-pong among chatters who are intermittently surprised by a comment “out of nowhere.” The chat space, augmented by a database, forms an ever-evolving, fluid “back-bone” around which artistic content is articulated. Present in the form of programs who participate in their stead, artists share the spot light, adding another level of mediation to a collective writing process. Individual and collective identities Not only does Sandscript accentuate the multimedia aspects of typed chat dialogues, it also seeks to give a “ shape” to the community of assembled chatters. This shape is musical: along with typing in a nickname of her choice, each chatter is attributed a sound. Like crickets in a field, each sound adds to the next to create a collective presence, modified with every new arrival and departure. For example, if your nick is “yoyo-mama,” your presence will be associated with a low, electronic purr. When “pillX” shows up, his nick will be associated with a sharp violin chord. When “mojo” pitches in, she adds her sound profile to the lot, and the overall environment changes again. Chatters can’t hear the clatter of each other’s keyboards, but they hear the different rhythms of their musical identities. The repeated pings of people present in the same “scape” reinforce the idea of community in a world where everything typed is swept away by the next bit of text, soon to be pushed off-screen in turn. The nature of this orchestrated collective presence is determined by the artists and their programs, not by the chatters themselves, whose freedom is limited to switching from one nick to another to test the various sounds associated with each. Here, identity is both given and built, both individual and collective, both a matter of choice and pre-defined rules. (Goffman) Real or fictitious characters The authors introduce simulated bits of dialogue within the flow of written conversation. Some of these fake dialogues simply echo whatever keywords chatters might type. Others, however, point else where, suggesting a hyper-link to a more elaborate fictionalized drama among “characters.” Sandscript also hides a plot. Once chatters realize that there are strange goings on in their midst, they become caught in the shifting sands of this web site’s inherent duality. They can completely lose their footing: not only do they have to position themselves in relation to other, real people (however disguised…) but they also have to find their bearings in the midst of a database of fake interlocutors. Not only are they expected to “write” in order to belong, they are also expected to unearth content in order to be “in the know.” A hybridized writing is required to maintain this ambivalence in place. Sandscript’s fake dialogue straddles two worlds: it melds in with the real-time small talk of chatters all while pointing to elements in a fictional narrative. For example, “mojo” will say: “silting up here ”, and “zano” will answer “10-4, what now? ” These two characters could be banal chatters, inviting others to join in their sarcastic banter… But they are also specifically referring to incidents in their fictional world. The “chat code” not only addresses its audience, it implies that something else is going on that merits a “click” or a question. “Clicking” at this juncture means more than just quickly responding to what another chatter might have typed. It implies stopping the banter and delving into the details of a character developed at greater length elsewhere. Indeed, in Sandscript, each fictional dialogue is linked to a blog that reinforces each character’s personality traits and provides insights into the web-site’s wind-swept, self-erasing world. Interestingly enough, Sandscript then reverses this movement towards a closed fictional space by having each character not only write about himself, but relate her immediate preoccupations to the larger world. Each blog entry mentions a character’s favorite URL at that particular moment. One character might evoke a web site about romantic poetry, another one on anarchist political theory, a third a web-site on Morse code, etc… Chatters click on the URL and open up an entirely new web-site, directly related to the questions being discussed in Sandscript. Thus, each character represents himself as well as a point of view on the larger world of the web. Fiction opens onto a “real” slice of cyber-space and the work of other authors and programmers. Sandscript mixes up different types of on-line identities, emphasizing that representations of people on the web are neither “true” nor “false.” They are simply artificial and staged, simple facets of identities which shift in style and rhetoric depending on the platform available to them. Again, identity is both closed by our social integration and opened to singular “play.” Conclusion: looking at and looking through One could argue that since the futurists staged their “electrical theater” in the streets of Turin close to a hundred years ago, artists have worked on the blurry edge between recognizable formal structures and their dissolution into life itself. And after a century of avant-gardes, self-referential appropriations of mass media are also second nature. Juxtaposing one “use” along another reveals how different frames of reference include or exclude each other in unexpected ways. For the past twenty years much artwork has which fallen in between genres, and most recently in the realm of what Nicolas Bourriaud calls “relational aesthetics.” Such work is designed not only to draw attention to itself but also to the spectator’s relation to it and the broader artistic context which infuses the work with additional meaning. By having dialogue serve as a hyper-link to multimedia content, Sandscript, however, does more. Even though some changes in the web site are pre-programmed to occur automatically, not much happens without the chatters, who occupy center-stage and trigger the appearance of a latent content. Chatters are the driving force, they are the ones who make text appear and flow off-screen, who explore links, who exchange information, and who decide what pops up and doesn’t. Here, the art “object” reveals its different facets around a multi-layered, on-going conversation, subjected to the “flux” of an un-formulated present. Secondly, Sandscript demands that we constantly vary our posture towards the work: getting involved in conversation to look through the device, all while taking some distance to consider the object and look at its content and artistic “mediations.” (Bolster and Grusin, Manovitch). This tension is at the heart of Sandscript, which insists on being both a communication device “transparent” to its user, and an artistic device that imposes an opaque and reflexive quality. The former is supposed to disappear behind its task; the latter attracts the viewer’s attention over and over again, ever open to new interpretations. This approach is not without pitfalls. One Sandscript chatter wondered if as the authors of the web-site were not disappointed when conversation took the upper hand, and chatters ignored the graphics. On the other hand, the web site’s explicit status as a chat space was quickly compromised when users stopped being interested in each other and turned to explore the different layers hidden within the interface. In the end, Sandscript chatters are not bound to any single one of these modes. They can experience one and then other, and —why not —both simultaneously. This hybrid posture brings to mind Herman’s metaphor of a door that cannot be closed entirely: “la porte joue” —the door “gives.” It is not perfectly fitted and closed — there is room for “play.” Such openness requires that the artistic device provide two seemingly contradictory ways of relating to it: a desire to communicate seamlessly all while being fascinated by every seam in the representational space projected on-screen. Sandscript is supposed to “run” and “not run” at the same time; it exemplifies the technico-semiotic logic of speed and resists it full stop. Here, openness is not ontological; it is experiential, shifting. About the Authors Carol-Ann Braun is multimedia artist, at the Ecole Nationale Superieure des Telecomunications, Paris, France. EmaiL: carol-ann.braun@wanadoo.fr Annie Gentes is media theorist and professor at the Ecole Nationale Superieure des Telecomunications, Paris, France. Email: Annie.Gentes@enst.fr Works Cited Adamowicz, Elza. Surrealist Collage in Text and Image, Dissecting the Exquisite Corpse. Cambridge: Cambridge University Press, 1998. Augé, Marc. Non-lieux, Introduction à une Anthropologie de la Surmodernité. Paris: Seuil, 1992. Bolter, Jay David and Richard Grusin. Remediation, Understanding New Media. Cambridge: MIT Press, 2000. Bourriaud, Nicholas. Esthétique Relationnelle. Paris: Les Presses du Réel, 1998. Despret-Lonnet, Marie and Annie Gentes, Lire, Ecrire, Réécrire. Paris: Bibliothèque Centre Pompidou, 2003. Goffman, Irving. Interaction Ritual. New York: Pantheon, 1967. Habermas, Jürgen. Théorie de l’Agir Communicationnel, Vol.1. Paris: Fayard, 1987. Herman, Jacques. “Jeux et Rationalité.” Encyclopedia Universalis, 1997. Jakobson, Roman.“Linguistics and Poetics: Closing statements,” in Thomas Sebeok. Style in Language. Cambridge: MIT Press, 1960. Latzko-Toth, Guillaume. “L’Internet Relay Chat, Un Cas Exemplaire de Dispositif Socio-technique,” in Composite. Montreal: Université du Québec à Montréal, 2001. Lyotard, Jean-François. La Condition Post-Moderne. Paris: les Editions de Minuit, 1979. Manovitch, Lev. The Language of New Media. Cambridge: MIT Press, 2001. Michaud, Yves. L’Art à l’Etat Gazeux. Essai sur le Triomphe de l’Esthétique, Les essais. Paris: Stock, 2003. Citation reference for this article MLA Style Braun, Carol-Ann & Gentes, Annie. "Dialogue: a hyper-link to multimedia content." M/C: A Journal of Media and Culture <http://www.media-culture.org.au/0406/05_Braun-Gentes.php>. APA Style Braun, C. & Gentes, A. (2004, Jul1). Dialogue: a hyper-link to multimedia content.. M/C: A Journal of Media and Culture, 7, <http://www.media-culture.org.au/0406/05_Braun-Gentes.php>

O presente ensaio propõe uma reflexão sobre a dificuldade de acesso aos mecanismos de justiça e precariedade de defesa das camadas populares no Brasil frente a uma postura autoritária por parte das esferas de decisão personificadas pelo Poder Judiciário. Temos uma constituição democrática que garante direitos difusos, e coletivos, mas que na prática, quando falamos de direitos inerentes aos mecanismos processuais do uso do contraditório e da ampla defesa por exemplo, vimos que na prática são direitos que não se concretizam plenamente para ricos e pobres. A proposta do presente texto é mostrar que quanto maior é o grau de exclusão de um indivíduo, maior é seu distanciamento das garantias legais e constitucionais quando nos referimos aos mecanismos de defesa dentro do ordenamento jurídico formal, já que em regra é atendido por uma defensoria pública sobrecarregada, com poucos recursos e muitas vezes precárias condições para realizar uma defesa plena e irrestrita, como diz a norma. Ainda abordamos a herança autoritária dos períodos de ditadura e seus reflexos em práticas processuais retificando um procedimento violador de direitos e uma lei altamente seletiva e segregatória. Por fim nosso trabalho é fruto de pesquisa qualitativa e bibliográfica sendo concluído com um olhar voltado para a necessidade urgente de mudanças na formação dos profissionais do direito, humanizando-os. Quando assim acontecer teremos um sistema de justiça criminal que busque de fato justiça com equidade garantindo a todos os cidadãos brasileiros igualdade de armas na busca por uma decisão justa. Cidadania. Autoritarismo. Sistema de justiça. Ampla defesa.Judiciary authoritarianism and precariousness in the defense of the underprivilegedin Brazil: a perverse heritage AbstractThe present essay purposes a reflection about the difficulty of the access to the justice apparatus and precariousness in the defense of the underprivilegedin Brazil forward the authoritarian stance of the spheres of decisions personified by the Judiciary. We have a democratic constitution that insures diffuses rights, and collective, nevertheless in the practice, when we talk about rights inherent to the procedural apparatus' use of contradictory and the ample defense for example, we perceive that in the practice they are immaterialized rights to the rich and poor. The purpose of this text is to show that how bigger is the exclusion rate of an individual, the bigger will be the distance of the legal and constitutional insurances when we refers to the defense mechanisms within the formal legal order, since as a rule it's attended by an overwhelmed public defense with few resources and, oftentimes, precarious conditions to perform a full and unrestricted defense, as it says in the regulation. Furthermore, we approach about the authoritarianism heritage of the dictatorship period and its reflection in the processual practices rectifying a procedure that violates the rights and a law highly selective and segregationist. Lastly, our work is product of a qualitative and bibliographic research, concluding with a view towards the urgent necessity of change on the formation of the Law professionals, humanizing them. When this happens, there is a criminal justice system that effectively seeks justice with equality, guaranteeing all members of the Brazilian Justice System in the search for a just decision.Citizenship. Authoritarianism. Justice System. Ample defense.The history of research in the pedagogy course: Clues, Propositions and Legal Requirements Abstract From a historical review, this essay discusses the research element in Pedagogy courses from its genesis in 1939 until the promulgation of the National Curricular Guidelines for Pedagogy Courses in 2006. It is an essay produced through appreciation (KAUFMANN, 2013) as a support for the understanding of the discourses, which have different meanings. The Brazilian university was born in the 1930s, with vocation and nature for the practice of general culture, scientific research and professional training (DECREE 19.851 / 1931). The National Faculty of Philosophy, the place of origin of the Pedagogy course, also presented this vocation (DECREE-LAW No. 1,190 / 1931), but did not include the research in the curriculum of the course. This contradiction provoked a historical noise, so much so that, in 1962, research emerged as an optional discipline in the Pedagogy course (OPINION no. 251/1962), suffering interruption six years later, with the implementation of the military dictatorship. This interruption also became noisy until the 1980s, when, due to political openness and the movements of educators, the reflections and clashes about teacher education were resurfaced. The educators, through ANFOPE, materialized new formative proposals and conferred on the research, together with teaching and management, the condition of formative principle and course identity. The research was done legally with the DCN-CP (RESOLUTION No. 01/2006). Search. University. Course of Pedagogy.

In rejoinder to a New York Times’s article claiming, “the value of used pianos, especially uprights, has plummeted … Instead of selling them … , donating them … or just passing them along … , owners are far more likely to discard them” (Walkin), artists Kathleen Irwin (scenography) and Jeff Morton (sound/composition) responded to this ignoble passing with an installation playing with the borders delineating music, theatre, digital technology, and economies of value using two upright red pianos, sound and video projection—and the sensibility of relational aesthetics. The installation was a collaboration between two artists who share a common interest in the performative qualities of public space and how technological augmentation is used in identificatory and embodied art processes as a means of extending the human body and enhancing the material space of person-to-person interaction. The title of the installation, PLAY, referenced the etymology of the word itself and how it has been variously understood over time, across artistic disciplines, and in digital and physical environments. Fundamentally, it explored the relative value of a material object (the piano) and how its social and cultural signification persists, shifts, is diminished or augmented by technology. The installation was mounted at the Dunlop Art Gallery, in the Regina Public Library (Saskatchewan, Canada, 14 June - 25 August 2013) and, as such, it illustrated the Library’s mandate to support all forms of literacy through community accessibility and forms of public outreach, social arrangements, and encounters. Indirectly, (as this was not the initial focus), it also exemplified the artists’s gentle probing of the ways, means, claims, and values when layering information and enhancing our visual experience as we interact with (literally, walk through) our physical landscapes and environments—“to see the world for what it is,” as Matt Turbow says “and to see the elements within” (Chapeau). The installation reflected on, among other things, the piano as a still potent cultural signifier, the persistent ability of our imagination to make meaning and codify experience even without digital overlay, and the library as an archive and disseminator of public knowledge. The artists questioned whether old technologies such as the piano will lose their hold on us entirely as technological augmentation develops the means to enhance or colonize the natural world, through graphics, sounds, haptic feedback, smell and, eventually, commodified experiences. This paper intends to reflect on our work and initiate a friendly (playful) interdisciplinary discussion about material objects in the age of physical and digital interactivity, and the terms of augmentation as we chose to understand it through our installation. In response to the call proposed by this journal on the subject of augmentation, we considered: 1. How audio/visual apparatuses in the gallery space augmented the piano’s expressivity; 2. How the piano augmented the social function of its physical situation; 3. How the technology augmented random and fragmentary musical phrases, creating a prolonged musical composition; 4. How each spectator augmented the art through his/her subjective engagement: how there is always meaning generated in excess of the artists’s intention. Image 1: Piano installed outside Dunlop Gallery/ Regina Public Library (photo credit: Jeff Morton) To begin, a brief description of the site of the installation is in order. The first of the red pianos was installed outside the main doors of the Central Library, located in the city’s downtown. The library’s entrance is framed within a two-story glass atrium and the red piano repeated the architecture’s function to open the space by breaking down perceived barriers, and beckoning the passersby inside. Reflecting Irwin’s community-oriented, site-specific practice, this was the relational catalyst of the work—the piano made available for anyone to play and enjoy, day or night, an invitation to respond to an object inserted into the shared space of the sidewalk: to explore, as Nicolas Bourriaud suggests, “the art as a state of encounter” (16). It was the centerpiece of the exhibition's outreach, which included the exhibition’s vernissage featuring new music and performance artists in concert, a costume and prop workshop for a late night public choir procession, and a series of artist talks. This was, arguably, a defining characteristic of the work, underscoring how the work of art, in this case the piano itself, its abjection illustrated by the perfunctory means typically used to dispose of them, is augmented or gains value through its social construction, over-and-above any that is originally ascribed to it. As Bourriaud writes, any kind of production takes on a social form which no longer has anything to do with its original usefulness. It acquires exchange value that partly covers and shrouds its primary “nature”. The fact is that a work of art has no a priori useful function—not that it is socially useless, but because it is available and flexible, and has an “infinite tendency”. (42) In the Dunlop’s press release, curator Blair Fornwald also confers a supplemental value ascribed to the reframed material object. She describes how the public space in front of the library, as a place of social interaction and cultural identification—of “being seen”—is augmented by the red piano: its presence in an unfamiliar setting underscores the multitude of creative and performative possibilities inherent within it, possibilities that may extend far beyond playing a simple melody. By extension, its presence asserts that the every day is a social, cultural, and physical environment rich with potentiality and promise. (Fornwald) Juxtaposed with the first red piano, the second was dramatically staged within the Dunlop gallery. The room, painted black, formally replicated the framing and focusing conventions of the theatre: its intention to propose other ways of “being seen” and to suggest the blurring of lines between “on stage and off,” and by extension, “on line and off.” A camera embedded in the front of the piano and a large projection screen in the space provided a celebrity moment for anyone approaching the instrument and implied, arguably, the ubiquitous surveillance associated with public space. Indeed, a plausible way of reading the red piano in the darkened gallery was as a provocation to think about how the digital and physical are increasingly enmeshed in our daily lives (Jurgenson). Lit by a chandelier and staged on a circular red carpet, this piano was also available to be played. Unlike the one outside of the building, it was augmented by speakers, a microphone, and a webcam. Through a custom-built digital system (using MaxMSP software), it recorded and played back the sound and image of everyone who sat down to perform, then repeated and superimposed these over similar previously captured material. Enhanced by the unusual stark acoustics of the gallery, the sound filled the reverberant space. Affixed to the gallery’s back wall was the projection screen made up of sheet music (Bach, Debussy and Mozart) taken from the Irwin family’s piano bench, a veritable time capsule from the 1950s. Image 2: Piano installed inside Dunlop Gallery (photo credit: Jeff Morton) In addition to the centrally placed piano, a miniature red piano was situated near the gallery entrance. It and a single red chair placed near the screen, repeated the vivid colour and drew the eye into and around the space underscoring its theatrical quality. The toy piano functioned as a lighthearted invitation, as well as a serious citation of other artists—Eikoh Sudoh, Margaret Leng Tan, John Cage, and Charles M. Schulz’s “Schroeder”—who have employed the miniature instrument to great advantage. It was intended as an illustration of the infinite resonances that material objects may provide and the diverse ways they may signify contingent on the viewer. Considered in a historical context, in the golden age of the upright and at the turn of the twentieth-century, piano lessons signified for many, the formation of a modern citizen schooled in European culture and values. Owning one of these intricately engineered and often beautiful machines, as one in five households did, reflected the social aspirations of its owners and marked their upward economic mobility (Canadian Encyclopedia). One hundred years later, pianos are often relegated to the basement or dump. Irretrievably out of tune, their currency as musical instruments largely devalued. Nonetheless, their cultural and social value persists, no longer the pervasive marker of status, but through the ways they are mediated by artists who prepare, deconstruct, and leave them to deteriorate in beautiful ways. They seem to retain their hold on us through the natural impulse to engage them kinetically, ergonomically, and metaphorically. Built to be an extension of the human hand, body, and imagination, they are a sublime human-scale augmentation of a precise musical system of notation, and a mechanism evolved over centuries through physical augmentations meant to increase the expressivity of both instrument and player. In PLAY, the use of the pianos referenced both their traditional role in public life, and our current relationship with forms of digital media that have replaced these instruments as our primary means of being linked, informed, and entertained—an affirmation of the positive attributes of technology and a reminder of what we may have lost. Indeed, while this was not necessarily clear from the written responses in the Gallery’s guest book (Gorgeous!: Neat!; Too, too cool!; etc.), we surmised that memory might have played a key role in the experience of the installation, set in motion by the precise arrangement of the few material objects – red piano, the piano bench, red chair, and toy piano, each object designed to fit the shape of the body and hold the memory of physical contact. These were designed to trigger a chain of recollections, each chasing the next; each actively participating in what follows. In the Gallery’s annual exhibition catalogue, Ellen Moffat suggests that the relationship the piano builds with the player is important: “the piano plays and is played by the performer. Performing the piano assigns a posture for the performer in relation to the keyboard physically and figuratively” (Moffat 80). Technically, the piano is the sum of many parts, understandable finally as a discrete mechanical system, but unbounded in imagination and limited only by our capacity to play it. Functionally, it acts as an affective repository of memory and feeling, a tool to control the variables of physical and expressive interaction. In PLAY, the digital system in the gallery piano captured, delayed and displayed audio and video clips according to a rubric of cause and effect. Controlled by computer software designed by Morton, the installation captured musical phrases played randomly by individuals and augmented these notes by playing them back at variable speeds and superimposing one over another—musical phrases iterated and reiterated. The effect was fugue-like—an indeterminate composition with a determinant structure, achieved by intertwining physical and digital systems with musical content supplied by participants. The camera hidden in the front of the piano recorded individuals as they sat at the instrument and, immediately, they saw themselves projected in extreme close up onto the screen behind. As the individual struck a note, their image faded and the screen was filled again with the image of a previous participant abstracted and in slow motion. The effect, we suggest, was dreamlike—an echo or a fleeting fragment of something barely remembered. Like the infinite variations the piano permits, the software was also capable of expressing immense variety—each sound and image adding to an expanding archive in an ever-changing improvised composition developed through iterative call and response. Drawing on elements of relational aesthetics, scenographic representation, and digital technology, in PLAY we attempted to cross disciplines in ways that distinguished it from the other piano projects seen over the past several years. Indeed, the image of the upright piano has resonated in the zeitgeist of the international art scene with colourful uprights placed in public places in urban centers across Europe and North America. Wherever they are, individuals engage enthusiastically with them and they, in turn, become the centre of attention: this is part of their appeal. The pianos seem to evoke a utopian sense of community, however temporary, providing opportunities to rediscover old neighbours and make new friends. In PLAY, we posed two different social and aesthetic encounters—one analogue, real, “off-line” and one digital, theatrical, and “on-line,” illustrating less a false binary between two possible realities that ascribes more value to one than the other, than a world where the digital and the physical comingle. Working within a public library, this was a germane train of thought considering how these institutes struggle to stay relevant in the age of Google search and the promise of technological augmentation. The piano also represents a dichotomy: both a failure to represent and an excess of meaning. For decades replete with social signification, they have now become an encumbrance, fit only for the bone yard. As these monumental relics come to the end of their mechanical life, there is more money made in their disposal than in musical production, and more value in their recycled metals, solid wooden bodies, and ivory keys then in their tone and function. The industry that supported their commodification collapsed years ago, as has the market for their sale and the popular music publishing industry that accompanied it. Of course, pianos will be with us for a long time in one form or another, but their history, as a culturally potent object, has diverged. The assumption could easily follow that they have been rendered useless as an aesthetic, generative, and social object. What this installation offered was the possibility of an alternative ending to the story of this erstwhile entertainment console even as we seek our amusement by other means and through other devices. Not surprisingly, the title of the installation suggests that the consideration of “play,” as social and recuperative engagement, is significant. In his seminal work, Homo Ludens, Johan Huizinga discusses the importance of play, suggesting that it is primary to and a necessary condition of the making of culture. He writes, “In play there is something in play, which transcends the immediate needs of life and imparts meaning to the action” (Huizinga 97). According to games theorist Mary Flanagan, playing may serve as a way of creating something beautiful, offering frameworks for new ways of thinking, exploring divergent logic, or for imaging what is possible. She writes, “Games, both digital and analog, offer a space to explore creativity, agency, representation and emergent behaviour” (Flanagan 2010). In reaching out to Regina’s downtown community, the Dunlop Art Gallery dispersed some of the playfulness of PLAY in planned and accidental ways, as the outdoor piano became a daily destination for individuals who live rough or in the city’s hostels, some of whom who have enviable musical skills and considerable stage presence. One man came daily with sheet music in hand to practice on the indoor piano—ignoring the inevitable echo and repeat that the software triggered. Another young woman appeared regularly to perform at the outdoor piano, her umbrella raised against sun and rain, wedged under her arm to keep both hands free. Children invariably drew parents to it as they entered or exited the library—for some it may have been the first time they had touched such an instrument. Overall, in press, blogs, and the visitors’s book, responses to the pianos were enthusiastic and positive. One blogger wrote in response to an online publication, Art, Music, News (Beatty), chapeau June 13, 2013 at 11:51am this is most definitely up and running, and it would be interesting to see/hear all that will go on with that red piano. my two-and-a-half year old daughter and i jammed a bit yesterday morning, while a stranger watched and listened, then insisted that i play the same mostly crappy c-blues again while he sang! so i did, and he did, and my daughter and i learned a bit about what he feels about his dog via his singing. it was the highlight of the day for us—I mean really, jamming outside on a very red upright piano with strangers—good times! (Simpson) As evidence of public approbation, for the better part of the summer it stood unprotected on the sidewalk in front of the library encountering only one minor incident of defacement—a rather fragile tag in white spray paint, someone’s name in proper cursive writing. Once repaired and retuned, it became a dynamic focus for the annual Folk Festival that takes over the area for a week in August. In these ways, PLAY fulfilled the Library’s aim of encouraging literacy and reinforcing a sense of community—a social augmentation, in a manner of speaking. As Moffat writes, it encourages the social dimension of participation through community-engagement and dialogic practices. It blurs distinctions between spectator and participant, professional and amateur. It generates relationships between people or social actions. (Moffat 76) Finally, PLAY toyed with the overtones of the word itself—as verb, noun, and adjective—signifier, and metaphor. The title illustrated its obvious current potential and evoked the piano’s past, referencing the glittering world of the stage. While many may have more memories of seeing pianos in disrepair than in the concert hall, its iconic stage setting is never far from the imagination, although this too changes as people from other cultures and backgrounds recognize little cultural capital in such activity. In current vernacular, the word “play” also implies the re-imagination of ourselves in the digital overlays of the future. So we ask, what will be the fate of the piano and its meme in the 22nd century? Will the augmentation of reality enhance our experience of the world in inverse proportion to a loss of social interaction? Conclusion In her essay, Moffat notes that as digital technology replaces the analog piano, a surplus of second-hand uprights has become available. Citing artists Luke Jerram, Monica Yunus, and Camille Zamora (among others), she argues that the use of them as public art coincides with their disappearance, suggesting a farewell or memorial to a collective cultural icon (Moffat 76). What is there in this piece of furniture that speaks to us in art practice? The answer, it would seem, is potential. In a curatorial interview, Irwin suggested the possibility that beyond the artist’s initial meaning, there is always something more—an augmentation. The pleasure of discovering this supplement is part of the pleasure of the subjective experience of the spectator. Similarly, the aleatoric in music composition, refers to the pursuit of chance as a formal determinant and its openness to individual interpretation at the moment of reception. For Morton, the randomness of memory and affect are key components in composition. They cannot be predicted, controlled or quantified; nor can they be denied. There is no correct interpretation or response to music or, indeed, to relational art practice. Moffat concludes, as a multi-faceted media installation, PLAY proposed “a suite, chorus or a polyphony of things” (Moffat 76). Depending on your point of reference, the installation provided a dynamic venue for considering our relationships with material objects, with each other and with new technologies asking how they may or may not augment our reality in ways that supplement real-time, person-to-person interaction. References Beatty, Gregory. “Exciting Goings-On at Central Library.” Prairie Dog Blog 11 June 2013. Bourriaud, Nicolas. Relational Aesthetics. Trans. Simon Pleasance and Fronza Woods. Paris: Les Presses du Réel, 1998. Canadian Encyclopedia. “Piano Building.” ‹http://www.thecanadianencyclopedia.com/en/article/piano-building-emc/›. Chapeau [David Simpson]. “One Response to ‘Exciting Goings-On at Central Library.’” Prairie Dog Blog 13 June 2013. Fornwald, Blair. PLAY. Regina, Saskatchewan: Dunlop Art Gallery. 2013. Flanagan, Mary. “Creating Critical Play.” In Ruth Catlow, Marc Garret and Corrado Morgana, eds., Artists Rethinking Games. Liverpool: Liverpool University Press, 2010. 49-53. Huizinga, Johan. Homo Ludens. Boston: Beacon Press, 1995. Jerram, Luke. Play Me, I’m Yours. Site-Specific Piano Installation. Multiple Venues. 2008-2013. Jurgenson, Nathan. “Digital Dualism versus Augmented Reality.” Cybergology: The Society Pages 24 Feb. 2011. 1 Dec. 2013 ‹http://thesocietypages.org/cyborgology/2011/02/24/digital-dualism-versus-augmented-reality/›. Moffat, Ellen. “Stages and Players” in DAG 2 (2013). Regina: Dunlop Art Gallery, 2013. 75-87. Walkin, Daniel J. “For More Pianos, Last Note Is Thud in the Dump.” New York Times 29 June 2012. Yunus, Monica, and Camille Zamora. Sing for Hope Pianos. Site-Specific Piano Installation and Performance. New York City. 2013.

Anyone contemplating the role of a “hermeneutics of suspicion” in literary and cultural studies must concede that the phrase is rarely used—even by its most devout practitioners, who usually think of themselves engaged in something called “critique.” What, then, are the terminological differences between “critique” and “the hermeneutics of suspicion”? What intellectual worlds do these specific terms conjure up, and how do these worlds converge or diverge? And what is the rationale for preferring one term over the other?The “hermeneutics of suspicion” is a phrase coined by Paul Ricoeur to capture a common spirit that pervades the writings of Marx, Freud, and Nietzsche. In spite of their obvious differences, he argued, these thinkers jointly constitute a “school of suspicion.” That is to say, they share a commitment to unmasking “the lies and illusions of consciousness;” they are the architects of a distinctively modern style of interpretation that circumvents obvious or self-evident meanings in order to draw out less visible and less flattering truths (Ricoeur 356). Ricoeur’s term has sustained an energetic after-life within religious studies, as well as in philosophy, intellectual history, and related fields, yet it never really took hold in literary studies. Why has a field that has devoted so much of its intellectual energy to interrogating, subverting, and defamiliarising found so little use for Ricoeur’s phrase?In general, we can note that hermeneutics remains a path not taken in Anglo-American literary theory. The tradition of hermeneutical thinking is rarely acknowledged (how often do you see Gadamer or Ricoeur taught in a theory survey?), let alone addressed, assimilated, or argued over. Thanks to a lingering aura of teutonic stodginess, not to mention its long-standing links with a tradition of biblical interpretation, hermeneutics was never able to muster the intellectual edginess and high-wattage excitement generated by various forms of poststructuralism. Even the work of Gianni Vattimo, one of the most innovative and prolific of contemporary hermeneutical thinkers, has barely registered in the mainstream of literary and cultural studies. On occasion, to be sure, hermeneutics crops up as a synonym for a discredited model of “depth” interpretation—the dogged pursuit of a hidden true meaning—that has supposedly been superseded by more sophisticated forms of thinking. Thus the ascent of poststructuralism, it is sometimes claimed, signaled a turn away from hermeneutics to deconstruction and genealogy—leading to a focus on surface rather than depth, on structure rather than meaning, on analysis rather than interpretation. The idea of suspicion has fared little better. While Ricoeur’s account of a hermeneutics of suspicion is respectful, even admiring, critics are understandably leery of having their lines of argument reduced to their putative state of mind. The idea of a suspicious hermeneutics can look like an unwarranted personalisation of scholarly work, one that veers uncomfortably close to Harold Bloom’s tirades against the “School of Resentment” and other conservative complaints about literary studies as a hot-bed of paranoia, kill-joy puritanism, petty-minded pique, and defensive scorn. Moreover, the anti-humanist rhetoric of much literary theory—its resolute focus on transpersonal and usually linguistic structures of determination—proved inhospitable to any serious reflections on attitude, disposition, or affective stance.The concept of critique, by contrast, turns out to be marred by none of these disadvantages. An unusually powerful, flexible and charismatic idea, it has rendered itself ubiquitous and indispensable in literary and cultural studies. Critique is widely seen as synonymous with intellectual rigor, theoretical sophistication, and intransigent opposition to the status quo. Drawing a sense of intellectual weightiness from its connections to the canonical tradition of Kant and Marx, it has managed, nonetheless, to retain a cutting-edge sensibility, retooling itself to fit the needs of new fields ranging from postcolonial theory to disability studies. Critique is contagious and charismatic, drawing everything around it into its field of force, marking the boundaries of what counts as serious thought. For many scholars in the humanities, it is not just one good thing but the only conceivable thing. Who would want to be associated with the bad smell of the uncritical? There are five facets of critique (enumerated and briefly discussed below) that characterise its current role in literary and cultural studies and that have rendered critique an exceptionally successful rhetorical-cultural actor. Critique, that is to say, inspires intense attachments, serves as a mediator in numerous networks, permeates disciplines and institutional structures, spawns conferences, essays, courses, and book proposals, and triggers countless imitations, translations, reflections, revisions, and rebuttals (including the present essay). While nurturing a sense of its own marginality, iconoclasm, and outsiderdom, it is also exceptionally effective at attracting disciples, forging alliances, inspiring mimicry, and ensuring its own survival. In “Why Has Critique Run Out of Steam?” Bruno Latour remarks that critique has been so successful because it assures us that we are always right—unlike those naïve believers whose fetishes we strive to expose (225–48). At the same time, thanks to its self-reflexivity, the rhetoric of critique is more tormented and self-divided than such a description would suggest; it broods constantly over the shame of its own success, striving to detect signs of its own complicity and to root out all possible evidence of collusion with the status quo.Critique is negative. Critique retains the adversarial force of a suspicious hermeneutics, while purifying it of affective associations by treating negativity as an essentially philosophical or political matter. To engage in critique is to grapple with the oversights, omissions, contradictions, insufficiencies, or evasions in the object one is analysing. Robert Koch writes that “critical discourse, as critical discourse, must never formulate positive statements: it is always ‘negative’ in relation to its object” (531). Critique is characterised by its “againstness,” by its desire to take a hammer, as Latour would say, to the beliefs of others. Faith is to be countered with vigilant skepticism, illusion yields to a sobering disenchantment, the fetish must be defetishised, the dream world stripped of its befuddling powers. However, the negativity of critique is not just a matter of fault-finding, scolding, and censuring. The nay-saying critic all too easily calls to mind the Victorian patriarch, the thin-lipped schoolmarm, the glaring policeman. Negating is tangled up with a long history of legislation, prohibition and interdiction—it can come across as punitive, arrogant, authoritarian, or vitriolic. In consequence, defenders of critique often downplay its associations with outright condemnation. It is less a matter of refuting particular truths than of scrutinising the presumptions and procedures through which truths are established. A preferred idiom is that of “problematising,” of demonstrating the ungroundedness of beliefs rather than denouncing errors. The role of critique is not to castigate, but to complicate, not to engage in ideas’ destruction but to expose their cultural construction. Barbara Johnson, for example, contends that a critique of a theoretical system “is not an examination of its flaws and imperfections” (xv). Rather, “the critique reads backwards from what seems natural, obvious, self-evident, or universal in order to show that these things have their history” and to show that the “start point is not a (natural) given, but a (cultural) construct, usually blind to itself” (Johnson xv–xvi). Yet it seems a tad disingenuous to describe such critique as free of negative judgment and the examination of flaws. Isn’t an implicit criticism being transmitted in Johnson’s claim that a cultural construct is “usually blind to itself”? And the adjectival chain “natural, obvious, self-evident, or universal” strings together some of the most negatively weighted words in contemporary criticism. A posture of detachment, in other words, can readily convey a tacit or implicit judgment, especially when it is used to probe the deep-seated convictions, primordial passions, and heart-felt attachments of others. In this respect, the ongoing skirmishes between ideology critique and poststructuralist critique do not over-ride their commitment to a common ethos: a sharply honed suspicion that goes behind the backs of its interlocutors to retrieve counter-intuitive and uncomplimentary meanings. “You do not know that you are ideologically-driven, historically determined, or culturally constructed,” declares the subject of critique to the object of critique, “but I do!” As Marcelo Dascal points out, the supposedly non-evaluative stance of historical or genealogical argument nevertheless retains a negative or demystifying force in tracing ideas back to causes invisible to the actors themselves (39–62).Critique is secondary. A critique is always a critique of something, a commentary on another argument, idea, or object. Critique does not vaunt its self-sufficiency, independence, and autotelic splendor; it makes no pretense of standing alone. It could not function without something to critique, without another entity to which it reacts. Critique is symbiotic; it does its thinking by responding to the thinking of others. But while secondary, critique is far from subservient. It seeks to wrest from a text a different account than it gives of itself. In doing so, it assumes that it will meet with, and overcome, a resistance. If there were no resistance, if the truth were self-evident and available for all to see, the act of critique would be superfluous. Its goal is not the slavish reconstruction of an original or true meaning but a counter-reading that brings previously unfathomed insights to light. The secondariness of critique is not just a logical matter—critique presumes the existence of a prior object—but also a temporal one. Critique comes after another text; it follows or succeeds another piece of writing. Critique, then, looks backward and, in doing so, it presumes to understand the past better than the past understands itself. Hindsight becomes insight; from our later vantage point, we feel ourselves primed to see better, deeper, further. The belatedness of critique is transformed into a source of iconoclastic strength. Scholars of Greek tragedy or Romantic poetry may mourn their inability to inhabit a vanished world, yet this historical distance is also felt as a productive estrangement that allows critical knowledge to unfold. Whatever the limitations of our perspective, how can we not know more than those who have come before? We moderns leave behind us a trail of errors, finally corrected, like a cloud of ink from a squid, remarks Michel Serres (48). There is, in short, a quality of historical chauvinism built into critique, making it difficult to relinquish a sense of in-built advantage over those lost souls stranded in the past. Critique likes to have the last word. Critique is intellectual. Critique often insists on its difference from everyday practices of criticism and judgment. While criticism evaluates a specific object, according to one definition, “critique is concerned to identify the conditions of possibility under which a domain of objects appears” (Butler 109). Critique is interested in big pictures, cultural frameworks, underlying schema. It is a mode of thought well matched to the library and seminar room, to a rhythm of painstaking inquiry rather than short-term problem-solving. It “slows matters down, requires analysis and reflection, and often raises questions rather than providing answers” (Ruitenberg 348). Critique is thus irresistibly drawn toward self-reflexive thinking. Its domain is that of second-level observation, in which we reflect on the frames, paradigms, and perspectives that form and inform our understanding. Even if objectivity is an illusion, how can critical self-consciousness not trump the available alternatives? This questioning of common sense is also a questioning of common language: self-reflexivity is a matter of form as well as content, requiring the deployment of what Jonathan Culler and Kevin Lamb call “difficult language” that can undermine or “un-write” the discourses that make up our world (1–14). Along similar lines, Paul Bove allies himself with a “tradition that insists upon difficulty, slowness, complex, often dialectical and highly ironic styles,” as an essential antidote to the “prejudices of the current regime of truth: speed, slogans, transparency, and reproducibility” (167). Critique, in short, demands an arduous working over of language, a stoic refusal of the facile phrase and ready-made formula. Yet such programmatic divisions between critique and common sense have the effect of relegating ordinary language to a state of automatic servitude, while condescending to those unschooled in the patois of literary and critical theory. Perhaps it is time to reassess the dog-in-the-manger attitude of a certain style of academic argument—one that assigns to scholars the vantage point of the lucid and vigilant thinker, while refusing to extend this same capacity to those naïve and unreflecting souls of whom they speak.Critique comes from below. Politics and critique are often equated and conflated in literary studies and elsewhere. Critique is iconoclastic in spirit; it rails against authority; it seeks to lay bare the injustices of the law. It is, writes Foucault, the “art of voluntary insubordination, that of reflected intractability” (194). This vision of critique can be traced back to Marx and is cemented in the tradition of critical theory associated with the Frankfurt School. Critique conceives of itself as coming from below, or being situated at the margins; it is the natural ally of excluded groups and subjugated knowledges; it is not just a form of knowledge but a call to action. But who gets to claim the mantle of opposition, and on what grounds? In a well-known essay, Nancy Fraser remarks that critical theory possesses a “partisan though not uncritical identification” with oppositional social movements (97). As underscored by Fraser’s judicious insertion of the phrase “not uncritical,” critique guards its independence and reserves the right to query the actions and attitudes of the oppressed as well as the oppressors. Thus the intellectual’s affiliation with a larger community may collide with a commitment to the ethos of critique, as the object of a more heartfelt attachment. A separation occurs, as Francois Cusset puts it, “between academics questioning the very methods of questioning” and the more immediate concerns of the minority groups with which they are allied (157). One possible strategy for negotiating this tension is to flag one’s solidarity with a general principle of otherness or alterity—often identified with the utopian or disruptive energies of the literary text. This strategy gives critique a shot in the arm, infusing it with a dose of positive energy and ethical substance, yet without being pinned down to the ordinariness of a real-world referent. This deliberate vagueness permits critique to nurture its mistrust of the routines and practices through which the everyday business of the world is conducted, while remaining open to the possibility of a radically different future. Critique in its positive aspects thus remains effectively without content, gesturing toward a horizon that must remain unspecified if it is not to lapse into the same fallen state as the modes of thought that surround it (Fish 446).Critique does not tolerate rivals. Declaring itself uniquely equipped to diagnose the perils and pitfalls of representation, critique often chafes at the presence of other forms of thought. Ruling out the possibility of peaceful co-existence or even mutual indifference, it insists that those who do not embrace its tenets must be denying or disavowing them. In this manner, whatever is different from critique is turned into the photographic negative of critique—evidence of an irrefutable lack or culpable absence. To refuse to be critical is to be uncritical; a judgment whose overtones of naiveté, apathy, complacency, submissiveness, and sheer stupidity seem impossible to shrug off. In short, critique thinks of itself as exceptional. It is not one path, but the only conceivable path. Drew Milne pulls no punches in his programmatic riff on Kant: “to be postcritical is to be uncritical: the critical path alone remains open” (18).The exceptionalist aura of critique often thwarts attempts to get outside its orbit. Sociologist Michael Billig, for example, notes that critique thinks of itself as battling orthodoxy, yet is now the reigning orthodoxy—no longer oppositional, but obligatory, not defamiliarising, but oppressively familiar: “For an increasing number of younger academics,” he remarks, “the critical paradigm is the major paradigm in their academic world” (Billig 292). And in a hard-hitting argument, Talal Asad points out that critique is now a quasi-automatic stance for Western intellectuals, promoting a smugness of tone that can be cruelly dismissive of the deeply felt beliefs and attachments of others. Yet both scholars conclude their arguments by calling for a critique of critique, reinstating the very concept they have so meticulously dismantled. Critique, it seems, is not to be abandoned but intensified; critique is to be replaced by critique squared. The problem with critique, it turns out, is that it is not yet critical enough. The objections to critique are still very much part and parcel of the critique-world; the value of the critical is questioned only to be emphatically reinstated.Why do these protestations against critique end up worshipping at the altar of critique? Why does it seem so exceptionally difficult to conceive of other ways of arguing, reading, and thinking? We may be reminded of Eve Sedgwick’s comments on the mimetic aspect of critical interpretation: its remarkable ability to encourage imitation, repetition, and mimicry, thereby ensuring its own reproduction. It is an efficiently running form of intellectual machinery, modeling a style of thought that is immediately recognisable, widely applicable, and easily teachable. Casting the work of the scholar as a never-ending labour of distancing, deflating, and diagnosing, it rules out the possibility of a different relationship to one’s object. It seems to grow, as Sedgwick puts it, “like a crystal in a hypersaturated solution, blotting out any sense of the possibility of alternative ways of understanding or things to understand” (131).In this context, a change in vocabulary—a redescription, if you will—may turn out to be therapeutic. It will come as no great surprise if I urge a second look at the hermeneutics of suspicion. Ricoeur’s phrase, I suggest, can help guide us through the interpretative tangle of contemporary literary studies. It seizes on two crucial parts of critical argument—its sensibility and its interpretative method—that deserve more careful scrutiny. At the same time, it offers a much-needed antidote to the charisma of critique: the aura of ethical and political exemplarity that burnishes its negativity with a normative glow. Thanks to this halo effect, I’ve suggested, we are encouraged to assume that the only alternative to critique is a full-scale surrender to complacency, quietism, and—in literary studies—the intellectual fluff of aesthetic appreciation. Critique, moreover, presents itself as an essentially disembodied intellectual exercise, an austere, even abstemious practice of unsettling, unmaking, and undermining. Yet contemporary styles of critical argument are affective as well as analytical, conjuring up distinctive dispositions and relations to their object. As Amanda Anderson has pointed out in The Way We Argue Now, literary and cultural theory is saturated with what rhetoricians call ethos—that is to say, imputations of motive, character, or attitude. We need only think of the insouciance associated with Rortyan pragmatism, the bad-boy iconoclasm embraced by some queer theorists, or the fastidious aestheticism that characterises a certain kind of deconstructive reading. Critical languages, in other words, are also orientations, encouraging readers to adopt an affectively tinged stance toward their object. Acknowledging the role of such orientations in critical debate does not invalidate its intellectual components, nor does it presume to peer into, or diagnose, an individual scholar’s state of mind.In a related essay, I scrutinise some of the qualities of a suspicious or critical reading practice: distance rather than closeness; guardedness rather than openness; aggression rather than submission; superiority rather than reverence; attentiveness rather than distraction; exposure rather than tact (215–34). Suspicion, in this sense, constitutes a muted affective state—a curiously non-emotional emotion of morally inflected mistrust—that overlaps with, and builds upon, the stance of detachment that characterises the stance of the professional or expert. That this style of reading proves so alluring has much to do with the gratifications and satisfactions that it offers. Beyond the usual political or philosophical justifications of critique, it also promises the engrossing pleasure of a game-like sparring with the text in which critics deploy inventive skills and innovative strategies to test their wits, best their opponents, and become sharper, shrewder, and more sophisticated players. In this context, the claim that contemporary criticism has moved “beyond” hermeneutics should be treated with a grain of salt, given that, as Stanley Fish points out, “interpretation is the only game in town” (446). To be sure, some critics have backed away from the model of what they call “depth interpretation” associated with Marx and Freud, in which reading is conceived as an act of digging and the critic, like a valiant archaeologist, excavates a resistant terrain in order to retrieve the treasure of hidden meaning. In this model, the text is envisaged as possessing qualities of interiority, concealment, penetrability, and depth; it is an object to be plundered, a puzzle to be solved, a secret message to be deciphered. Instead, poststructuralist critics are drawn to the language of defamiliarising rather than discovery. The text is no longer composed of strata and the critic does not burrow down but stands back. Instead of brushing past surface meanings in pursuit of hidden truth, she dwells in ironic wonder on these surface meanings, seeking to “denaturalise” them through the mercilessness of her gaze. Insight, we might say, is achieved by distancing rather than by digging. Recent surveys of criticism often highlight the rift between these camps, underscoring the differences between the diligent seeker after buried truth and the surface-dwelling ironist. From a Ricoeur-inflected point of view, however, it is their shared investment in a particular ethos—a stance of knowingness, guardedness, suspicion and vigilance—that turns out to be more salient and more striking. Moreover, these approaches are variously engaged in the dance of interpretation, seeking to go beyond the backs of texts or fellow-actors in order to articulate non-obvious and often counter-intuitive truths. In the case of poststructuralism, we can speak of a second-order hermeneutics that is less interested in probing the individual object than the larger frameworks and conditions in which it is embedded. What the critic interprets is no longer a self-contained poem or novel, but a broader logic of discursive structures, reading formations, or power relations. Ricoeur’s phrase, moreover, has the singular advantage of allowing us to by-pass the exceptionalist tendencies of critique: its presumption that whatever is not critique can only be assigned to the ignominious state of the uncritical. As a less prejudicial term, it opens up a larger history of suspicious reading, including traditions of religious questioning and self-scrutiny that bear on current forms of interpretation, but that are occluded by the aggressively secular connotations of critique (Hunter). In this context, Ricoeur’s own account needs to be supplemented and modified to acknowledge this larger cultural history; the hermeneutics of suspicion is not just the brain-child of a few exceptional thinkers, as his argument implies, but a widespread practice of interpretation embedded in more mundane, diffuse and variegated forms of life (Felski 220).Finally, the idea of a suspicious hermeneutics does not invalidate or rule out other interpretative possibilities—ranging from Ricoeur’s own notion of a hermeneutics of trust to more recent coinages such as Sedgwick’s “restorative reading,” Sharon Marcus’s “just reading” or Timothy Bewes’s “generous reading.” Literary studies in France, for example, is currently experiencing a new surge of interest in hermeneutics (redefined as a practice of reinvention rather than exhumation) as well as a reinvigorated phenomenology of reading that elucidates, in rich and fascinating detail, its immersive and affective dimensions (see Citton; Macé). 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