A view from the visitors' gallery

SUMMARY

In this paper, the author describes aspects of his work as a psychoanalytical psychotherapist in a hospital for diseases of the colon and rectum. After reviewing some of the earlier psychoanalytic literature (Freud and Abraham), and more recent theoretical contributions, two cases are described in some detail, which help give a flavour to some of the work. The paper concludes with caveats about the internal and external working environment, which will facilitate or hinder working in particular medical settings.     

Power on the margins: A new place for intellectuals to be

This paper is concerned with rethinking the nature of social life in terms of how it appears — not to us academics at the centre of it, as consisting in a system, or a plurality of systems -but how it might appear from a position more in on the margins, at those moments when ordinary people must relate themselves to each other, unsystematically and practically. To do this, we must also rethink the nature of language and thought as possessing within these moments, a formative or creative character — for it must have the ability to create practical connections between aspects of people's lives, as required, on the spot. This is to privilege the role of rhetoric in these regions over that of logic. This also leads to a rethinking of ideology and power: as being to do with, not ideas, but the practical shaping (or not) — in moments when in practical communication with others — of collective, sharable forms of life. Where it is in such moments, in which different people meet each other in socially constructing their lives together, that political struggles are their most intense, and where ideology can be detected at work.     

A Forward Bias in Human Profile-Oriented Portraits

The spatial composition of human portraits obeys historically changing cultural norms. We show that it is also affected by cognitive factors that cause greater spontaneous attention to what is in front rather in the back of an agent. Scenes with more space in front of a directed object are both more often produced and judged as more aesthetically pleasant. This leads to the prediction that, in profile-oriented human portraits, compositions with more space in front of depicted agents (a “forward bias”) should be over-represented. By analyzing a large dataset (total N of 1,831 paintings by 582 unique identified European painters from the 15th to the 20th century), we found evidence of this forward bias: Painters tended to put more free space in front of, rather than behind, the sitters. Additionally, we found evidence that this forward bias became stronger when cultural norms of spatial composition favoring centering became less stringent.     

Portraits as displays

Cynthia Freeland’s investigation of four kinds of ‘fidelity’ in portraiture is cut across by more general philosophical concerns. One is about what might be called the expression of persons--the persons or ‘inner selves’ of portrait subjects and of portrait artist: whether either is possible across each of the four kinds of fidelity, and whether these two kinds of expression are in tension. More fundamental is the problem of telling how self-expression is at all possible in any of these forms. Finally, she wonders how photography affects all these questions. This comment addresses portraiture not so much in terms of the four fidelities, but with another quartet of concepts: four ordinary types of ‘display’, in terms of which we see how artists’ self-expression is possible in all these forms, also including photography. Its key idea is that portraits are displays simply by being pictures or sculptures, which are kinds of artifacts, hence things that we perceive as having intentional affordance: that is, as being intentionally made ‘for’ something.

Escaping from Rama: Portraits of Indian women

This study examines visual, post-colonial portraits of the Indian women of the Sanskrit epics, in order to show the sociocultural, historical-ideological roots of this aesthetic. After independence, Hindu movements found in the epics a female archetype, who stands for the Hindu community. Post-colonial visual representations maintained this idealistic characterisation within a binary system, according to which women can be angelic guarantors of the social order or devilish, sexually uncontrolled creatures. This ambiguity derives from the double nature of the female principle of the world, shakti, and the visual storytelling tradition or chitrakatha. Using the same Indian storytelling tradition, female points of view have begun to criticise this nationalistic, ‘male gaze’. In the graphic novel Sita's Ramayana, Rama and male activities, particularly war, are secularised and criticised as selfish by female characters, foremost of whom is Sita, a model of the devoted and pure bride or pativrata.     

Portraits of Life: Patterns of Events Over the Lifespan

This explorative content-analytic study completes earlier studies on the lifespan distributions of number and affect of past and future life-events, collected by means of the Life-line Interview Method (LIM), for three age groups of men and women (young, middle and late adulthood). LIM events were classified into 40 subcategories divided over 9 categories: Relations, School, Work, Health, Growth, Home, Birth, Death and Other. Compression of the full data set by age group, gender, affect, decade, and time perspective, disclosed various patterns of events underlying the human life-course, e.g., the 'bump,' 'rosy view' and 'gender phase contrast' patterns. The compressed data set provided detailed material for the composition of three written group portraits of life, reflecting the modal life story of young, middle-aged and older men and women. Patterns and portraits show a content shift of past memories and future expectations over the lifespan, supporting a more dynamic view on the human life-course.     

The justification of political conformism: The mythology of Soviet intellectuals

Only during a brief period in the aftermath of the revolution was a portion of the Soviet intelligentsia eager sincerely to cooperate with the Soviet system. Soon, with Stalin's repressions, the intelligentsia, and especially its elite — the intellectuals, or those involved in creative activities such as science, literature and the arts, became locked in permanent conflict with the government.Once mass terror disappeared after Stalin's death in 1953, intellectuals faced the possibility of confronting the regime without fear of instant arrest and eventual death in the Gulag.Moral choices became a serious problem, especially during the period of political reaction under Brezhnev in the 1970's, when the regime resorted to repressions (albeit in milder form than during Stalin's times) and corruption in order to prevent the oppositional activity of intellectuals. Brezhnev's regime was rather successful in this endeavor, an issue which was hotly debated by Russian intellectuals in the period ofglasnost' when soul-searching and recanting about their behavior of the 1970's.The political conformism of intellectuals bore an interesting product, namely, a special mythology which had to exculpate passive intellectuals as well as those who corroborated with the authorities and betrayed their colleagues.The goal of this paper is to analyze this mythology. The author makes a distinction between two kinds of mythology used by the intellectuals to justify their conformity — a current mythology, which is employed for the vindication of contemporary deeds and a retrospective mythology, the purpose of which is to acquit one of past actions. The importance of the mythology employed by the intellectuals goes beyond the Soviet experience and reminds one of the developments in the American intellectual community during the McCarthy era, as well as in German and French communities during the Second World War. As a theoretical basis for this paper, the author uses the concept of a two-level mentality which helps explain how people can easily separate their behavior from their system of values.     

Portraits in painting and photography

In this paper, we offer an analysis of ‘group intentions.’ On our proposal, group intentions should be understood as a state of equilibrium among the beliefs of the members of a group. Although the discussion in this paper is non-technical, the equilibrium concept is drawn from the formal theory of interactive epistemology due to Robert Aumann. The goal of this paper is to provide an analysis of group intentions that is informed by important work in economics and formal epistemology.     

An incomplete gallery: machines,cognition, and nonlinearities

In this communication, some issues related to the old but still open question, on how far the development of cognitive processing in artificial machines can go, are discussed. A selected gallery of images derived from laboratory experiments are presented. The incompleteness of the gallery is as that in the definition of what we mean as cognitive processing.     

An incomplete gallery: machines, cognition, and nonlinearities

In this communication, some issues related to the old but still open question, on how far the development of cognitive processing in artificial machines can go, are discussed. A selected gallery of images derived from laboratory experiments are presented. The incompleteness of the gallery is as that in the definition of what we mean as cognitive processing.     

Two Portraits of the Humean Moral Agent

Among contemporary ethicists, Hume is perhaps best known for his views about morality's practical import and his spectator–centered account of moral evaluation. Yet according to the so–called "spectator complaint", these two aspects of Hume's moral theory cannot be reconciled with one another. I argue that the answer to the spectator complaint lies in Hume's account of "goodness" and "greatness of mind". Through a discussion of these two virtues, Hume makes clear the connection between his views about moral motivation and his understanding of moral evaluation by providing us with two portraits of the Humean moral agent.