Fenomenologie van ziekte en abnormaliteit

2020 ◽  
Vol 112 (1) ◽  
pp. 1-24
Author(s):  
Jenny Slatman

Abstract Phenomenology of illness and abnormalityHabitually, illness or disease is considered as something abnormal. Therefore, the distinction between health/illness is often conflated with the distinction normal/abnormal. Inspired by Kurt Goldstein’s work, Merleau-Ponty makes clear, however, that abnormality does not automatically coincide with pathology. It is also interesting to note that Merleau-Ponty nowhere uses the term “abnormal” to indicate the opposite of the normal person. Similar to Georges Canguilhem he uses the pair “the normal (person)” (le normal) ‐ “the sick person”, “the pathological” (le malade, le pathologique). As Goldstein and Canguilhem make more explicit than Merleau-Ponty, the abnormal person or “deviant” is very often not sick. Instead of approaching physical symptoms from an external or statistical view (which might lead to the conclusion that something is abnormal), they claim that sickness should be defined by the patient’s own lived experience. Merleau-Ponty shares this view, but for different reasons. Goldstein and Canghuilhem, both trained clinicians, believe that patients’ own experiences should be central in clinical practice instead of objectifying measurements and tests. For Merleau-Ponty, the phenomenologist, objective physical features have no place within his phenomenology of lived bodily experience. Bracketing positivist scientific insights, phenomenology also excludes biomedical statistics from its analysis. If we assume that abnormality is a result from a comparison with what is statistically seen as normal, this means that a phenomenology of abnormal embodiment might seem a contradiction in terms. In this paper, however, I would like to show that abnormal embodiment can also be approached from a phenomenological perspective. While drawing on some ideas by Hacking on the history of statistical reasoning, I demonstrate how the statistics of abnormality directly interconnects with lived experience. Hacking explains how the descriptive “average” or “mean” has become the normative “normal”. Because our world is in many ways determined by averages, it is an illusion to think that phenomenology can just bracket statistics. The one who appears physically as abnormal can, comparable to the one who is ill, experience that his or her embodied possibilities to deal with the world dwindle. What I show in this article is that even though a clear distinction can be made between illness and abnormality, both can be accompanied by a reduction or disruption of the “I can”.

Author(s):  
Pietro Conte

ABSTRACT (TO BE TRANSLATED INTO SPANISH):Hyperrealistic artefacts are increasingly and rapidly spreading: “real dolls” are used as life- or sex partners; “reborn dolls” uncannily replicate the physical features of real infants; in the short term, androids are likely to play a crucial role in virtually all domains of society; and the rapid pace of technological development already suggests that there will be an exponential growth in the application of artificial intelligence to human replicas. By adopting a phenomenological perspective, this essay means to provide a theoretical explanation of hyperrealism and its walking the line between “perception” and “image consciousness” on the one hand, and between “deception” and “aesthetic illusion” on the other.


2009 ◽  
pp. 101-124
Author(s):  
Roberto Ciccarelli

- If we were to go no further than reading Discipline and Punish, law in Foucault would be no more than the expression of a repressive legal order oriented towards punishing deviant behaviour. But this article tackles the French philosopher's entire output, comparing it with that of Hans Kelsen, Hermann Kantorowicz and Max Weber and demonstrating that this reduction, of law to criminal law and of power to exclusively repressive power, does not take the basic points of Foucault's thinking into account. The hypothesis put forward here through an analysis of Madness and Civilisation, of Discipline and Punish and of The History of Sexuality, but also of the courses held by Foucault at the Collčge de France and his intense relationship with the philosopher and historian of science Georges Canguilhem, assumes the amphibology of norms, i.e. the impossibility of reducing norms to the unity of a common genre, as the fundamental precept for the existence of a normative production that on the one hand articulates the plurality of normative codes existing in relevant fields of application, while on the other establishing communications between them and multiplying the relationships of power between normative codes and fields of application.


Author(s):  
ĢIRTS JANKOVSKIS ◽  

The concept of norms within philosophical texts is an ambiguous phenomenon. On the one hand, it could be viewed as a certain mode of perception, but on the other hand, norms themselves are an object of thought. Viewed from the phenomenological perspective norms determine the potential appearance of the object of perception. The aim of this article is to emphasize the role of norms as a medium and from the perspective of phenomenology. To do this, the article answers three questions; firstly, the question about the application of phenomenology (more specifically Interpretative Phenomenological Analysis (IPA)) in the analysis of social media perception, secondly, the question about the separation of subjective experience from lived experience. This distinction is essential in the context of the study to understand what kind of descriptive forms can be expected from this type of study. Thirdly, the relationship between norms and normality and their presentation on social media is considered. In this context, norms appear as a medium. The article is based on the research project “Philosophical Analysis of Information Perception in Social Media.” In discussing norms as a medium, the article pays significant attention to theoretical evaluation of the method. When confronted with everyday experience it emerges as a multi-layered phenomenon that holds various contradictions, and in trying to understand them attention must be paid to the problem of thought-forming. Norms as a medium are understood in comparison with language. Language obscures itself in being there, but the moment it is studied it disappears into the abstraction of the word “language.” Norms, on the one hand, are presented as an object of reflection, but at the same time its’ form and boundaries of presentation are determined by the norms themselves. Norms are like a medium, like a screen through which what is happening is perceived.


Author(s):  
Jesse Schotter

The first chapter of Hieroglyphic Modernisms exposes the complex history of Western misconceptions of Egyptian writing from antiquity to the present. Hieroglyphs bridge the gap between modern technologies and the ancient past, looking forward to the rise of new media and backward to the dispersal of languages in the mythical moment of the Tower of Babel. The contradictory ways in which hieroglyphs were interpreted in the West come to shape the differing ways that modernist writers and filmmakers understood the relationship between writing, film, and other new media. On the one hand, poets like Ezra Pound and film theorists like Vachel Lindsay and Sergei Eisenstein use the visual languages of China and of Egypt as a more primal or direct alternative to written words. But Freud, Proust, and the later Eisenstein conversely emphasize the phonetic qualities of Egyptian writing, its similarity to alphabetical scripts. The chapter concludes by arguing that even avant-garde invocations of hieroglyphics depend on narrative form through an examination of Hollis Frampton’s experimental film Zorns Lemma.


Author(s):  
Colby Dickinson

In his somewhat controversial book Remnants of Auschwitz, Agamben makes brief reference to Theodor Adorno’s apparently contradictory remarks on perceptions of death post-Auschwitz, positions that Adorno had taken concerning Nazi genocidal actions that had seemed also to reflect something horribly errant in the history of thought itself. There was within such murderous acts, he had claimed, a particular degradation of death itself, a perpetration of our humanity bound in some way to affect our perception of reason itself. The contradictions regarding Auschwitz that Agamben senses to be latent within Adorno’s remarks involve the intuition ‘on the one hand, of having realized the unconditional triumph of death against life; on the other, of having degraded and debased death. Neither of these charges – perhaps like every charge, which is always a genuinely legal gesture – succeed in exhausting Auschwitz’s offense, in defining its case in point’ (RA 81). And this is the stance that Agamben wishes to hammer home quite emphatically vis-à-vis Adorno’s limitations, ones that, I would only add, seem to linger within Agamben’s own formulations in ways that he has still not come to reckon with entirely: ‘This oscillation’, he affirms, ‘betrays reason’s incapacity to identify the specific crime of Auschwitz with certainty’ (RA 81).


2018 ◽  
Vol 13 (2) ◽  
pp. 187-211
Author(s):  
Patricia E. Chu

The Paris avant-garde milieu from which both Cirque Calder/Calder's Circus and Painlevé’s early films emerged was a cultural intersection of art and the twentieth-century life sciences. In turning to the style of current scientific journals, the Paris surrealists can be understood as engaging the (life) sciences not simply as a provider of normative categories of materiality to be dismissed, but as a companion in apprehending the “reality” of a world beneath the surface just as real as the one visible to the naked eye. I will focus in this essay on two modernist practices in new media in the context of the history of the life sciences: Jean Painlevé’s (1902–1989) science films and Alexander Calder's (1898–1976) work in three-dimensional moving art and performance—the Circus. In analyzing Painlevé’s work, I discuss it as exemplary of a moment when life sciences and avant-garde technical methods and philosophies created each other rather than being classified as separate categories of epistemological work. In moving from Painlevé’s films to Alexander Calder's Circus, Painlevé’s cinematography remains at the forefront; I use his film of one of Calder's performances of the Circus, a collaboration the men had taken two decades to complete. Painlevé’s depiction allows us to see the elements of Calder's work that mark it as akin to Painlevé’s own interest in a modern experimental organicism as central to the so-called machine-age. Calder's work can be understood as similarly developing an avant-garde practice along the line between the bestiary of the natural historian and the bestiary of the modern life scientist.


2016 ◽  
Vol 13 (2) ◽  
pp. 86-99
Author(s):  
Vimbai Moreblessing Matiza

Dramatic and theatrical performances have a long history of being used as tools to enhance development in children and youth. In pre-colonial times there were some forms of drama and theatre used by different communities in the socialisation of children. It is in the same vein that this article, through the Intwasa koBulawayo performances, seeks to evaluate how drama and theatre are used to nurture children and youth into different developmental facets of their lives. The only difference which this article will take into cognisance is that the performances are done in a different environment, which is not the one used in the pre-colonial times. Although these performances were like this, the most important factor is the idea that children and youth are socialised through these performances. It is also against this backdrop that children and youth are growing up in a globalised environment, hence the performances should accommodate people from all walks of life and teach them relevant issues pertaining to life as they live it now. Thus the main task of the article is to spell out the role of drama and theatre in the nurturing of children and youth through socio economic and political development in Intwasa koBulawayo festivals.


Author(s):  
Mark Meagher

Responsive architecture, a design field that has arisen in recent decades at the intersection of architecture and computer science, invokes a material response to digital information and implies the capacity of the building to respond dynamically to changing stimuli. The question I will address in the paper is whether it is possible for the responsive components of architecture to become a poetically expressive part of the building, and if so why this result has so rarely been achieved in contemporary and recent built work. The history of attitudes to- ward obsolescence in buildings is investigated as one explanation for the rarity of examples like the one considered here that successfully overcomes the rapid obsolescence of responsive components and makes these elements an integral part of the work of architecture. In conclusion I identify strategies for the design of responsive components as poetically expressive elements of architecture.


2018 ◽  
pp. 1137-1148
Author(s):  
Dmitrii I. Petin ◽  

The article offers a source study of the letter of the head of the Financial Department at the Siberian Revolutionary Committee F. A. Zemit to the People's Commissar of Finance of the RSFSR N. N. Krestinsky. Its text analysis clears up the issue of creation of Soviet regional governing bodies in the financial–economical sphere in Siberia at the final stage of the Civil War. The published source allows to outline major impediment to restoration of the Soviet finance system in Siberia after the Civil War: shortage of financial workers, their low professional qualifications, lack of regulatory documentation for organizing activities, etc. Key methods used in the study are biographical and problematic/chronological. Biographical method allows to interpret the document and to link it with professional activities of F. A. Zemit in Omsk. The problematic/chronological method allows to trace the developments in regional finance and to understand their causes by placing them into historical framework. The letter was written by F. A. Zemit in early January 1920 – at a most difficult time in his career in Siberia. The author considers this ego-document unique and revealing in its way. On the one hand, it is an official appeal of an inferior financial manager to the head of the People's Commissariat of Finance; its content is practical and no-nonsense. On the other hand, its style indicates a warm friendly and trusting relationship between the sender and the addressee; F. A. Zemit was, apparently, able to report personally to the People's Commissar of Finance of the RSFSR on the difficult situation in the region and to do so with great frankness. This publication may be of interest to scholars in history of Russian finance, Russia Civil War, Soviet society, and Siberia of the period.


1995 ◽  
Vol 31 (8) ◽  
pp. 301-309 ◽  
Author(s):  
Govert D. Geldof

In integrated water management, the issues are often complex by nature, they are capable of subjective interpretation, are difficult to express in standards and exhibit many uncertainties. For such issues, an equilibrium approach is not appropriate. A non-equilibrium approach has to be applied. This implies that the processes to which the integrated issue pertains, are regarded as “alive”’. Instead of applying a control system as the model for tackling the issue, a network is used as the model. In this network, several “agents”’ are involved in the modification, revision and rearrangement of structures. It is therefore an on-going renewal process (perpetual novelty). In the planning process for the development of a groundwater policy for the municipality of Amsterdam, a non-equilibrium approach was adopted. In order to do justice to the integrated character of groundwater management, an approach was taken, containing the following features: (1) working from global to detailed, (2) taking account of the history of the system, (3) giving attention to communication, (4) building flexibility into the establishing of standards, and (5) combining reason and emotions. A middle course was sought, between static, rigid but reliable on the one hand; dynamic, flexible but vague on the other hand.


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