Moral security of the self and other: Review of Floyd, The Duty to Secure

PurposeThe purpose of this paper is to apply pragmatism – a philosophy of science on the interplay of human actions and meaning – as a perspective for studying service research and practice, emphasizing the need to deal with dynamics and diversity to cope with service marketplace disruptions. This work focuses on customers (individuals or groups of individuals) as key marketplace stakeholders.Design/methodology/approachPragmatism provides a foundation for theorizing about change by connecting human actors’ cognitive belief structures and their actions through a continuous learning process. This paper outlines how the key principles of pragmatism can advance service research and practice.FindingsAdopting the key principles of pragmatism in service management directs attention to service market dynamics. Understanding customers’ everyday lives as the interplay of experiencing, knowing and acting reveals insights about the role of service in dynamic markets for the benefit of service research and practice.Research limitations/implicationsThe paper is a viewpoint to stimulate researchers’ reflections on often hidden core assumptions about service. Pragmatism provides a perspective on actors’ practical rationality and problem solving in dynamic settings. Along with its emphasis on a holistic understanding of customers’ lives, this perspective provides direction for future service research and practice. Further, conceptual development and empirical substantiation are encouraged.Practical implicationsBy focusing on marketplace changes, this paper addresses management concerns for commercial and non-commercial organizations. Pragmatism encourages critical reflections on what companies are doing and why (the connection between actions and beliefs), revealing underlying beliefs and institutionalized industry practices that require modifications.Social implicationsPragmatism is an approach to service research and practice, irrespective of aggregation level and sector. Therefore, it can help stimulate societal welfare.Originality/valuePragmatism advances service research by delineating a holistic perspective on customers’ lives and providing a perspective for exploring and understanding dynamics and diversity in service markets.

Paternal physical exercise demethylates the hippocampal DNA of male pups without modifying the cognitive and physical development

In some creative domains, it is easy to make performance visible. For example, musician can be observed while they perform. In other domains, such as sculpting, less is known about the creation process. The objective of the present study was to analyze how professional artists and students in sculpting differ in their perception and in their creation processes as well as how perception and creation processes are related to each other. Ten experts, 10 intermediates, and 10 novices participated. First, participants’ eye movements while looking at a stimulus were recorded with a remote eye-tracker. Second, they explained which elements of the stimulus were of particular interest for creating a sculpture. Third, they had to create their own sculpture. Finally, questions were asked about their creation processes. The results showed differences between the three groups regarding the start-up period, use of the stimulus, working process, reflection of problems, and final sculptures.

During the artistic journey, creators frequently encounter challenges stemming from pressure, resource constraints, and waning inspiration, all of which can impede their creative flow. Addressing these obstacles requires a multifaceted strategy aimed at nurturing creativity throughout the artistic process. Procedural art generation emerges as a viable solution to invigorate artistic creativity. In this study, the deep Q-network (DQN) was constructed to solve the shortage of artistic creativity through its automatic decision-making ability. The model was trained with different types of artistic styles (abstract and minimalism) in WikiArt dataset. The model generates various artistic elements of different styles, forms, or thinking according to the input parameters or constraints, and selects specific colors, textures, or shapes to help the artist maintain focus in the creation process and expand the creativity in the creation process. In order to achieve this goal, in the process of performing the procedural art generation task with DQN, the experiment collected the generation speed, interpretability, and creativity evaluation feedback of each style of art. The feedback results show that the scores of color field painting and minimalism were 83.2, 93.5, 86.3 and 86.6, 91.5, 82.1 respectively. The research shows that employing dynamic mass spectrometry networks enables the automation of the art creation process. This innovative approach facilitates the exploration of diverse creative ideas tailored to various artistic tasks, thereby fostering advancements in art creation and nurturing creativity.

El arte digital es poco conocido en México, si bien hay artistas digitales y algunos centros de exhibición como el Laboratorio Arte Alameda o el Centro Nacional de la Artes, dichos centros se encuentran en la capital del país, fuera de ésta continúan imperando las expresiones tradicionales del arte, como la pintura, la escultura y el grabado. Por lo que en este artículo analizamos los procesos de creación de artistas digitales mexicanos, de tal manera que sea posible proveer a otros artistas de métodos de desarrollo de ideas nuevas y originales, así como generar conocimiento que facilite la comprensión de los trabajos digitales, contribuyendo así al crecimiento, difusión y desarrollo del Arte digital mexicano. A la par se indaga sobre los procesos de reflexión y conceptualización en el trabajo artístico, desde el punto de vista del proceso intelectual llevado a cabo por el artista, reflejo de los nuevos procesos de creación de los artistas digitales mexicanos y sus fuentes de inspiración.

Artist in Postmodern Creation Process

Este artículo da cuenta de la investigación realizada sobre los procesos de experimentación y creación con animación que, entre los años 2000 y 2010, realizaron los estudiantes del Departamento de Artes Visuales de la Facultad de Artes de la Universidad de Antioquia. Esta pesquisa se enmarca en la investigación La Animación en Colombia 1990-2010, liderada por la Universidad de Bogotá Jorge Tadeo Lozano y en la cual el Grupo de Investigación Hipertrópico de la Universidad de Antioquia investigó la situación de la animación en Antioquia. Aunque la investigación nacional tiene por objetivo establecer un diagnóstico de la imagen animada desde la llegada de los medios digitales, el presente texto responde al análisis particular de los procesos creativos desarrollados con animación en la Facultad de Artes de la Universidad de Antioquia durante este periodo. La metodología de este análisis es cualitativa y hermenéutica, pues combina la reflexión sobre los procesos artísticos que integran la animación, considera la interacción entre estudiantes y profesores a la luz del uso de medios digitales y examina inductivamente creaciones artísticas con animación para plantear un posicionamiento estético y conceptual de las formas en las que se integró la imagen animada en procesos artísticos. Como resultados de la investigación se proponen tres categorías: convergencia de medios por necesidad expresiva, recursividad para trabajar la imagen en movimiento e interés en el medio como lenguaje de expresión. En ellas se evidencia cómo los estudiantes descubrieron, experimentaron y propusieron creaciones con o desde la animación. Se concluye de esta investigación que la animación en el Departamento de Artes Visuales de la Universidad de Antioquia durante el periodo estudiado se basa en la experimentación tecnológica, interdisciplinar y mediática que se integra a procesos de expansión formal en las artes.

The article deals with some levels and elements of the system of society’s musical art with the aim to identify their personal (subjective) content. It gives scientific interpretations of the phenomenon of the intellectuals’ creative activity, shows the process of the creation, performance, perception, and critical understanding of a piece of music. The author emphasizes the anthropological and creative features of the artists, defines the following terms: the subjects of the creative activity, professionalism, typology of the subjects of art, and the professional composer. The article pays attention to the structure of the ethnic folk culture, to the people as a subject of art creation and perception, to the subjects of the folk and amateur art. The article also characterizes the features of the amateur music, the audience and its variations, the subjects of artistic and critical activities. The author circles out the subjects that organize the artistic process, disseminate it, promote the works of art, prepare the audience to the artistic activities, and contribute to the reproduction of the artistic process.

The relationship between Friedrich Nietzsche and Richard Wagner has become an industry in itself (cf. Hollinrake, Nietzsche... ; Kohler). From the perspective of a Nietzsche-scholar, the friendship cannot be ignored, since it gives valuable insight into the formative years of the young professor and the evolution of his thought, illuminating nearly every step of the way along Nietzsche's path from classical philologist to philosopher. Inquiry into this period of his life also sheds light on Nietzsche's relationship to the arts, especially music, a subject from which Nietzsche was never able to divorce himself or his philosophy. After all, Nietzsche hardly published a work that was not in some part devoted to music, and examination of his personal correspondence reveals that his opinions on music constituted a major component of his thoughts, activities and friendships, both public and private. But Nietzsche was not merely a listener. He was a composer in his own right, a fact that had gone unappreciated in Nietzsche research until after the Second World War. With the publication of Der musikalische Nachlass in 1976, a fresh interest in Nietzsche's music was awakened. This collection of the philosopher's musical works has led to a number of recordings of them, and his Lieder share another with those of Franz Liszt. The present study will attempt to suggest how Nietzsche's musical activity might be integrated into our consideration of his philosophy. Nietzsche's compositions are vital to understanding his views on the process of creation in general, especially as they evolved during his friendship with Wagner. Nietzsche himself offered up an implicit command along this line in a letter to Malwyda von Meisenberg in January of 1875:

This article is concerned with cultural events and the way they are arranged. It discusses how the implementation of the stringent rules and organizational principles of project management might prove counterproductive in cultural events. The underlying assumption is that cultural events are complex and ever-evolving systems based on creative and artistic processes, so they escape traditional planning and control practices. The complexity of cultural events can be explored through four dimensions. The first concerns the social, cultural, economic, and technological context and the relevance of the influence held by the various stakeholders. The second dimension is related to the multiplicity of objectives underlying each cultural event. The third dimension refers to the concept, the content, and the artistic and cultural creation processes behind the uniqueness of an event. Finally, the last element concerns event management and its iterative dynamic as a project where the four dimensions of complexity are intertwined. Traditional project management usually proposes tools and techniques that tend to dominate and control the project, following a deterministic approach. This attitude may be inadequate to control the environmental, strategic, creative, and managerial complexity of any cultural event, which, rather, must be explored and absorbed. Accordingly, it is suggested that a more systemic perspective be adopted through which routine project management tools are reviewed to pave the way for a new approach when organizing and managing cultural events.

El mapa, como es bien sabido, posee una gran capacidad de transmitir información temática de un determinado territorio. Lo hace mediante un lenguaje visual muy poderoso cuyo uso implica procesos científicos, técnicos y artísticos muy exigentes en la fase de su elaboración y otros de tipo receptivo por parte de aquellos que a él se acercan. El mapa, por tanto, no es un mero producto técnico, sino que concita una actividad intelectual más amplia que podría equipararse a un verdadero proceso creativo. En este trabajo se sintetiza, en primer lugar, la experiencia del autor como “geógrafo que hace mapas y enseña a hacer mapas”; en segundo lugar, se dan razones que sustentan la idea de que el mapa es algo más que el resultado de utilizar correctamente los recursos técnicos adecuados; y, por último, se perfila un marco en el que, a su modo, el trabajo cartográfico participa también de los valores fundamentales dibujados en el horizonte de este nuevo milenio, en concreto, por parte de algún creador literario.

THE ONTOLOGICAL OBSESSIONS OF RADICAL THOUGHT1 Stephen Gardner University ofTulsa Rather than make an inventory ofthis hodgepodge ofdead ideas, we should take as our starting point the passions that fueled it. François Furet (4) Any synthesis is incomplete which ends in an object or an abstract concept and not a living relationship between two individuals. René Girard (Deceit 178) Karl Marx offers two observations which I take as the point of departure for a critique ofthe anti-liberal historicism in thinkers like Martin Heidegger, Friedrich Nietzsche, and Marx himself. The first is that the modern project of emancipation presupposes that "man is the supreme being for man," and the second is that modern equality gives rise to its own type of relations of /«equality, indeed of "master and slave." I will not interpret these observations as Marx himself did, in economic terms. Instead, I use them as clues to uncover the kind of human relation implicit in but also hidden by the ontology of freedom on which radical historicism rests. By ontology offreedom, I mean the view that "being" is historical and grounded in radical freedom or contingency. For this theory, history is a process ofcreation ex nihilo, a power traditionally reserved for God. Such atheory is advanced in different forms by Heidegger, Nietzsche, ' I thank the Earhart Foundation and the University ofTulsa for their support for the project of which this is a part. I also thank Jim Williams and Jake Howland their comments. 2 The Ontologica! Obsessions ofRadical Thought and Marx, as the key to a radical critique of bourgeois society. Thus the ontological obsessions ofanti-bourgeois ire. I suggest that the fascination ofthe radical critique ofbourgeois society with historical "being" reflects the transformation of human relations by "equality of conditions," in the sense of Alexis de Tocqueville, the French sociologist and student ofthe democratic soul.2 As modern equality subverts the old orthodoxies, human beings tend to seek their gods in each other, as models of "freedom." And so there arises a "master-slave" psychology from the impact of equality, legitimized by romanticism and the modern cult ofEros. This, I suspect, is the effectual truth offreedom in Heidegger, Nietzsche, and Marx.3 René Girard offers a classic description of this psychology in his analysis ofthe modern novel, Deceit, Desire, and the Novel, to which I am indebted throughout this paper. As regards that book, my general thesis—applicable not only to Marx but also to Heidegger and Nietzsche—may be stated as follows.4 Girard's analysis of the literary characters Don Quixote, Julien Sorel, Emma Bovary, Raskolnikov, and others is in effect a devastating if indirect critique of modem radical thought, or the pursuit ofradical freedom. Modern novels, he argues, tend to divide into two types: either "romantic" or "romanesque." The latter reveal the romantic illusions of the modern psyche, rather than merely reflect them like the former. "Romanesque" novelists such as Cervantes, Stendhal, Flaubert, Dostoevsky, and Proust are great because they uncover the human relations behind romantic passions and the theories that legitimate them. The "romanesque" novel is a Socratic labor of selfknowledge in which the author emancipates himself from his own past romantic illusions. In effect, it exposes the fictions associated with the modern novel itself. The "romantic" novel, to the contrary, abandons self2 By "equality of conditions" is meant the de-legitimation of accidents of birth such as aristocratic lineage (or today race, gender, or ethnicity) as limits on one's social ambition or destiny. It is equivalent to the rise of vocational choice. 3 For a development of this theme in the context of early modern thought (Descartes to Hegel) as an indirect critique of the radical critics from Marx to Heidegger and after, see Stephen Gardner, Myths of Freedom- Equality, Modern Thought, and Philosophical Radicalism. 4 Cesareo Bandera, in The Sacred Game The Role ofthe Sacred in the Genesis ofModern Literary Fiction, also makes a "mimetic" critique of Marx, stressing his work as seeking to restore a sacrificial mythology as the bond ofsociety, an attempt at the basis oftotalitarianism (see his Appendix). The Ontologica! Obsessions ofRadical Thought3 knowledge for the platonic pursuit of "authentic being."5 It offers us "romantic...

Contour in Time: The Plays of Eugene O'Neill

The first section of the chapter rehearses the merits and roots of the mainstream view about the ethics of vandalism. But this position does not consider some particular cases where vandalism is condoned. The remaining two sections explore two key situations where vandalism is celebrated. The author argues that vandalism is not only tolerated, but indeed appreciated, when it transforms an existing work into something new and different. To defend this view, the author introduces the concepts of replacement and additive vandalism to underscore why these artistically rich kinds of vandalism are valuable, and how they differ from the mere vandalism that is purely destructive. The third section considers some special contexts in which vandalism forms part and parcel of the artistic creative process. When the artistic creative process cannot involve authorial consent or sanction, the author argues that some form of vandalism is not only permissible, but necessary for the artwork’s creation. Street art and posthumously completed art are two paradigmatic cases where the process of artwork creation crucially lacks authorial consent or sanction. The chapter concludes with some reflections on the relationship between the ethics of vandalism and the ontology of artistic creation.

Product innovation has long been considered as the outcome of New Product Development (NPD) projects, that is, efforts isolated in time and space and performed by a subsystem of the overall organisation. This paper aims to enlarge on this perspective by looking at product innovation as a continuous process of knowledge creation, embodiment and transfer that occurs with the contribution of a large part of the organisation and is extended to all phases of the product life cycle. NPD projects are only one, yet an extremely important phase of this process, which we will refer to as Continuous Product Innovation (CPI). Contributions of all the other downstream phases to innovation can be relevant and are not limited to providing feedback on experience collected for future application. All phases of CPI can be actual opportunities to innovate the product applying knowledge from different sources inside and outside the organisation. On the basis of evidence from 12 explorative studies, this paper will discuss how a sustainable competitive advantage can be gained through careful management of this continuous and cross-functional process of knowledge creation, transfer and integration inside and outside the organisational boundaries of a firm. A supportive model is proposed to help companies to assess their own ability and to share experience concerning knowledge management in Product Innovation.