We have a desire to discover and create order, and our constitution, including our rational faculties, indicates that we are predisposed for such productivity. This affinity for order and the establishment of order is fundamental to humans and naturally also leaves its mark on the medical discipline. When this profession is made subject to criticism, frequently in terms of well-used reproofs such as reductionism, reification and de-humanisation, this systematising productivity is invariably involved in some way or other. It is, however, (...) problematic that we rarely delve deeper and ask what order means, or reflect on its underlying, omnipresent and self-evident role. In order to approach this challenge, we initially and briefly place order in a conceptual and historical context. In what follows, we examine order explicitly, i.e. made an object of study, by taking a closer look at extensive multidisciplinary efforts to uncover the secrets of all its facets. Here we also try to identify some systems of order in medical science, including methodological and procedural order, which are indispensable as well as a source of problems. In the sections that follow, order is not defined as an explicit object of study, but comes to light in some exploratory and philosophising projects based on physics, mathematics and phenomenology. Each of these lets order and that which is ordered emerge in ways that may also shed light on opportunities and paradoxes in the medical domain. Key themes here include the Gordian knot of psyche – soma, the order of disorder and the patient as Other. (shrink)

By virtue of an extended consideration of problems and possibilities in the discipline of film studies toward the goal of constructing an Objectivist aesthetics of cinema, this article examines some of the most pressing issues facing contemporary art criticism. Opposing tenets of an Aristotelian aesthetic tradition against tenets of a Kantian aesthetic tradition, the author attempts to resolve a number of long-standing aporias in the Objectivist aesthetics and in the philosophy of art more broadly in the hopes of charting a (...) fruitful path for the future of art criticism. (shrink)