Food has savour: a collection of properties (including appearance, aroma, mouth-feel) connected with the pleasure (or displeasure) of eating. After explaining this concept, and outlining a theory of aesthetic pleasure, I argue that, like paradigm examples of art, savour can be assessed relative to a culturally determined set of norms. Also like paradigm examples of art, the assessment of savour has no objective basis in the absence of such cultural norms. My argument in this paper is part of a (...) larger project in which I develop an account of the pleasure of art. It is a virtue (I claim) of my approach that it permits a much greater diversity of artforms than traditional philosophical aesthetics is inclined to allow. This includes food. (shrink)

This chapter explores the interaction between the moral value and aesthetic value of food, in part by connecting it to existing discussions of the interaction between moral and aesthetic values of art. Along the way, this chapter considers food as art, the aesthetic value of food, and the role of expertise in uncovering aesthetic value. Ultimately this chapter argues against both food autonomism (the view that food's moral value is unconnected to its aesthetic value) and (...) Carolyn Korsmeyer's food moralism (the view that moral flaws can only make food aesthetically worse). Instead, it argues for the position of food immoralism: sometimes a moral flaw can make an item of food aesthetically better. This chapter concludes by drawing out broader implications of this position for discussions on the ethics of food and discussions on the interaction between the moral and aesthetic values of art. (shrink)

You are sitting in Chez Panisse, Alice Waters’ acclaimed restaurant in Berkeley, California. After an extensively prepared, multi-course meal, out comes the dessert course: an unmodified but perfectly juicy, fresh peach. Many chefs serve such unmodified or barely-modified foods with the intention that they count as culinary art. This paper takes up the question of whether unmodified foods, served in the relevant institutional settings, can count as culinary art. I propose that there is a distinctive form of aesthetic trust involved (...) in formal culinary settings, and it plays a central role in many instances of culinary art. Culinary institutions summon aesthetic trust, which helps to explain why a dish of unmodified food served in an appropriate institutional setting can count as culinary art. (shrink)

This is a book about taste--the thing your tongue (and nose) do. It’s also a book about Taste--the thing the art critic has. It’s a book about food, art, and the relations between food and art. Do those two categories overlap? Where and how? How we might best understand and appreciate food in light of the way we understand and appreciate art? It’s a book about how the divergent histories of taste and Taste have left us with (...) an impoverished understanding of the former--and thus a deep skepticism about the aesthetic worth of food. Korsmeyer suggests that her project will illuminate readers’ understanding of food--and observes that it might well illuminate our understanding of art as well. She succeeds on both counts. (shrink)

El siguiente artı́culo intenta defender la tesis de que la distinción aristotélica entre enérgeia y kı́nesis debe ser comprendida de modo intensional (en contraposición a una lectura extensional), tomando como punto de partida su célebre aparición en Met IX 6. Sobre la base de la identificación del problema acerca del cual trata dicho pasaje, se toma en consideración otras apariciones de la distinción en Met IX 8, en la EE, en la EN y en otros textos, en orden a documentar, (...) en primer lugar, la vinculación de la distinción con la noción de érgon y, en segundo lugar, de qué modo dicha vinculación permite una lectura intensional de la distinción. Por último, se ofrece un argumento adicional para dicha lectura considerando la estructura teleológica de la acciones presentada por Aristóteles en EN I 1. (shrink)

It is a matter of fact that Europe is facing more and more crucial challenges regarding health and social care due to the demographic change and the current economic context. The recent COVID-19 pandemic has stressed this situation even further, thus highlighting the need for taking action. Active and Assisted Living technologies come as a viable approach to help facing these challenges, thanks to the high potential they have in enabling remote care and support. Broadly speaking, AAL can be referred (...) to as the use of innovative and advanced Information and Communication Technologies to create supportive, inclusive and empowering applications and environments that enable older, impaired or frail people to live independently and stay active longer in society. AAL capitalizes on the growing pervasiveness and effectiveness of sensing and computing facilities to supply the persons in need with smart assistance, by responding to their necessities of autonomy, independence, comfort, security and safety. The application scenarios addressed by AAL are complex, due to the inherent heterogeneity of the end-user population, their living arrangements, and their physical conditions or impairment. Despite aiming at diverse goals, AAL systems should share some common characteristics. They are designed to provide support in daily life in an invisible, unobtrusive and user-friendly manner. Moreover, they are conceived to be intelligent, to be able to learn and adapt to the requirements and requests of the assisted people, and to synchronise with their specific needs. Nevertheless, to ensure the uptake of AAL in society, potential users must be willing to use AAL applications and to integrate them in their daily environments and lives. In this respect, video- and audio-based AAL applications have several advantages, in terms of unobtrusiveness and information richness. Indeed, cameras and microphones are far less obtrusive with respect to the hindrance other wearable sensors may cause to one’s activities. In addition, a single camera placed in a room can record most of the activities performed in the room, thus replacing many other non-visual sensors. Currently, video-based applications are effective in recognising and monitoring the activities, the movements, and the overall conditions of the assisted individuals as well as to assess their vital parameters. Similarly, audio sensors have the potential to become one of the most important modalities for interaction with AAL systems, as they can have a large range of sensing, do not require physical presence at a particular location and are physically intangible. Moreover, relevant information about individuals’ activities and health status can derive from processing audio signals. Nevertheless, as the other side of the coin, cameras and microphones are often perceived as the most intrusive technologies from the viewpoint of the privacy of the monitored individuals. This is due to the richness of the information these technologies convey and the intimate setting where they may be deployed. Solutions able to ensure privacy preservation by context and by design, as well as to ensure high legal and ethical standards are in high demand. After the review of the current state of play and the discussion in GoodBrother, we may claim that the first solutions in this direction are starting to appear in the literature. A multidisciplinary debate among experts and stakeholders is paving the way towards AAL ensuring ergonomics, usability, acceptance and privacy preservation. The DIANA, PAAL, and VisuAAL projects are examples of this fresh approach. This report provides the reader with a review of the most recent advances in audio- and video-based monitoring technologies for AAL. It has been drafted as a collective effort of WG3 to supply an introduction to AAL, its evolution over time and its main functional and technological underpinnings. In this respect, the report contributes to the field with the outline of a new generation of ethical-aware AAL technologies and a proposal for a novel comprehensive taxonomy of AAL systems and applications. Moreover, the report allows non-technical readers to gather an overview of the main components of an AAL system and how these function and interact with the end-users. The report illustrates the state of the art of the most successful AAL applications and functions based on audio and video data, namely lifelogging and self-monitoring, remote monitoring of vital signs, emotional state recognition, food intake monitoring, activity and behaviour recognition, activity and personal assistance, gesture recognition, fall detection and prevention, mobility assessment and frailty recognition, and cognitive and motor rehabilitation. For these application scenarios, the report illustrates the state of play in terms of scientific advances, available products and research project. The open challenges are also highlighted. The report ends with an overview of the challenges, the hindrances and the opportunities posed by the uptake in real world settings of AAL technologies. In this respect, the report illustrates the current procedural and technological approaches to cope with acceptability, usability and trust in the AAL technology, by surveying strategies and approaches to co-design, to privacy preservation in video and audio data, to transparency and explainability in data processing, and to data transmission and communication. User acceptance and ethical considerations are also debated. Finally, the potentials coming from the silver economy are overviewed. (shrink)

Robert (Robby) P. Tangtingco’s article was called Bergaño’s dictionary “a work of art” in Lost and Found in Translation in the 18th century. The first thing that they observed is the various dialects or languages used by their countrymen. They were assigned to different regions of the Philippines, and one of them was Fray Diego Bergaño. He was designated to Pampanga where he successfully produced a Kapampangan dictionary called “Arte dela Lengua Pampanga”. From the stated dictionary, the reseacher look for (...) words that were related to food due to the reason that Pampanga is known for its mouthwatering food and delicacies. The dictionary was used as a reference for the translation to the English language. Moreover, various dictionaries were used to look for their translated Filipino language. Due to the rapid changes and modernization, loyalty and love to our own country, specifically language, is slowly fading and dying. With this, the researcher continued the study following the due process. First, she looked for each word related to food in Bergaño’s dictionary. Second, she categorized each food according to rice,grains, seafood, edible animal or insect, fruits and vegetable, herbs, cooking utensils, the process of cooking and preparing food, Pampanga’s delicacies and food, and other terminologies that are related to food. Next, six respondents from Pampanga were invited to join a Zoom meeting. They were asked if which among the words listened to were related to food. Furthermore, the researcher sought if the words used are still being applied or not nowadays. (shrink)

Local food projects are steadily becoming a part of contemporary food systems and take on many forms. They are typically analyzed using an ethical, or sociopolitical, lens. Food focused initiatives can be understood as strategies to achieve ethical change in food systems and, as such, ethics play a guiding role. But local food is also a social movement and, thus social and political theories provide unique insights during analysis. This paper begins with the position that (...) ontology should play a more prominent part in the analysis of local food movements, as this lens could provide unique insights into basic commitments guiding such initiatives. The paper presents the argument that ontological analyses are imperative for fully understanding local food movements. It then provides an overview of the justice frameworks and ontological orientations that guide two dominant types of initiatives: Those committed to increasing food security and those committed to food sovereignty. The paper ends with the argument that food sovereignty projects are revolutionary, not only because they challenge us to change industrial food practices, but also because they are built on a radical new political ontology, and co-constitutive food-focused orientation, that forms the foundation for alternative social and political structures. (shrink)

NUTRIÇÃO SOBRE AS FALHAS REPRODUTIVAS DOS BOVINOS -/- E. I. C. da Silva Departamento de Agropecuária – IFPE Campus Belo Jardim Departamento de Zootecnia – UFRPE sede -/- -/- FALHAS REPRODUTIVAS DE BOVINOS -/- INTRODUÇÃO -/- Os bovinos, assim como tantos outros mamíferos e demais espécies, podem sofrer distúrbios durante o ciclo reprodutivo. Transtornos, alterações ou patogenias afetam diretamente a saúde do sistema reprodutor desses animais. As causas podem ser individuais ou multifatoriais, de caráter parasitário, patogênico, climático, nutricional etc. As (...) causas de caráter parasitário podem ser controladas mediante a assepsia e profilaxia para a eliminação dos parasitas como carrapatos que vivem no mesmo habitat que o animal. As de caráter patogênico, como estão relacionadas à doenças, necessitam de especialistas na área, como o médico-veterinário para a avaliação, diagnóstico e tratamento por meio de práticas cirúrgicas ou na administração de fármacos. O fator clima pode ser controlado mediante o investimento em tecnologia e aquisição de equipamentos que possam manter a integridade e o bem-estar do animal, seja por ventiladores, exaustores, nebulizadores, aspersores, etc. Por fim, as de caráter nutricional podem ser prevenidas mediante a boa administração energética, proteica e mineral, além de uma boa qualidade de alimento volumoso ou concentrado que atenda e supra os requerimentos exigidos por cada categoria animal. Sendo assim, pode-se dividir as falhas reprodutivas dos machos bovinos relacionados à nutrição em energia, proteína, minerais e vitaminas. Antes disso, essas falhas estão relacionadas aos fatores de degeneração testicular e casos de hipospermia. -/- 17.1 Degeneração testicular e Hipospermia -/- Degeneração testicular é uma importante causa de infertilidade em machos de todas as espécies. Entre as causas, podem ser consideradas a elevação da temperatura testicular (por isso torna-se importante que a bolsa escrotal tenha um certo tamanho que permita aos testículos ficarem longe do corpo, uma vez que a temperatura corporal mataria os espermatozoides, sendo essencial os testículos ficarem “caídos” para que possam ter no mínimo 2-3 °C à mesmos do que a temperatura corporal), infecções, fatores nutricionais, lesões vasculares, lesões obstrutivas etc. O testículo com degeneração mostra diminuição de tamanho, fibrose, alterações na espermatogênese, aumento de esperma imaturo ou anormal e azoospermia em casos severos. -/- Em casos de lesão testicular com dano parcial sobre o epitélio germinal, apresenta-se uma menor taxa de formação e maturação das células espermáticas. O macho pode ser fértil, mas a condição de hipospermia levará à que, sob condições de estresse ou alta carga de fêmeas a cobrir, se apresentem falhas na fertilização. Ejaculados com características de hipospermia não podem ser congelados, logo não servem para a indústria do sêmen. -/- -/- Deficiências nutricionais retardam o início da puberdade e deprimem a produção e as características do sêmen. Os efeitos da má nutrição podem ser corrigidos em animais maduros, enquanto que é menos bem sucedido em animais jovens devido aos danos permanentes causados no epitélio germinal do testículo. (FRAZER, 2005; GORDON, 1996). Entre as principais limitantes de origem nutricional temos: -/- 17.2 Vitaminas -/- 17.2.1 Vitamina A -/- A deficiência de vitamina A e provitamina A (já que é essencial direta ou indiretamente para a função de todos os órgãos e particularmente para o crescimento e desenvolvimento dos epitélios) é necessária para a diferenciação celular, processo no qual se modificam as células não especializadas de modo que possam realizar funções específicas. Os órgãos reprodutores exigem retinol para que possam realizar o processo de espermatogênese normal nos machos e para prevenir a necrose placentária e a mortalidade fetal na fêmea. Carências de Vitamina A produzem: degeneração do epitélio germinal, baixa espermiogênese parcial ou total, cornificação do epitélio vaginal, irregularidades do estro, atrasos na concepção, abortos, crias fracas e/ou deficientes visuais (cegas) e uma degeneração da placenta e a retenção da mesma. A deficiência da vitamina A pode conduzir a uma degeneração dos tubos seminíferos nos bovinos jovens e deve-se ao fato da supressão da liberação de gonadotropinas hipofisárias e noutros casos, a espermatogênese é impedida e as funções das células de Sertoli e de Leydig são alteradas. A vitamina A não é sintetizada no organismo, o que leva a uma dependência direta do fornecimento dessa vitamina através dos alimentos que o criador têm na propriedade, seja forragens ou concentrados de ótima qualidade. -/- Essa vitamina é essencial para os animais e humanos, visto que participa de inúmeras funções metabólicas no corpo dos mesmos. Sendo assim, o criador deve saber das exigências vitamínicas do seu rebanho. Em bovinos de corte a exigência e a recomendação de fornecimento dessa vitamina está entre 2200 UI/kg de MS para animais em crescimento e engorda e para reprodutores recomenda-se níveis de 3900 UI/kg de MS. Já para bovinos leiteiros esses números são diferentes, de acordo com livros de nutrição de ruminantes, animais em crescimento e engorda devem consumir matéria seca com teores de 80 UI/kg de MS, já para reprodutores e animais adultos a quantidade recomendada e exigida é de 110 UI/kg de MS, isso diariamente. As forragens suprem bem a exigência de vitamina A dos animais, em especial o capim tifton e o tanzânia são os mais recomendados uma vez que possuem altos teores vitamínicos e minerais. As vias de suplementação dessa vitamina é através das forragens (mais acessível e barato), através da ração concentrada ou pela água e suplementação injetável. -/- 17.2.2 Vitamina E -/- A vitamina E é uma substância também conhecida como tocoferol, sendo sua forma mais ativa o alfa tocoferol. A vitamina E pertence ao grupo de vitaminas lipossolúveis amplamente distribuídas nos alimentos. -/- A sua principal função é descrita como um antioxidante natural, agindo como tal, a vitamina E evita a oxidação de constituintes celulares essenciais e/ou evita a formação de produtos tóxicos de oxidação, como os produtos de peroxidação formados a partir de ácidos graxos insaturados que foram detectados através de sua ausência. Essa vitamina é essencial para a reprodução normal em várias espécies de mamíferos. Ela ainda têm sido usada em clínicas reprodutivas de todo o mundo para o tratamento de abortos recorrentes e da infertilidade em ambos os sexos (CHAN, 2003). -/- -/- A deficiência da vitamina E influencia a maturação espermática e a degeneração do epitélio germinal dos túbulos seminíferos, já que ela os protege da oxidação evitando a deterioração da peroxidase sobre os fosfolipídios poli-insaturados da membrana espermática (PITA RODRÍGUEZ, 1997). A deficiência dessa também evita o crescimento anormal. Na ausência de vitamina E, a quantidade de gorduras insaturadas dentro das células diminuem, causando anomalias estruturais e funcionais das organelas mitocondriais, lisossomos e até mesmo na membrana celular, se essa falta de vitamina E no adulto tornar-se acentuada ocorrerá a degeneração precoce do epitélio germinal, o que afeta, em primeiro lugar, as células mais evoluídas: os espermatozoides, cuja mobilidade se perde e sua formação torne-se cada vez mais rara, até chegar ao nível de esterilidade completa. -/- As exigências dos bovinos de corte quanto a vitamina em questão é de 15 – 60 UI/kg de MS diárias para animais em crescimento e engorda. Já para bovinos leiteiros, essa exigência é muito menor chegando a 0,8 UI/kg de peso vivo (PV) para animais em crescimento e engorda e para animais adultos e reprodutores cerca de 1,6 UI/kg de PV diários. Os alimentos, assim como as vias de suplementação ideais, são os mesmos mencionados no tópico acerca da vitamina A. -/- 17.3 Proteínas -/- O efeito do excesso de proteína da dieta na reprodução é complexo. Os excessos de proteína podem também ter um efeito negativo na reprodução. Alguns efeitos foram demonstrados para explicar o pobre desempenho reprodutivo que algumas vezes é observado em dietas com excessivos níveis de proteína: Podem apresentar-se altos níveis de ureia no sangue, o que possui efeito tóxico sobre os espermatozoides, óvulos, e o embrião em desenvolvimento (WATTIAUX, 1990), igualmente, apresenta-se um desequilíbrio energético que em casos severos bloqueia a liberação de LH produzindo alteração na maturação espermática nas células de Leyding. -/- As proteínas são importantes para todo o funcionamento normal e funções fisiológicas e metabólicas dos animais e do homem. Logo, a tabela 1 traz os níveis recomendados e exigências de bovinos de corte de diferentes categorias para que se possa prevenir e/ou combater as possíveis degenerações testiculares bem como a hipospermia, trazendo os requerimentos de bovinos leiteiros jovens o que é mais ideal para combater previamente esses distúrbios que afetam diretamente a função reprodutiva e o desemprenho dos animais. -/- Tabela 1: Exigências de proteína metabolizável (PM) e proteína bruta (PB), para diferentes categorias de bovinos de corte -/- BAIXE O PDF E VISUALIZE A TABELA -/- Para os bovinos leiteiros jovens, os níveis de PB presente na dieta dos animais entre 150 e 400 kg de PV podem ser entre 12 e 22%, o que é ideal para a prevenção de degenerações, atraso à puberdade ou qualquer anormalidade que afete o desempenho dos animais. -/- Os alimentos mais proteicos são os de origem animal, porém não se pode ofertá-los completamente e diretamente aos animais, isto é, deve-se misturá-los a outros ingredientes; logo, o tipo e a quantidade de proteína depende dos ingredientes, do método de alimentação e do potencial produtivo e genético dos animais. -/- 17.4 Minerais -/- 17.4.1 Manganês (Mn) -/- O manganês é um componente de várias enzimas e essencial para a estrutura óssea normal. Quando a alimentação é deficiente em Mn por algumas semanas, o corpo parece conservar este mineral de forma eficaz. -/- Numa dieta média, cerca de 45% do mineral ingerido é absorvido. A absorção pode ser diminuída com o consumo de quantidades excessivas de Ca, P ou Fe. Após a absorção, o Mn liga-se à sua proteína transportadora e é conhecido como transmanganina. Os ossos, e em menor quantidade o fígado, músculos, e pele servem como locais de armazenamento desse mineral. -/- O Mn está envolvido na função pancreática e na utilização correta da glicose, sendo também um interveniente ativo na produção de tiroxina e de hormonas sexuais. Tem importância na produção do colesterol e no metabolismo de gorduras. -/- O Mn é um mineral de grande afinidade com o aparelho reprodutor. A deficiência desse elemento produz uma diminuição da fertilidade, atraso no desenvolvimento testicular e diminuição da espermatogênese. Se houver atrofia dos testículos, a produção de espermatozoides será reduzida e, portanto, a fertilidade será afetada. -/- A quantidade de 13 mg de Mn por kg de MS é suficiente para a obtenção de um crescimento adequado, mas para um crescimento testicular ideal e constante é necessário um mínimo de 16 mg de Mn por kg de MS. -/- Para uma boa suplementação que atenda às necessidades do gado de corte e leite, o nível ideal de Mn presente na MS em mg/kg deve estar entre 12 – 18 para os bovinos leiteiros e entre 20 – 50 para o gado de corte, tendo como recomendação ideal cerca de 40 mg/kg de MS diários para ambos. Esse mineral pode estar presente tanto na água quanto nas plantas presentes no pasto, portanto a suplementação natural é a melhor escolha, caso necessário a suplementação artificial através da ração no cocho ou do sistema SMI é recomendada. -/- 17.4.2 Iodo (I) -/- A deficiência de I também ocasionar dificuldades reprodutivas e hipospermia. Só a captação da tiroide responde à TSH, e somente a glândula endócrina tiroide incorpora esse elemento nos hormônios que são por ela elaborados. Assim, mais de 90% do iodo do organismo é encontrado nas glândulas tireóideas, principalmente como iodo orgânico. Este grande acúmulo de I na glândula é trocado muito lentamente, cerca de 1% por dia. -/- O I entra no organismo via oral e sob a forma de íon iodeto, absorvendo-se muito facilmente desde o aparelho digestivo e passando rapidamente à corrente circulatória e, posteriormente à glândula tiroide (ALBARRACÍN, 2005) onde tem que vencer um gradiente de concentração de 1 a 20; todavia, dada a afinidade entre essa glândula e o iodo, não existe nenhum problema na organização. Na célula folicular, através da ação da peroxidase, converte-se em I molecular que passa para o coloide para se ligar à tiroglobulina e formar as hormonas tireóideas. -/- O I pode atuar sobre o aparelho genital diretamente ou através da hipófise. A tiroidectomia reduz a produção espermática, por sua vez a tiroxina exótica pode restaurá-la. Essa última, administrada dentro de seus limites fisiológicos, aumenta a produção espermática ao incrementar o metabolismo geral. Talvez, o mecanismo mais aceito para atingir esta função fisiológica seja a regulação do consumo de oxigênio pelas células espermáticas. -/- O I pode ser fornecido em quantidades entre 0,2 e 1,0 mg/kg de MS para todas as categorias animais e sem que o produtor possa se preocupar. O I, que é de suma importância, encontra-se na água e nos vegetais, porém pode ser incrementado via alimentação concentrada ou através da injeção mineral direta no animal. -/- 17.5 Energia -/- A disponibilidade de energia está diretamente relacionada com o padrão normal de pulsatilidade do LH. No caso do balanço energético negativo (BEN), verifica-se um rápido aumento da utilização de glicose, resultando em hipoglicemia e, por conseguinte, hipoinsulinemia que, como se sabe, conduz rapidamente a uma lipólise com maior disponibilidade de ácidos para oxidação. Por sua vez, a síntese de colesterol precursor de esteroides sexuais é diminuída. A alteração da relação estrogênios- androgênios no macho causa uma expressão pobre da libido ou desejo sexual. -/- No touro a subnutrição afeta intensamente a função secretora das glândulas acessórias, provocando uma diminuição de 30 a 60% nas concentrações de frutose e ácido láctico do esperma. A subnutrição afeta, sobretudo, a atividade androgênica e a espermatogênese. -/- REFERÊNCIAS BIBLIOGRÁFICAS -/- BARRENHO, Gonçalo José Pinheiro. Nutrição e fertilidade em bovinos de leite. 2016. Dissertação de Mestrado. Universidade de Évora. -/- BERCHIELLI, Telma Teresinha; PIRES, Alexandre Vaz; OLIVEIRA, SG de. Nutrição de ruminantes. Jaboticabal: funep, 2006. -/- BICUDO, S. D.; SIQUEIRA, J. B.; MEIRA, C. Patologias do sistema reprodutor de touros. Biológico, São Paulo, v. 69, n. 2, p. 43-48, 2007. -/- BINDARI, Yugal Raj et al. Effects of nutrition on reproduction-A review. Adv. Appl. Sci. Res, v. 4, n. 1, p. 421-429, 2013. -/- BOLAND, M. P. Efectos nutricionales en la reproducción del ganado. XXXI Jornadas Uruguayas de Buiatría, 2003. -/- CHAN, Willie Hing Chang. Uso de Tamoxifeno y Vitamina E en Pacientes con Varicocele. 2003. Tese de Doutorado em Urologia. Universidad de Granada, España. -/- DEHNING, R. Interrelaciones entre nutrición y fertilidad. In: Curso Manejo de la Fertilidad Bovina18-23 May 1987Medellín (Colombia). CICADEP, Bogotá (Colombia) Universidad de La Salle, Medellín (Colombia) Instituto Colombiano Agropecurio, Bogotá (Colombia) Sociedad Alemana de Cooperación Técnica-GTZ (Alemania), 1987. -/- DE LUCA, Leonardo J. Nutrición y fertilidad en el ganado lechero. XXXVI Jornadas Uruguayas de Buiatría, 2008. -/- DIAS, Juliano Cesar et al. Alguns aspectos da interação nutrição-reprodução em bovinos: energia, proteína, minerais e vitaminas. PUBVET, v. 4, p. Art. 738-743, 2010. -/- FRAZER, Grant S. Bovine theriogenology. Veterinary Clinics: Food Animal Practice, v. 21, n. 2, p. xiii-xiv, 2005. -/- GORDON, Ian. Controlled reproduction in farm animals series. Nova Iorque: CAB International, 1996. -/- MAAS, John. Relationship between nutrition and reproduction in beef cattle. The Veterinary Clinics of North America. Food Animal Practice, v. 3, n. 3, p. 633-646, 1987. -/- MAGGIONI, Daniele et al. Efeito da nutrição sobre a reprodução de ruminantes: uma revisão. PUBVET, v. 2, n. 11, 2008. -/- NATIONAL RESEARCH COUNCIL et al. NRC. Nutrient requirements of domestic animals. Nutrient requirements of beef cattle. Washington, DC: National Academy Science, 1996. -/- NICODEMO, M. L. F.; SERENO, J. R. B.; AMARAL, T. B. Minerais na eficiência reprodutiva de bovinos. Embrapa Pecuária Sudeste-Documentos (INFOTECA-E), 2008. -/- PASA, Camila. Relação reprodução animal e os minerais. Biodiversidade, v. 9, n. 1, 2011. -/- PITA RODRÍGUEZ, Gisela. Funciones de la vitamina E en la nutrición humana. Rev. cuba. aliment. nutr, v. 11, n. 1, p. 46-57, 1997. -/- RADOSTITS, Otto M. et al. (Ed.). Veterinary Medicine E-Book: A textbook of the diseases of cattle, horses, sheep, pigs and goats. Elsevier Health Sciences, 2006. -/- SANTOS, José Eduardo Portela. Efeitos da nutrição na reprodução bovina. In: Congresso Brasileiro de Raças Zebuínas. 1998. p. 24-75. -/- SARTORI, Roberto; GUARDIEIRO, Monique Mendes. Fatores nutricionais associados à reprodução da fêmea bovina. Revista Brasileira de Zootecnia, v. 39, p. 422-432, 2010. -/- SHORT, Robert E.; ADAMS, D. C. Nutritional and hormonal interrelationships in beef cattle reproduction. Canadian Journal of Animal Science, v. 68, n. 1, p. 29-39, 1988. -/- TEIXEIRA, J. C.; TEIXEIRA, LFAC. Alimentação de bovinos leiteiros. FAEPE, Lavras, 1997. -/- WATTIAUX, Michel Andre. Reproduction and nutrition. Babcock Institute for International Dairy Research and Development, Madison: University of Wisconsin, 1995. (shrink)

Games occupy a unique and valuable place in our lives. Game designers do not simply create worlds; they design temporary selves. Game designers set what our motivations are in the game and what our abilities will be. Thus: games are the art form of agency. By working in the artistic medium of agency, games can offer a distinctive aesthetic value. They support aesthetic experiences of deciding and doing. -/- And the fact that we play games shows something remarkable about us. (...) Our agency is more fluid than we might have thought. In playing a game, we take on temporary ends; we submerge ourselves temporarily in an alternate agency. Games turn out to be a vessel for communicating different modes of agency, for writing them down and storing them. Games create an archive of agencies. And playing games is how we familiarize ourselves with different modes of agency, which helps us develop our capacity to fluidly change our own style of agency. (shrink)

It is a familiar thesis that art affects moral imagination. But as a metaphor or model for moral experience, artistic production and enjoyment have been overlooked. This is no small oversight, not because artists are more saintly than the rest of us, but because seeing imagination so blatantly manifested gives us new eyes with which to see what can be made of imagination in everyday life. Artistic creation offers a rich model for understanding the sort of social imagination that is (...) essential to moral deliberation. The " moral " of the arts is that everyday moral decisions can be as richly consummated as artistic productions. The distance is narrowed between this ideal and actual deliberations to the degree that a culture focuses beyond sedimented moral criteria to education of aesthetic virtues of sensitivity, perceptiveness, discernment, creativity, expressiveness, courage, foresight, communicativeness, and experimental intelligence. (Note: The key concepts and main line of argument in this article are further developed in ch. 7 of John Dewey and Moral Imagination: Pragmatism in Ethics (Indiana University Press, 2003).). (shrink)

Observing certain affinities with Plato’s Alcibiades I , this paper argues that a distinction between care (epimeleia ) of the soul and philosophy as its art (technê ) is reflected in Aristotle’s Protrepticus . On the basis of this distinction, it claims that two notions of philosophy can be distinguished in the Protrepticus : philosophy as epistêmê and philosophy as technê . The former has the function of contemplating the truth of nature, and Aristotle praises it as the natural telos (...) of human beings; whereas philosophy as technê helps nature to accomplish the end it designed for human beings. It emerges that according to Aristotle in the Protrepticus philosophy is the art of making oneself coincide with one’s nature as a human being. (shrink)

This article investigates the relationships between forms of humor that conjure up possible worlds and real-world social critiques. The first part of the article will argue that subversive humor, which is from or on behalf of historically and continually marginalized communities, constitutes a kind of aesthetic experience that can elicit enjoyment even in adversarial audiences. The second part will be a connecting piece, arguing that subversive humor can be constructed as brief narrative thought experiments that employ the use of fictionalized (...) scenarios to facilitate an open, playful attitude, encouraging a space for collaborative interpretation. This interaction between humorist and audience is an aesthetic experience that is enjoyable in and of itself, as the feelings of mirth are intrinsically valuable. But connected to the “Ha-ha!” experience of these sorts of humorous creations is an “Aha!” or potentially revelatory experience that is a mixture of cognitive comprehension and motivated (emotional) response. The third part of the article will attempt to go beyond the consciousness-raising element with an account of how such possible worlds created in the realm of imagination through subversive humor can bleed into the real world of flesh and blood people. Finally, an example of subversive humor will be analyzed. (shrink)

Games are a distinctive form of art — and very different from many traditional arts. Games work in the medium of agency. Game designers don’t just tell stories or create environments. They tell us what our abilities will be in the game. They set our motivations, by setting the scoring system and specifying the win-conditions. Game de-signers sculpt temporary agencies for us to occupy. And when we play games, we adopt these designed agencies, submerging ourselves in them, and taking on (...) their specified ends for a while. Games constitute a library of agencies — and by exploring them, we can learn new ways to inhabit our own agency. When we play games, we engage in a special form of agential fluidity. We can absorb ourselves temporarily in alternate, constructed agencies. Games make use of that capacity to record different practical mindsets. Games turn out to be our technology for communicating forms of agency. (shrink)

The question of what art is and why certain objects and events are considered art is examined. In the light of John Searle’s Social Philosophy, a hybrid Institutionalist-Functionalist explanation of what counts as art is presented. However, Searle’s apparatus applied to the ontology of the work of art is not enough to answer the question of why art has the status it exhibits. The proposal is to trace back the ontology of art to the origins of the dichotomy between freedom (...) and necessity, and more specifically to the notion of “end in itself” presented by Kant, as the status that persons have. Ultimately, the ontology of art emerges as a projection of the status “end in itself”, of personhood, to objects and events. (shrink)

Defining Artificial Intelligence and Artificial General Intelligence remain controversial and disputed. They stem from a longer-standing controversy of what is the definition of consciousness, which if solved could possibly offer a solution to defining AI and AGI. Central to these problems is the paradox that appraising AI and Consciousness requires epistemological objectivity of domains that are ontologically subjective. I propose that applying the philosophy of art, which also aims to define art through a lens of epistemological objectivity where the domains (...) are ontologically subjective, can further elucidate this unsolved question. In this sense, Art and AI and ultimately consciousness are multifaceted domains where conventional complexity theory and current philosophical approaches may be augmented by aesthetic principles ranging from classical Aristotelian essentialism to Wittgensteinian anti-essentialism. This approach of AI as art may offer novel solutions to characterising and elucidating the ciphers of consciousness and AI. (shrink)

A consideration of the relationship between conscious self-aware systems and art. I introduce my art practice and demonstrate the connections language has to self-conscious reflexivity. The document of research can be considered part of a creative practice that also uses language as a material. The specialist use and subversive manipulation of information in science and art as practiced in the service of culture are discussed to show how this informed the creation of Access Restricted-Operational Reasons as a response to my (...) environment. (shrink)

In his classic Film as Art, Rudolf Arnheim sets out to refute the claim that “Film cannot be art, for it does nothing but reproduce reality mechanically”.1 The usual argument in favor of that claim, he explains, contrasts film with realist painting, and goes something like this: There’s no doubt that what appears on the canvas depends on the way the painter sees the world, on her particular technique, on the colors she’s using, and so on. It is elements like (...) these that justify aesthetic appreciation. What appears on celluloid, on the other hand, is the result of a purely mechanical process of light rays collecting and transforming into an image. In other words, a camera is merely a mechanical recording device, and for this very reason film cannot be art. (shrink)

Food security brings a number of benefits to humanity from which nobody can be excluded and which can be simultaneously enjoyed by all. An economic understanding of the concept sees food security qualify as a global public good. However, there are four other ways of understanding a public good which are worthy of attention. A normative public good is a good from which nobody ought to be excluded. Alternatively, one might acknowledge the benevolent character of a public good. (...) Others have argued that public goods demand being public in the sense of being visible to all. Finally, it has also been argued that public goods are those goods which need joint action to be produced and maintained. This chapter discusses these five understandings of the public good in relation to food security and highlights the advantage of assessing policies from each of these perspectives. (shrink)

Art can be addressed, not just to individuals, but to groups. Art can even be part of how groups think to themselves – how they keep a grip on their values over time. I focus on monuments as a case study. Monuments, I claim, can function as a commitment to a group value, for the sake of long-term action guidance. Art can function here where charters and mission statements cannot, precisely because of art’s powers to capture subtlety and emotion. In (...) particular, art can serve as the vessel for group emotions, by making emotional content sufficiently public so as to be the object of a group commitment. Art enables groups to guide themselves with values too subtle to be codified. (shrink)

In this article I respond to the obligation to institute the policy of decoupled crop subsidies as is provided in Pilchman’s article “Money for Nothing: Are decoupled Crop Subsidies Just?” With growing problems of poor nutrition in the United States there have been two different but related phenomenon that have appeared. First, the obesity epidemic that has ravaged the nation and left an increasing number of people very unhealthy; and second, the phenomenon of food deserts where individuals are unable (...) to access fresh fruits and vegetables. A possible solution to this problem, as has been proposed by some, is to institute a decoupled crop subsidy that would increase the production of fruits and vegetables in the United States. In this paper I explore the possible unintended consequences of this policy and how it may violate liberal international conceptions of justice. I conclude that there must be further empirical research before anyone can call decoupled crop subsidies an obligation to justice. (shrink)

Usually technological innovation and artistic work are seen as very distinctive practices, and innovation of technologies is understood in terms of design and human intention. Moreover, thinking about technological innovation is usually categorized as “technical” and disconnected from thinking about culture and the social. Drawing on work by Dewey, Heidegger, Latour, and Wittgenstein and responding to academic discourses about craft and design, ethics and responsible innovation, transdisciplinarity, and participation, this essay questions these assumptions and examines what kind of knowledge and (...) practices are involved in art and technological innovation. It argues that technological innovation is indeed “technical”, but, if conceptualized as techne, can be understood as art and performance. It is argued that in practice, innovative techne is not only connected to episteme as theoretical knowledge but also has the mode of poiesis: it is not just the outcome of human design and intention but rather involves a performative process in which there is a “dialogue” between form and matter and between creator and environment in which humans and non-humans participate. Moreover, this art is embedded in broader cultural patterns and grammars—ultimately a ‘form of life’—that shape and make possible the innovation. In that sense, there is no gap between science and society—a gap that is often assumed in STS and in, for instance, discourse on responsible innovation. It is concluded that technology and art were only relatively recently and unfortunately divorced, conceptually, but that in practices and performances they were always linked. If we understand technological innovation as a poetic, participative, and performative process, then bringing together technological innovation and artistic practices should not be seen as a marginal or luxury project but instead as one that is central, necessary, and vital for cultural-technological change. This conceptualization supports not only a different approach to innovation but has also social-transformative potential and has implications for ethics of technology and responsible innovation. (shrink)

Most recent discussions of reasons in art criticism focus on reasons that justify beliefs about the value of artworks. Reviving a long-neglected suggestion from Paul Ziff, I argue that we should focus instead on art-critical reasons that justify actions—namely, particular ways of engaging with artworks. I argue that a focus on practical rather than theoretical reasons yields an understanding of criticism that better fits with our intuitions about the value of reading art criticism, and which makes room for a nuanced (...) distinction between criticism that aims at universality and criticism that is resolutely personal. (shrink)

Listening and polyphony lead us directly to reflection on the musical form of the fugue. Starting with M. Heidegger’s considerations about the juncture of beyng, we will phe-nomenologically ask about the essence of the fugue, and the musical work put under analysis will be The Art of Fugue by J.S. Bach. The article aims to show the convergence between Heidegger’s philosophy and the essence of the musical form of fugue as an artis-tic mode of the essential occurrence of beyng as (...) an event. (shrink)

In this article I argue that a work of art provides the best interpretation of itself - more faithful than any other scholarly interpretative work.

Adorno’s dialectical approach to aesthetics is perhaps understood better in terms of his monumental work, 'Aesthetic Theory,' which attempts to relate the speculative tradition in philosophical aesthetics to the situation of art in twentieth-century society, than in terms of purely theoretical claims. This paper demonstrates that Adorno embraces the Kantian thesis concerning art’s autonomy and that he criticizes transcendental philosophy. It also discusses how Adorno provides the outlines for a dialectical conception of artistic truth in relation to his argument with (...) Hegel. Adorno’s assessment of the Enlightenment is linked to his interpretation of twentieth-century literature. The conclusion of this paper emphasizes the political implications of Adorno’s position when the philosopher approaches art as a sign of historical truth. (shrink)

In our life with science, we trust experts; we form judgements by inference from past evidence. We conduct ourselves very differently in the aesthetic domain. We avoid deferring to aesthetic experts. We form our judgements through direct perception of particulars rather than through inference. Why the difference? I suggest that we avoid aesthetic testimony and aesthetic inference, not because they’re unusable, but because we have adopted social norms to avoid them. Aesthetic appreciation turns out to be something like a game. (...) We have laid down certain rules and restrictions in order to shape a kind of activity we cherish. And aesthetic properties turn out to be a kind of social construct. Much like the goal of a game, they are constituted in part by our obedience to certain rules. The norms of aesthetic life are different from those of science because our purposes are different. We engage in science to get the right answers; we engage in aesthetic appreciation to be absorbed in the activity of the sensuous perception of particulars. Our aesthetic practices are a constructed shelter from science; they restore to us a small domain where we may once again engage in our own sensuous perception of particulars. (shrink)

Through careful interpretive analysis, the piece argues that the Christian cosmic vision reveals the wrongness of industrial animal agriculture and that taking up more intentional eating practices is a morally significant spiritual discipline for Christians. It also testifies to our claim in the introduction [to the "Food and Religion" chapter of *Food, Ethics, and Society*] that religious food ethics have practical advantages over purely secular ethics insofar as the latter usually tries to begin from a neutral perspective (...) that has very little power to compel a person, whereas religious food ethics hooks into one's deepest commitments. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

The article investigates how the use of extended reality technologies and interactive digital interfaces have affected the design of exhibition spaces. Its main objective is to shed light on how these technologies have influenced the ways in which immersive art installations are conceived and experienced. Particular emphasis is placed on the impact of interactive technologies on how visitors experience exhibition spaces. The article examines an ensemble of immersive art cases, paying special attention to the distinction between immersion and interactivity. Two (...) concepts that are pivotal for understanding the transformations concerning the subjectivity of the exhibition visitor those of the “imagineer” and the “ultra-technologist”, which are analysed in the article. The intention is to render explicit how extended reality technologies have contributed to the design of immersive experiences, significantly influencing the interrelations between the technical, aesthetic and institutional aspects concerning exhibition design and the methods of dissemination of art. (shrink)

Eighteenth-century art historian Johann Joachim Winckelmann (1717-1768) shared with Hegel a profound admiration for the art and culture of ancient Greece. Both viewed ancient Greece as, in some sense, an ideal to which the modern world might aspire—a pinnacle of spiritual perfection and originality that contemporary civilization might, through an understanding of ancient Greek culture, one day equal or surpass. This rather competitive form of nostalgia suggests a paradoxical demand to produce an original and higher state of culture through the (...) imitation of another. In Hegel’s writings, this paradox goes beyond the relation of the modern world to the ancient world—he exposes the same paradox in ancient Greece’s relation to its own predecessors. The solution to the latter paradox—the possibility of the realization of ancient Greece as an original and self-contained civilization despite its cultural debts—would also, then, be the key to repeating the success of the ancient world in the modern, the overcoming of modern Europe’s cultural debt to the ancient world. The present essay examines how this paradox is revealed and resolved in the writings of Winckelmann and Hegel, and shows how this strategy of culture production—as imputed to the ancient world and aspired to in the modern—simultaneously attempts to justify and conceal a self-deceptive practice of cultural and political conquest. My focus will be on the two writers’ interpretations of ancient Greek art since, as I will suggest, their solution to the paradox of culture production turns out to be modeled upon the role of ancient Greek art in the invention and actualization of a cultural ideal of beauty, unity, and self-containment. (shrink)

Successful teamwork doesn't work overnight, what makes teamwork potent is team building. (Plagiarism) According to Abdullah, et. al., (2022) team building training can improve group cohesiveness or the quality of sticking together or unity teamwork more likely to be higher with a significant score difference. This study used mixed methods both qualitative and quantitative data collection, and an analysis method to answer the research method, random sampling is named as such because the data set is chosen via random selection, where (...) every member of the population has an equal probability of being selected (Tao, 2023). The respondents were 100 restaurant employees and 10 managers from the chosen restaurant in Malolos City in Bulacan. The subcategories of team building, including activities, communication, skills, personality, problem-solving, and values, have all received a consensus of strong agreement, with weighted averages falling within the range of 3.26 to 3.44. This level of agreement aligns with the scores for motivation at 3.43 and productivity at 3.38. These values have been calculated by determining the mean, which spans from 3.25 to 4.00. The advantages of team building that is being observed by the managers is to create familiarity and teamwork among the employees, to improve the quality of service and the quality of the food especially the respondents are in the food service sector, development, and training for the employees to achieve the establishments’ goal and lastly rebuilding and build a relationship with one employee to another. However, for the disadvantages, it costs a lot of money to conduct team building in the management. Therefore, the null hypothesis is rejected. Despite the fact that there is a low correlation between teambuilding activities and motivation and employee productivity, there is still a significant relationship between the variables. (shrink)

Respect for victims requires that we have social systems for punishing and condemning (reproving) serious crimes. But, the conditions of social marginalization and political subordination of the communities from which an overwhelming number of prisoners in the United States come place serious barriers in the face of effective reprobation. Mass incarceration makes this problem worse by disrupting and disrespecting entire communities. While humanities education in the prisons is far from a total solution, it is one way to make reprobation meaningful, (...) so long as the prison classroom is a place where the educators’ values are also put at risk. (shrink)

Though typically arts information professionals are concerned with the documentation of artwork, this conceptual paper explores how art-making itself can be considered a form of documentation and finished artworks as documents in their own right. On this view, artwork references something outside itself as part of a broader system, and exposes how it references. The implications of this perspective are discussed, springing from a historical discussion of document epistemology, research on the information behavior of artists and the philosophy of Nelson (...) Goodman. This discussion provides a framework for conceptualizing artistic information behavior along the entire information chain. Framing art-making in the terms of information science in this way may help arts information professionals assist artists, and it provides grounds for deeper co-understandings between artists and information scientists. Additionally, once information scientists consider art as a document, we can begin to see that even non-artistic documents perhaps never were as "objective" or "factual" as they seemed. (shrink)

Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...) should correspond, but they fail to recognize sensation as a site where the ecological cause can be fought. Jacques Rancière argues for the political force of the senses, but his distribution of the sensible does not address the particularity of sensory experience. I identify the difference between these approaches within recent relational or ecological aesthetics and my position on sensibility, and indicate some of the problems involved in referring to the senses. I set out the concepts that are central to the cultivation of relational sensibility: style, autofiguration, and the mobility of sensory meaning, extrapolated from Maurice Merleau-Ponty’s discussion of Paul Cézanne. They amount to positioning the senses ontologically as movements along lines of conceptual-sensory connection and implication, based on the transfer of meanings created artistically through style and autofiguration. (shrink)

Mixing methods is a well-known innovative meth- odologic proposal for research in the second half of the 20th century social sciences. Reading literature about it, I observed the aspect that justifies this paper: Authors of theoretical contributions on mixing methods recognized that this was known to be a practice already in use many centuries ago. Some of them even have re-examined the whole history of the scientific method to search precedents. They are however individual and theoretical precedents. I add in (...) this paper the practical projection of these and other methodological theories on people’s training from Greek classical times. My hypothesis is that liberal arts was the basic syllabus in Western -and westernized- educaion for more than a millennium in such a way that results of their training precisely involved to mixing methods. In return, to understand the liberal arts in the light of mixing methods shows new aspects of their historical interest. I study the theoretical basis of this syllabus from Cicero to Alcuin. More important for future research, I conclude that Alcuin’s thesis about the correspondence between the gifts of the Holy Spiritu and the seven liberal arts can be extended to the Aristotelian dianoethics habits and to Dilthey’s 20th-century sciences of mind. (shrink)

In his absorbing book Art as Performance, David Davies argues that artworks should be identified, not with artistic products such as paintings or novels, but instead with the artistic actions or processes that produced such items. Such a view had an earlier incarnation in Currie’s widely criticized “action type hypothesis”, but Davies argues that it is instead action tokens rather than types with which artworks should be identified. This rich and complex work repays the closest study in spite of some (...) basic objections to be raised concerning Davies’s central concept of an action token. (shrink)

As the planet’s largest ecosystem, oceans stabilise climate, produce oxygen, store CO2 and host unfathomable biodiversity at a deep time-scale. In recent decades, scientific assessments have indicated that the oceans are seriously degraded to the detriment of most near-future societies. Human-induced impacts range from climate change, ocean acidification, loss of biodiversity, eutrophication and marine pollution to local degradation of marine and coastal environments. Such environmental violence takes form of both ‘spectacular’ events, like oil spills and ‘slow violence’, occurring gradually and (...) out of sight. The purpose of this paper is to show four cases of coastal and marine forms of slow violence and to provide counter-accounts of how to reinvent our consumer imaginary at such locations, as well as to develop what is here referred to as ‘low-trophic theory,’ a situated ethical stance that attends to entanglements of consumption, food, violence, environmental adaptability and more-than-human care from the co-existential perspective of multispecies ethics. We combine field-philosophical case studies with insights from marine science, environmental art and cultural practices in the Baltic and North Sea region and feminist posthumanities. The paper shows that the oceanic imaginary is not a unified place, but rather, a set of forces, which requires renewed ethical approaches, conceptual inventiveness and practical creativity. Based on the case studies and examples presented, the authors conclude that the consideration of more-than-human ethical perspectives, provided by environmental arts and humanities is crucial for both research on nature and space, and for the flourishing of local multispecies communities. This paper thus inaugurates thinking and practice along the proposed here ethical stance of low-trophic theory, developed it along the methodological lines of feminist environmental posthumanities. (shrink)

In hyper-modern society, food has become a source of endemic discontent. Many food products are seen as ‘tainted’; literally, figuratively or both. A psychoanalytic approach, I will argue, may help us to come to terms with our alimentary predicaments. What I envision is a ‘depth ethics’ focusing on some of the latent tensions, conflicts and ambiguities at work in the current food debate. First, I will outline some promising leads provided by two prominent psychoanalytic authors, namely Sigmund (...) Freud and Jacques Lacan. Subsequently, I will elucidate why our chronic dependency on high-tech food production apparently fails to meet consumer needs, focusing on some scenarios of escape, such as anorexia, cultured meat and ersatz food. And I will use ‘genres of the imagination’ to flesh out how food consumption has become a podium for enacting cultural symptoms, moral outcries, provocative identities and practices of the Self. Notably, I will discuss a story by Franz Kafka, a painting by Pablo Picasso and a food novel by Margaret Atwood. (shrink)

This essay explores the works of German artist Gustav Metzger as a potential response to Theodor W. Adorno’s dictum “Nach Auschwitz ein Gedicht zu schreiben, ist barbarisch” (“To write poetry after Auschwitz is barbaric”). It argues that culture, as understood in the Adornian sense, is inextricably barbaric as a result of simply being after Auschwitz. Culture must acknowledge the finitude in its own ability to live up to an ethical demand in response to justice, whose arrival is infinitely deferred. In (...) spite of this, culture, and art in particular, must not refrain from the very act of writing. Metzger’s works are discussed as aesthetic responses to the “new categorical imperative” of Adorno, who addresses art’s failure in light of Auschwitz by pointing to aporias that constitute the inescapable condition of “barbarism.” This essay suggests that Metzger’s aesthetic articulations are nonbarbaric ruptures, in that they challenge our living on irresponsibly within the condition of barbarism via a constant confrontation with complicity. (shrink)

defining art conjunctively, that is, by defining the individual arts and joining these definitions in an exhaustive list. I suggest that the individual art forms are no easier to define than is the general category of art. As well, not everything falling within a given art form counts as art, not every instance of art in the given medium falls within the art form, and some artworks do not belong to an art form at all, so conjoining definitions of the (...) individual art forms (supposing they could be defined) would not map the extension of ’art’. Taken together, these problems indicate that the approach advocated here to art’s definition cannot be successful or convincing. (shrink)

The “local food” movement has been growing since at least the mid- twentieth century with the founding of the Rodale Institute. Since then, local food has increasingly become a goal of food systems. Today, books and articles on local food have become commonplace, with popular authors such as Barbara Kingsolver1 and Michael Pollan2 espousing the virtues of eating locally. Additionally, local food initiatives, such as the “farm- tofork,” “Buying Local,” and “Slow Food” have gained (...) a strong international following with clearly visible impacts on the food industry and policy. The numbers of local farmers’ markets, community- supported agriculture projects, and community gardens have been on the rise steadily since 1994. (shrink)

Abstractabstract:Hegel's end-of-art thesis is arguably the most notorious assertion in aesthetics. I outline traditional interpretive strategies before offering an original alternative to these. I develop a conception of art that facilitates a reading of Hegel on which he is able to embrace three seemingly contradictory theses about art, namely, (i) the end-of-art thesis, (ii) the continued significance of art for its own sake (autonomy thesis), and (iii) the necessity of art for robust knowledge (epistemicnecessity thesis). I argue that Hegel is (...) able to embrace all three theses at once through a conception of the work of art as an internally purposive whole (what I call the "IP View" of art). On the IP View, because of the kind of wholes that artworks are, they (i.a) are valuable for their own sake as ends-in-themselves, (i.b) yield valuable experiences because they are valuable for their own sake, and thereby (i.c) are necessary for robust knowledge. Finally, I suggest that not only does Hegel appear to hold the IP View of art, but also that on such a view, there is a very sensible reason for affirming (one reading of) Hegel's end-of-art thesis as an important means to establishing art's actual significance for robust knowledge against soaring, but unsubstantiable, claims about art's potency with respect to robust knowledge. (shrink)

Food Sovereignty is a vibrant discourse in academic and activist circles, yet despite the many shared characteristics between issues surrounding food and public health, the two are often analysed in separate frameworks and the insights from Food Sovereignty are not sufficiently brought to bear on the problems in the public health discourse. In this paper, I will introduce the concept of 'self-organised community viability' as a way to link food and health, and to argue that what (...) I call the 'Health Security' paradigm requires a 'Health Sovereignty' response modelled on Food Sovereignty. (shrink)