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Chapter 6 – Autonomy 6.1 introduction In §4.3.2, I argued that three dominant threads weave the rich and complex fab- ric of self-realization discourse: autonomy, authenticity and virtue. This chap- ter is dedicated to the first thread, namely, autonomy. The main question here is how autonomy is best interpreted in order to match the reframed account of self-realization constructed in this study. As Holstein, Parks and Waymack (2011) emphasize, “How we think about the self informs our understanding of the nature of autonomy” (p. 22). Therefore, what I am

7. Ape Autonomy? Social Norms and Moral Agency in Other Species Kristin Andrews 1. INTRODUCTION Once upon a time, not too long ago, the question about apes and ethics had to do with moral standing—do apes have interests or rights that humans ought to respect? Given the fifty years of research on great ape cognition, life history, social organization, and behavior, the answer to that question seems obvious. Apes have emotions and projects, they can be harmed, and they have important social relationships. Today the question is more likely to be about

Beyond the Visible Autonomy ERHAN ÖZE We should understand the society of control, in contrast, as that society (which develops at the far edge of modernity and opens toward the postmodern) in which mechanisms of command become ever more “democratic,” ever more im- manent to the social field, distributed throughout the brains and bodies of the citizens. The behav- iors of social integration and exclusion proper to rule are thus increasingly interiorized within the subjects themselves.1 In light of Michael Hardt and Antonio Negri’s description of

Art/Commerce: The Question of Autonomy The three thematic chapters of this book have framed the convergence of art and commerce from three different perspectives, and in regard to three major definitions of art. I discussed first, the definition of art based on a work’s context of presentation; second, the definition of art based on the aesthetic object that is the product of art and our experience of it; and third, the definition of art as an artist’s creation. In the course of these discussions, it has become clear that the categories once used to define

- ters of this book. 2.1 Science for a cause? Between impact and autonomy From a positivist point of view, science can be defined as “1. the systematic observation of natural events and conditions in order to discover facts about them and to formulate laws and principles based on these facts. 2. the organized body of knowledge that is derived from such observations and that can be verified or tested by further investigation. 3. any specific branch of this general body of knowledge, such as biology, physics, geology, or astronomy. (For the Latin word meaning ‘knowledge

IV. MEDIENKUNST-WERKE NEW YORK 115 lig. Es scheint gerade die ästhetische Erstarrung zu sein, die in ihrer Dramatik den Mythos wieder erstarken lässt. In seiner Mischung aus la- konischer Kommentierung und magischer Beschwörung transportiert »2001«, dass Manhattan trotz massiver Destruktionen bestehen bleibt und seine Einzigartigkeit dabei umso mehr zur Geltung kommt. Zudem veranschaulicht die Installation, dass Manhattan sowohl zum Schauplatz als auch zum Auslöser von globalen Konflikten geworden ist. 5. INSTITUTE FOR APPLIED AUTONOMY: ISEE – NOW

124 Between Favela Chic and Autonomy. Design in Latin America Gui Bonsiepe “Theories do have political implications.”1 From a Western perspective, it often seemed obvious to read the develop- ment of design in so-called periphery countries2 – once condescendingly dubbed ‘developing countries’ – as the same process as the development of ‘the centre’, just staggered by several decades. Such a simplifying view, how- ever, fails to do justice to reality. The reflections below are intended to offer a differentiated picture of the relationships, ranging from complex

Respect for autonomy? The contribution of popular magazines to the public understanding of dementia care SANNA INTHORN & JULIA INTHORN Representations of dementia in popular media have the potential to raise public awareness of the interests of persons living with dementia. But these representations can also help to normalize approaches to dementia that advance the wellbeing of dementia sufferers. Much of the existing research on media representations of dementia focuses on news media (cf. Kirkman 2006; Kessler and Schwender 2012; Clarke 2006

Brzozowski and the Question of Engagement: On a Different Concept of the Autonomy of Art Przemysław Czapliński In the history of Polish literature, Brzozowski has been commonly regarded as the first critic to draw an opposition between pure and socially engaged art. In a series of polemics—against Henryk Sienkiewicz, Zenon Przesmycki “Miriam,” and finally the poets of Young Poland—the author of Legenda Młodej Polski (The Legend of Young Poland) is said to have pointed to the consequences of aestheticism and made a case for ethical writing. This was

495 The ‘Public’ Nature of Higher Education in Italy: What Place for Autonomy and Variety? GAETANO LUBERTO 1. Introduct ion The attribution of ‘publicness’ to higher education outputs is derived from mainstream economics. According to this perspective, the public nature of higher education depends on the characteristics of the outputs provided by the universities: research, teaching, scholarship, learning, service, transmission of values and culture, the disinterested search for truth, professional competence, promotion of social and economic de