Morris the designer and maker is Morris the poet and Morris the socialist, for reasons that take us to the heart of his ambitions for the decorative arts and the nature of his practice. His work in the visual and tactile arts of decoration and design takes as its larger subject the workings of a desire for beauty in an often unlovely world shaped by the industrial revolution and driven by an optimistic capitalism. The designs he contributed to the furnishings business he created with his artist friends, Morris & Company, balanced harmonious colour and ordered structure against a complexity that invited the imagination to wander. His designs were intended to function therapeutically, addressing distortions of perception and sensibility produced by the conditions of modern labour and the effects of modern mass-produced objects on workers and consumers. Morris was frequently disappointed in his efforts to create an art for all, both by the economic exigencies of running a commercial business and by the decorative preferences of his clients. Yet in his designs for walls – wallpapers and textiles – he created an art of the domestic and the everyday, an art to live with that refused to abandon hope for a different future.

The chapter discusses William Morris’s understanding of pattern and his designs for wallpaper and woven and printed textiles. It acknowledges his call for pattern that would be soothing and restful for the viewer. The chapter explains that, for Morris, pattern was nonetheless expected to function on an intellectual level. Good pattern could engage with personal, political and ethical issues at a level of high seriousness, he thought. Reference is made to Morris’s reading of Gottfried Semper and to Morris’s partial translation (from a French edition) of Ferdowski’s Shahnameh (c. 1010 CE) recounting pre-Islamic Persian myths. Looking at Morris’s theoretical and instructional writing and considering designs of the early 1880s such as Windrush and Strawberry Thief, the chapter explores themes of fabrication, stylisation of plant forms, cultural exchange, the ongoing redeployment of ornamental motifs and aesthetic engagement with Persian culture as well as allusions to familial and romantic love. Traits of Morris designs such as symmetrical paired figures, crossing plant stems, vertical ‘tree of life’ axes, emphatic meanders in certain designs, variations in scale and composite plant forms are investigated and interpreted. The chapter demonstrates that Morris’s designs offer evidence of his commitment to the intellectual dimensions of pattern.

The fact that not all cannabis users will develop psychosis suggests that cannabis may exert its causal role only in pre-disposed individuals. However, since the number of people who use cannabis worldwide is so high, those who will eventually develop psychosis, whilst still a minority, represent a large number. The evidence indicates that different patterns of cannabis use have a different impact on the risk of developing psychosis, with young age at first use, and a higher frequency of use of high-potency types of cannabis indicated as the most important risk factors. Nonetheless, given the complex nature of the association between cannabis use and psychosis, it is hard to determine which cannabis users will eventually develop psychosis. The link between cannabis use and schizophrenia is unlikely to be just the result of a genetic predisposition, it is more likely the result of Gene x Environment inter-play.

This is a ‘qualitative methods’ chapter. It is about interpreting and gaining information from concordance lines, and demonstrates different interpretations of the concept of ‘pattern’. The chapter emphasises and illustrates the essential link between phraseology and meaning. It also demonstrates the non-obvious meaning that accrues from seeing corpus data presented as concordance lines. The chapter then discusses types of patterns: the basic concept of observed regularity and how to handle possible competing descriptions; the more restricted notions of grammar patterns and local grammar; two extensive descriptions that utilise the pattern-meaning connection: Framenet and the Pattern Dictionary of English Verbs. The chapter ends with a discussion of identifying ‘what is often said’ and how this is different from the concept of ‘what the language is like’.

It is shown that the form of an institution, its legal character, and membership do not determine procedural density.

The finding that the procedural density regarding an activity is zero is very prevalent in the sample. The reasons for this usually lie in low state interest, which is demonstrated via case studies of the European Advertising Standards Alliance and the Proliferation Security Initiative.

During coding, there were certain procedural steps which occurred more frequently than others but no distinct patterns of combinations of procedural steps. This leads me to assume that procedure as a design element is valued for its variety and flexibility.

Whether an activity is hard or soft law or somewhere in between greatly determines state interest in procedural justice. This is further explored via a case study of the Human Development Index.

Like the legal character, the exact characteristics of an administrative activity affect procedural density. This is illustrated using the different branches of the International Telecommunications Union and their procedure.

Of the different kinds of procedural steps, review is by far the least prevalent because it strongly affects state interests and often juxtaposes them with individual rights and interests. This is illustrated with comparative case studies of the Interpol Commission for the Control of Files and the ICANN Independent Review Procedure.

Procedural justice in the shape of procedural steps is a more flexible design tool than an institution's different organs. All things being equal, it is therefore preferred. This is demonstrated by the decentralized compliance monitoring mechanism used by the International Electrotechnical Commission.

The main findings from the empirical research are summarized.

The next debate to emerge concerned the idea of relativism. This was central to the Boasian vision of anthropology. Franz Boas believed that no culture is superior to any other, and his anthropology emphasized this. This idea was taken up by his students, including Ruth Benedict and Margaret Mead. Opposing this we have Lucien Lévy-Bruhl, who believed that some cultures are superior to others. Another key figure was Benjamin Lee Whorf. His linguistic relativism sought to explain that languages classify differently. This is also apparent in kinship, where different categorizations might imply different ways of thinking.

In this chapter, the authors apply the approach of basing a definition on the pattern of characteristic features of a term to that of ‘trust’. Starting from an analysis of ‘a patient trusts his doctor’, they identify seven characteristic features of ‘trust’. (1) Trust refers to an expectation regarding the trustworthiness. (2) Trust presupposes a situation of uncertainty and risk. (3) Trust is responsible if this expectation is justified. (4) This expectation must be realistic. (5) Trust is a free choice and implies the (at least unconscious) acceptance of the trust’s inherent risk. (6) A breach of trust causes a feeling of betrayal on the part of the truster. (7) Trust refers to the relationship between agents, who are competent and autonomous with regard to the topic of trust. Of the seven features, (1), (2), and (3) are essential, i.e., if one of them is absent, it cannot be a case of trust. From this follows their basic definition of trust: ‘trust refers to a justified expectation regarding the trustworthiness of the trustee under conditions of uncertainty and risk’.

In the previous chapter, the authors argued that there is no (and possibly cannot be a) comprehensive analytic definition of ‘trust’. In this chapter they claim that even if there is no comprehensive analytic definition of a term ‘X’, we can often recognise and understand ‘X’, and that one way of doing this is by recognising the pattern of characteristic features (or ‘family resemblance’) common to different examples of ‘X’. Moreover, they argue that whereas in a definition based on necessary conditions all conditions must be met, in a pattern-based definition not all features are essential, i.e., it may still be ‘X’ if not all features of the pattern of ‘X’ are present, but the better a case fits the pattern, the more likely it is ‘X’. Not only does this approach cohere well with approaches to medical diagnosis, but as a means of approaching how to provide a definition for a disputed term it is also philosophically underpinned by the work of Frank Jackson and Ludwig Wittgenstein.