In The Distant Relation Eoin Thomson presents innovative readings of canonical philosophic and literary texts, focusing on the distance that mediates the relation between word and thing, past and present, I and you. Through a novel convergence, itself arising from a field of philosophic and literary experimentation, he challenges previous traditions while demonstrating that his strategy is appropriate to the texts considered. The Distant Relation breaks down the artificial division between philosophy and literature by weaving contemporary philosophic arguments through close (...) readings of Carpentier, Rulfo, Paz, and Garcia Marquez. Thomson draws the reader into the largely uninhabited space between philosophy and literature, providing new critical strategies that allow text and reader to respond to the very distance they share. These strategies involve a reconceptualisation of distance that recognises the productive and affirmative nature of separation. The Distant Relation will attract anyone interested in the ongoing struggle to overcome conventional interpretations of language, time, and identity within the broader context of philosophical trends and Spanish American studies. Eoin S. Thomson is an independent scholar who has taught in the Department of Philosophy at Trent University. (shrink)

The theme of The Planetary Clock is the representation of time in postmodern culture and the way temporality as a global phenomenon manifests itself differently across an antipodean axis. To trace postmodernism in an expansive spatial and temporal arc, from its formal experimentation in the 1960s to environmental concerns in the twenty-first century, is to describe a richer and more complex version of this cultural phenomenon. Exploring different scales of time from a Southern Hemisphere perspective, with a special emphasis on (...) issues of Indigeneity and the Anthropocene, The Planetary Clock offers a wide-ranging, revisionist account of postmodernism, reinterpreting literature, film, music, and visual art of the post-1960 period within a planetary framework. By bringing the culture of Australia and New Zealand into dialogue with other Western narratives, it suggests how an antipodean impulse, involving the transposition of the world into different spatial and temporal dimensions, has long been an integral (if generally occluded) aspect of postmodernism. Taking its title from a Florentine clock designed in 1510 to measure worldly time alongside the rotation of the planets, The Planetary Clock ranges across well-known American postmodernists (John Barth, Toni Morrison) to more recent science fiction writers (Octavia Butler, Richard Powers), while bringing the US tradition into juxtaposition with both its English (Philip Larkin, Ian McEwan) and Australian (Les Murray, Alexis Wright) counterparts. By aligning cultural postmodernism with music (Messiaen, Ligeti, Birtwistle), the visual arts (Hockney, Blackman, Fiona Hall), and cinema (Rohmer, Haneke, Tarantino), this volume enlarges our understanding of global postmodernism for the twenty-first century. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content: American Pragmatism: An Introduction by Albert R. Spencer. Polity Press, 2020. Reviewed by: Lee A. McBride III -/- American Pragmatism: An Introduction is a judicious and stimulating read, comprising an introduction and five numbered chapters. The introduction orients the book, offering various ways of conceiving American Philosophy and American pragmatism. Spencer explains that it is difficult to discern the national and cultural variables that (...) make a philosophy an American philosophy. Not all philosophers who practice philosophy in the United States claim the descriptor "American Philosophy." And, within the group that embraces the descriptor, some take American pragmatism to be, in essence, a theory of truth (or a method by which we can make our ideas clear); others take pragmatism to be a method of experience, a pluralistic approach to knowledge creation and social amelioration (2). It is a complicated picture, and Spencer affords ample care and attention to the disparate camps of pragmatism. Chapter 1: "Fallibilism and the Classical Pragmatists" is largely devoted to Charles S. Peirce and William James. Peirce and James, as fallibilists, are contrasted against Descartes and Hume, respectively. Peirce and James diverge in regard to style and their commitments to (scholastic) realism. Spencer discusses Josiah Royce briefly at the closing of the chapter, noting how Royce's work can serve as a foil for both Peircean and Jamesian pragmatisms. Chapter 2: "Meliorism and the Chicago Pragmatists" highlights the pragmatist philosophical contributions of Jane Addams and John Dewey. In this chapter, Spencer emphasizes sympathetic knowledge, cooperative intelligence, the pattern of experimental inquiry, and social amelioration. Spencer deserves kudos for introducing Addams's pragmatist contributions first, then explaining the ways in which her work in community-building and social amelioration influenced Dewey. Chapter 3: "Pluralism and the Harvard Pragmatists" highlights the work of a motley crew: George Santayana, W. E. B. Du Bois, Horace Kallen, and Alain Locke. This chapter draws attention to the pluralism one can detect in Santayana's detached cosmopolitanism, Du Bois's double consciousness, Kallen's cultural pluralism, and Locke's democratic pluralism. We are introduced to a Spaniard, two African American men, and a Jewish man, all of whom had spent time abroad. Each offers a critical perspective that falls outside the conventional view of the purported democratic culture of the United States. Chapter 4: "Verification and the Analytic Pragmatists" turns to the philosophers of the logico-linguistic turn, [End Page 108] featuring C. I. Lewis, W. V. O. Quine, and Richard Rorty. Here, we see a pronouncedly analytic approach to the analysis of propositions, inference, and semantic content—a heightened attention to shoring up defensible conceptions of truth and the real. The goal is to articulate a coherent conceptual pragmatic position that evades both scientistic reductionism and Fregean transcendental presuppositions, all the while offering a feasible conception of truth. Chapter 5: "Hope and the Contemporary Pragmatists" surveys how pragmatists have engaged with various traditions in the twentieth and twenty-first centuries to potentially bolster their positions and find hope. Spencer highlights three promising strands. The first strand is that of Jürgen Habermas. Habermas arose out of Frankfurt School critical theory but appropriated pragmatist insights from Peirce, Dewey, and Mead to formulate his conceptions of communicative action and communitive rationality (208). Habermas reconstructed the reductive dialectical materialism of the Frankfurt School, developing a sophisticated theory of democracy as public discourse. Spencer asserts that "ultimately Habermas is the best demonstration of pragmatism's potential when compared with critical theory during the Cold War" (208). Spencer also finds the work of Huw Price promising. Price, in an effort to defuse the tension between neopragmatism's antirealism and scientific realism, offers a tenable theory of truth: truth as a (postulated) practical norm, or "truth as a convenient fiction" (217). Truth, as a practical norm, gives normative structure and impetus to various forms of inquiry. And, to close this chapter on hope and contemporary pragmatism, Spencer delineates a third promising strand. He writes that "perhaps the most promising development among pragmatists results from their increasing engagement with American Indian philosophy and other philosophical traditions throughout the Americas" (219). American pragmatists, following Scott L. Pratt and Bruce Wilshire, are increasingly recognizing... (shrink)

Maurice Blanchot is perhaps best known as a major French intellectual of the twentieth century: the man who countered Sartre's views on literature, who affirmed the work of Sade and Lautreamont, who gave eloquent voice to the generation of '68, and whose philosophical and literary work influenced the writing of, among others, Jacques Derrida, Gilles Deleuze, and Michel Foucault. He is also regarded as one of the most acute narrative writers in France since Marcel Proust. In __Clandestine Encounters__, Kevin Hart (...) has gathered together major literary critics in Britain, France, and the United States to engage with Blanchot's immense, fascinating, and difficult body of creative work. Hart's substantial introduction usefully places Blanchot as a significant contributor to the tradition of the French philosophical novel, beginning with Voltaire's _Candide _in 1759, and best known through the works of Sartre. __Clandestine Encounters_ _considers a selection of Blanchot's narrative writings over the course of almost sixty years, from stories written in the mid-1930s to _L'instant de ma mort_. Collectively, the contributors' close readings of Blanchot's novels, _recits_, and stories illuminate the close relationship between philosophy and narrative in his work while underscoring the variety and complexity of these narratives. "Blanchot's narratives are here read with the care, patience, and thoroughness they deserve. The collection sustains a remarkable intensity of engagement throughout, in so doing opening these narratives out to their necessary contexts--philosophical, of course; but also literary, political, theological, and biographical--with welcome dedication and integrity. The volume makes a timely and decisive contribution to its field, where it will form a major point of reference." --_Martin Crowley, Queens' College, University of Cambridge_ "This outstanding collection--lucid, engaging, generous--illuminates Blanchot and the very notion of 'the philosophical.' " --_Gerald Prince, University of Pennsylvania_ "This collection contains some very important pieces on a major figure of twentieth-century modernism. Blanchot now has a much wider audience in North American than he did even a few years ago when it was mostly experimental fiction writers like Paul Auster, Lydia Davis, R. M. Berry, and Steve Tomasula--not literary critics--who took an interest in Blanchot's literary writings. The focus on the 'narratives' sets this volume apart from, and makes it a good deal more stimulating than, other recent collections of essays on Blanchot." --_Gerald Bruns, University of Notre Dame _. (shrink)

John Kinsella’s achievement as a poet has overshadowed his fiction. But his narrative accomplishment is a considerable one. Whereas his poetry is usually classified as either experimental or “dark pastoral,” the fiction evades these kinds of categorizations. This essay delineates Kinsella’s fictional oeuvre, from the estrangements of his short stories to his recent series of short novels, novellas, and full-length novels, all of which feature a protagonist who is a version of himself, a Kinsella manqué, deployed against various speculative (...) futuristic, or conjectural backdrops. This technique enables both a searing social interrogation and a questioning of the privileged self in light of racism, sexism, and white settler arrogance. Kinsella’s fiction often rewrites anterior texts or received genres. But, unlike so much other Australian fiction, it does not simply write into the global market or attempt to temporarily reanimate received paradigms. Kinsella’s fictions, such as Hollow Earth, Django & Jezebel, and Basket Z, are not conventional novels. But they provide a satisfying narrative through-line even as they prod the reader to think about their own place in the text and in the world. (shrink)

In the early twentieth century, the vernacular science periodical emerged as a key medium for building science-literate publics in colonial South Asia. This article argues that the Hindi science monthly Vigyan became a discursive laboratory for experiments with language, literary genres, narrative plots, and settings to create culturally grounded science lessons for Hindi readers in the mid-1910s. I focus on the writings of Prem Vallabh Joshi, a pandit, science graduate, and small town teacher, who experimented with distinct literary genres to (...) create a sensibility for science – an experimental temper – amongst Vigyan’s readers. Through his strategic use of scientific experiments in the “history of” a particular branch of knowledge, detective mysteries, and the genre of the fictionalized dialogue, Joshi inducted colonial readers into experimental culture and global scientific modernity. As a reflexive participant in the ongoing confrontation between “Western” science and Hindu śāstra in colonial society, Joshi staged a fictional encounter between the experimental demonstration of the iconic air-pump and the textual authority of śāstra. This article examines the encounter between sastric commitments and scientific sensibilities and their conjoined mobilization in Vigyan in the era of linguistic nationalism. In this colonial vernacular publishing culture, the serial possibilities of the periodical and the history of science itself became critical resources in the ontological confrontations between experimental science and traditional authority. (shrink)

In many scientific fields, the practice of self-experimentation waned over the course of the twentieth century. For exercise physiologists working today, however, the practice of self-experimentation is alive and well. This paper considers the role of the Harvard Fatigue Laboratory and its scientific director, D. Bruce Dill, in legitimizing the practice of self-experimentation in exercise physiology. Descriptions of self-experimentation are drawn from papers published by members of the Harvard Fatigue Lab. Attention is paid to the ethical and practical justifications for (...) self-experimentation in both the lab and the field. Born out of the practical, immediate demands of fatigue protocols, self-experimentation performed the long-term, epistemological function of uniting physiological data across time and space, enabling researchers to contribute to a general human biology program. (shrink)

In Sweet Liberty, writer and director Alan Alda dramatizes the process of turning a scholarly study about the American Revolutionary War into a Hollywood film; he does so in ways that bring out the ethical complexities of adaptation, and eventually takes them to a meta-filmic level rarely seen in non-experimental cinema. While Sweet Liberty initially comes off as a light comedy with a predictable plot and ending, on closer inspection it compels us to reflect on the relationship between (...) historical research and the popular entertainment industry. Although Alda appears to chastise the makers of period films who seek to capitalize on “history” without paying heed to historical facts, his professorial hero is not particularly critically minded either. Intentionally or not, Alda demonstrates that evaluating a mainstream history film cannot be reduced to a dichotomy between truth and fiction, and that research-based knowledge should also be viewed with a healthy skepticism. (shrink)

Some experimental philosophers imply that philosophers should endorse folk intuitions and even use them to advance philosophical theses. In this paper I will try to contrast experimental appeals to intuition with J. L. Austin’s, whom some experimentalists cite as a precursor of their method. I will suggest that Austin evokes ordinary intuitions in order to dismantle philosophical quests. He even suggests (a) that the appeal to ordinary intuitions of the folk can hardly prescribe answers to extraordinary circumstances and (...) (b) that philosophical quests themselves are extraordinary. Therefore, the appeal to folk intuitions cannot prescribe answers to philosophical problems. It can only dissolve philosophical quests; yet, the dismantling of philosophy hardly accords with the experimentalists’ agenda. (shrink)

Title: "A Rose for Emily" ("Een roos voor Emily") Author: William Faulkner Translators: Martijn Boven and Maarten Jansen Original language: English Target language: Dutch -/- William Faulkner's "A Rose for Emily", presented her in a Dutch translation, was first published in 1930, in the April issue of Forum magazine. By 1930, Faulkner had already authored four novels; however, "A Rose for Emily" marked his debut in the short story genre. While not as experimental as his novels The Sound and (...) the Fury and Absalom, Absalom!, it nonetheless incorporates certain characteristic Faulknerian elements, such as an unconventional narrative perspective and a non-linear chronology. Consistent with the majority of Faulkner's oeuvre, this narrative is situated in the fictional Southern setting to which Faulkner gave the name Yoknapatawpha County. -/- [In Dutch: Wiliam Faulkners 'Een roos voor Emily’ (‘A Rose for Emily’) werd voor het eerst gepubliceerd in 1930, in het aprilnummer van het tijdschrift Forum. Faulkner had in 1930 al vier romans op zijn naam staan, maar ‘Een roos voor Emily’ was het eerste korte verhaal dat hij publiceerde. Het is niet zo experimenteel als zijn romans The Sound and the Fury (Het geraas en gebral) en Absalom, Absalom! Desondanks bevat het toch enkele karakteristieke Faulkneriaanse elementen, zoals een ongebruikelijk vertel perspectief en een gefragmenteerde chronologie. Net als het merendeel van Faulkners oeuvre speelt ook dit verhaal zich af in het fictionele Zuiden waar Faulkner de naam Yoknapatawpha County aan gaf."]. (shrink)

In the course of a career that spans half a century, from the Vietnam era to the America of Barack Obama, Sam Shepard has often been labelled as a “quintessentially American” playwright. According to Leslie Wade, “[d]rawing from the disparate image banks of rock and roll, detective fiction, B-movies, and Wild West adventure shows,” Shepard’s texts “function as a storehouse of images, icons, and idioms that denote American culture and an American sensibility”. The article addresses Shepard’s work (...) in the 1990s, when—as suggested by Stephen J. Bottoms—the writer’s prime concern was with depicting “a Faustian nation mired in depravity and corruption”. The discussion centres primarily upon a brief anti-war play first presented by the American Place Theatre in New York City on 30 April 1991, States of Shock, whose very title appears to sum up much of the dramatist’s writing to date, aptly describing the disturbing atmospheres generated by his works and the sense of disorientation frequently experienced by both Shepard’s characters and his audiences. The essay seeks to provide an insight into this unsettling one-act play premiered in the wake of the US engagement in the First Gulf War and deploying extravagant, grotesque theatricality to convey a sense of horror and revulsion at American military arrogance and moral myopia. It investigates how Shepard’s haunting text—subtitled “a vaudeville nightmare” and focusing on a confrontation between a peculiar male duo: an ethically crippled, jingoistic Colonel and a wheelchair-using war veteran named Stubbs—revisits familiar Shepard territory, as well as branching out in new directions. It demonstrates how the playwright interrogates American culture and American identity, especially American masculinity, both reviewing the country’s unsavory past and commenting on its complicit present. Special emphasis in the discussion is placed on Shepard’s preoccupation with the aesthetics of performance and the visual elements of his theatre. The essay addresses the artist’s experimental approach, reflecting upon his creative deployment of dramatic conventions and deliberate deconstruction of American realism. (shrink)

Chaos and Cosmos offers a new and unique interpretation of Argentine essayist and fiction writer Jorge Luis Borges as a thinker of what continental twentieth century political theory called the political. While not a political writer in the traditional sense, Borges was indeed an author whose response to the advent of totalitarianism, in particular in its Nazi form, generated the most experimental, insightful, and rigorous short fiction and non-fiction political interrogation. -/- As is well known, Borges’ writing went beyond (...) originality; it created a genre of its own, and the Borgesian style is not limited to form. This Borgesian style fundamentally relates to how his response to the advent of totalitarianism led to sharp and philosophically sophisticated interrogations-in-fiction of the political, understood in this book as related to three main distinctive dimensions: that of the question of the forms of society, that of the relationship between the imaginary and the real, and that of the relationship between the same and the other. -/- Chaos and Cosmos introduces the reader to Borges as an experimental writer, as an Argentine citizen, as a thinker of global political phenomena, and as a South American Pragmatist. The book also makes incursions in a political theorizing of its own, intertwining an interpretation of Borges’ essays and fiction pieces from the 1930s and 1940s with the central concerns of philosophers and political thinkers such as William James, Maurice Merleau-Ponty, Hannah Arendt, Claude Lefort, Michael Foucault, Richard Rorty, and Judith Butler. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter McGehee and the Erotics of Gay Self-RepresentationRaymond-Jean Frontain (bio)Novelist Peter McGehee was a beautiful man who—at the height of what Brad Gooch terms “the Golden Age of Promiscuity”—knew he was a beautiful man.1 Coming of age in the early 1970s when American gay men consciously set about refashioning their image, Peter’s dress was always striking, whether he was playing the slut or the dandy. Members of his (...) close circle of friends, dubbed “the Quinlan Family,” regularly twitted him for preening in the mirror, and one close friend reports that Peter could not pass a reflective surface without stopping to examine his image.2 Peter’s narcissism was further empowered by his talent as a photographer. He began taking pictures while in high school when his mother, an English teacher who advised both the school newspaper and yearbook, recruited him to serve as the staff photographer for both publications. And he continued taking photos—in particular, making self-portraits—until at least his early thirties (see Illustration 1).3 Click for larger view View full resolution1.Self-portrait by Peter McGehee. The hairstyle is identical to the one in the portrait that appears on the cover of the Stubblejumper Press edition of Beyond Happiness, suggesting that this photo was taken around 1985 when Peter was twenty-nine or thirty years old. Courtesy of the Estate of Peter McGehee.[End Page 115] Click for larger view View full resolution2.Self-portrait by Peter McGehee in mascara and woman’s top, circa 1981. Courtesy of Fiji Robinson.It should not come as a surprise that McGehee’s life and career are characterized by an ongoing and extraordinarily rich experimentation with modes of self-presentation. Peter was adept at making wacky collages that employ photographs and images culled from newspapers or magazines to serve as invitations, announcements to friends, and handbills for his performance activities. Under carefully controlled circumstances, Peter and his male friends donned female drag with Peter fashioning for himself a persona, “Princess Marie,” and signing himself as the same in letters to friends written in the royal first-person plural (see Illustration 2). When performing as the only male with two female partners in the Quinlan Sisters, a musical revue that he founded and for which he wrote the songs, he was generally identified in the program as “Marie Quinlan, the Sister with the Difference” (see Illustration 3).Peter experimented with personae even in his journals, where one might expect to find a less theatricalized self. Beginning in 1986, however, numerous entries are composed as letters that begin “Dear Winsome” (a word defined by the American Heritage College Dictionary as “charming, often in a childlike or naive way”—a manner that Peter liked to adopt), “Dear Winnie” (which is most likely a familiarization of the former), “Dear Timmy” (a name synonymous with naive wholesomeness for American baby boomers who were raised watching the television drama Lassie on Sunday evenings), and the matronly and delightfully dowdy “Dear Mrs. Hackensack.”4 Like Joe Orton, McGehee apparently even wrote letters to the local newspaper under a matronly female pseudonym in which he commented wryly on public matters that concerned him.5 [End Page 116] Click for larger view View full resolution3.Publicity photograph of Peter with Wendy Coad and Fiji Robinson as the Quinlan Sisters, circa 1982. Courtesy of Fiji Robinson.But clearly it was his fiction that offered McGehee the most satisfying opportunity for creative self-fashioning. It is the first rule of the creative writing class that a writer must write from, and of, what he knows if his writing is to have authority. But in his blurring of the line between fiction and autobiography Peter followed the lead established by Christopher Isherwood in The Berlin Stories (1935–39) and, more importantly, Christopher and His Kind (1976)—and pursued by Peter’s senior contemporaries Edmund White and Felice Picano—in which the autobiographer writes of himself in the third person in order to study himself with an almost brutal detachment, or in which the fictional protagonist is a barely disguised version of the writer’s self to the point of... (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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This essay proposes that subcultural practices such as gossip and fan writing are feminist epistemologies that can form radical archive inquiry and knowledge production, and creative outputs. Drawing on feminist new materialism and archive theory, I develop a set of principles for practice-based research methodologies that incorporate a researcher's intersubjective relationship with archive matter (e.g. records, documents, classification systems, social-material contexts) and consider the production of knowledge from such research as forms of tabulation. Fabulation here is seen as part of (...) a critically transgressive epistemological stance that expands feminist critiques of universalising master narratives and archive orthodoxies. My proposition, formed in part through a residency in the Woman's Art Library in London, is to name such research gestures ‘archive fanfiction’, where experimental and practice-oriented method moves with feminist politics and activism. (shrink)

This chapter touches upon the damaging impact of neoliberal reason on institutions of higher education, and my efforts as a teacher to help turn things around by re-vitalizing the classroom. After a critique of current neoliberal ‘borderline times’, the chapter takes the reader on a journey of diffractive re-imaginings in which I share some of my experiences of co-learning with undergraduates in an American feminist-philosophical classroom. My central argument is that the neoliberalism-induced crisis in education can be affirmatively counteracted (...) through experimentations with various posthuman and new materialist theories, and the Harawayan-Baradian methodology of diffraction in particular. Furthermore, informed by the impression that theory and pedagogical praxis go hand in hand in many contemporary feminist new materialisms, I zoom in on daily acts of resistance against the neoliberal corporatization of the American university, acts that actualized themselves as feminist new materialist pedagogies. Three examples of diffractive pedagogical strategies are then discussed in detail. (shrink)

This paper connects recent findings from experimental epistemology to several major themes in classical Indian epistemology. First, current evidence supports a specific account of the ordinary knowledge concept in contemporary anglophone American culture. According to this account, known as abilism, knowledge is a true representation produced by cognitive ability. I present evidence that abilism closely approximates Nyāya epistemology’s theory of knowledge, especially that found in the Nyāya-sūtra. Second, Americans are more willing to attribute knowledge of positive facts than (...) of negative facts, especially when such facts are inferred and even when the positive and negative “facts” are logically equivalent. Similar suspicions about knowledge of negative facts seemingly occur in classical Indian epistemology, suggesting that the asymmetry might not be an American quirk but instead reflect a cross-culturally robust tendency in knowledge attributions. Each of these themes—abilism and the positive/negative asymmetry—presents an exciting opportunity for further research in experimental cross-cultural epistemology. (shrink)

This experimental study sets out to determine whether people detect click sounds in American English. Recent research has documented the use of non-phonemic clicks in a variety of languages to fulfill a range of functions such as sequence management or signaling searches and different types of attitudinal stance. While these clicks are acoustically salient and have been reported to occur with a frequency of up to 14 per minute in British English, they have not been widely investigated until (...) relatively recently. For this experiment, we designed video stimuli consisting of A and B pairs of approximately 10 seconds of speech, one with a click and the other with the click edited out. We gave 118 participants a questionnaire and asked if they could detect a difference between the pairs of videos. The results indicate that the majority of participants, between 79% and 86%, do not detect click sounds. (shrink)

Charles Sanders Peirce was acknowledged by William James as the founder of pragmatism; however, while James’ appreciation for psychology is well taken into account in his philosophy, the role that psychological inquiry played in Peirce’s thought remains largely unexplored. Few excellent studies indicate Peirce as the first American experimental psychologist (Cadwallader 1974, 1975; Fisch 1986) and as the first to perform a truly modern experiment in psycho-physics (Hacking 1988). Nonetheless, Peirce’s commitment to psycho-physics fails to be fully integrated (...) with the broader project of his philosophy. This integration is crucial to gain a better understanding of the complexity of Peirce’s system of thought and of his position in the psychologistic-antipsychologistic divide. On the logical side, making Peirce’s position on psychology explicit leads to investigating his material logic; on the psychological side, Peirce’s scientific approach to psychology has its theoretical foundation in Kant and further marks the distinction between Peirce’s pragmatism and James’. (shrink)

Fourteen of the American philosopher's most influential essays appear here, offering profound reflections on many different aspects of knowledge, reality, and epistemology. These papers on experimental logic are rooted in the implication that possession of knowledge implies a judgment, resulting from an inquiry or investigation. The presence of this "inquiry stage" suggests an intermediate and mediating phase between the external world and knowledge, an area conditioned by other factors. Expanding upon this basis, these essays consider the relationship of (...) thought and its subject matter; the antecedents and stimuli of thought, data, and meanings; the objects of thought; control of ideas by facts; and similar topics. Unabridged republication of the classic 1916 edition. (shrink)

This paper gives experimental evidence against the claim that speakers’ intuitions support semantic relativism about assertions of epistemic modal sentences and uses this evidence as part of a broader argument against assessment relativism. It follows other papers that reach similar conclusions, such as that of Knobe and Yalcin (Semant Pragmat 7:1–21, 2014). Its results were achieved simultaneously and independently of the more recent work of Kneer (Perspectives on taste. Aesthetics, language, metaphysics, and experimental philosophy. Routledge, 2022). The (...) class='Hi'>experimental data in this paper supports two claims. The first is that, as Knobe and Yalcin (Semant Pragmat 7:1–21, 2014) also found, speakers diverge in their judgments about the truth-values and about the appropriate retraction of epistemic modal claims. The second is that speakers diverge in their judgments about when a retraction is appropriate and when it is required. This divergence was not tested by Knobe and Yalcin (Semant Pragmat 7:1–21, 2014) but aligns with the results independently reached by Kneer ((Kneer, Synthese 199(3–4): 6455–6471; Perspectives on taste. Aesthetics, language, metaphysics, and experimental philosophy. Routledge, 2022), and supports the arguments previously developed by Marques (Synthese 199(3–4): 6455–6471). The present studies tested the intuitions of both North American English speakers and of peninsular Spanish speakers, whose judgements on the topic had never been tested. The broader argument involves the relation between required retractions and falsity. (shrink)

The ethics of experimentation on human subjects has become the subject of much debate among medical scientists and philosophers. Ethical problems and conflicts of interest become especially serious when research subjects are recruited from the class of patients. Are patients who are ill and suffering in a position to give voluntary and informed consent? Are there inevitable conflicts of interest and moral obligation when a personal physician recruits his own patients for an experiment designed partly to advance scientific knowledge and (...) only partly as therapy for those patients? The views of the eminent American ethicist Hans Jonas on these issues are briefly summarised and criticised, and some moral guidelines are then proposed to regulate experimentation on human subjects. (shrink)

This paper argues that the activist, feminist and pragmatist Jane Addams was an experimental philosopher. To defend this claim, I argue for capacious notions of both philosophical pragmatism and experimental philosophy. I begin in Section 2 with a new defence of Rose and Danks’ [‘In Defense of a Broad Conception of Experimental Philosophy’. Metaphilosophy 44, no. 4 : 512–32] argument in favour of a broad conception of experimental philosophy. Koopman [‘Pragmatist Resources for Experimental Philosophy: Inquiry (...) in Place of Intuition’. Journal of Speculative Philosophy 26, no. 1 : 1–24] argues that many twentieth-century American pragmatists can make important contributions to contemporary experimental philosophy. In Section 3, I argue that while this may be true, it is also true that under the broad conception, many of the pragmatists just were experimental philosophers. In Section 4, I argue that as a pragmatist philosopher in her own right, Jane... (shrink)

This essay examines the risks of racialized science as revealed in the American mustard gas experiments of World War II. In a climate of contested beliefs over the existence and meanings of racial differences, medical researchers examined the bodies of Japanese American, African American, and Puerto Rican soldiers for evidence of how they differed from whites.

The interdisciplinary group of authors featured in this focus issue contribute to conversations at the intersection of anthropology and ethics by exploring ethical self‐making and moral experimentation among faith‐based actors in a range of humanitarian settings. Kari Henquinet describes the genealogies of American evangelical humanitarianism by focusing on the ethical self‐formation of early World Vision leaders. Rachel Schneider and Sara Williams each explore practices by which relatively privileged individuals seek to cultivate virtue by engaging with those on the margins, (...) in poor, urban neighborhoods in South Africa, and through packaged tours in Israel/palestine, respectively. Sarah Tobin describes projects of Islamic self‐making among displaced refugee women in Jordan. Although they examine a wide range of subjects and settings, they explore a common set of themes, two of which I discuss here: moral experimentation, and engagements with suffering, poverty, and inequality. (shrink)

THE MORAL SYSTEM OF SHAKESPEARE INTRODUCTION WHAT IS IMPLIED IN "THE MORAL SYSTEM OF SHAKESPEARE " The title of this work, The Moral System of Shakespeare,..

Concerns with cultural variation and epistemic perspectives have played major roles in experimental semantics. They dominate Li's book (2023). Li's own experimental work provides two promising explanations of the cultural variation: Chinese, but not Americans, tend to agree with a character's false statement because they think it is not her fault that she is wrong or because they are socially conforming. So, the notice argues, the cultural variation is a red herring to the theory of reference. Li preferred (...) explanation is that Chinese and Americans take different epistemic perspectives. The notice argues that this is misguided and another red herring. (shrink)

When American experimental psychologists began to study activity cycles in the early twentieth century, their research methods and interpretations of experimental results were guided by a commitment to behaviourism and neglected the work of biological rhythms researchers, now called chronobiologists, who approached behaviours from physiological and ecological perspectives, exploring activity and other rhythmic behaviours as governed by innate organic stimuli, biological clocks. The epistemological gap that developed between rhythms researchers and behavioural psychologists can be seen already in (...) the work of Maynard S. Johnson and Curt P. Richter, both working with rodents in the 1920s and 1930s. This gap persisted into the 1960s, when psychologists began to realize that biological clocks help to explain some of their experimental results. This epistemological gap is plain from psychologists' reaction to the 1963 work of Michael Treisman, who was credited 50 years later with discovering the biological clock in humans, despite more than half a century of effort to study rhythms and locate clocks; recognition in the mid-1960s that clock-controlled circadian rhythms were useful in psychology began to close this gap. (shrink)

The ArgumentThe notion that experimentation provides an appropriate means for acquiring valid knowledge about some aspects of social reality has always depended on certain presuppositions about the nature of social reality and about the role of expenment in knowledge acquisition. In this paper I examine historical changes in these presuppositions from the beginnings of social psychological experimentation to the period after World War II.It was late nineteenth-century crowd psychology that provided the theoretical inspiration fo the first systematic steps in the (...) application of expermental methods to the investigation of social psychological problems. The basic question addressed by these early experiments was derived from the individualistic social ontology of crowd psychology. It was this ontology that made the microcosm of the experimental situation appear relevant to social reality outside this situation.In the 1940s experimental social psychology was briefly influenced by a nonindividualistic social ontology for which group phenomena were real. In the work of Kurt Lewin this was linked to an anti-inductivist conception of experimentation derived from Gestalt psychology and the philosophy of Ernst Cassirer. However, this model proved to be utterly unassimilable by American social psychology which was dominated by an individualistic social ontology and an inductivist philosophy of experimentation that mutually supported each other. (shrink)

Some three score years ago, the Norwegian philosopher Arne Naess found himself dissatisfied with “what are called ‘theories of truth’ in philosophical literature.” “The discussion has already lasted some 2500 years,” he wrote. “The number of participants amounts to a thousand, and the number of articles and books devoted to the discussion is much greater.” In this great ocean of words, he went on, the philosophers had often made bold statements about what “the man in the street” or “Das Volk” (...) or “la conscience humaine” made of truth or Wahrheit or vérité. And Naess had a few simple questions about these claims: “How do the philosophers know these things? What is the source of their knowledge? What have they done to arrive at it? … their writings,” he complained, “contain almost nothing of this matter.”1 And so Naess began the research that resulted in the publication in 1938 of his first book in English: “Truth” As Conceived By Those Who Are Not Professional Philosophers. (shrink)

Research on children raises major ethical issues, the most important being the inability of the subjects to provide freely given informed consent. Committees in Canada and the United States charged with formulating recommendations for the protection of human subjects in research came to some fundamentally different conclusions. Two of these are discussed as they apply to children: first the distinction between therapeutic and non-therapeutic research, recognized implicitly by the National Commission and deliberately avoided by the Medical Research Council Working Group (...) ; and second, the looser relation between local committees and Council as defined by guidelines in Canada and the tighter relation between the institutional review committees and the Department of Health, Education and Welfare defined by regulations in the United States. (shrink)

This paper is concerned with moral experimentalism, which I describe as the stance according to which moral inquiry is grounded not in objective foundations nor in our subjective inclinations but in our active encounter with things and events and in our communicative interactions with others. The notion of moral inquiry as grounded in objective foundations and that as based on subjective inclinations have traditionally been conceived of not as two independent possibilities but as the two poles of a dramatic Either/Or (...) that has profoundly conditioned, and still does, our perception of and approach to disagreements and conflicts. When the pragmatists, particularly Dewey, advanced the idea of an experimental approach to moral issues, they put it forward as an alternative to these extreme positions and, therefore, as a way out of what they perceived, I think correctly, as a false and pernicious dichotomy. The paper is divided into three parts: In the first section, I set the theoretical foundation of experimentalism as conceived of by the American pragmatists, in particular Peirce and Dewey. In the second part, and drawing mainly on Dewey’s Logic, I explore the procedural implications derived from the application of experimentalism to practice. In the third section, I consider the particularities of the application of experimentalism to the realm of ethics. As I argue, experimentalism is not only a promising approach to moral problems but perhaps the only effective remedy for the increasingly irrational attitudes with which they are today addressed. (shrink)

This paper is a contribution to the debate concerning the kind of philosophical conclusions that can (or cannot) be derived from systematic empirical studies of intuitions about the reference of proper names. The focus of the paper is the famous study by Machery et al. (2004) in which intercultural differences in semantic intuitions between American and Chinese participants were observed. Machery et al. used the obtained results to question the usefulness of intuitions in philosophical discussions concerning the reference of (...) proper names. In this paper, I present the results of my own philosophical-experimental studies aimed at analyzing methods used in research dedicated to the problem of reference rather than semantic intuitions as such. These results indicate a significant instability of responses regarding the reference of proper names and their susceptibility to the impact of philosophically insignificant factors. Based on the collected data, I argue that methods used in experimental studies concerning the reference of proper names conducted to date do not guarantee the assessment of intuitions of the desired kind. (shrink)

Animal experimentation raises value conflicts between animal protection and other goods, such as freedom of inquiry or health and safety. If governments can phase out the practice by non-prohibitive incentive-setting, the pro tanto moral rationale for doing so is obvious. So why should they not? This article first sketches a fictional scenario in which a government adopts a phase-out plan for animal experimentation. It then considers two moral objections to this plan: First, the plan unduly restricts freedom of inquiry, and (...) second, it merely displaces animal experimentation across borders and thus fails to reduce animal suffering. Both arguments are refined premise by premise to articulate their strongest versions. The two objections can help to narrow down desiderata for good phase-out plans. However, they do not provide a compelling case against phase-out planning as such because they miss its incremental and constructive nature. Unless better arguments can be provided, it appears that government inaction on phasing out animal experimentation lacks moral justification. (shrink)

We report three studies which test a sexual selection hypothesis for male war heroism. Based on evolutionary theories of mate choice we hypothesize that men signal their fitness through displaying heroism in combat. First, we report the results of an archival study on US-American soldiers who fought in World War II. We compare proxies for reproductive success between a control sample of 449 regular veterans and 123 surviving Medal of Honor recipients of WWII. Results suggest that the heroes sired (...) more offspring than the regular veterans. Supporting a causal link between war heroism and mating success, we then report the results of two experimental studies. We find evidence that female participants specifically regard men more sexually attractive if they are war heroes. This effect is absent for male participants judging female war heroes, suggesting that bravery in war is a gender specific signal. Finally, we discuss possible implications of our results. (shrink)

In the first experiment, I exhibit unreliable judgment about the primeness or divisibility of four-digit numbers, in contrast to a seeming Excel program. In the second experiment, I exhibit an imperfect memory for arbitrary-seeming three-digit number and letter combinations, in contrast to my seeming collaborator with seemingly hidden notes. In the third experiment, I seem to suffer repeated defeats at chess. In all three experiments, the most straightforward interpretation of the experiential evidence is that something exists in the universe that (...) is superior in the relevant respects – theoretical reasoning (about primes), memorial retention (for digits and letters), or practical reasoning (at chess) – to my own solipsistically-conceived self. (shrink)

After joining the staff of the Burgholzli Mental Hospital in 1900, Jung developed and applied the word-association tests for studying normal and abnormal psychology. The studies have remained a significant phase in the development of Jung's conceptions and an important contribution to diagnostic psychology and psychiatry. Between 1904 and 1907 he published nine studies on the tests. These studies, together with two lectures on the association method given in 1909 at Clark University and three articles on psychophysical researches from (...) class='Hi'>American and English journals in 1907-1908, compose this volume. Jung's association studies showed the definite influence of Bleuler and also of Freud, with whom he worked closely for several years. With this volume, the Collected Works are complete except for the Miscellany, Bibliography and Index volumes. (shrink)

Returning to the famous prologue to the book Difference and Repetition, in which Gilles Deleuze points out that the time is approaching when it would not be possible to write a philosophy book as before, we will try to think about the deleuzian evocation of the need to adopt a new tone and new rules for the exercise philosophical. We believe that resuming this philosopher's appeal would launch us into the heart of deleuzian and deleuze-guattarian conception of philosophy as experimentation. (...) The author suggesting that a philosophical treatise should sound as much like a kind of detective novel as it does like science fiction. This excursion, we argue, would not only help us in the deleuzian and deleuzo-guattarian understanding of philosophy as experimentation, but would also make it possible to outline some clues about the role of the history of philosophy at the heart of this conception. (shrink)

This paper examines the origins and legacy of Titchener’s notion of stimulus error in the experimental study of sensory experience. It places Titchener’s introspective methods into the intellectual world of early experimental psychology. It follows the subsequent development of perceptual experimentation primarily in the American literature, with notice to British and German studies as needed. Subsequent investigators transformed the specific notion of a “stimulus error” into experimental questions in which subjects’ attitudes toward their perceptual tasks became (...) independent variables to be manipulated experimentally. Ultimately, these manipulations support a distinction between accessing phenomenal as opposed to cognitive aspects of subjects’ responses to perceived objects. (shrink)