This paper deals with the problem of derivational redundancy in scientific explanation, i.e. the problem that there can be extremely many different explanatory derivations for a natural phenomenon while students and experts mostly come up with one and the same derivation for a phenomenon (modulo the order of applying laws). Given this agreement among humans, we need to have a story of how to select from the space of possible derivations of a phenomenon the derivation that humans come (...) up with. In this paper we argue that the problem of derivational redundancy can be solved by a new notion of “shortest derivation”, by which we mean the derivation that can be constructed by the fewest (and therefore largest) partial derivations of previously derived phenomena that function as “exemplars”. We show how the exemplar-based framework known as “Data-Oriented Parsing” or “DOP” can be employed to select the shortest derivation in scientific explanation. DOP’s shortest derivation of a phenomenon maximizes what is called the “derivational similarity” between a phenomenon and a corpus of exemplars. A preliminary investigation with exemplars from classical and fluid mechanics shows that the shortest derivation closely corresponds to the derivations that humans construct. Our approach also proposes a concrete solution to Kuhn’s problem of how we know on which exemplar a phenomenon can be modeled. We argue that humans model a phenomenon on the exemplar that is derivationally most similar to the phenomenon, i.e. the exemplar from which the largest subtree(s) can be used to derive the phenomenon. (shrink)

Let g E(m, n)=o mean that n is the Gödel-number of the shortest derivation from E of an equation of the form (m)=k. Hao Wang suggests that the condition for general recursiveness mn(g E(m, n)=o) can be proved constructively if one can find a speedfunction s s, with s(m) bounding the number of steps for getting a value of (m), such that mn s(m) s.t. g E(m, n)=o. This idea, he thinks, yields a constructivist notion of an effectively (...) computable function, one that doesn't get us into a vicious circle since we intuitively know, to begin with, that certain proofs are constructive and certain functions effectively computable. This paper gives a broad possibility proof for the existence of such classes of effectively computable functions, with Wang's idea of effective computability generalized along a number of dimensions. (shrink)

This book is the most comprehensive, integrated explanatory account yet published of the properties of question formations and their variation across languages. It makes an important contribution to the current debate over whether syntax should be understood derivationally, arguing that thebest model of language is one in which sentences are constructed in a series of operations that precede or follow each other in time. The central problem it addresses is the nature of the difference between (a) languages in which all (...) wh-words move overtly to a clause-initial position (exemplified byBulgarian); (b) languages in which one wh-phrase moves per clause but all others remain in situ (exemplified by English); and (c) languages in which there is no overt movement at all (exemplified by Japanese). Professor Richards focuses on the nature of syntactic movement in order to see what this reveals about the syntactic derivation. He considers the nature of interactions between movement operations and investigates the behaviour of multiple overt wh-movement, scrambling, cliticization, and objectshift. His general conclusions about the relationship between movement and multiple specifiers follow straightforwardly from basic principles of Shortest Move and Shortest Attract. He develops a PF-imposed well-formedness condition on movement chains (essentially, a requirement that a single memberof the chain be unambiguously identified as the copy to be pronounced), which allows for the development of theories of anti-agreement, the that-trace effect, and the conditions on participial agreement in Romance, among other phenomena. He defends the claim that well-formed dependencies can improvethe status of ill-formed dependencies created later in the derivation, illustrating the explanatory power, under certain structural conditions, of his Principle of Minimal Compliance. He uses data on the locality of wh-movement to argue that the Principle of Minimal Compliance is responsible for anumber of the apparent distinctions between overt and covert movement. This book will interest syntacticians at graduate level and above as well as linguistic theorists concerned with the syntax-semantics interface. (shrink)

This paper is the second of a multi-part examination of the creation of the Babylonian mathematical lunar theories known as Systems A and B. Part I (Britton 2007) addressed the development of the empirical elements needed to separate the effects of lunar and solar anomaly on the intervals between syzygies. This was accomplished in the construction of the System A lunar theory by an unknown author, almost certainly in the city of Babylon and probably early in the 4th century B.C. (...) The present paper focuses mainly on System A and the likely process of its construction. The first three sections are largely descriptive – first of the basic concepts which underlie the theory; then of the component schemes comprising the theory; and finally of two distinctive texts which suggest how the theory was constructed. The crux of the paper is Sect. 4, which describes how the theory seems likely to have been constructed. Here the crucial insight in separating the effects of lunar and solar anomaly appears to have been recognizing that – of all the measurable intervals bounded by eclipses – only 235 months exhibits a variation due solely to lunar anomaly, and that by means of an elegant mathematical model the amplitudes of 223 and 12 months could be deduced from its amplitude. The rest of the section describes the likely details of the derivation of the Φ ~ Λ scheme, and the extension of the methodology to the other components of the theory. It concludes with a demonstration that Φ and its dependent schemes were anchored through the Φ ~ W scheme to the syzygy on –403 Aug 18 (GN 7391) which concluded the shortest 6-month interval in the first 24 saros cycles since –746 (and in fact in the 900 years separating Nabonassar and Ptolemy). The next three sections address a number of largely technical details and amplifications of the theory, beginning with the schemes describing the variation of lunar velocity (column F) in Sect. 5. Section 6 addresses issues concerning the interpretation of Φ and the so-call Saros Text (BM 36705), while Sect. 7 discusses System B’s corresponding treatment of the effects of lunar anomaly, illustrating both its derivative nature and mathematically less rigorous structure. Section 8 examines the accuracy of the two theories, showing that the System A theory was both remarkably accurate and superior to System B. The final section offers some brief remarks on the power and elegance of the mathematical treatment of the problem by the author of System A. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Contemporary IlluminationsReading Donne's "A Nocturnall upon S. Lucies Day through Three Twenty-First-Century PoemsTheresa M. DipasqualeIn his contribution to the 2017 volume John Donne and Contemporary Poetry, edited by Judith Scherer Herz, Jonathan F. S. Post explores "a nearly endless landscape of comparisons and contrasts" that unfolds between Stephen Edgar's 2008 poem "Nocturnal" and Donne's "A nocturnall upon S. Lucies day, Being the shortest day."1 Post's essay illuminates what (...) Calvin Bedient, in the same volume, calls the "great glacier-gloom" of Donne's "Nocturnall," its devastated "solemnity."2 In doing so, Post renders largely moot many questions that have preoccupied critics of Donne's poem: whether or how this poem reflects Donne's experience; whether the woman lamented by the speaker is a fiction or a historical person lamented by the poet; and if the latter, whether the poem mourns the 1617 death of John Donne's wife, Anne More Donne; the 1627 death of Donne's patroness Lucy, Countess of Bedford; or the Countess' near-fatal illness in 1612–13.3 These biographical and historical questions are not without value, but they draw the critic's attention away from more compelling questions regarding the "I" of the poem—a persona who claims not to be a person at all, but an inscription, a grave, "A quintessence" derived or "expresse[d]/... even from nothingnesse."4In this article, I widen and intensify the pool of light cast on Donne's "Nocturnall" by Post's presentist and intertextual analysis of Edgar's poem, examining three of the many other twenty-first-century poems that tap into Donne's poem, allude to it, quote it, adopt its structure, or respond to the anguish it expresses.5 Each of the three I discuss is [End Page 1] luminous in its own right but also a potent critical response to Donne's five-stanza poem. Each teaches something different about Donne's lyric. The poets whose work I consider—Liz Lochhead, Jay Wright, and Meena Alexander—all address twenty-first-century concerns; they grapple with questions and sorrows beyond the scope of Donne's conscious imagining yet latent in his poem. Each picks up where critics leave off when they "assume," as Alison R. Rieke notes, "that the speaker... is a husband or lover, possibly Donne, who experiences grief upon his wife's or mistress' death."6 Each takes up the challenge that Donne's persona issues when it denies that it is either "a man" (30) or any other living thing.In the first stanza of "A Nocturnall upon S. Lucies Day," this anti-persona observes that "all" other things around it are "Dead and enterr'd" and "yet" that "all these seeme to laugh, / Compar'd with mee, who am their Epitaph" (8–9). If it is an incised text rather than a human being, the poem's "mee" can no more speak than laugh; it is as silent as the grave it marks or as the dead flesh interred there. Indeed, it goes on to claim that it is "every dead thing" and that love's alchemical "art" has "expresse[d] / A quintessence even from" this mass of nonliving objects, this "nothingnesse" (12, 14–15). Struggling to define its anti-essential essence, it declares itself a mass burial site: "I, by loves limbecke, am the grave / Of all, that's nothing" (21–22). An epitaph, dead things, nothingness, a grave: all these are silent. And yet, in Donne's poem, they strenuously assert their nonbeing; they pulse with a paradoxically audible sense of self. After "Compar'd with mee" in the final line of the opening stanza, the reader encounters sixteen additional instances of the first-person singular in the poem's forty-five lines: "my" appears once, "mee" five times, and "I" eleven times. And the "I" issues a directive to readers: commanding, in the opening line of stanza 2, "Study me then, you who shall lovers bee" (10). But those who obey this order, making themselves students of the poem's inscribed nothingness, find themselves dismissed in the poem's final stanza. Having insisted that its "Sunne" will never "renew... (shrink)

This paper is concerned with the distinction between classical liberalism and libertarianism and in particular with the claim of the latter to offer a theory of the good society which is independent of, and different from, that offered by classical liberalism. My argument is naturalistic in the following sense. A good society is one which delivers whatever is good for people, so that a theory of the good society (to ~ a theory of the good society) must say something about (...) what people are like and what is good for them. That is to say, it must be capable of making such judgments coherently and on its own terms. I shall argue that libertarianism is incapable of making such judgments because it rests on a Hobbesian radical individualism in which, by analogy with classical physics, people exist only as particulars, as individuals. If there are no general classes we cannot say what people have in common; if we cannot say what they have in common, the only "general" good is the negative liberty which enables them to pursue their own goals in their own way. Radical individualism leads by the shortest of routes to moral subjectivism. Thus libertarianism derives such plausibility as it has by drawing illicitly on aspects of classical liberalism which do not depend on radical individualism. In doing so it undermines not only its claim to be a distinct theory with its own foundations, but most of its own claims about what is good for people. (shrink)

Of the six sections composing «The Methodology of Posive Economics», the first one («The Relation between Positive and Normative Economics») is apparently the less discussed in the F53 literature, probably as a result of being the shortest one and the less relevant for the realism issue, all at once. In view of Milton Friedman’s subsequent career as a political preacher, it seems difficult not to wonder whether this first section ruled it the way the other five directed Friedman’s scientific (...) performance. After all, the role of prediction in defining positive economics was already advanced therein: when an economist predicts, her results are «independent of any particular ethical position or normative judgments». This is also why positive economics is a politically relevant discipline: as long as the differences about economic policy –among disinterested citizens– derive only from different predictions about the economic consequences of taking action, these differences could be eliminated by the progress of positive economics. Our plan in this paper is to present, in the first place, the role of political motivations in the development of Friedman’s methodological stance. As we will discuss in §2, Friedman was involved in the policy-making process right from the beginning of his professional career, and could experience at first hand the relevance of economic predictions in generating a consensus not only among politicians or the public opinion, but among the profession itself. Conversely, Friedman could also appreciate how difficult was to reach a consensus on a particular policy when the economists disagreed on its practical consequences. In this respect, as we will see, «The Methodology» attempted at guaranteeing the political efficiency of economic research. However, the sociological turn in science studies suggests to question on what basis can we deem a prediction neutral. Is it simply that economists produce these positive predictions disinterestedly, even while deeply engaged in political debates? In §3, we analyse how Friedman himself produced predictions immediately before «The Methodology» was drafted, and how this procedure lies at the core of his Marshallian approach, which he contrasted to the Walrasian strategy on the grounds of its higher political relevance.. (shrink)

This book is the most comprehensive, integrated explanatory account yet published of the properties of question formations and their variation across languages. It makes an important contribution to the current debate over whether syntax should be understood derivationally, arguing that the best model of language is one in which sentences are constructed in a series of operations that precede or follow each other in time. The central problem it addresses is the nature of the difference between languages in which all (...) wh-words move overtly to a clause-initial position ; languages in which one wh-phrase moves per clause but all others remain in situ ; and languages in which there is no overt movement at all. Professor Richards focuses on the nature of syntactic movement in order to see what this reveals about the syntactic derivation. He considers the nature of interactions between movement operations and investigates the behaviour of multiple overt wh-movement, scrambling, cliticization, and object shift. His general conclusions about the relationship between movement and multiple specifiers follow straightforwardly from basic principles of Shortest Move and Shortest Attract. He develops a PF-imposed well-formedness condition on movement chains, which allows for the development of theories of anti-agreement, the that-trace effect, and the conditions on participial agreement in Romance, among other phenomena. He defends the claim that well-formed dependencies can improve the status of ill-formed dependencies created later in the derivation, illustrating the explanatory power, under certain structural conditions, of his Principle of Minimal Compliance. He uses data on the locality of wh-movement to argue that the Principle of Minimal Compliance is responsible for a number of the apparent distinctions between overt and covert movement. This book will interest syntacticians at graduate level and above as well as linguistic theorists concerned with the syntax-semantics interface. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * The gaze drifts where the stare dares not. The gaze is attentive while the stare is intent. Dériver : Equally to drift and/or to derive. —When drifting then, something must be taken along. Something must be derived from the drift. Something of oneself must always become other. Incorporating the other, incorporating oneself as other. Je est un autre , Rimbaud disait; 1 this in his last letter to Georges Izambard, a final correspondence to a former mentor and friend, from whom he was drifting away, having derived much. The drift is a control incomplete. To drift is to come closer and closer, but to always be turning away, pulling apart, pulling oneself apart. It is parabolic in the sense that it is always eluding a formerly established intent. Of all axes, it never finds room to rest. Filling new spaces, always changing places, ever escaping the Cartesian; the indubitable pinpointing of position. It is never pinned down. Love together what we will be apart. Once together, we will drift apart. Il le faut . Attention is held; it traces the path. It follows each point which traces the arc, the line, the swerve. It is not concerned with the figure being drawn, but rather the movement between one point and the next. The smallest movement. The clinamen of De Rerum Natura is the smallest of swerves, it is nothing more than the minimum — nec plus quam minimum . Michel Serres says of the clinamen , that it is an absurdity — a logical, geometrical, mechanical, physical absurdity. 'The clinamen, from here (its state of absurdity), finds refuge in subjectivity; it passes from the world to the soul, from the physical to the metaphysical, from the theory of inert bodies in freefall to the theory of the free movements of the living.' 2 So this swerve is something of the mind and something of the body, both in action, rather than a body which is merely acted upon. Swerve, however, has a connotation of suddenness. It is a movement which is made to avoid an otherwise inevitable impact. Drift, on the other hand, is the unleashing of something which is then allowed to follow a more complex series of forces. These forces now come from within as well as without. It is no longer tethered; now following tides, winds, flows or pitched slopes, now acting on its own. We are not atoms in freefall. Our attention long ago pulled us from this precipitous descent. We now live, ourselves, as one of the many forces. In the drift, as with the gaze, there is an ease. ‘Ease is the proper name of this unrepresentable space.’ It is the space nearest, the next, the neighboring space. To occupy this space requires a turn, a shift or a drift. It cannot be reached by proceeding straight ahead. ‘..the space adjacent, the empty place where each can move freely, in a semantic constellation where spatial proximity borders on opportune time (ad-agio, moving at ease) and convenience borders on the correct relation.’ 3 Intention always seeks to straighten this line, to make it less complex, to isolate the point of departure and the desired destination. It believes there can be two points and, between them, there must be a straight line. Can there be? Maybe. Must there be? Never. Straight lines may exist, but they can never be followed to the finish. After leaving this point, we will never reach that one without being buffeted at least a little — at least the least. One foot in front of the other, this is a very restrictive dance, less even than a two-step. Straight lines lead only to lost intentions, being the shortest and quickest way to get there. When attention drifts it slowly turns away from the intended target, leaving it for something which pulls the attention away. Now we are for a moment free; all at once we can pivot, now we can waltz. Drifting along the page, deriving from what is seen. Reading is seeing; the movement of the eyes as they drift. Reading in the eyes what has been seen, what has been derived from the act of reading. Reading eyes drift back and forth down the page, now and then jump back and forth, up to the top, one word, back down, quickly a few pages back, now gaze out towards the horizon. When attention drifts it is the gaze that follows. Our attention is not restricted to the path the words follow, but links them together; deriving what is to be seen, rather than read. La philosophie fait voir . ‘Thus, philosophers speak through proverbs, and demonstrate. They connect their imaginations with foreign rings, flown into famous tombs.’ 4 Now drifting off to sleep, dreams come as unintended visions. To dream is pure drift, vision without an object, gazing into the dark, reading the unknown of the night. NOTES: Arthur Rimbaud, Poésies (Paris: Bibliothéque de Cluny, 1958), 57. Michel Serres, La Naissance de la Physique (Paris: Les Editions de Minuit, 1977), 10. Translation courtesy of R.H. Jackson. Giorgio Agamben, The Coming Community (Minneapolis: University of Minnesota, 1993), 25. Louis Aragon, Une Vague des Rêves (Paris: Editions Seghers, 2006), 10. Translation courtesy of R.H. Jackson.  . (shrink)

The application of machine learning touches all activities of human behavior such as computer network and routing packets in LAN. In the field of our research here, emphasis was placed on extracting weights that would affect the speed of the network's response and finding the best path, such as the number of nodes in the path and the congestion on each path, in addition to the cache used for each node. Therefore, the use of these elements in building the neural (...) network is worthy, as is the exploitation of the feed forwarding and the backpropagation in the neural network in order to reach the best prediction for the best path. The goal of the proposed neural network is to minimize the network time delay within the optimization of the packet paths being addressed in this study. The shortest path is considered as the key issue in routing algorithm that can be carried out with real time of path computations. Exploiting the gaps in previous studies, which are represented in the lack of training of the system and the inaccurate prediction as a result of not taking into consideration the hidden layers' feedback, leads to great performance. This study aims to suggest an efficient algorithm that could help in selecting the shortest path to improve the existing methods using weights derived from packet ID and to change neural network iteration simultaneously. In this study, the design of the efficient neural network of appropriate output is discussed in detail including the principles of the network. The findings of the study revealed that exploiting the power of computational system to demonstrate computer simulation is really effective. It is also shown that the system achieved good results when training the neural network system to get 2.4% time delay with 5 nodes in local LAN. Besides, the results showed that the major features of the proposed model will be able to run in real time and are also adaptive to change with path topology. (shrink)

We review how leaky competing accumulators (LCAs) can be used to model decision making in two‐alternative, forced‐choice tasks, and we show how they reduce to drift diffusion (DD) processes in special cases. As continuum limits of the sequential probability ratio test, DD processes are optimal in producing decisions of specified accuracy in the shortest possible time. Furthermore, the DD model can be used to derive a speed–accuracy trade‐off that optimizes reward rate for a restricted class of two alternative forced‐choice (...) decision tasks. We review findings that compare human performance with this benchmark, and we reveal both approximations to and deviations from optimality. We then discuss three potential sources of deviations from optimality at the psychological level—avoidance of errors, poor time estimation, and minimization of the cost of control—and review recent theoretical and empirical findings that address these possibilities. We also discuss the role of cognitive control in changing environments and in modulating exploitation and exploration. Finally, we consider physiological factors in which nonlinear dynamics may also contribute to deviations from optimality. (shrink)

Thresholds for disease extinction provide essential information for the prevention and control of diseases. In this paper, a stochastic epidemic model, a continuous-time Markov chain, for the transmission dynamics of West Nile virus in birds is developed based on the assumptions of its analogous deterministic model. The branching process is applied to derive the extinction threshold for the stochastic model and conditions for disease extinction or persistence. The probability of disease extinction computed from the branching process is shown to be (...) in good agreement with the probability approximated from numerical simulations. The disease dynamics of both models are compared to ascertain the effect of demographic stochasticity on West Nile virus dynamics. Analytical and numerical results show differences in model predictions and asymptotic dynamics between stochastic and deterministic models that are crucial for the prevention of disease outbreaks. It is found that there is a high probability of disease extinction if the disease emerges from exposed mosquitoes unlike if it emerges from infectious mosquitoes and birds. Finite-time to disease extinction is estimated using sample paths and it is shown that the epidemic duration is shortest if the disease is introduced by exposed mosquitoes. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Experimental tests of various trace formulas, which in general relate the density of states for a given quantum mechanical system to the properties of the periodic orbits of its classical counterpart, for spectra of superconducting microwave billiards of varying chaoticity are reviewed by way of examples. For a two-dimensional Bunimovich stadium billiard the application of Gutzwiller's trace formula is shown to yield correctly locations and strengths of the peaks in the Fourier transformed quantum spectrum in terms of the shortest (...) unstable classical periodic orbits. Furthermore, in two-dimensional billiards of the Limaçon family the transition from regular to chaotic dynamics is studied in terms of a recently derived general trace formula by Ullmo, Grinberg and Tomsovic. Finally, some salient features of wave dynamical chaos in a fully chaotic three-dimensional Sinai microwave billiard are discussed. Here the reconstruction of the spectrum is not as straightforward as in the two-dimensional cases and a modified trace formula as suggested by Balian and Duplantier will have eventually to be applied. (shrink)

Mental disorders in university students are very frequent, therefore higher education institutions have established in-campus mental healthcare centres. These clinics have particular characteristics that differ from other mental health centres, as they report to and represent an educational institution, while at the same time looking after the interests and well-being of patients requesting assistance, thus generating unique bioethical conflicts. Ethics Committees are useful tools to offer support to mental health professionals in making ethical decisions. In order to respond to these (...) issues, it was decided that an Ethics Committee would be created in the mental health clinic of a private university in Mexico City. This article describes the implementation process for this Committee, its duties and scope, as well as the case work and review methodology. A list of the most frequent ethical conflicts is attached, jointly with the ethical analysis of the cases treated throughout the year and a half or work by the Committee. (shrink)

A review of U. Mäki (ed.). Fact and Fiction in Economics, Cambridge: Cambridge University Press, 2003. pp. xvi 384. ISBN 0521 00957. As people interested mainly in theory, methodologists and philos...

Professor Merrie Bergmann presents an accessible introduction to the subject of many-valued and fuzzy logic designed for use on undergraduate and graduate courses in non-classical logic. Bergmann discusses the philosophical issues that give rise to fuzzy logic - problems arising from vague language - and returns to those issues as logical systems are presented. For historical and pedagogical reasons, three-valued logical systems are presented as useful intermediate systems for studying the principles and theory behind fuzzy logic. The major fuzzy logical (...) systems - Lukasiewicz, Gödel, and product logics - are then presented as generalisations of three-valued systems that successfully address the problems of vagueness. A clear presentation of technical concepts, this book includes exercises throughout the text that pose straightforward problems, that ask students to continue proofs begun in the text, and that engage students in the comparison of logical systems. (shrink)

Chapter. 1. Logical. Form. as. a. Level. of. Linguistic. Representation. What is the relation of a sentence's syntactic form to its logical form? This issue has been of central concern in modern inquiry into the semantic properties of natural ...

The shortest definition of a number by a first order formula with one free variable, where the notion of a formula defining a number extends a notion used by Boolos in a proof of the Incompleteness Theorem, is shown to be non computable. This is followed by an examination of the complexity of sets associated with this function.

What is it that makes Nietzsche Nietzsche? In The Shortest Shadow, Alenka Zupancic counters the currently fashionable appropriation of Nietzsche as a philosopher who was "ahead of his time" but whose time has finally come -- the rather patronizing reduction of his often extraordinary statements to mere opinions that we can "share." Zupancic argues that the definitive Nietzschean quality is his very unfashionableness, his being out of the mainstream of his or any time.To restore Nietzsche to a context in (...) which the thought "lives on its own credit," Zupancic examines two aspects of his philosophy. First, in "Nietzsche as Metapsychologist," she revisits the principal Nietzschean themes -- his declaration of the death of God, the ascetic ideal, and nihilism -- as ideas that are very much present in our hedonist postmodern condition. Then, in the second part of the book, she considers Nietzsche's figure of the Noon and its consequences for his notion of the truth. Nietzsche describes the Noon not as the moment when all shadows disappear but as the moment of "the shortest shadow" -- not the unity of all things embraced by the sun, but the moment of splitting, when "one turns into two." Zupancic argues that this notion of the Two as the minimal and irreducible difference within the same animates all of Nietzsche's work, generating its permanent and inherent tension. (shrink)

This article discusses Leibniz’s claim that every substance is endowed with the property of perception in connection with Platonism, rationalism and the problem of substance monism. It is argued that Leibniz’s ascription of perception to every substance relies on his Platonic conception of finite things as imitations of God, in whom there is ‘infinite perception’. Leibniz’s Platonism, however, goes beyond the notion of imitation, including also the emanative causal relation and the logical (i.e. definitional) priority of the absolute over the (...) limited. It is proposed that Leibniz’s endorsement of Platonism, in conjunction with some rationalist elements of his philosophy, implies a monistic conception of particulars as modifications of a single substance. Following some scholars and opposing others, the article offers evidence that Leibniz accepted this implication during the last years of his Paris period. However, it is further argued that it was precisely the idea of perception as a property of every substance that allowed Leibniz to find a way out of monism after that period. More specifically, the article defends the view that what made room for ontological pluralism within Leibniz’s rationalist and Platonic outlook was the idea that perception is the property which constitutes the very being of substances: substances are their perceptions. (shrink)

This paper extends previous attempts at understanding the nature of organizational integrity and its increasingly important role for companies which, after all, bear a moral and societal responsibility. Interpretations of organizational integrity in business ethics literature incorporate aspects ranging from the behavior of managers and employees to corporate structures and incentive systems. We argue that virtue ethics builds an indispensable framework for understanding the origin of the concept of integrity and transfer these findings to an organizational level. Hence, we first (...) define organizational integrity, and second operationalize it in a closed three-step process, consisting of morally sound corporate commitments, their transparent institutionalization within the company, and their implementation into actions. We consider the main goal of organizational integrity to be of a preventative investment nature. Organizational integrity is a company investment that translates into avoiding fines for potential violations of the law or ethical missteps, as well as an investment in the company’s reputation. In turn, organizational integrity can protect a company from disruptions that can threaten its existence. Defining and operationalizing the concept of organizational integrity provides the foundation for future scientific research and the basis for developing practical guidance for organizations and managers. (shrink)

Shortest possible axiomatizations for the implicational fragments of the modal logics S4 and S5 are reported. Among these axiomatizations is included a shortest single axiom for implicational S4—which to our knowledge is the first reported single axiom for that system—and several new shortest single axioms for implicational S5. A variety of automated reasoning strategies were essential to our discoveries.

Ilya Schmelzer wrote recently: Nieuwenhuizen argued that there exists some “contextuality loophole” in Bell’s theorem. This claim in unjustified. It is made clear that this arose from attaching a meaning to the title and the content of the paper different from the one intended by Nieuwenhuizen. “Contextual loophole” means only that if the supplementary parameters describing measuring instruments are correctly introduced, Bell and Bell-type inequalities may not be proven. It is also stressed that a hidden variable model suffers from a (...) “contextuality loophole” if it tries to describe different sets of incompatible experiments using a unique probability space and a unique joint probability distribution. (shrink)

We discuss in this essay the alternative techniques proposed for the isolation of human embryonic stem cells (hESCs) that attempt to satisfy moral issues surrounding killing embryos but show that these techniques are either redundant or do not achieve their intended aim. We discuss the difficulties associated with defining a human embryo and how the lack of clarity on this issue antagonises the ethical debate and impedes hESC research. We present scientific evidence showing that isolation of hESCs does not necessarily (...) "kill" human embryos. In addition, we argue that even those who accord inviolable moral status to the embryo should agree that hESC research is morally obligatory, as it is beneficial to the developmental potential of the embryo and society as a whole. (shrink)

Soviet communism has come and gone so now we have a study that covers the whole thing. A theme of the early pages is that in terms of Marxist theory it shouldn’t have arrived in the first place. Th...

In the essay an attempt is made to investigate the processes of construction and reconstruction of meaning in the later books of the Cambridge poet J.H. Prynne. It has been argued that his poetry disturbs the act of meaning-making in a ceaseless experimental reconnection of words taken from multifarious discourses, ranging from economics to theology. Yet, what appears striking in this poetry is the fact that these lyrics take their force from figurative meaning with which the words are endowed in (...) the process of a poem’s unfolding. Prynne appears to compose his lyrics by juxtaposing words that in themselves do yield a meaning but together exude an aura of unintelligibility. We may see this process as aiming at the destruction of what might be posited as the centre of signification of the modern language by constantly dispersing the meaning to the fringes of understanding. The poems force the reader to look to the margins of their meaning in the sense that the signification of the entire lyric is an unstable composite of figurative meanings of this lyric’s individual words and phrases. To approach this poetry a need arises to read along the lines of what is here termed “fleeting assertion”; it is not that Prynne’s poems debar centre in favour of, for instance, Derridean freeplay but rather that they seek to ever attempt to erect a centre through the influx from the margins of signification. Therefore they call for strong interpretive assertions without which they veer close to an absurdity of incomprehension; however, those assertions must always be geared to accepting disparate significatory influxes. Indeed, interpretation becomes a desperate chase after “seeing anew” with language but, at the same time, a chase that must a priori come to terms with the fact that this new vision will forever remain in the making. (shrink)

A four-valued matrix is presented which validates all theorems of the implicational fragment, IF, of the classical sentential calculus in which at most two distinct sentence letters occur. The Wajsberg/Diamond-McKinsley Theorem for IF follows as a corollary: every complete set of axioms (with substitution and detachment as rules) must include at least one containing occurrences of three or more distinct sentence letters. Additionally, the matrix validates all IF theses built from nine or fewer occurrences of connectives and letters. So the (...) classic result of Jagkovski for the full sentential calculus -that every complete axiom set must contain either two axioms of length at least nine or else one of length at least eleven-can be improved in the implicational case: every complete axiom set for IF must contain at least one axiom eleven or more characters long. Both results are "best possible", and both apply as well to most subsystems of IF, e.g., the implicational fragments of the standard relevance logics, modal logics, the relatives of implicational intutionism, and logics in the Lukasiewicz family. (shrink)

Series Foreword vii Introduction: The Event “Nietzsche” 2 I Nietzsche the Metapsychologist 30 “God Is Dead” 34 The Ascetic Ideal 46 Nihilism . . . 62 . . . as a “Crisis of Sublimation”? 72 II Noon 86 Troubles with Truth 90 From Nothingness Incorporated . . . 124 . . . via Double Affirmation . . . 132 . . . to Nothingness as Minimal Difference 150 Addendum: On Love as Comedy 164 Notes 183.

Interactional expertise is said to be a form of knowledge achieved in a linguistic community and, therefore, obtained entirely outside practice. Supposedly, it is not or only minimally sustained by the so-called embodied knowledge. Here, drawing upon studies in contemporary neuroscience and cognitive psychology, I propose that ‘derived’ embodiment is deeply involved in competent language use and, therefore, also in interactional expertise. My argument consists of two parts. First, I argue for a strong relationship among language acquisition, language use and (...) the real world (i.e. the world accessible to the senses). Biological constraints in very early childhood anchor language to the body. These constraints are by-products of our evolutionary peculiarity that we gain because of our physical and psychological immaturity at birth. Thus, infancy is predominantly concerned with the bodily needs and experiences of the concrete while language acquisition takes place. Particular interest in the concrete furnishes our linguistic world and installs ‘concrete’ language as the principal constituent of competent language use. Second, I argue that well-established concrete language implicitly and explicitly elicits mental representations, namely partial reactivations of sensorimotor states that occur during experience. These are stepping stones by which we subsequently make sense of expressions in new linguistic areas. Like any competent language user, the interactional expert, therefore, prompts multimodal imagination and re-enacts concrete experiences when acquiring linguistic knowledge pertaining to a specialist field. Finally, I outline the characteristics of those imaginative powers to identify mechanisms that improve interactional expertise and discuss the obvious relation between interactional expertise and ordinary knowledge acquisition after the concrete language stage. (shrink)

Standard accounts of derivational morphology assume that it is incremental: some words are formed on the basis of others, and each derivational family has a base from which all of the other words are derived. The importance of the base has been questioned by paradigmatic approaches to morphology, which posit that word systems are about multidirectional relationships between words and paradigm cells, in which no word has a privileged status. This paper seeks to test which of these two views makes (...) more accurate predictions about speakers’ cognitive representations of derivational families. We perform an acceptability judgement experiment in which speakers are asked to evaluate the acceptability of a pseudoword conditional on another pseudoword in the same derivational family. We find that speakers are aware of implicative relationships between words in the same family, and that they opportunistically exploit probabilistic relationships between surface words, regardless of whether the base form is the predictor, the target of prediction, or not at all involved in the task. (shrink)

Let${\mathbb K}$be an algebraically bounded structure, and letTbe its theory. IfTis model complete, then the theory of${\mathbb K}$endowed with a derivation, denoted by$T^{\delta }$, has a model completion. Additionally, we prove that if the theoryTis stable/NIP then the model completion of$T^{\delta }$is also stable/NIP. Similar results hold for the theory with several derivations, either commuting or non-commuting.