This chapter contains sections titled: Weighing the Value of Meat Stalking the Essence of Hunting Same As It Ever Was The End of Hunting Notes.

In modern urbanized and densely populated societies - such as the contemporary Netherlands, which forms the geographical setting of the present analysis - hunting has lost its meaning as a mode of subsistence to become a symbolic strategy. Hunting is a cultural enclave in which the boundaries between humans and animals are blurred and the relations of dominance and submission symbolically reversed. Hunting challenges the legitimacy of apparently "given" power relations between humans and animals. Hunters construct, (...) reproduce and legitimize hunting by crossing the boundaries between humans and animals. Hunting "for pleasure" is regarded as truly pleasurable only if it allows a reversal of the asymmetrical power relations between humans and animals, attributing almost human characteristerics to the game-species. In theircognitive schemes hunters measure their power and abilities with strong, cunning and preferably male opponents. Game-species share an ambivalent status between the human and the animal realms, the tame and the wild, and between their instrumental and expressive signifccance. Hunting "for pleasure" is justified by this very ambivalence. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 127.1 (2006) 137-140 [Access article in PDF] Derek Collins. Master of the Game: Competition and Performance in Greek Poetry. Hellenic Studies 7. Washington, D.C.: Center for Hellenic Studies, 2004. Distributed by Harvard University Press, Cambridge, Mass. xx + 267 pp. Paper, $19.95. Collins states the purpose of his book clearly in the opening paragraph of his introduction (ix): "to offer a detailed examination of (...) the competitive performance of Greek poetry from the late archaic to the classical period. Its central argument is that the basic response pattern called "capping" is a pervasive competitive performance technique common to tragic and comic stichomythia, dramatic representations of lament, forms of Platonic dialectic and dialogue, the sympotic performance of elegy, skolia and related verse games, as well as the rhapsodic performance of epic." In order to fulfill this ambitious purpose, Collins divides his book into three parts: drama, symposia, and epic. An introduction, two appendices (one on ritual aischrologia and the other a brief survey of comparative typologies), bibliography, and indices complete the volume.Collins focuses on specific elements within these genres: stichomythia in Aeschylus, Aristophanes, Euripides' Cyclops, and Plato's Euthydemus occupy part 1. Part 2 is based on skolia, Aristophanes, and a selection of poets—Xenophanes, Heraclitus, Solon, and Anacreon—who offer a sympotic perspective on rhapsodes and competition. In part 3, Collins' evidence for the competitive and creative nature of rhapsodic performance ranges from scholiasts through Homer, the Certamen, Polybius, and inscriptions. Collins has brought together a very wide range of material, complete with translations, which he discusses in a way that I often found convincing and, even when I did not, found stimulating to consider.Collins bases much of his discussion on capping, enjambement, and word play, specifically riddles and puns. He offers a brief definition of capping, the fundamental concept of his work (ix): when two (or more) speakers or singers perform, "one participant sets a topic or theme in speech or verse to which another responds by varying, punning, riddling, or cleverly modifying that topic or theme." Without giving a detailed definition of enjambement, Collins shows its importance for the speaker who must respond to a line already sung by the first performer and argues that enjambement should be seen as a mark of a singer's creativity, his ability to adapt the material given him by the first singer. Collins applies the terms "pun" and "riddling" somewhat too loosely, I think, to many of the passages from tragedy that he discusses. If we understand a pun to be word play based on a word with more than one meaning or based on two different words that are similar in sound, then I am not certain why the image [End Page 137] of famine as an ally of the Greeks, in the words of Darius (Aeschylus, Persians 490–91) should be considered one (9). And what is riddling about the exchange between Talthybius and the elder coryphaeus (Agamemnon 538–50; pp. 15–16)? These passages seem to me simply to be ambiguous. Collins' discussion of puns and riddles in symposia is more convincing (124–29).Collins' reading of the exchange between Euripides and Aeschylus in Aristophanes' Frogs (1198–1248), in which Aeschylus caps Euripides' prologues with the tag ("he lost his little bottle of oil"), is particularly valuable, because he does not limit himself to one approach or perspective. He shows the many grammatical and metrical subtleties of the exchange, its links to other genres, and the possibly sexual jokes (33–43). We can imagine everyone in the audience finding something to laugh at in this scene.Collins conceives of symposia as occasions for amusement, intellectual discussion, and even for violence, if drinking or teasing get out of hand. He suggests that symposiasts and rhapsodes have more in common than we might imagine if we look only at what the symposiasts say about themselves or at the metrical and philosophical differences between the two kinds of performances (85, 135–46). Whether the antagonism toward rhapsodes expressed by oligarchs at symposia has any... (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 40.3 (2006) 92-114 [Access article in PDF] A Global Art System: An Exploration of Current Literature on Visual Culture, and a Glimpse at the Universal Promethean Principle—with Unintended Oedipal Consequences Art Education 11-18: Meaning, Purpose And Direction, edited by Richard Hickman; New York, Continuum; 2nd edition, 2004; 176 pp. Global Visual Culture within a Global Art System I have harbored misgivings about (...) the term "visual culture" for several years. Having read Hickman's book with its collection of notable scholars in art and design education, those misgivings turned into qualified acceptance of "visual culture"—so long as it is understood as a global visual culture within a global art system. The ten chapters presented in Hickman's book clearly explore the notion of visual culture in the context of generating an expansive and appropriate canon of art distinctly relevant to our postmodern, multicultural, multidimensional classroom of multiple intelligences.1 And so, art and design education for the twenty-first century must perform three essential functions: one, it must color the classroom with signs of global human pictorial and textual expressions; two, it must attempt to comprehend an immeasurable universe through creative, scaled-down explorations of the phenomenal world all of humanity is subject to; and three, it must open up the Blakeian doors of perception,2 while remaining free of emotional, educational, social, political, or religious ideological bonds. In this light, Hickman's Art Education 11-18 (2004), is a must read for art and design educators currently bogged down in old curriculum, and a must read for educators who incorporate new pedagogical literature easily into their new curriculum. And I say must read because we are on the verge of a revolution in visual art history and education—immersed in it, struggling to make sense of our beloved classical canon of art, and struggling to come to grips with a strangely foreign, beautifully alien, semeiotic reality we call (vaguely) "visual culture." It is a visual culture and history from the north, east, and south. Not just from the west.Key innovative educational issues addressed in these chapters are (respectively) using the dynamic nature of art to expand the curricula (Richard Hickman); the collapse of cultural borders (Lesley Burgess and Nicholas [End Page 92] Addison); a balanced cultural history of the world (Colin Grigg); recognizing art and recognizing visual culture (Howard Hollands); a range of visual cultures and literacy (Darren Newbury); using computer technology as a pathway to a new art and visual culture (Andy Ash); critical study and analysis (Michele Tallack); hand-making as a universal link to nature and art (Rachel Mason); spirituality in the process of art creation (James Hall); and cross-cultural heritage toward a new canon of art (Hickman).I will review each chapter as it pertains to current literature exploring popular pedagogical terms like "visual culture," "postmodernism," "pluralism," and "radicalism" and (more importantly) as it fits into a global system of art and culture. In addition, I suggest another term ("cosmopolitanism"—to identify the viable gay and lesbian aesthetic and culture) not that they are necessarily different, but they are indeed relevant and operate from a fresh literary and historical perspective. Then, I will illustrate how a new, postmodern canon of art must be linked to global visual culture and art in order to expand the concept of visual culture. Thus, I see two tasks before me: the first task is to inventory the philosophy, pedagogy, and meanings within each of the ten chapters in Hickman's Art Education 11-18; and the second task is to integrate key pedagogical ideas highlighted in each chapter as a method of generating a meaningful, holistic, integrated direction for art and design education in the twenty-first century. Integrating Art and Design Education Art is a design process. All subject regimes, D. N. Perkins suggests, are a design process.3 This may seem too obvious now after all these years since the publication of Knowledge... (shrink)

Games are among cultural manifestations of human communities which have continued to exist since the ancient times and developed during peaceful times; in the Qajar era, during the reign of Nasser-al-Din Shah, because relative peace and prosperity was brought about, the people, especially courtiers, showed great interest in games and spent some of their daily life on it. In this article we have attempted to present some of the angles and dimensions of a number of these games using the itineraries (...) of orientalists and histories and works of that period. In this regard, we have borne in mind time, venue, extensiveness, customs and the reflection of these games in literature and based on evidences demonstrated that Qajar era is one of the most prominent periods in Iranian history and culture regarding the diversity and colorfulness of these games. Skillfulness of game players, large bets, struggles and arguments between opponents, special formalities, etc., are all the criteria for the acceptability and popularity of games in this age, which have been put into consideration. (shrink)

Robust theories concerning the connection between consciousness and brain function should derive not only from empirical evidence but also from a well grounded inind-body ontology. In the case of the comparator hypothesis, Gray develops his ideas relying extensively on empirical evidence, but he bounces irresolutely among logically incompatible metaphysical theses which, in turn, leads him to excessively skeptical conclusions concerning the naturalization of consciousness.

The level of enjoyment in participating in sports activities is one component that causes young athletes to decide to stop or become more motivated to pursue sports activities. Practicing and participating in competitions are the main activities in sports coaching interactions towards optimal performance. This study aims to determine the effect of modifying the match rules implemented in youth soccer competitions on the level of enjoyment of players. Using an experimental method with 20 soccer schools participating in a competition with (...) modified game rules. Players registered by his team amounted to an average of 13.8 players aged 9-12 years. The number of players who are willing to fill out the pleasure level questionnaire is 238 players. Each player was asked to fill out a questionnaire before and after the competition, the questionnaire was analyzed using the mean and percentage test technique. The results of data analysis showed the average score before participating in the competition was 4.10 while after participating in the competition it was 4.47, which means an increase of 8.88%. The results showed that the level of enjoyment of the players increased after participating in the competition. Modification of the rule of the game in competition affects the level of enjoyment of players in the interaction of youth soccer coaching. Coaches, administrators, and match organizers are expected to have a positive paradigm of thinking and policy making towards the organization of competitions for young soccer players. (shrink)

This philosophical game changer looks critically at the Golden Rule in the context of game theory to see where it works and where it doesn’t, when it is applicable and when it isn’t. It shows you why knowing the difference can offer you a powerful way to transform your life from one driven by fear to one driven by love.

Ever since Wesley Salmon’s theory, the mechanical approach to causality has found an increasing number of supporters who have developed it in different directions. Mechanical views such as those advanced by Stuart Glennan, Jim Bogen and Peter Machamer, Lindley Darden and Carl Craver have met with broad consensus in recent years. This paper analyses the main features of these mechanical positions and some of the major problems they still face, referring to the latest debate on mechanisms, causal explanation and the (...) relationship between mechanisms and counterfactuals. I shall claim that the mechanical approach can be recognised as having a fundamental explanatory power, whereas the counterfactual approach, recently developed mainly by Jim Woodward and essentially linked to the notion of intervention, has an important heuristic role. Claiming that mechanisms are by no means to be seen as parasitic on counterfactuals or less fundamental than them – as it has been recently suggested –, and that yet counterfactuals can play a part in a conceptual analysis of causation, I shall look for hints in support of the peaceful coexistence of the two. (shrink)

The creative imagination changes itself and the world in ways we cannot anticipate. This restless creativity gathers not just refutable facts; it hunts self-transforming revelations, semiotic prizes acclaimed and defended in the realms of inner awareness and political power. So doing, it eludes final description in any one set of signs. This means, I argue here, that sign systems must themselves give chase. Texts of this kind will not be the fixed embalmed arrays of signs and symbols that have sustained (...) our civilizations to date. These texts will be a new kind of artificial life, creative agents that rewrite and re-express themselves on-the-fly, in ways unpredictable by their founding authors. The deconstructive turn in postmodern theory sought interpretive vistas and strange loops to be teased, once upon a time, from each embalmed text. Beyond postmodernity is an aesthetics and a critical theory of empowered texts — sign arrays never quite the same and that, like time itself, sit still for no one. After an initial push by us, they self-evolve. Human sociobiology, asking how culture rewrites the agenda of replicating genes, provides a first glimpse of this new adventure in semiotics and human self-discovery. (shrink)

Transhumanism first offers itself as a means to save oneself from an embodiment that is judged as being far from perfect. One needs to ask in its wake what comes of desires to escape limitations that come from the body, as they are means of an overcoming of the self. The AI project seems to be governed by norms for what the mind is, that could easily be judged inconsistent. Religious and theological traditions have looked at what the meaning (...) of an ineliminable image of God could mean. We try to map the meaning of extending this further into God’s resemblance. We then try to map this on a relationship of image and resemblance that would not have God come into competition with the doings of man. (shrink)

Comtrary to general assumption, subjective reports of immediate ordinary consciousness and non-ordinary alterations of consciousness can provide unique evidence concerning the bases of the human symbolic capacity. Evidence from classical introspectionism, the meditative traditions, and descriptions of synaesthesias suggests that thought, rests on a cross-modal synthesis or fusion of the patterns from vision, audition, and touch-kinesthesis. This would provide a holistic, non-reductionist explanation of our capacity for reflective self awareness and recombinatory creativity. The approach is consistent with Geschwind's and Luria's (...) models of neocortical operation and Jackendoff's and Yates' recent emphasis on symbolic thought as a "neutral" or "amodal" synthesis. (shrink)

The theoretical formulations, analyzed in the study, and the proposed applied model for game technology in the implementation of the educational process in kindergarten, are presupposed by the concept of lifelong learning as a platform of modern educational environment and as a factor promoting the professional development of children’s teachers. Classical theories on the specifics of the psychosocial development of the child’s personality in preschool age are analytically discussed in view of the process of individual growth, and of the (...) influence of emotional and behavioural manifestations in 3–7-year-old children.Special emphasis is placed on the topic of the game mechanism as a form and means of educational policy in building key competencies in preschool children. The causal relationships between the child’s natural needs for self-realization, self- expression, and self-determination, as well as the game and cognitive educational space in the kindergarten stand out, caused by the ten psychological components characteristic of the game mechanism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Meaning of Meat and the Structure of the Odyssey by Egbert J. BakkerSusan A. CurryEgbert J. Bakker. The Meaning of Meat and the Structure of the Odyssey. Cambridge: Cambridge University Press, 2013. xiv + 191 pp. Cloth, $90.Meat-eating in the Odyssey is a risky business. Inextricably intertwined with song itself in the context of the aristocratic feast, meat-eating in excess becomes a weapon of the (...) Suitors in Ithaca as part of a three-year effort “literally to eat Odysseus’ house to ruin” (xi). In the “Otherworld” through which Odysseus and his Companions venture, meat and meat-eating are further problematized: there is too much or not enough of it; what they come across is forbidden; one may become meat oneself, filling the belly of another.This book traces the theme of meat in the Odyssey through a series of case studies that reveal a web of associations between Odysseus’ account of his adventures in the Otherworld and the poet’s account of events in Ithaca. Using a variety of approaches (narratological, folkloric, anthropological, philological), Bakker investigates the numerous “paradigmatic relationships” existing between the “matrix narrative” of the Odyssey, the aoide\, and the epos, the “embedded utterance” or part of the poem narrated by Odysseus himself (3). The theme of meat also allows Bakker to bring the related topics of dining and hospitality, sacrifice and hunting to bear on his exploration of the interconnections, thematic and linguistic, of the aoide\ and the epos. Although this book is weakest where Bakker roams farthest from meat, it nevertheless contains some choice cuts. In particular, he provides fascinating analyses of the Cyclops and Circe episodes and of hunting in the Otherworld (chaps. 4 and 5).We must begin with the “Epilogue: On ‘Interformularity,’” because, for passionate advocates of a particular school of thought on the composition of Homeric poetry, understanding Bakker’s approach to repetitions and allusions within the Odyssey is a prerequisite for accepting the claims he makes throughout the preceding chapters. Bakker favors an approach to the Homeric poems that involves the integration of intertextuality and orality, which he terms “interformularity.” Rather than randomly repeated traditional formulas, Bakker suggests that the repetitions and allusions within the Homeric poems are the result of “a poet’s judgment as to the (degree of) similarity between two contexts” (159). In other words, Bakker argues for meaningful repetition. Situations and similarity of situations determine the appropriate utterance; when similar situations evoke the same utterance or the same utterance gives rise to a similar situation, the language of the utterance becomes formulaic. [End Page 485]Because each of Bakker’s chapters is, for the most part, a separate case study, each will find its own audience beyond Homeric scholars generally. The first chapter, “Epos and Aoide\,” and the second, “Nostos as Quest,” will appeal to fans of intertextuality and folklore motifs, respectively. In the first chapter, Bakker defines and describes, as noted above, the epos and aoide\ of the Odyssey and makes two crucial points regarding the relationship between these on which much of his overall argument depends: first, epic is itself a ravening genre insatiable in its swallowing up of so-called “minor” genres; and, thus, second, the epos does not occupy a secondary position vis-à-vis the aoide\, but “competes with its ‘container,’ shaping the narrative tension within the Odyssey” (3).The second chapter is concerned more with structure than with meat. Bakker, following Anna Bonifazi (“Inquiring into Nostos and its Cognates,” AJP 130.4 [2009]:481–510), extends the definition of nostos to include the idea of survival as well as homecoming. He also discusses the role of quest as “an essential and versatile narrative building-block” (20) and adjusts Vladimir Propp’s quest sequence to accommodate the narrative of Odysseus’ wanderings. Most importantly, this chapter lays the groundwork for the two most significant contributions of Bakker’s study: first, the “Wanderings provide essential exemplars for the crimes committed in Odysseus’ house in his absence”; and second, meat is “a catalyst of crime and transgression” throughout the Odyssey (35).Although more focused on meat, meat-eating, dining, and cattle culture in Homeric society, “Meat in... (shrink)

We report results from two original surveys of 500 firms conducted in 2000 and 2007 in eight regions in Russia that explore the business environment for manufacturing and service sector firms. We find that the formal and informal rules of the game for everyday firms in Russia have changed dramatically in the Putin years. Most importantly, while the informal and formal rules of the game in 2000 were quite similar for firms that were investing and those that were (...) not, in 2007 regional governments had come to favor the former through a variety of informal and formal means. This shift in the rules of the game in favor of firms that invest suggests that a core group of firms in the regions under study have managed to cooperate with the regional government to temper the weak institutional environment in Russia, but also that the playing field for businesses in Russia is not level. (shrink)

While interactions with other animate beings seem mostly to serve our own human interests, there are, at times, fugitive glimpses, passing contacts, momentary motions, and fleeting feelings of vital connection with other life forms. Life phenomenology attempts to realize these relational, interactive and intercorporeal possibilities. It challenges the language game of presuming the muteness and bruteness of non-human creatures and, at best, of speaking for them. It critiques the capture of non-human species within the inhibiting ring of human functions (...) and forms to reveal feelings and flows of interspecies commonality. It brings to expression the experiences of being moved to act and speak with others who do not share the human tongue. In part a critique of the logocentric, anthropocentric phenomenologies of intentionality, life phenomenology is more positively a means of coming to terms with the life-affirming kinetic, kinesthetic and affective dynamics of interspecies relationality. I take up the interrogation of this phenomenality, this humanimality, with the assistance of phenomenological scholarship that lends fuller credence to the experiences we have of moving in concert with other animate beings. In doing so, I aim to show the important insights that life phenomenology offers us in fostering not only greater appreciation of, responsivenss to and connection with other animals, but also in indicating the qualitative dynamics of relating with greater animate consciousness to one anotherof our own animal kind. (shrink)

This paper explores what the epistemic account of vagueness means for theories of legal interpretation. The thesis of epistemicism is that vague statements are true or false even though it is impossible to know which. I argue that if epistemicism is accepted within the domain of the law, then the following three conditions must be satisfied: Interpretative reasoning within the law must adhere to the principle of bivalence and the law of excluded middle, interpretative reasoning within the law must construe (...) vague statements as an epistemic phenomenon, and epistemicism must be expanded to include normative considerations in order to account for legal theories that are consistent with the first two conditions. The first two conditions are internal to a particular theory of legal interpretation, while the third condition is external to a particular theory of legal interpretation. My conclusion shows that there are legal theories that are internally consistent with the fundamental features of epistemicism. However, within the domain of law—and specifically in the case of legal theories that are internally consistent with epistemicism—I show that vagueness cannot be explained simply by our ignorance of the meaning and use of vague expressions. Rather, epistemicism must also account for ignorance of the requisite normative considerations in legal theories with which it is otherwise consistent. (shrink)

One of three distinct approaches to his famous ‘Trust’ argument, this paper written by Garfinkel in 1960, and never before published, proposed a rethinking of rules, games and linguistic classifications in interactional terms consistent with Wittgenstein’s language games. Garfinkel had been working in collaboration with Parsons since 1958 to craft an approach to culture that would replace conceptual classification with the constitutive expectancies of interaction and systems of interaction. The argument challenged the work of cultural anthropologists influenced by zoology and (...) biology, who called themselves ‘ethnoscientists’ and studied culture in terms of linguistic classification systems. Garfinkel had proposed an alternative sociological ‘ethnoscience’ of culture and language that would focus on how culture was made, on how linguistic events are achieved, and on the rules of their making. This ‘Language Games’ approach followed Wittgenstein in seeking what Garfinkel called a literal description of cultural/linguistic events: meaning by ‘literal’, a step-by-step account of the constitutive and preferred rules participants use to create a recognizable event-in-a-language. Made famous three years later in version associated with Schutz, Garfinkel’s Trust argument also appears in a 1962 text (Parsons’ Primer, published in 2019) in a version built on Parsons. (shrink)

The post-truth condition is just as much about naming a meta-game as winning it. This condition can be tracked across Western intellectual history from the Homeric epics to popular culture. The common thread is that players are more likely to succeed in this meta-game if they have a certain consistency of character, which Thomas More called “integrity.” The presence of integrity means that the historical losers have often had an advantage in defining for subsequent generations the name of (...) the game because the steadfastness of their characters may make them be regarded as the agents of history, for better or worse. Further, naming the game tends to be stabilized by a variety of mental and material conditions, including “modal power”—control over what people think is and is not possible. Modal power is related to both Machiavellian politics and Kantian transcendentalism, and to the phenomenon of “truthiness.” The character of the post-truth player is epitomized by Thomas More, the “man for all seasons,” who remained consistent as he moved between multiple games, and ultimately to his execution. (shrink)

During the Nineties Italian politics underwent major changes. Following the uncovering of systemic corruption, the current political establishment was wiped out. The system of representation at both the national and local level underwent a significant transformation that improved voters’ control over their elected representatives. We argue that both events were the consequence of citizens’ demand for greater accountability of public officers. We model the relationship between voters and politicians as a repeated Trust game. In such game, cooperation can (...) be attained by means of external or internal controls. Whereas judicial investigation is an external monitoring mechanism, the electoral reform provides controls internal to the political system. We explain the Italian transition between these different modes of control and show under which conditions a cooperative equilibrium can be established in which voters trust their representatives who in turn act in the public interest. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 67.3 (2006) 523-545 [Access article in PDF] Enlightenment! Which Enlightenment? Jonathan Israel Institute for Advanced Study Encyclopedia of the Enlightenment, 4 vols., editor in chief Alan Charles Kors; eds. Roger L.Emerson, Lynn Hunt, Anthony J. La Vopa, Jacques Le Brun, Jeremy D. Popkin, C. Bradley Thomson, Ruth Whelan, and Gordon S. Wood (New York: Oxford University Press, 2003). On the surface it might (...) well seem that during the last fifteen or twenty years the Enlightenment understood as a new way of thinking about reality and society has receded more and more from its former privileged status as a pivotal turning-point in the making of the modern world, and especially as any kind of leap forward in the making of a freer, more rational, and better humanity. Under the combined assaults of Post-Structuralism, Postmodernism, Postcolonialism, the rise of the new social history (and not least Robert Darnton's critique of the old intellectual history), the Enlightenment conceived as a movement of ideas appears to be not just firmly in retreat and increasingly under siege but also fragmenting into disparate remnants with no coherent overall profile.Yet, paradoxically, there are grounds for conjecturing that the Enlightenment despite all this, has actually been becoming, under the surface, an even more crucial and robust force than it was before, much like a powerfully compressed spring being pushed back but ready to rebound with greater impetus than ever. One reason for thinking this is the extensive new material unearthed in the last few years, mostly by colleagues in continental Europe, about the origins of "radical," in the sense of egalitarian, secularist, Spinozist, and anti-colonial, thought. A second and possibly more important [End Page 523] reason is that the terrible events of the last several years have provided thoughtful readers with more than just a glimpse of the nightmare world apt to result from enshrining as a new set of privileged and prevailing values "difference," a thoroughgoing relativism, and the doctrine that all sets of values, even the most questionable kinds of theology, are ultimately equivalent.The inevitable recoil from Postmodernist "relativism" will presumably strengthen the appeal, at least in some quarters, of the Radical Enlightenment's claim that the improvement of human life inescapably involves emancipating men from the collective force of autocracy, intolerance, and prejudiced thinking, and establishing a predominantly secular morality, no less than it involves promoting the ideals of equality (sexual and racial), democracy, individual liberty, and a comprehensive toleration. Indeed, recent developments on all continents seem likely to lend new weight to the radical philosophes' argument that the moral basis of their theorized egalitarianism, democracy, toleration, and individual freedom, despite the arguments of the Postmodernists (which by no means lack weight in certain contexts), is after all concretely superior in terms of reason and moral equity not just to what one faith or traditional system or another contends, in opposition to its claims, but absolutely—that is in ethical and political as well as social terms. One may confidently predict that such a development will render the Enlightenment both more compelling and much harder to disparage than it has appeared to be in the wake of the Postmodernist upsurge in recent years.The prestige and status of the Enlightenment Western and Eastern, still conspicuously low for the present, may powerfully rebound, then, and in all parts of the world; and this for the simple reason that "Enlightenment thinking," as one scholar recently expressed it, "remains the best foundation for any genuinely progressive politics not simply in the West but in those states that suffered most at its [i.e. the West's] hands."1 To anyone authentically committed to democracy, toleration, and personal liberty this seems undeniable and, what is more, as we see in Bayle, Diderot, the Abbé Raynal, Lahontan, Van den Enden, and other radical writers of the Enlightenment, the roots of anti-colonialism itself, as well as the modern idea of racial, ethnic, and sexual equality, are undoubtedly to be found precisely in the "philosophical" thought-world of the Enlightenment—and especially the... (shrink)

SummaryTruth‐definitions play a crucial role in the foundations of logic and semantics. Tarsik‐type truth‐definitions are not possible to formulate in a usual first‐order language for itself, and they have been criticized because they do not account for what makes them definitions of truth. It has been suggested that truth should instead be characterized by reference to the «language‐games» of verification and falsification. The author's game‐theoretical semantics here explained for formal first‐order languages, can be thought of as a realization of (...) this idea. More technically speaking, GTS can also be thought of as a systematization of the well‐known aepsilon‐delta, definitions in the foundations of analysis. In GTS, truth is not defined by reference to winning a play of a game, but as the existence of a winning strategy in the game for the verifier. In a first‐order language, the game‐theoretical truth‐condition of a sentence S can accordingly be expressed by an explicit second‐order sentence asserting the existence of the Skolem function of S.The semantical games of GTS must be distinguished not only from the «games» of formal proof but also from the «games» in volved in our ordinary activities of verification and falsification. The latter have been modelled as games of inquiry by the author, and they are essentially epistemic games where the meaning of truth is taken for granted and where the aim of the game is to come to know certain truths. To assimilate them to the semantical games constitutive of truth is a form of Meno's paradox. (shrink)

In their Target Article, “Design Bioethics: A Theoretical Framework and Argument for Innovation in Bioethics Research,” Pavarini et al. argue for the potential of digital tools—particularly...

This article offers an overview of my 2020 study, Anxiety: A Philo-sophical History. I discuss the philosophers and theorists examined, and show how anxiety, understood in German as Angst (it has but one term for this affect), moved through Idealism from a largely noxious state (Kant) into the role of an emotion-adjuvant of reason (Hegel), into the sign of imminent birth—of nature (Schelling). I focus on the existential turn given anxiety, as a “state” prior to freedom in Kierkegaard, and draw (...) from his work and Nietzsche’s a unique, affective dialectic. The 20th century opens with Husserl’s “genetic” concern with passivity and affective forces, Heidegger’s “attunements,” and Freud’s perplexity over the meaning of anxiety. Levinas closes the work, considering the intersubjectivity of feelings and its implications for lived time and human interrelationality. Cet article propose un aperçu de mon ouvrage de 2020, Anxiety: A Philosophical History. J’examine la pensée des théoriciens qui y sont étudiés et montre comment la signi????ication de l’anxiété évolue, depuis celle d’un état essentiellement nocif (Kant) à celle de la nais-sance imminente de la nature ou d’un Dieu-Tout (Schelling), en passant par un rôle d’auxiliaire au travail de la raison (Hegel). Je m’attarde par la suite sur le tournant existentialiste d’un Kierke-gaard qui présente l’anxiété comme un état instable précédant la liberté et, sur fond de sa pensée et de celle de Nietzsche, je retire une dialectique singulière, affective. Le XXe siècle s’ouvre sur le volet génétique de la phénoménologie de Husserl, sur son intérêt pour les affektive Kräfte à l’oeuvre dans la mémoire, à la suite de quoi je dis-cute des Stimmungen de Heidegger puis des perplexités freudiennes quant aux multiples sens de l’Angst. J’aborde ????inalement la pensée de Levinas en clôture de mon livre, lui qui interroge l’intersubjectivité des affects et ses implications pour notre expé-rience de la responsabilité relationnelle. (shrink)

I argue the philosophy of Thomas Aquinas in the hope there is a very important concept for a more complete discussion and presentation, this article is divided into five sections: I. "pan on the" existence "is"; II, "a glimpse of the historical background before Thomas Aquinas ", consists of two things: First, the" Greek philosophy "Second," Medieval Philosophy "; participation," meaning the existence and importance. " Due to space limitations, only now made ​​the three sections. Stanford, "Thomas Aquinas (...) in the in the" presence "of some of the analysis"; Wu, "Thomas Aquinas's personality theory." We can see from the above title, the author cited in my article in the original code data, mainly taken from "metaphysics of Aristotle notes," a book, it is noted. This paper is intended to make a more comprehensive exploration and introduction of the important concept of existence in Aquinas's philosophy and segmented into five parts: first, a generalization of "existence"; second, a glimpse of the historical background precedent to Aquinas's time, including Greek philosophy and medieval philosophy; third, the meaning and importance of existence; fourth, Aquinas's analysis of existence in his Commentaries on Aristotle; and fifth, Aquinas's theory of personality. Due to the limits of volume, here we can only address the first three parts. From these headings, it's easily seen and should be noted that the references in the paper are mostly from Commentary on Aristotle's Metaphysics. (shrink)

We formalise a notion of dynamic rationality in terms of a logic of conditional beliefs on plausibility models. Similarly to other epistemic statements, dynamic rationality changes its meaning after every act of learning, and it may become true after players learn it is false. Applying this to extensive games, we "simulate" the play of a game as a succession of dynamic updates of the original plausibility model: the epistemic situation when a given node is reached can be thought (...) of as the result of a joint act of learning that the node is reached. We then use the notion of "stable belief, i.e. belief that is preserved during the play of the game, in order to give an epistemic condition for backward induction: rationality and common knowledge of stable belief in rationality. This condition is weaker than Aumann's and compatible with the implicit assumptions underlying Stalnaker's criticism of Aumann's proof. The "dynamic" nature of our concept of rationality explains why our condition avoids the apparent circularity of the "backward induction paradox": it is consistent to believe in a player's rationality after updating with his irrationality. (shrink)

On 22 July, 2011, we were confronted with the horror of the actions of Anders Behring Breivik. The instant reaction, as we have seen with similar incidents in the past—such as the Oklahoma City bombings—was to attempt to explain the incident. Whether the reasons given were true or not were irrelevant: the fact that there was a reason was better than if there were none. We should not dismiss those that continue to cling on to the initial claims of a (...) wider Jihadist plot behind the actions of Timothy McVeigh and Terry Nichols as Islamophobes (or merely lacking common sense): for, it is often easier to rely on reason—no matter how fictional—than not to have anything to cling on at all. In many ways, it is even better if the reason is fictional: for, if grounded in a certain fact, or reality, it can then go away. However, if it is in the realm of the imaginary, it is then always already metaphorical: thus, can be applied to any and every situation. And it is this, if we echo Friedrich Nietzsche, that gives us our “metaphysical comfort”; that we can know what is going on. This is why conspiracy theories are so popular: underlying them is the logic that someone—no matter how implausible—is in control of the situation. One would rather believe that all acts of terror stemmed from Osama bin Laden (and the narrative worked even better when he was in a ‘cave in Afghanistan’) than if they were the actions, and decisions, of singular individuals. For, if there is a head organizing everything, it can be cut off; there is no controlling a mass of singularities. As Jean Baudrillard continues to teach us, the term ‘mass’ is not a concept. It is a leitmotif of political demagogy, a soft, sticky, lumpen-analytical notion. A good sociology would attempt to surpass it with ‘more subtle’ categories: socio-professional ones, categories of class, cultural status, etc. This is wrong: it is by prowling around these soft and acritical notions (like ‘mana’ once was) that one can go further than intelligent critical sociology. Besides, it will be noticed retrospectively that the concepts ‘class’, ‘social relations’, ‘power’, ‘status’, ‘institution’, and ‘social’ itself—all these too-explicit concepts which are the glory of the legitimate sciences—but also only ever been muddled notions themselves, but notions upon which agreement has nevertheless been reached for mysterious ends: those of preserving a certain code of analysis. To want to specify the term ‘mass’ is a mistake—it is to provide meaning for that which has none.1 And it is this lack of meaning—this nothingness of not only the mass, but our inability to know in general—that truly scares us. For, if we are never able to legitimately make a generalizing statement, this suggests that we can never actually posit beyond a singular, situational, moment. Hence, we can never claim to know anyone: at best, we can only catch momentary glimpses. It is for this very reason that the insanity plea Breivik’s lawyer will attempt is the one that horrifies us the most. For, if Breivik is insane, this foregrounds our inability to understand, know. And as Aristotle has taught us, it is more important that something is plausible than if something were probable—in this context, we would rather have Breivik as a calculating mass murderer than someone who was completely out of his mind. This is especially ironic in the light of the fact that none of us would say that we have any similarity with Breivik. If that were so, the declaration that he was mad should be no more than a logical consequence. However, we also want Breivik to be accountable for his actions. And in order for that to be so, we need him to be of sound mind. But if that were true, we can then no longer distinguish ourselves from him. And it is precisely this that scares us. For, we are horrified not when there are abnormalities to our way of life. There are usually two different reactions to this—either oppose and destroy it; or subsume it under the dominant logic. We see this most clearly in reactions to immigration: there are either calls for immigrants to ‘pack up and leave’ or pseudo-liberal notions of ‘we are all alike’. Both of which are merely version of “all men are brothers”—the brutal translation of which is that you are my brother if you live the same way as me; otherwise not only are you not my brother, you are also potentially not part of mankind (you might as well be, to echo Giorgio Agamben, bare life ). This is played out in our age of what is commonly termed post-political bio-politics —an instance of horribly awkward theoretical jargon that Slavoj Žižek channeling Agamben unpacks rather elegantly: “ post-politics is a politics which claims to leave behind old ideological struggles and, instead, focus[es] on expert management and administration, while bio-politics designates the regulation of the security and welfare of human lives as its primary goal.”2 Žižek continues: Post-political bio-politics also has two aspects which cannot but appear to belong to two opposite ideological spaces: that of the reduction of humans to ‘bare life,’ to Homo sacer , that so-called sacred being who is the object of expert caretaking knowledge, but is excluded, like prisoners at Guantanamo or Holocaust victims, from all rights; and that of respect for the vulnerable Other brought to an extreme through an attitude of narcissistic subjectivity which experiences the self as vulnerable, constantly exposed to a multitude of potential harassments [….] What these two poles share is precisely the underlying refusal of any higher causes, the notion that the ultimate goal of our lives is life itself. That is why there is no contradiction between the respect for the vulnerable Other and […] the extreme expression of treating individuals as Homini sacer .3 This is why the ones that are harshest towards new immigrants are the recently naturalized citizens of any country. For, if there is no longer any “ideological struggle” and all life is reduced to mere automaton-living, there is the realization that we are all the same—not in a tree-hugging hippie sense—but that the immigrant is the same as us precisely because we are all immigrants. And since all nations, and by extension peoples in a nation (especially those who believe in the notion of nationality, and national identity), have to find some manner, no matter from where or what it is, to distinguish themselves from those around them, the other (in spite, and especially in the light, of its absence) is the most crucial aspect of the discourse of nationality. More precisely, in the interests of what Baudrillard calls “preserving a certain code of analysis” (nationality in this case), what has to be maintained is the absolute otherness of the other. Very rarely is Boris Johnson right: “it is not enough to say he is mad. Anders Breivik is patently mad.”4 However, much like Breivik in his manifesto, he should have stopped whilst he was ahead. By attempting to diagnose Breivik—“the fundamental reasons for their callous behavior lie deep in their own sense of rejection and alienation. It is the ideology that gives them the ostensible cause … that gives them an excuse to dramatize the resentment … and to kill.”—Johnson falls into the same trap that he accuses others of: “to try to advance any other explanation for their actions … is simply to play their self-important game.” More crucially, and this is the point that Johnson completely misses, attempting to rationalize Breivik’s actions—to rehabilitate reason—is a desperate attempt at maintaining his otherness. In fact, we’ll end up going one step further, insist on Breivik’s sanity, put him on the stand, and hope that he will display such a difference from all of us that we can rest safe that we are unlike him and his kind. That, in itself, is a dangerous game to play. One should not forget that the turning point in Mary Shelley’s Frankenstein is in the central part of her novel where she lets the monster speak. At that moment, the monster moves from an ‘it’ to a fully subjectivized person; with his own stories, historicities, emotions, and so on. In Slavoj Žižek’s reading of Frankenstein , this is the moment where “the ultimate criminal is thus allowed to present himself as the ultimate victim. The monstrous murderer reveals himself to be a deeply hurt and desperate individual, yearning for company and love.”5 But, in the case of Breivik, this goes beyond just a risk of us feeling for him: for, no right-minded person should ever deny another the opportunity to put forth her or his own case. The problem lies with us trying to deny the madness of Breivik’s act by putting him back under reason. The problem is in our inability to differentiate the act from the person; the singular from the universal.6 In our desperation to preserve the notion that we are rational beings incapable of becoming monsters, we’ve had to deny the meaninglessness—in the strict sense of it lying outside of reason—of Breivik’ act; we’ve had to “provide meaning where there is none.” For, if this act were a moment of madness—a moment that comes from elsewhere—we cannot say that it will not descend upon us one day. If Breivik’s actions were that of a sane person, one who is in control of his being, his self, we can then locate the otherness in his being. More importantly, this would allow us to distinguish ourselves from that said being. Breivik’s sanity is the only thing that allows us to say that ‘this act of terror is borne out of one with an ultra-right ideology’; and ‘since I am not of that ideology, I would never do such a thing’. By doing that, we attempt to protect ourselves by claiming that people who share Breivik’s ideology are foreign to us, other to us. However, if Breivik’s act was a moment of insanity, his otherness is no longer locatable: and the notion of ‘us and them’ shifts from a geographical, physical, religious, or cultural notion, to one in the realm of ideas. And this is what truly scares us. For, if what is foreign is not phenomenological, then it cannot be seen, detected, sensed. Anders Behring Breivik, Timothy McVeigh, and Terry Nichols, terrify us not merely for the fact that they were white in a white society, but more pertinently that their skin color did not matter: we would not be able to spot them even if they were blue, even if they were right next to us, even if we had known them all our lives. Even as we are grappling with holding Breivik accountable by declaring him of sound mind, what truly terrifies us is that deep down we know that Breivik’s act is a moment of madness; beyond all comprehensibility. And this means that we would not be able to spot the idea; even if it were in our heads at this very moment. We have gone to lengths to rehabilitate Breivik, McVeigh, Nichols, and such perpetrators of massive incomprehensible violence, in order to preserve our difference from them. What we have really been trying to deny is the fact that everyone, at any given moment, could have a moment of madness. And this is the true radicality of Mary Shelley: in allowing us to momentarily enter the head of the monster, she shows us not just the fact that he is like any one of us, but that any one of us could, in the right (or wrong) circumstance, be like him. Perhaps here, there is a lesson to be learned from Wes Craven’s A Nightmare on Elm Street . The most dangerous thing that one could do on Elm Street was to mention Freddy’s name—once you had knowledge of him, you were open to the possibility of a visit during your dreams. This suggests that Freddy is a combination of externalities (after all, when you die, he survives) and your self (if you have never heard of him, he cannot come for you). In this sense, Freddy would be the manifestation par excellence of what Avital Ronell calls a “killer text”—it is one’s relationality with the text (and the ideas, notions, in the said text) that opens oneself to it, to the lessons of the text, to being changed, affected, even to the dangers of the text. After all, one should never forget Plato’s warning that ideas can corrupt, can be perilous. To compound matters, as Ronell reminds us, “the connection to the other is a reading—not an interpretation, assimilation, or even a hermeneutic understanding, but a reading.”7 Thus, in attempting to differentiate ourselves from Breivik by concocting some reason(s) why we are not like him, we have done nothing but read him, open a connection to him. *** Bang bang, he shot me down Bang bang, I hit the ground Bang bang, that awful sound Bang bang, my baby shot me down. “Bang Bang (My Baby Shot Me Down)” Sonny Bono, 1966. This is the part that we all know and remember. Whilst never quite remembering that this is a song that is not so much about violence, love, but about remembering. For, after the bridge comes the accusatory stanza: “Now he's gone, I don't know why/ And till this day, sometimes I cry/ He didn't even say goodbye/ He didn't take the time to lie.” Bang Bang is a game that the two lovers used to play; and all she has now is the memory of the game to remember him by. And the only reason she has to recall this game is: he never provided her a reason for his leaving, his death. Not that she will, can, ever get that satisfactory answer. This is precisely the game we are playing with Anders Behring Breivik. Even though he has left a 1500 page manifesto, even though we will allow him to use the court-room as his platform, we will continue screaming at him “tell me why …” For, what we want him to say is that we are not like him: what we really want him to do is, “take the time to lie …” Perhaps here, we should allow the echo of the infans to resound in baby . As Christopher Fynsk reminds us, the infans is one that is pre-language, pre-knowing, pre-understanding: it is the very finitude, and exteriority, of relationality itself.8 And thus, it is a position of openness to the fullness of possibility—and nothing else. This would be, in Ronell’s terms, a “connection to the other” that knows nothing other than the fact that it is a connection. The true horror of 22 July, 2011, is the fact that it is not Anders Behring Breivik who is mad, but the act itself that is. And this is precisely why only “my baby” that could have “shot me down.” For, it is an act that is from beyond, a sheer act of madness that—as Plato warns us—is whispered into our ears (and can so easily be mistaken for inspiration, and even wisdom), an act that can both seize, and cease, us at the same time. And what can this utter openness to an other, the other, be but a moment of love, a true ‘falling in love’. At the moment of whispering, nothing can be known as we are babies as our baby shoots us down …. Hence, all attempts at analyzing this event (including this one) are not only futile, but border on the farcical. The real tragedy is that we forget that all of us have the possibility of becoming Breivik. NOTES Jean Baudrillard. In the Shadow of the Silent Majorities . Trans. Paul Foss, John Johnston, Paul Patton, & Andrew Berardini. Los Angeles: Semiotext(e), 2007. p. 37. Slavoj Žižek. Violence: Six Sideway Reflections . London: Profile Books, 2009. p. 34 Ibid: 35-36. Boris Johnson. “ Anders Breivik: There is nothing to study in the mind of Norway’s mass killer .” The Telegraph . (25 July, 2011): Slavoj Žižek. Violence: Six Sideway Reflections . London: Profile Books, 2009. p.39. What is killing us is the notion that Breivik’s act is beyond reason, beyond knowing, outside understanding itself. This is why Boris Johnson’s plea was for us to ignore Breivik as a madman. But to do so, Johnson conflates the notion of the act and the person; the singular and the universal. This is exactly the same gesture as insisting on his sanity: the ‘madman’ is merely the absolute other, one that we are not. Avital Ronell. The Telephone Book: Technology, Schizophrenia, Electric Speech . Lincoln: University of Nebraska Press, 1989: 380. Christopher Fynsk. Infant Figures: The Death of the Infans and Other Scenes of Origin . Stanford, CA: Stanford University Press, 2000.  . (shrink)

The current COVID-19 pandemic has affected the entire globe, including the world of high-performance sports. Accordingly, it has been widely assumed that the thereby caused postponement of the Tokyo 2020 Olympic Games could have negative psychological impacts for aspirants, since they were halted abruptly in the pursuit of their Olympic endeavors and their daily lives drastically altered. Considering the sudden nature of the pandemic, few researchers, if any, have yet scrutinized the individual experience of Olympic aspirants. This qualitative study examines (...) the subjective perceptions of the Tokyo 2020 Olympic Games postponement among Austrian Olympic athletes and coaches. To this end, 21 Austrian athletes (13 male, 8 female; mean age = 26.67 ± 4.93 years) and six male coaches were recruited through a criterion-based purposive sampling strategy. Five athletes had already qualified for the Olympic Games in Tokyo 2020 and 15 athletes were still in an ongoing qualification process. Data was collected by means of short written statements, elicited via open-format questions on an anonymous online survey platform. In order to infer meaning from the text, a qualitative content analysis with an interpretative focus was conducted inductively, which allowed for deriving alternative explanations of findings. The results support the notion that the Olympic postponement was experienced in myriad ways by affected participants. Three general themes comprised of several meaning units of different levels of abstraction were created from the text data. Many respondents experienced an immediate emotional reaction to the postponement characterized by confusion, disappointment and/or relief. Participants associated multiple consequences with the postponement, such as the prolongation of physical and psychological pressure, a lack of motivation, concerns about future performance, living and their occupational career, but also the opportunity for performance improvement and recovery. Respondents displayed various coping strategies, such as distancing themselves from sports, cognitive reframing, appealing for acceptance, and planning behavior. This study gleans first insights into the idiosyncratic experience of the Olympic Games 2020 postponement among Austrian aspirants. The findings could serve to assist sport psychologists in their applied practice by informing them about athletes’ and coaches’ needs in their Olympic preparation during the ongoing pandemic. (shrink)

The article is devoted to the analysis of the semiotic field of the term "ornamental composition" in the context of definitions of ornament and composition in the art of the Pazyryk culture and its historiography. The subject of the study is ornamental compositions from elite burials of the Pazyryk culture of different periods of its development – the early Second Bashadar kurgan and the Tuekta burial ground and the late Pazyryk burial ground. In addition, the paper examines the specifics of (...) the use of the terms "composition" and "ornament" in order to highlight the history of their meanings, as well as analyzes certain provisions of theoretical works on the study of the theory of composition and ornament. The purpose of the study is to identify the components of the semantic field of an ornamental composition related to the field of interaction of the composition with the viewer, and not to the field of meaning of specific figurative images. The article proposes using the method of formal analysis in combination with some provisions of the Gestalt approach described in the works of E. Gombrich and R. Arnheim to analyze a series of ornamental compositions with and without figurative images in the art of the Pazyryk culture. The scientific novelty of the study is predetermined by the absence in the Russian historiography of works describing the specifics of the meaning of ornamental composition in the context of visual perception in the art of the Pazyryk culture. The researchers note that the significance of ornaments in Pazyryk art could be related to the meaning of multi-figure compositions (when zoomorphic images are included in the ornament) and reflect the worldview of the bearers of the Pazyryk culture, or the types of symmetry used in the construction of ornaments could reflect the social structure of society. However, in both of these trends, the analysis of an ornamental composition without figurative images remains outside the scope as a structural and semantic, integral work of art interacting with the viewer. As a result of the research, the assumption is put forward that it is possible to designate a single semantic field for ornamental and multi-figure compositions in Pazyryk art. Clarifying and expanding the scope of the ornamental composition allows us to identify a single specificity of interaction with the viewer of both figurative and non-figurative images of Pazyryk art, to emphasize the game element in the nature of culture. (shrink)

We can be hacked because there are not indiscreet questions but there are imprudent answers. The main aim of this paper is actually to learn how to create the best possible answers, the most prudent ones, in order to remain as safe as we can. That is what Hunting Hackers means: to think about what piece of information was relevant for the hacker and why that one in particular and not another. If we could preview our flaws then we (...) would be able to keep our zone safer from hackers. In order to reach this objective, we will analyse how the cryptic language known as Russian Cards operates. This study does not intend to show how the cryptic language is broken into, but to take advantage of the learning gifted in knowing the flaw itself. It is precisely in the learning of the flaw that we can find the answer to what and why we may be hacked. In proportion to the amount of flaw information at our disposal, we will be able to hunt hackers: to stop them completely or, at least, to weaken a possible hacker attack. (shrink)

The modern belief that mindless forces can be ultimate efficient causes of natural events is a conceptual impossibility. The logically ultimate cause of any change, the something that is ultimately making it occur in the present moment, is either a mind or not. More specifically, the cause either chooses to act or it does not. By choice here, I mean an act of free will in the libertarian sense. Where there is choosing in this sense there must be a mind. (...) And when we say that an agent acts thus freely, we mean that it acts without being causally determined to act by anything beyond itself. However, this is conceptually indistinguishable from the idea of an ultimate efficient cause. To say that an agent is the ultimate cause in a causal chain is, by definition, to say that it acts without being caused to act by anything beyond itself. It is the head of the causal chain. It is, therefore, a matter of conceptual necessity that ultimate causes be minds, a fact that we have been blind to since the Scientific Revolution on the bad analogy of machines. Thus, every force ultimately governing the universe must be a mind corresponding either to the polytheist’s or the monotheist’s generic definition of divinity, and monotheism’s eternal mind will always be the most complete and justifiable explanation for the existence of the universe as a whole, even for the existence of the gods themselves. (shrink)

Japan is the world’s largest producer of love simulation games, revealing a curious feature: these games, in theory, assign female players to the unique task of seducing a male character, but, in reality, they promote the establishment of a network of friendship between women. Love cannot be achieved if this network is not carefully woven both in play and in real life. Based on the analysis of this double dynamics, outwardly contradictory, I would like to advance the following hypothesis: that (...) such games enable their users to ‘outsmart’ gender expectations. These games, called otome games, became popular in the context of a national panic related to the declining birthrate: they target the market of women who – living alone or with their parents – are held responsible for the future shortfall of the system. These new generations of women don’t start a family. They have no children. How do they manage to ward off exclusion and stigma? The study will focus on the strategies collectively devised to turn otome games into an identity-building tool, promoting friendship between players as a means of resistance against social norms. (shrink)

The article investigates whether Hobbes’s political theory gives us reason to expect the systematic subordination of women. It argues that who dominates whom is a matter of victory in the quest to pull allies into ordered alliances. The primary means of gaining allies—force and wiles—depend on both skill-fitness and affective fitness. The analyses suggest that it is sex-linked and gender-linked differences in affective fitness—particularly in the intensity of men’s desire to use religious wiles—that most plausibly explain the subjection of women, (...) both across the spectrum of states of nature and within civil societies. Although Hobbes’s political theory enables us to make sense of how it happened, there is nothing in that theory that either necessitates or should cause us to expect the systematic subordination of women. (shrink)

In this paper I will discuss the problem of evaluating dynamic properties of the procedural rules that govern science. I will propose a novel framework for evaluating dynamic properties of such rules. This framework is based upon an analogy from New Institutional Economics. I will argue that the concept of ‘adaptive efficiency’, as it has been developed by Douglass North, solves a problem in economics that is analogous to the problem of evaluating dynamic properties of the procedural rules that govern (...) science. I will propose to apply the main ideas underlying this concept to Chrysostomos Mantzavinos’s theory of Explanatory Games. Based on these ideas, I will develop the concept of ‘explanatory efficiency’. This concept is meant to provide the means to evaluate the dynamic properties of Explanatory Games. I will argue that the proposed analogy also motivates more general applications of New Institutional Economics to traditional problems of philosophy of science. (shrink)

It is clear that in the eyes of a growing number of humanitarian fieldworkers and decision-makers, palliative care is something humanitarian organizations should strive to provide as they address the needs of populations affected by crises. What remains less clear are the moral justifications underlying the push to do so. This chapter dives beneath surface prescriptions of what “ought to be” the place of palliative care within humanitarian response. It presents and analyses a series of evocative statements made by 24 (...) humanitarian healthcare actors about why, on what bases, and with what caveats, care for the dying deserves more attention within humanitarian healthcare response. Embedded in these statements are sometimes explicit, sometimes implicit ideas about what it means be a human and a humanitarian, and what humans need and deserve. Clarifying the experiences, practical considerations, understandings of care and responsibility, and norms and values underlying these feelings renders these available for more thorough reflection, discussion, and debate. (shrink)

When Albert Hunt joined the staff of the Regional College of Art, Bradford, in 1965, he found himself working mostly with ‘non-academic’ students on a fascinating range of games, projects and theatre events outside the main stream of exam-oriented education. In this title, first published in 1976, Albert Hunt describes this experience, and explains how he himself evolved from a conventional grammar school teacher to a radical and experimental educator. In particular, Hunt describes the evolution of new working relationships between (...) teachers and students, which in turn highlight an alternative way of viewing society. _Hopes for Great Happenings_ is not only a vividly interesting account of Albert Hunt’s teaching methods, but is of practical value to anybody involved in the study of liberal arts, theatre studies or in community arts work. (shrink)

The problem of cooperation for rational actors comprises two sub problems: the problem of the intentional object (under what description does each actor perceive the situation?) and the problem of common knowledge for finite minds (how much belief iteration is required?). I will argue that subdoxastic signalling can solve the problem of the intentional object as long as this is confined to a simple coordination problem. In a more complex environment like an assurance game signals may become unreliable. Mutual (...) beliefs can then bolster the earlier attained equilibrium. I will first address these two problems by means of an example, in order to draw some more general lessons about combining evolutionary theory and rationality later on. (shrink)

This paper is study on the moral educational significance of the dialogical learning. The dialogue is so closely tied to our lives. We exchange an objective fact or any information through the dialogue. The terms used as dialogue routinely are fall into such as conversation, debate, discussion and dialogue. The conversation is a very common part of our every life, the debate has the purpose or topic of debate. And the discussion is almost like a ping-pong game. In the (...) dialogue there isn't a win-loss participant and is a disequilibrium going on. In this paper, especially the dialogue is understood as a stream of meaning. And then, it will be examined the relevance of the Socratic Method and the dialogue. The Socratic Method has become a commonly used of the elenchus that is the central technique of it. In Plato's early dialogues, the elenchus is a search for moral truth by question-and-answer adversary. Besides, the Socratic Method is composed of three course: Eironeia(irony) -Elenchus -Aporia. Like the dialogue, the Socratic Method will make possible a stream of meaning. The dialogue learning of stream of meaning is composed as follows: Exploring together - Finding the meaning - Sharing the meaning. The exploring together is the course of thinking together and the joint inquiry. The finding the meaning is an activity which means that it has the look to themselves and their communities that topic. And the sharing the meaning is an activity to create new value and moral knowledge by sharing the value of diverse individuals and moral knowledge. (shrink)

Within the framework of Viewpoint Spaces (Dancygier, Barbara. 2012. The language of stories: A cognitive approach. Cambridge: Cambridge University Press), this paper investigates viewpoint interactions in a mobile game’s plot to show how the game’s structural framing leads to meaning construction, specifically the construal of irony. The notion of (meta-)Ground Viewpoint Space is proposed not only to provide a generalized account of a global mental space where local spaces and viewpoints relate to one another, but also to (...) elucidate how the invoked genre-specific expectation makes a significant meaning contribution to the player’s overall construal of the game. This study presents a case study of the mobile game Liyla and the Shadows of War (Abueideh, Rasheed. 2016. Liyla and the Shadows of War) as a viewpoint phenomenon whose construal involves the interaction of multiple viewpoints. The game depicts the consequences of the 2014 Gaza conflict from the perspective of an unnamed Palestinian father struggling to escape the war zone with his daughter Liyla. It deviates from prototypical games in that it is impossible to complete the expected narrative, regardless of the player’s skill, although its ostensible goal is to let the protagonists survive and escape to a safer place. The mismatch between the player’s goal to clear all the stages, the character’s goal to survive, and the developer’s goal to convey a message is a source of ironic meaning, and this study focuses on how the network of multiple viewpoints – of the game developer, the character, and the player – constructs the intended meaning for players. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.2 (2002) 273-295 [Access article in PDF] Billy Budd:Melville's Dilemma Lester H. Hunt I THE CHAIN OF EVENTS NARRATED in Herman Melville's Billy Budd, Sailor (An Inside Narrative)—how Billy is falsely accused of plotting mutiny by his Master-at-Arms, John Claggart, how Billy accidentally kills Claggart and, finally, is executed at the urging of the Captain of the Ship, Edward Fairfax Vere, despite Vere's personal conviction that (...) Billy does not deserve to be killed—is simple enough. The text itself, nonetheless, is troublesomely complex. It is a very difficult work to interpret with both honesty and confidence. Melville unflinchingly represents to us the moral horror of what Captain Vere does to Billy, and yet he also depicts Vere himself with a respect that borders on admiration. The attentive reader experiences a painful cognitive dissonance that can only be soothed by a coherent interpretation, and perhaps by a bit of philosophy.Given the way in which the text of Billy Budd emerged—it was assembled by scholars, long after Melville's death, from a confusing collection of manuscript pages he had left behind when he died—it may well be an unfinished work. It is possible that ill health and death overtook Melville before he had a chance to iron out the inconsistencies that inevitably arise as a book is written, and it is therefore also possible that some of our sense of dissonance is produced by this brute fact. 1 Whether or not this is the case, this book is, according to the view I will present here, at least very close to being coherent. The point of view it represents is actually quite appropriate to an unfinished work, and little damaged by textual indeterminateness. Billy Budd is about the inescapably dilemmatic nature of certain choices. It alleges the impossibility of resolving them in any comfortable way. Melville beckons us to [End Page 273] look through the window of Billy Budd into an abyss of undecidability, and perhaps a text that contains some chaos within itself will better serve as such a window than one that does not.The best way to begin trying to understand how we should take this work is to begin at its very beginning. The very beginning of a story is of course its title, and the title of this story, or more exactly its subtitle, tells quite literally what sort of story it is. It is an "inside" narrative. Of course, this immediately raises the question of what an inside narrative is. Inside what? Are we supposed to contrast it with an outside narrative? And what sort of story would that be?Melville does not leave us entirely without an answer to this question. Billy Budd does contain another story, one that contrasts so sharply with the main narrative that it might well be described as its opposite: it is virtually an inverted version of the book's plot. In an "authorized weekly publication" quoted at some length at the end of the book, the events of Melville's tale are briefly recounted. In this version of the story, apparently the only officially sanctioned one, Billy Budd is depicted as the ringleader of a genuine mutiny, who "vindictively stabbed" Claggart for exposing him. Claggart is motivated only by a "strong patriotic impulse" and Billy Budd by "extreme depravity."This account, Melville tells, us was written "for the most part" sincerely enough, "though the medium, partly rumor, through which the facts must have reached the writer served to deflect and in part falsify them" (1432.27-30). 2 It could be called an "outside" narrative in virtue of the fact that its author was not there and consequently was not in a position to know what actually happened. The most direct way to give literal meaning to the "inside" status of Melville's main narrative is simply to observe that it gives a view from inside the ship, from inside the Bellipotent. It represents things that were known by people who were there, and precisely because they were there.This... (shrink)

European identity is a complex, multi-faced and inherently imprecise concept relating to a range of socio-political and psychological factors. Addressing this topic in educational practice, particularly with respect to Higher Education students, constitutes a complex and open problem for research. This paper reports on an experimental study designed to explore the effectiveness of the educational game “RUEU?” in supporting university students in understanding the key socio-political issues regarding European identity. Quantitative data regarding Greek university students’ attitudes to European identity, (...) before and after playing the game, were collected. Students’ performance of the game group was compared with that of a control group who explored the same issues about European identity through a tutor-guided discussion. The findings showed that both instructional interventions were effective but in different ways. The participants in the game-based group appeared more attached to the EU after the intervention and moved toward a more balanced description of their Greek and European identity. On the other hand, the students in the control group rated higher what “European identity” and being EU citizen means to them. The findings indicated the potential of game-based interventions to deliver not only academic content but also to promote students’ reflection and influence them at an attitudinal and emotional level. (shrink)

There is a growing sense that many liberal states are in the midst of a shift in legal and political norms—a shift that is happening slowly and for a variety of reasons relating to security. The internet and tech booms—paving the way for new forms of electronic surveillance—predated the 9/11 attacks by several years, while the police’s vast use of secret informants and deceptive operations began well before that. On the other hand, the recent uptick in reactionary movements—movements in which (...) the rule of law seems expendable—began many years after 9/11 and continues to this day. One way to describe this book is an examination of the moral limits on modern police practices that flow from the basic legal and political tenets of the liberal tradition. The central argument is that policing in liberal states is constrained by a liberal conception of persons coupled with particular rule of law principles. Part I consists of three chapters that constitute the book’s theoretical foundation, including an overview of the police’s law enforcement role in the liberal polity and a methodology for evaluating that role. Part II consists of three chapters that address applications of the theory, including the police’s use of informants, deceptive operations, and surveillance. The upshot is that policing in liberal societies has become illiberal in light of its response to both internal and external threats to security. The book provides an account of what it might mean to retrieve policing that is consistent with the basic tenets of liberalism and the limits imposed by those tenets. [This is an uncorrected draft of the book's preface and introduction, forthcoming from Oxford University Press.]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:"And They Sang A New Song":Reading John's Revelation From The Position Of The LambJ.A. Jackson (bio) and Allen H. Redmon (bio)Then one of the elders said to me, "Do not weep. See, the Lion of the tribe of Judah, the Root of David, has conquered, so that he can open the scroll and the seven seals." Then I saw between the throne and the four living creatures and among (...) the elders a Lamb standing as if it had been slaughtered.—Revelation 5:5–6In an interview with Markus Müller, René Girard asserts the importance of taking into account the apocalypticism of Christianity. Apocalypse, Girard reminds us, "means revelation: apocalypto means to open up and to show the truth. But it also means absolute violence, so the apocalypse is a violent revelation and a revelation of violence" (Girard 1996). That the Revelation is a violent revelation has been well established. Despite textual evidence that would beg those who approach the text to do just the opposite, readers have fixated on the violence of the Revelation since its inception, finding in it God's final retribution against those who persecute the Church.1 Commentators such as Dennis E. Johnson, William Hendricksen, and George Elden Ladd have produced recent, full-length commentaries that champion the appearance of a Christ in Revelation ready to establish himself as a military champion and exact his revenge on those who persecute him (see, for example, Johnson 2001; Hendricksen 1998; and Ladd 1993). These accounts, and those that follow suit, are blinded by the violent revelation of John's apocalyptic narrative and fail to see the poem's revelation of violence—the other, prophetic half of what Girard rightly contends exists in Christian apocalypse.This error is understandable to some extent. Read in its own light and apart from the Gospel revelation as understood by those familiar with mimetic [End Page 99] theory, one has no hermeneutical principle for recognizing the end to which John is writing. The victims of the text can be ignored in the precise way that all victims are disregarded when the scapegoat mechanism functions properly. Such should not be the case in the Revelation, though, a text in which the scapegoat mechanism is exposed and pushed to its logical conclusions. John offers his reader a glimpse into the way this mechanism will function when all that is left is wall-to-wall violence, when one is left with only two alternatives: succumb to the mechanism and reciprocate its violence, or extricate oneself through nonreciprocation (and potentially die).In the margins of the violent revelation in John's apocalyptic vision, a revelation of violence emerges that can expose humankind's potential to annihilate itself and the mechanism with which it will do so. When read through the lens of mimetic theory, one discovers that John's narrative delivers a revelation of violence, an explicit naming and unmasking of the sacrificial mechanism that can capture for the reader not only the machinations of the sacrificial apparatus but one's own potential participation in it as well. As such, the poem can posit itself as a commandment (a Thou-shall-not-murder) that ultimately refuses the temptation to respond to violence in violence.The fact that John uses the apocalyptic to present this directive should not be surprising. Girard writes: "Only through the mediation of the scapegoat mechanism can violence become its own remedy, and the victimage mechanism can only be triggered by the frenetic paroxysm of the 'crisis.' This means that the violence, having lost its vitality and bite, will paradoxically be more terrible than before its decline. As the whole of humanity makes the vain effort to reinstate its reconciliatory and sacrificial virtues, this violence will without doubt tend to multiply its victims, just as happened in the time of the prophets" (Girard 1978, 195–96). While Girard's commentary on biblical eschatology and apocalypse refers mainly to the scapegoat mechanism as it applies to and is revealed in the Gospel texts, we see the immediacy and the frenzy of the apocalyptic and the ubiquitous violent mimetic appropriations also performed in John's Revelation.2 John captures... (shrink)

While most theoreticians of meaning in the first half of the twentieth century subscribed to a representational theory (viewing meanings as entities stood for by the expressions), the second half of the century was marked by the rise of various versions of use-theories of meaning. The roots of this ‘pragmatist turn’ are detectable in the writings of the later Wittgenstein, the Oxford speech act theorists (Austin, Grice) and the American neopragmatists (Quine, Sellars). Though it is now rather popular (...) (and sometimes even fashionable) to invoke the use-theory of meaning, it is by far not so popular to inquire what such a theory really is. In this paper we try to give at least a part of the answer, whereby we find out that the usual conception of such a theory is unsatisfactory. We propose that for an improvement we must, together with Wittgenstein and Sellars, conceive language as a (tool of a) rule-based activity, which enables us to replace the concept of disposition, usually constituting the backbone of the use-theory, by the concept of propriety. The resulting normative version of the use-theory then becomes the investigation of the rules which expressions acquire vis-`a-vis the rules of the relevant language games – especially of the rules of inference. (shrink)

Rejecting the need for theories about theories, this book suggests that one can find the meaning of classical musical compositions by attending just "to the facts themselves." Seeking to promote critical and intelligent appreciation of music, the author discusses a range of classical works, pointing out what he believes the composer is communicating and the way in which it is communicated. He examines (and offers examples of) musical games, symbolism, musical tension, melody and melodic line. The latter half of (...) the work is devoted to applying the preceding topics to specific works by Bach, Beethoven, Debussy, Ravel, and other composers. Annotation copyrighted by Book News, Inc., Portland, OR. (shrink)

In this paper, we determine whether illegal hunting should be construed as a crime of dissent. Using the Nordic countries as a case study where protest-driven, illegal hunting of protected wolves is on the rise, we reconsider the crime using principles of civil disobedience. We invoke the conditions of intentionality, nonevasion, dialogic effort, non-violence and appeal to parameters of reasonable disagreement about justice and situate the Nordic illegal hunting phenomenon at a nexus between conscientious objection, assisted disobedience (...) and everyday resistance. This examination leads us to contend that the crime has heretofore received an inadequate response limited to punishment and deterrence. This contention finds support in the worsening predicaments of illegal hunting following harsh sanctions and stigmatization. Although hunters publicize injustices through their crimes, we find that killing wolves as a means to deliberative ends disqualifies hunters’ dissent as legitimate disobedience, creating an obligation of deliberative uptake on the part of society. Nonetheless, in a critical contribution to the field of criminal justice, we argue that it is instead the conditions of deliberative suboptimality experienced by hunters that create this obligation of uptake. Hence, in order to fulfill this obligation, we contend that the burden falls on regulatory agencies to better articulate the justifications for the policies that coerce hunters. We also advocate creating novel institutions to provide hunters with effective opportunities for contesting wildlife conservation directives. (shrink)

For twenty-five years Eduard Fischer returned to the Trans-Himalayan region of Ladakh, enthralled by the unique culture of this ancient Buddhist kingdom, and seeking to catch just a glimpse of the elusive snow leopard. This is the tale of that quest, but also an exploration of myth, art, science, and the sacred space of high mountains.

In some applications, researchers using the synthetic control method (SCM) to evaluate the effect of a policy may struggle to determine whether they have identified a “good match” between the control group and treated group. In this paper, we demonstrate the utility of the mean and maximum Absolute Standardized Mean Difference (ASMD) as a test of balance between a synthetic control unit and treated unit, and provide guidance on what constitutes a poor fit when using a synthetic control. We explore (...) and compare other potential metrics using a simulation study. We provide an application of our proposed balance metric to the 2013 Los Angeles (LA) Firearm Study [9]. Using Uniform Crime Report data, we apply the SCM to obtain a counterfactual for the LA firearm-related crime rate based on a weighted combination of control units in a donor pool of cities. We use this counterfactual to estimate the effect of the LA Firearm Study intervention and explore the impact of changing the donor pool and pre-intervention duration period on resulting matches and estimated effects. We demonstrate how decision-making about the quality of a synthetic control can be improved by using ASMD. The mean and max ASMD clearly differentiate between poor matches and good matches. Researchers need better guidance on what is a meaningful imbalance between synthetic control and treated groups. In addition to the use of gap plots, the proposed balance metric can provide an objective way of determining fit. (shrink)