This text focuses on how to think the visual culture of disappearance – more closely, disappearance of animals. It takes as its starting point the Ernst Jünger novel The Glass Bees from 1957 in order to start an excavation into obsolescence, animals and the ecological crisis. The aesthetic themes of visibility/invisibility are entangled with the ecological questions of disappearance and pollution. This sort of media ecological question is unravelled, furthermore, with examples concerning the mass extinction of bees, also discussed in (...) Lenore Malen's video installation The Animal That I Am (2009–10). In this way, it argues for a media theoretical understanding of the visual culture of ecocrisis as well as the complex question of epistemology of such a visibility/invisibility. (shrink)

"Perhaps more than any other scientist of our century, Edward O. Wilson has scrutinized animals in their natural settings, tweezing out the dynamics of their social organization, their relationship with their environments, and their behavior, not only for what it tells us about the animals themselves, but for what it can tell us about human nature and our own behavior. He has brought the fascinating and sometimes surprising results of these studies to general readers through a remarkable collection of books, (...) including The Diversity of Life, The Ants, On Human Nature, and Sociobiology. The grace and precision with which he writes of seemingly complex topics has earned him two Pulitzer prizes, and the admiration of scientists and general readers around the world.In Search of Nature presents for the first time a collection of the seminal short writings of Edward O. Wilson, addressing in brief and eminently readable form the themes that have actively engaged this remarkable intellect throughout his career.""The central theme of the essays is that wild nature and human nature are closely interwoven. I argue that the only way to make complete sense of either is by examining both closely and together as products of evolution.... Human behavior is seen not just as the product of recorded history, ten thousand years recent, but of deep history, the combined genetic and cultural changes that created humanity over hundreds of thousands of years. We need this longer view, I believe, not only to understand our species, but more firmly to secure its future.The book is composed of three sections. ""Animal Nature, Human Nature"" ranges from serpents to sharks to sociality in ants. It asks how and why the universal aversion to snakes might have evolved in humans and primates, marvels at the diversity of the world's 350 species of shark and how their adaptive success has affected our conception of the world, and admonishes us to ""be careful of little lives""-to see in the construction of insect social systems ""another grand experiment in evolution for our delectation.""The Patterns of Nature"" probes at the foundation of sociobiology, asking what is the underlying genetic basis of social behavior, and what that means for the future of the human species. Beginning with altruism and aggression, the two poles of behavior, these essays describe how science, like art, adds new information to the accumulated wisdom, establishing new patterns of explanation and inquiry. In ""The Bird of Paradise: The Hunter and the Poet,"" the analytic and synthetic impulses-exemplified in the sciences and the humanities-are called upon to give full definition to the human prospect.""Nature's Abundance"" celebrates biodiversity, explaining its fundamental importance to the continued existence of humanity. From ""The Little Things That Run the World""-invertebrate species that make life possible for everyone and everything else-to the emergent belief of many scientists in the human species' possible innate affinity for other living things, known as biophilia, Wilson sets forth clear and compelling reasons why humans should concern themselves with species loss. ""Is Humanity Suicidal?"" compares the environmentalist's view with that of the exemptionalist, who holds that since humankind is transcendent in intelligence and spirit, our species must have been released from the iron laws of ecology that bind all other species. Not without optimism, Wilson concludes that we are smart enough and have time enough to avoid an environmental catastrophe of civilization-threatening dimensions-if we are willing both to redirect our science and technology and to reconsider our self-image as a species.In Search of Nature is a lively and accessible introduction to the writings of one of the most brilliant scientists of the 20th century. Imaginatively illustrated by noted artist Laura Southworth, it is a book all readers will treasure.". (shrink)

Today's industrial society is having an encounter with ecology: in April, 1976 the French government presented the National Assembly with documents on the dumping and burning of waste in the sea, as well as on the protection of nature. Electoral campaigns, discussions and demonstrations are centered about the theme of pollution and environment. In the last century the accumulation of waste had already become a problem : “ One of the most important duties of industry is to find a (...) useful employment for waste,” wrote P. L. Simmons in 1875. The advice was heeded if we may believe what J. Gottmann wrote on the matter nearly a century later: “ If our era is to be defined by its most important raw material and one that is truly proper to it, as is done for the Bronze Age or the Iron Age, we may no longer speak of a Steel or Petroleum Age, nor of an Atomic Age (which may come in the future) but of the Garbage Age.” The extraordinary demographic expansion of humanity that has gone from a population of five million in the Paleolithic Age to four billion today gives rise to a monstrous abundance of refuse resulting as much from the natural mechanisms of living as from industrial activity (factory waste) or from the present attitude haunted by the idea of obsolescence (the throw-away society of Alvin Toffler). The outline of a universe submerged in waste matter appears, similar to that evoked by Italo Calvino in Città Invisibili apropos of the town of Leonia: “The refuse of Leonia would gradually invade the world if the interminable garbage heaps were not pressed upon, beyond the last crest, by the refuse of other towns that also push mountains of refuse far away from themselves. Perhaps the entire world beyond the borders of Leonia is covered with craters of trash, each with a continually erupting metropolis in its center. The borders between foreign or enemy towns are thus contaminated bastions in which the detritus of the one and the other serves as mutual support, menacing and mixing together.” The world of Metamorphosis is approaching in which man, transformed into an insect, covered with dust and remains of food, gnaws on the cores and parings of half-rotten vegetables. Science fiction invents a remedy to fit the problem : a planet specialized in storing all the garbage unloaded by an entire galaxy. (shrink)

1 Introduction1 In the 1980s, hermeneutics was often incorporated into deconstructionism and literary theory. Rather than focus on authorial intentions, the nature of writing itself including codes used to construct meaning, socio-economic contexts and inequalities of power,2 Gadamer introduced a different perspective; the interplay between effects of history on a reader’s understanding and the tradition(s) handed down in writing. This interplay in which a reader’s prejudices are called into question and modified by the text in a fusion of understanding and (...) topic revitalized the study of the printed word. Gadamer’s turn to language for understanding the meaning of Being also appealed to the post-modern antipathy toward modernity and metaphysics.3 If the truth and validity of interpretations are limited to communities of language, then our mode of being in history cannot but be historical. This point of view rendered Gadamer’s phenomenological hermeneutics vulnerable to the critique of moral and epistemological relativism. However, Gadamer’s theory of interpretation also stems from re-examination of the beginning of knowledge in the Pre-Socratics and Plato, and on this basis, is receptive to another dimension of inquiry than that which was trending in North America. -/- At the East-West Center, University of Hawai’i at Manoa in 1982, Chung-ying Cheng for the first time introduced onto-hermeneutics to an audience of esteemed philosophers including Li Zehou, Ren Jiyu, Feng Youlan, and Zhang Liwen.4 In contrast to schools of deconstruction and literary theory that had disengaged the interpreter from trans-historical sources of meaning and truth, Cheng explained that interpreters exist within a cosmological order inextricable from responsibility to harmonize Heaven and Earth in creative acts of interpretation. By integrating Chinese cosmology into hermeneutics through ontology, he tacitly challenged philosophers in the West to re-examine assumptions about humanity’s place in nature and by implication, Gadamer’s recovery of the beginnings of knowledge in Western philosophy. -/- Cheng’s Neo-Confucianism is inspired by the method and goals of Thomé H. Fang. The following words by Fang seem to prefigure, although in an indistinct and bundled way, aspects of Cheng’s philosophy including a Mencian theory of human nature, comprehensive observation, and creativity: “In the very process of living in concord with creative Nature, Man is charged with an ideal to be fully realized in the light of the principle of comprehensive harmony.”5 Like Fang, Cheng reinvigorates Chinese culture and language, but not solely in order to vindicate the insights of Neo-Confucianism. He has studied Western thought, from pragmatism and the analytic school to German idealism and phenomenology, to unlock and clarify philosophical concepts within the Yijing tradition and thereby render them intelligible to Anglophones. The result has been an awakening of Western scholars to the moral and cultural consequences of decoupling their thought from metaphysical foundations that are neither dogmatic nor doctrinal. -/- Not unlike the dialectic of Gadamer’s dialogue form, onto-generative hermeneutics integrates contrary positions on the same topic in order to blend both sides into a world philosophy, or as Cheng says, a “totalizing or integrative theory,”6 not to be confused with a theoretical rewording of a theory. On the contrary, the universal scope and relevance of hermeneutics stems from personal experience. Just as Gadamer, in response to faction and strife, immersed himself in Plato during the war years, and developed a method with which to harmonize opposites, so too, according to On-cho Ng, was Cheng moved by faction, strife and political persecution to develop a path toward unity.7 Gadamer taught at McMaster University in Hamilton, Ontario, and Cheng at the University of Hawai’i at Manoa among other institutions in North America. They facilitated trans-continental educational and cultural ties. Similar experiences yield similar insights irrespective of differences of time and place. Hence, authors in this issue who reside in Europe, China and North America, delineate the differences between Gadamer and Cheng, yet also, in light of Cheng’s onto-generative method and cosmology, develop integrative theories. Due to the page-budget restriction of the publisher, certain articles of this special theme will be subsequently published in the next issue. -/- 2 Integrative Theory This special issue of The Journal of Chinese Philosophy confirms a dimension of hermeneutics that Cheng has both motivated and inspired. The contributors do not abide by the conviction that since thought is mediated by language, interpretations cannot transcend culture. On the contrary, their research exemplifies the fruits of trans-historical onto-dialogical hermeneutics within limits defined by their field inquiry, organized into Parts I and II, around three themes: language, the philosophy of history and ethics. -/- Andrew Fuyarchuk introduces the theme of ontology in relation to Gadamer’s turn to language. Fuyarchuk argues that Chung-ying Cheng’s criticism of Gadamer’s hermeneutics is informed by Heidegger’s concept of Dasein and thereby overlooks how Gadamer’s Platonic-Pythagorean problem of the division between the One and Many is harmonized in the event of language, which in turn positions Gadamer in proximity to the presupposed grounds of receptivity in Cheng’s onto-generative hermeneutics. Lauren Pfister’s contributing article addresses the year 2000 meeting between Cheng and Gadamer in Heidelberg and expands the transhistorical grounds of meaning in Gadamer to matters of theology. Pfister’s summary of the written Chinese record of their conversation indicates that Cheng does not address the role of Christian philosophy and hence, the role of the inner word in Gadamer’s hermeneutics. This is important not only for detecting changes in Cheng’s philosophical development, but also for modifying his hermeneutics along the lines of a living conversation, possibilities explored by Pfister in a sequel to the article submitted to this issue. Nevertheless, by raising the issue of how Gadamer’s turn to language for understanding the meaning of Being extends possibilities in Cheng’s thought, Pfister anticipates the article by Katarina Gajdosova. She returns to the roots of Chinese thought during the Warring States period and broadens the meaning of names in recently excavated texts. Contrary to the conventions about how to understand terms, she appeals to both Heidegger’s ontology and Cheng’s notion of receptivity and creativity to reinterpret naming in relation to cosmology. Along the same lines, insofar as the event of Being is lingual, Jay Goulding captures its emergent structure in an evolving community of scholars and scholarship. He recalls his philosophical journey toward Cheng’s philosophy that begins in conversations with Gadamer at McMaster University in Hamilton, leads to Heidegger and Asian thought, expands into turning points with teachers and colleagues from various backgrounds that by increments contributed to Goulding’s formulation of “Daoist phenomenology.” -/- Although differing traditions guide their inquiries and research, Cheng and Gadamer recall the wisdom of the past to ameliorate the fragmentation in contemporary life. This leads them to re-examine the origins of philosophy; historical roots and thus sources of creative re-interpretations East and West whose affinities are developed in contributions by Hyun Höchsmann and Friederike Assandri. Höchsmann assesses convergences and divergences in the origins of Chinese and Western philosophy (Confucius and Socrates, the Yijing and Pre-Socratics) that culminates in pairing Gadamer’s understanding of paideia in the context of Plato’s political cosmology in the Timaeus with moral and social cultivation in The Western Inscription. She delineates the limits of this comparison which in turn justifies introducing Vattimo’s notion of locality. Assandri’s comparative analysis moves between India and China, Buddhism and Tang Daoism. Based on Gadamer’s argument that writing detaches concepts from their cultural moorings, she defines and applies three levels of understanding in onto-generative hermeneutics to Buddhist terms that were assimilated into the Benji Jing and in so doing clarifies essential dimensions of Daoism. -/- Contributions by Stephen Palmquist and Nicholas Brasovan position Cheng in relation to Kant and Gadamer by way of Aristotle’s ethics respectively. On the one hand, Palmquist plots Cheng’s evolving criticism of Kant’s moral philosophy and draws on crucial dimensions of Gadamer’s hermeneutics to reposition that criticism in a constructive relation to Kant’s emphasis on the philosophical conditions of morality while also indicating how religious dimensions of his thought answer Cheng’s concerns for lived moral action. For Palmquist, Gadamer enables a constructive criticism of Cheng. On the other hand, Brasovan compares Cheng’s Yijing-based account of moral deliberation with Gadamer’s Aristotelian-based ethics and reasons that in contrast to Cheng, Gadamer’s hermeneutical consciousness is disengaged from practical knowledge. For Brasovan, Cheng is a constructive critic of Gadamer. Palmquist and Brasovan’s divergent angles on Gadamer and Cheng map onto a dialectic of contrast and complementarity that constitutes the inner logic of Cheng’s philosophy. In other words, Gadamer and Cheng ought to be read alongside one another for the sake of removing discrepancies and contradictions, which constitutes the organic structure of their thinking. -/- 3 Our Mode of Being in History Is Not Historical The conversations between Cheng and Gadamer in this issue of The Journal of Chinese Philosophy pivot on language, philosophy of history and ethics within a comparative framework of analysis, but also explore the grounds that make the comparisons possible. Those grounds are informed by Chinese cosmology, and function to wrest Gadamer from the shadow of Heideggerian facticity and reposition him within the range of Cheng’s ideas about our place in nature that is embedded in his question about how mind emerges from inorganic matter.8 -/- For Gadamer scholars of Heidegger, human finitude, our ownmost individuating death ensures that hermeneutics is always open to the other as other, always on the way toward understanding the meaning of Being. To arrest the process in a concept of “the Absolute” cannot but represent someone’s point of view, and thereby render hermeneutics indistinguishable from ideology. However, insofar as finitude is defined by them in terms of an onto-theological concept of immorality, finitude is a metaphysical concept consistent with epistemologies and confuse beings with the meaning of Being. As a result, the celebrated political value of hermeneutics to always be on the way toward an understanding of the meaning of Being admits subtle variations on the same worldview that are insufficiently self-critical. -/- Gadamer scholars of Heidegger are right. A transformation in ethos and opening to the meaning of Being depends on awareness of finitude. Yet this awareness does not yield openness to more of the same, i.e., discourse structurally incapable of coming to unity but instead, for both Gadamer and Cheng, openness to a distinctly different ontological dimension of reality. As Sandra Wawrytko and So-Seong Park indicate,9 this ontological dimension is prefigured in the experience of being-as-a-whole or the totality of all possible relations in both Chinese totemic shamanistic rituals,10 and Greek Dionysian festivals.11 Through these religious experiences human ethos and therefore consciousness is expanded and elevated from being centered on one’s ownmost concerns toward an affinity with all sentient beings from insects and plants to animals. The channel for this affinity is an auditory disposition and hence, the emotions, compassion, and feeling response. -/- The capacity for an auditory disposition, or as Gadamer calls it, listening consciousness to respond to the inter-relationality and therefore inherent balance of nature is developed through music, song and dance of the religious rituals and festivals. They facilitate the unity of mind with nature. This use of music, that transforms ordinary consciousness, explains Cheng’s emphasis on the receptivity of feeling response in comprehensive observation, and Gadamer’s emphasis on openness to the other in attunement. However, an auditory disposition characteristic of pre-literate oral cultures that reveals the “All” need not rely on religion. As theorists about the evolution of language have explained,12 modern languages preserve their pre-historical past in music or prosody. That is to say, the song and dance that revealed the totality of inter-related beings to an ethos of comprehensive observation and attunement toward beings in classical civilizations is retained in the back-and-forth movement or rhythm of the dialogue form. Our mode of being in history is a mode of being in nature – through the music of language. -/- While alerting the reader to the limits of a nominalist interpretation, Gadamer expresses the inner law of the nature as follows: “in perishing there is always becoming, and in becoming there is always perishing.”13 Considered in process, opposites generate and blend into each other. This law of nature applies to everything.14 Hence, in a manner comparable to Pfister’s concluding insights, onto-dialogical hermeneutics is not only open to discrete events of otherness but moreover, to the moving structure of reality expressed, as Gajdosova suggests, in the existential moment of naming. Considered as interplay of tension and resolution with a life of its own, the dialectic of a dialogue is self-similar to the way in which an organism grows (by instinct). There is, therefore, a sense in which the art of interpretation extends the human mind into the eternal cycles of nature such that we participate in the articulation of the inner telos/homeostasis toward which all beings strive and importantly for Gadamer scholars of Heidegger, within the material limits of energy to which our embodied minds are self-evidently subject. In mortality there is always immortality. (shrink)

This collection reports on the latest research on an increasingly pivotal issue for evolutionary biology: cooperation. The chapters are written from a variety of disciplinary perspectives and utilize research tools that range from empirical survey to conceptual modeling, reflecting the rich diversity of work in the field. They explore a wide taxonomic range, concentrating on bacteria, social insects, and, especially, humans. -/- Part I (“Agents and Environments”) investigates the connections of social cooperation in social organizations to the conditions that make (...) cooperation profitable and stable, focusing on the interactions of agent, population, and environment. Part II (“Agents and Mechanisms”) focuses on how proximate mechanisms emerge and operate in the evolutionary process and how they shape evolutionary trajectories. Throughout the book, certain themes emerge that demonstrate the ubiquity of questions regarding cooperation in evolutionary biology: the generation and division of the profits of cooperation; transitions in individuality; levels of selection, from gene to organism; and the “human cooperation explosion” that makes our own social behavior particularly puzzling from an evolutionary perspective. (shrink)

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

In a reflective and richly entertaining piece from 1979, Doug Hofstadter playfully imagined a conversation between ‘Achilles’ and an anthill (the eponymous ‘Aunt Hillary’), in which he famously explored many ideas and themes related to cognition and consciousness. For Hofstadter, the anthill is able to carry on a conversation because the ants that compose it play roughly the same role that neurons play in human languaging; unfortunately, Hofstadter’s work is notably short on detail suggesting how this magic might be achieved1. (...) Conversely in this paper - finally reifying Hofstadter’s imagination - we demonstrate how populations of simple ant-like creatures can be organised to solve complex problems; problems that involve the use of forward planning and strategy. Specifically we will demonstrate that populations of such creatures can be configured to play a strategically strong - though tactically weak - game of HeX (a complex strategic game).We subsequently demonstrate how tactical play can be improved by introducing a form of forward planning instantiated via multiple populations of agents; a technique that can be compared to the dynamics of interacting populations of social insects via the concept of meta-population. In this way although, pace Hofstadter, we do not establish that a meta-population of ants could actually hold a conversation with Achilles, we do successfully introduce Aunt Hillary to the complex, seductive charms of HeX. (shrink)

The images of the clown and the freak and representations of the grotesque body are recurrent motifs in modern Jewish literature, film, art, theatre and dance. Kafka’s novella Metamorphosis is an early prototype of the changeling who leaves conventional human appearance behind and is gradually transformed into an insect-like creature. The story served as a prototype for Woody Allen’s film Zelig, in which the main protagonist adopts a variety of different personas, amongst them a Nazi in the Third Reich. (...) The theme of morphing into a freak, clown, or grotesque body reappears in various forms in contemporary Jewish culture and art: The American Jewish writer Philip Roth declared in the 1960s that he was not a Jewish sage but a Jewish freak. Freakishness, clowns, and the circus have a subversive potential: they constitute a digression from what is considered normal appearance and behaviour and play with presumptions, expectations, and social values. A study of this subject reveals the constant dialogue between religion and culture as far as Judaism is concerned. (shrink)

Two continents. Three countries. Mountains, archipelago, a little red dot & more to come. BERIT SOLI-HOLT (Editor): When I think of introductory material, I think of that Derrida documentary when he is asked about what he would like to know about other philosophers. He simply states: their love life. APRIL VANNINI (Editor): And as far as introductions go, I think Derrida brought forth a fruitful discussion on philosophy and thinking with this statement. First, he allows philosophy to open up the (...) personal and second, the ability to conjure the notion of thinking in relation. After all, love lives are spawned from relations, and such are philosophical encounters—the co-emergence of thought and affect. This brings us to discuss the concept of the special issue of continent. called drift . From the Statement of Intent : The discussion that has become drift , a special issue of continent. began in the glow of a bonfire beside a lake near the Thousand Islands of Ontario when co-founders April and Berit came across a conception of a journal that would decline to follow traditional models of invitation and editorship, instead following a generated discourse through relational means. Shedding preemptive articulation of expected outcome and cohesion, we hope to light a fuse of chain interactions with each contributor active in authorial, editorial, and curatorial roles. drift seeks to allow the framing mechanism to choose itself, to find where something can flow or emerge in relation to a series of participants. By setting out a thread of thought to work its own way through writers and artists of various locations, drift operates through links, breaks, pauses, new directions, unintended consequences, twists, holes, bridges. We are attempting to give the scene for an emergence and what can become conceivable when given the opportunity to create chains of thought—linking, welding, fusing, looping, stitching. We hope to explore what is attainable when scholarly/artistic relationships transverse on their own terms instead of articulated by an institutional environment. JEREMY FERNANDO (Guest Editor): I think he was actually more interested in their sex lives. Though at the same time completely refusing to discuss, disclose, his own: I found it rather touching that he blushes whenever speaking of his life with Marguerite. So perhaps in this sense it is very apt to speak of it in terms of love; and the secret that is in each love: that even though it is a relationality between, there are parts of it that remain hidden, not just from everyone else, but even those in that relation itself. What the editors intend to ^do^ to impart this conceptualization is to provide a framework through the choice of a theme and by minimal standardization of form and content guidelines. As initial instigator, each editor will send their contribution to the issue to a fellow colleague, thinker, artist, friend with the invitation to send (via post) the accruing materials to another possible contributor. In this, we hope to engage with many individuals on ideas surrounding a specific theme determined but not limited by the editors of the drift . The end result will take the form of whatever is at hand (as materials can only stay with each contributor for two weeks) and whomever is at hand (the availability of interested and capable parties) through a course of five months. We are curious. What are the ways in which thought can emerge between individuals and places? What occurs when our fundamental mode of inquiry is between each other? How are ethical, social, spacious, political, aesthetic practices created between a chain of contributors. BSH: To introduce what to look forward to in June with the publication of drift isn't quite possible yet. It is in the stages of preparation, barely started, but already begun. I have been thinking about drift as an insect that goes through life cycles, chrysalises, pupas, larva. Each moment of the production and publication of this issue of continent. is its own life. A bug under a pin is not as interesting as one in flight or crawling up your leg. JF: Though the one crawling up your leg is also more likely to bite you. There is always already a danger in letting be, thinking …. Then again, there is also a potential rupture in attempting to seize, pin down, capture. BSH: I think a word we haven't thought about enough yet is capture. I think we are perhaps trying to capture something, or to allow for the moments of this capture along the way, the resulting material being the ripples left in the sand when the water waves away. AV: This question comes to mind when speaking about captures, waves, ripples: How can we activate a ripple? What I find interesting about a wave is the difference in frequencies, movements, forms, style that are activated in between intervals. What is interesting about a wave is that it is activated in relation to what came before. What remains in the sand is a ripple that forms in relation between multiple intervals of stylistic waves. As Deleuze and Parnet have taught us, "We were only two, but what was important for us was less our working together than this strange fact of working between the two of us. We stopped being 'author'. And these 'between-the-twos' referred back to other people, who were different on one side from the other. The desert expanded, but in so doing became more populous." 1 Drift is activation for thinking-with and possibly much more—who knows? There is the intent to subvert the relational qualities between people in journal publishing, but also important to the editors is the subversion of materials. The editors do not shy away from use of contemporary technology and, in fact, have relied and will continue to rely on the wonders of internet connectivity to midwife the drift. The connective infrastructure chosen to relay the developing issue is simply one of bodies, of postal workers and the varying postal systems. Some may find it to be merely be a call of an already dying form, but the editors believe that the conversation exchanged from hand to hand is of explicit difference in quality of engagement due to the complexity of peripheral information transported by physical matter. Different hospitalities and responsibilities are at play in keeping hold of one-of-a-kind materials for a time and entrusting various postal systems to bear the message forward. To have work physically transported through space and time through this kind of infrastructure that is reliant on individuals to literally carry a message is crucial in incorporating traces of bodily presence. AV: Thought is contingent and emergent process that folds, twists, pulls, shifts in multiple directions and we are interested in these multiple directions. JF: And even as thought is contingent on, hinged around, its place, time, venue—on its continents, as it were (we still tend to speak of gestures of thinking as Continental, British, American, European, Asian, etc.)—we might also attempt to respond to the landscape within each thought: its folds, unfoldings, rolls, manoeuvres, geography. BSH: How different is this than Morelli's screw that Julio Cortazar or Horacio Oliveira recounts in Hopscotch? The fable recalls a man who regarded a screw everyday on his stoop. When he perishes, the screw disappears, perhaps into a fellow neighbor's pocket for secret contemplation. Whoever is writing the passage remarks that "Morelli thought that the screw must have been something else, a god or something like that. Too easy a solution. Perhaps the error was in accepting the fact that the object was a screw simply because it was shaped like a screw." JF: Perhaps even more intriguing is the notion that we do not quite know who is inscribing these remarks on Morelli. That even as someone says that it is a screw, perhaps because it is shaped like a screw, the one who names it “screw”—the one whom we are in a relation with in relation to the screw—remains veiled from us. But even as this is so, the notion of the object as “screw” is marked, etched, onto us. BSH: A periodical, marking a period of time, but where? An issue, a magazine, a storehouse of information. To show the remainders of thinkers connecting and surfing. With all this stated, we, as editors of the drift are aware of the active fault, quaking potential, and ethical catastrophe of such a proposed project — the inheritance or the gifting of a project without consent. We are certain that there may be possible oversight on the process of such a project. If such is the case, we hope that oversight and misdirection will not leave this project dormant but rather open up promising new directions, questions, and potential considerations. We are very excited about the accidental propositions that can occur in between. In sum, we'll see what happens. JF: Perhaps, all we can know of the screw is that we are screwed ... NOTE Gilles Deleuze & Claire Parnet. Dialogues II . Revised edition. (New York: Columbia University Press). 2007: 17. (shrink)

Artificial Intelligence and algorithms are increasingly able to replace human workers in cognitively sophisticated tasks, including ones related to justice. Many governments and international organizations are discussing policies related to the application of algorithmic judges in courts. In this paper, we investigate the public perceptions of algorithmic judges. Across two experiments (N = 1,822), and an internal meta-analysis (N = 3,039), our results show that even though court users acknowledge several advantages of algorithms (i.e., cost and speed), they trust human (...) judges more and have greater intentions to go to the court when a human (vs. an algorithmic) judge adjudicates. Additionally, we demonstrate that the extent that individuals trust algorithmic and human judges depends on the nature of the case: trust for algorithmic judges is especially low when legal cases involve emotional complexities (vs. technically complex or uncomplicated cases). (shrink)

This research article focuses on selected Old Testament (OT) texts that deal with the theme of violence and disempowerment. The selected texts are studied and viewed from a feminist interpretation perspective, and laid bare the violent and mistreatment of women in these texts. This research study builds on the work of Phyllis Trible (1978), and she uses the term ‘texts of terror’ to refer to passages where women suffer especially at the hands of men. She believes that passages, such (...) as Deuteronomy 22:5, are regrettable and should be a cause of repentance in order to avoid them being repeated again. The way this article deals with the aforementioned exemplary books or texts in the OT is to explore a gendered feminist lens to understand the theme of disempowerment or violence against women. This approach, with the data, lays bare to the reader the nature of the problem of disempowerment and violence against women.Contribution: This article brings a feminist understanding of the OT Bible (including its social-historical context) in order to gain a clearer insight into the problematic narratives of the disempowerment of and violence against women in a patriarchal society. (shrink)

Mankind have lamented for their deaths since their existence, wept for them and written poems and proses to utter their sorrows. Thus, history of lamenting goes back as far as the pain and tragedies occurring in their lives. Although it is challenging to determine the date of first elegy poem, it can be said that elegiac is one of the oldest genres among the poems. Sadness and joy are the two important emotions in human nature. Humans mostly experience two feelings (...) separately; yet sometimes together at the same time. It is possible to see reflections of this in some literary works. During the Umayyad period, the transformation of the caliphate into a structure inherited from father to son brought about some changes and transformations in Arabic literature and led to the birth of new literary genres. One of these types, elegy, is to express condolence and celebration at the same time, that is, both sadness and joy, in literary works. In Arabic literature, this type of elegy is considered a type of iftinā, the art of expressing two opposing themes at the same time. Although the art of iftinān had existed at a conceptual level before, it was first brought into the literature terminologically by Ibn Abi al-Isba'. These impressive examples, which constitute the type of elegy in question and are generally expressed by people with quick wit, are worth examining in many respects, thanks to their high literary quality. Literary material on the subject, which has an extraordinary theme due to sadness and joy being expressed together, is scattered in the sources. As far as we can determine from the examples that have survived so far, the addressees of this art are generally the administrative groups. When the examples in the sources are examined, it is seen that condolence and celebration are combined into a single expression on various occasions. These situations, which require mastery and quick wit in terms of language and literature, offer poets and writers the opportunity to display their skills and talents. This phenomenon, which is mostly directed to caliphs, princes, emirs and other statesmen, takes place in palace circles. There is different information in the sources about who was the first person to apply this art, emerging during the Umayyad period, in poetry and prose. In this study, samples of the relevant species found scattered in the sources will be analyzed. The main goal of the article is to analyze from various perspectives these examples in poetry and prose form, where condolences and congratulations, which are a special theme in classical Arabic literature, are expressed together. The importance of this genre, which emerged during the Umayyad period and transformed into a literary structure with its own characteristics in terms of form and content, will be emphasized through examples and its place in Arabic literature will be tried to be revealed. The absence of a separate study on the subject reveals the originality of the article and is thought to contribute to the field in terms of understanding and evaluating the development of the literary genre in question. The study will be conducted based on document analysis, which is one of the qualitative research methods. (shrink)

The question of liberty has given rise to so many reflections over the millennia that it would be like counting leaves in Vallombrosa to try to give an account of it. We have therefore proposed to consider a specific declination of it, interwoven with that constellation which includes concepts such as autonomy, agency, self-determination, will, and desire. We speak of so-called ‘positive’ liberty. All the essays proposed here elaborate on this theme with different tones, producing a surprising polyphony of (...) texts that seem to evoke each other. (shrink)

In this journal theme introduction, first, I explain how comparative philosophy as explored in the journal Comparative Philosophy is understood and how it is intrinsically related to the constructive engagement strategy. Second, to characterize more clearly and accurately some related methodological points of the constructive-engagement strategy, and also to explain how constructive engagement is possible, I introduce some needed conceptual and explanatory resources and a meta-methodological framework and endeavor to identify adequacy conditions for methodological guiding principles in comparative studies. (...) Third, as a case analysis, I show how the constructive-engagement reflective practice bears on recent studies of Chinese and comparative Chinese-Western philosophy, especially in the past decade, for two purposes: to illustrate the foregoing theoretic characterization of the constructive engagement strategy, and to identify and explain some constructive morals that might have general significance for comparative studies. (shrink)

The aim of this essay is to connect the notion of the Anthropocene with Merleau-Pontyan thought by drawing on two aspects of the author’s ontological reflection. First, I consider “the event of the Anthropocene” as an event that is part of an instituting dynamic, in reference to the ontological dimension of “Institution” that Merleau-Ponty borrows from Husserl and develops in an original way in his 1954-1955 lectures at the Collège de France. I then underline the difficulties that arise when multiple (...) names are employed to designate our “current geological era” in debates on the Anthropocene, a complex global event with political, ethical, and social dimensions. To conclude, I show that this multiplication of names is constitutive of the event of the Anthropocene. The Merleau-Pontyan idea of “a theme that constitutes itself through its variations,” introduced by Mauro Carbone in his work on sensible ideas and the “arche-screen” and closely linked to the element of “Institution,” can help us find philosophical advancements at the heart of this contemporary naming debate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Rhetorical Landscapes in America: Variations on a Theme from Kenneth BurkeLawrence W. RosenfieldRhetorical Landscapes in America: Variations on a Theme from Kenneth Burke. Gregory Clark. Columbia: University of South Carolina Press, 2004. Pp. 181. $34.95, hardcover.Once again we are indebted to the University of South Carolina Press for a fine contribution from its Studies in Rhetoric/Communication series. Gregory Clark sets parallel aims: to apply Kenneth Burke's (...) critical vocabulary to cultural history, and to read American tourist sites and literature in the frame of Burke's notion of "identity" (147). Clark sees the American public landscape as "constituting in individual citizens a shared sense of common identity as members of a national public" (148). He claims that such shared experiences are as rhetorical as are more typical instances of public discourse. Thus American tourism has contributed to developing us into a national community.Clark supports his theme of rhetorical influence with six case studies: New York City, Shaker villages, Yellowstone National Park, the Grand Canyon, the Lincoln Highway, and the 1915 San Francisco Panama Exposition. While Burke's vocabulary offers a handy point of departure, the real news is in [End Page 172] Clark's discussion of the meaning and prominence of each of his six exemplars as cultural icons.This may be most evident (and endearing) as Clark recalls his own boyhood visits to Yellowstone, where he stood in the parking lot and was as captivated by the variety of license plates from across the country as by the hot springs and mudpots (69). This too was a celebration of nationhood. Equally fascinating is his consideration of the efforts of Stephan Mather, Mary Colter, and the Fred Harvey Company both to preserve national parklands and to develop a befitting "National Park Service Rustic" architectural style to enhance the natural landscape (this long before Disney's theme parks). Such typical excerpts almost cry out for Ken Burns or the History Channel to recreate the optimistic climate of a Romantic Post-Bellum civic culture depicted by Clark.The book becomes more tedious when its repeated invocation of Burkian terms tilts toward veneration. In his lifetime, Burke was unnerved by uncritical academic worship. He sought understanding, not deification. As he remarked, "They are an evangelical brood, bejeez. So... I [became] an observer at my own funeral."1 His wariness of academic enthusiasm is well taken. It does no disservice to Burke, for example, to recognize that his "identification" is a reworking of Vico's "ingenium" outfitted in creaky 1920s literary machinery.2 Shorn of some of the cumbersome Burkian baggage, the book's exemplars emerge as epideictic celebrations of the American tourist phenomenon and its part in shaping a national Romantic consciousness:And as rhetoric they traffic not in actions but in attitudes. People can encounter them without ever thinking of themselves as anything but spectators. Even in that role they are being educated... in matters of individual and collective identity.(148)Seen thus as reminders of our forebears' vision in pioneering the development of a national landscape trust, Clark's work edifies and opens us to the quiet excitement of meditative discovery. Clark guides us to monuments of cultural memory; his project is remarkably readable and a uniquely American enterprise.Lawrence W. RosenfieldUniversity of New HampshireNotes1. Letter to Malcolm Cowley, dated 11 August, 1955. Newberry Library Collection, Chicago.2. Cf. M. Mooney, Vico in the Tradition of Rhetoric (Princeton: Princeton UP, 1985), 151. [End Page 173]Copyright © 2006 The Pennsylvania State University... (shrink)

This work is devoted to the terracotta army of Qin Shihuang and its reflection in the works of modern Chinese masters of watercolor. The article consists of three parts. The first part analyzes the genesis and history of Qin Shihuang's clay army. In the second, the terracotta army is regarded as a cultural and artistic symbol of China, which stimulated humanitarian contacts between Russia and China and contributed to mutual understanding between the two peoples. In the third part, through the (...) prism of the artistic experience and creative process of three watercolor artists, the current state of research of watercolor creativity on the theme of the terracotta army is analyzed. The author's special contribution to the development of the problem is to determine the connection between the ancient cultural heritage of China and the nature of its interpretation in the works of modern watercolor artists. The novelty of the study can be recognized as the introduction into the scientific circulation of Russian art history of the names of Chinese artists and their paintings dedicated to the terracotta army of Emperor Qin Shihuang. Within the framework of the work, an appeal is made to the issue of Chinese-Russian cultural cooperation, the development of which is realized through touching this most representative monument of antiquity. Through the art criticism analysis of watercolor paintings by Chinese masters — Huang Zhongyang, Lin Shaolin, Zuo Xinmin — approaches to the reflection of this historical monument in the works of modern masters are determined, the connection between ancient and modern, traditional and innovative in their paintings is established. (shrink)

This essay is meant to shed light on a discourse that spans centuries and includes different voices. To be aware of such trans-textual resonances can add a level of historical understanding to the reading of philosophical texts. Specifically, we intend to demonstrate how the notion of the ineffable Dao 道, prominently expressed in the Daodejing 道德經, informs a long discourse on incongruent names in distinction to a mainstream paradigm that demands congruity between names and what they designate. Thereby, we trace (...) the development of the idea of the ineffable Dao quite differently from modern mystical interpretations. We show how, in an early Chinese context, it first gives rise to a sociopolitical critique of the incongruity underlying socially constructed names in the Zhuangzi 莊子, then to a discourse on the incongruity between moral virtues and names in Xuanxue 玄學 philosophy, and eventually to Sengzhao’s 僧肇 claim that a perceived congruence of names with things does not entail actual congruence between names and reality. (shrink)

This paper elucidates the notion that action is creative through the social imaginaries perspective. Hans Joas’s critique of sociological theories on action developed in The Creativity of Action (1996 [1992]) argued that creativity is an essential concept to better understand social action. Cornelius Castoriadis and Paul Ricoeur employ an understanding of action as being inextricably connected to the social imaginary and capable of bringing forth historically novel forms of being and doing. An elucidation of Castoriadis’s dichotomy between the instituted and (...) instituting imaginaries and Ricoeur’s distinction of the ideological and utopian poles of the cultural imagination bring to the surface points of convergence and divergence in their respective understandings of the social imaginary and historical novelty. Inspired by Joas’s critique of sociological theories of action through pragmatism, which is underlined by a critique of the philosophical anthropological assumptions held by structuralism, this essay argues that Castoriadis’s and Ricoeur’s distinct insights on the creative dimension of social action and the way in which social reality emerges can elucidate further an anti-structuralist philosophical anthropology that can help inform sociological theories of action. (shrink)

Albert Camus, novelist, essayist, dramatist, and recipient of the 1957 Nobel Prize for Literature, is esteemed as one of the finest philosophical writers of modern France. The French existentialist philosopher, Jean-Paul Sartre wrote about him as "the latest example of that long line of moralistes whose works constitute perhaps the most original element in French letters." Camus' literary legacy includes three novels, namely L'Etranger of 1942, La Peste of 1947, and La Chute of 1957, and a fourth unfinished one that (...) was posthumously published as The First Man in 1995. Camus' works both intensively and extensively explored the theme that was prevalent in the intellectual climate of the post-World War II Europe, the absurdity of human existence together with the notions of alienation and disillusionment, and speculated beyond the crushing pessimism a glimmering faith on human dignity and brotherhood. These concerns, no matter how well ingrained they may be in the European history of ideas, would prove to be too cognitively remote for a contemporary Filipino reader. Thus, there is a need to mediate Camus' literary discourses with a more familiar Filipino text. (shrink)

The Letter of Aristeas, a text written in Greek by a Jewish author of the Alexandrian diaspora, probably in the second century b.c., traces the circumstances under which a Greek translation of the sacred book of the Jews, the Pentateuch, was commissioned by King Ptolemy II Philadelphus. The letter situates this undertaking in the broader context of the foundation of the Library of Alexandria on the advice of Demetrius of Phalerum, who instigated the plan to gather together all the world's (...) books, both those in the possession of the Greeks and those “of other peoples.”. (shrink)

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)

Three arguments based on the Greenberger-Horne-Zeilinger (GHZ) proof of the nonexistence of local hidden variables are presented. The first is a description of a simple game which a team that uses the GHZ method will always win. The second uses counterfactuals in an attempt to show that quantum theory is nonlocal in a stronger sense than is implied by the nonexistence of local hidden variables and the third describes peculiar features of time-symmetrized counterfactuals in quantum theory.

Le concept d’espace-temps remplit chez Raymond Ruyer des fonctions diverses et ambivalentes. Il est envisagé ici comme schème explicatif commun à la physique et à la métaphysique, comme mythe philosophique formulant la question de l’unité du monde, enfin comme thème formel dans sa relation complexe au « trans-spatial » ainsi qu’à la notion bergsonienne de « durée ».

Evaluation of other cultures is a strong force in a culture’s definition of itself. Cultures are formed in encounters that include domination, conflict, and dismissal as much as appreciation and smooth exchange. In this paper, the construction of cultural identity is discussed, with reference to a Scandinavian Theme Park proposal made in cooperation between American design consultants and a local Swedish team of planners and visionaries. The image production in this design proposal, which never came to be realised in (...) architectural production, shows that “Scandinavia” appears as a two-some dialogic construction that adopts stereotyped cultural identities, and that it was not brought to any wider public dialogue. In a semiotic account of this architectural decision-making, models of culture (Lotman. 1990.Universe of the mind: A semiotic theory of culture. London: Tauris.) are discussed in terms of the tripartition of culture into Ego-culture, Alter-culture and Alius-culture (Sonesson. 2000. Ego meets alter: The meaning of otherness in cultural semiotics.Semiotica128(3/4). 537–559.; Cabak Rédei, Anna. 2007.An inquiry into cultural semiotics: Germaine de Staël’s autobiographical travel accounts. Lund: Lund University Press.), considered as a basic abstracted backdrop of what is meant by cultural difference. In this paper it is suggested that this tripartite view on culture, can be further discussed in reflection of post-colonial studies, notably through terms such as “mimicry” (Bhabha. 1984. Of mimicry and man: The ambivalence of colonial discourse.October28. 125–133.) and “subalterity” (Spivak. 1988. Can the subaltern speak?. In Cary Nelson & Lawrence Grossberg (eds.),Marxism and the interpretation of culture, 271–313. Urbana & Chicago: University of Illinois Press.). The model of culture can furthermore be discussed through Peirce’s distinction between different stages and carriers of representation, adding to the cultural model an understanding of what it means, over time, for a culture to relate to an admired as well as to a neglected other cultural actor. (shrink)

Wnt proteins are involved in a large number of events during development and disease. The crucial element in the transduction of the signal elicited by Wnt is the state and activity of β-catenin. There are two pools of β-catenin, one associated with cadherins at the cell surface and a soluble one in the cytolasm, whose state and concentration are critical for Wnt signalling. In the absence of Wnt, the cytoplasmic pool is low due to targetted degradation of β-catenin. Upon Wnt (...) signalling, β-catenin is stabilized. As a consequence, it can access the nucleus where it interacts with members of the Tcf family of transcription factors to modulate the expression of defined targets. Recent reports indicate that, in addition to Tcfs, β-catenin can interact with other nuclear proteins raising the possibility that Wnt signalling has a wider modulatory effect on transcription than is mediated by its interactions with Tcfs. BioEssays 23:311–318, 2001. © 2001 John Wiley & Sons, Inc. (shrink)

Social insects show us very little about the evolution of complex human society. As more relevant literature demonstrates, ultrasociality is a cause rather than an effect of human social evolution.

An exclusive disjunction is true when exactly one of the disjuncts is true. In the case of the familiar binary exclusive disjunction, we have a formula occurring as the first disjunct and a formula occurring as the second disjunct, so, if what we have is two formula-tokens of the same formula-type—one formula occurring twice over, that is—the question arises as to whether, when that formula is true, to count the case as one in which exactly one of the disjuncts is (...) true, counting by type, or as a case in which two disjuncts are true, counting by token. The latter is the standard answer: counting by tokens. James McCawley once suggested that, when the exclusively disjunctive construction in natural language is at issue, the construction should be treated as involving a multigrade connective whose semantic treatment is sensitive to the set of disjuncts rather than the corresponding multiset. Without any commitment as to whether there actually is such a construction, and conceding that for obvious pragmatic reasons such ‘repeated disjunct’ cases would be at best highly marginal, we note that for the binary case, this requires a nonstandard answer—count by type rather than by token—to the earlier question, and thus, an idempotent exclusive disjunction connective. Section 2 explores that idea and Section 3, a further idempotent variant for which it is the propositions expressed by the disjuncts, rather than the disjuncts themselves, that get counted once only in the case of repetitions. Sections 1 and 4 respectively set the stage for these investigations and conclude the discussion. More detailed considerations of points arising from the discussion but otherwise in danger of interrupting the flow are deferred to a ‘Longer Notes’ appendix at the end. (shrink)

In this paper I want to show that, although it is a common thread of many pragmatist or pragmatist-inspired doctrines, the belief-as-disposition-to-act theme is played on very different tunes by the various philosophical performers. A whole book could be devoted to the topic. I shall limit myself here to the views of Peirce, James, Ramsey, contemporary functionalists, and Isaac Levi. Depending on how they interpret this theme, the pragmatist philosophers can emphasise more or less the role of theory (...) and practice in their respective account of thought, truth and inquiry. When they stress the former pragmatists are what I shall call theoria-pragmatists, when they put the stress on the latter, I'll call them the praxis pragmatists. I suggest that the first variety is much more appealing than the other, and I side with the theoreticist pragmatists. (edited). (shrink)

This fresh orientation to Kant's _Critique of Pure Reason_ presents his central theme, the development of his Transcendental Idealism, as a ground-breaking response to perceived weaknesses in his predecessors' accounts of experiential knowledge. Traces the central theme of the Critique, the development of Kant's Transcendental Idealism. Offers new and original readings of the central arguments in both the Transcendental Aesthetic and the Transcendental Analytic. Appraises the success and failure of Kant's project in the _Critique_.

Si loin que l’on puisse mener la description des comportements religieux des humains, l’analyse des comment et leurs attitudes ne répond pas toujours à la question du pourquoi. C’est dans ce double contexte pluraliste que se pose la question du juste sens à donner au concept de religion. Car l’expérience quotidienne des médias, comme de la lecture d’ouvrages philosophiques, apologétiques, théologiques et autres, révèle que des mots comme religion, divin, sacré, sont lestés de sens multiples et souvent contradictoires. Il paraît (...) donc indispensable de préciser les notions que nous utilisons dans l’analyse du fait religieux, et de prendre en compte le lieu où se situe le discours : histoire, sociologie, philosophie, théologie. Car plus les voies sont multiples pour appréhender le religieux, plus il faut préciser les mots et la chose : toutes exigences auxquelles se soumet Michel Meslin.As far back as we can take the description of the religious behavior of human beings, the analysis of the how and their attitudes does not always answer the question of why. It is in this twofold context that the question arises of the exact meaning to be given to the concept of religion. The daily experience of the media, as well as the reading of philosophical, apologetic, theological, and others works, reveal that words like religion, divine, and sacred, are weighed down by multiple and often contradictory meanings. Thus, it appears indispensable to specify the notions that we use in the analysis of the religious fact, and to take into consideration where the discourse is situated: history, sociology, philosophy, or theology. The more ways there are to grasp the religious phenomenon, the more precise we must be in the words we use about it, requirements with which Michel Meslin has rigorously complied. (shrink)

Through a selection of primary sources, this article demonstrates the political and legal languages which articulated monarchist ideas in interwar Yugoslavia. Variations on the theme emerged in different periods. First, the national and so democratic character of the monarch and monarchy was a prevalent image at the end of the First World War and in the first decade of the Yugoslav state’s existence. During the domestic political crises in the second half of the 1920s, the language of monarchism shifted (...) toward discourses of stability and public order. After the declaration of the royal dictatorship in January 1929, the language of monarchism became fully invested in expressing the monarch’s absolute political authority, legally inviolable character, and the resulting ‘unity of state and nation’. For the political Right, the king embodied the spirit of integral Yugoslavism. While the language of monarchism could serve disparate political ideologies – as in the liberal monarchist emigration after spring 1941 – it was rather primarily linked to the political visions of the Right in the final decade of interwar Yugoslavia. (shrink)

Le témoignage d’Andrée Duby confirme que le thème de l’histoire des femmes émerge progressivement de l’étude de la famille et du mariage conduite depuis le début des années 1960. Peu de participants au séminaire d’Aix ont suivi le maître dans cette voie. Les Procès de Jeanne d’Arc sont une oeuvre commune dont Andrée Duby a assumé la préparation. Mais Georges Duby était bien davantage attiré par la spiritualité franciscaine.

En varios pasajes de la obra de Lévinas vemos que su manera de presentarse frente a lo político es ambigua. O bien, resulta mejor decir que solo en apariencia el "objeto" de lo político en sus reflexiones sobre la justicia y el Estado resultan claras; hay una suerte de equívoco que vale la pena precisar y distinguir. Así, el objetivo central de este trabajo es describir dos momentos políticos en Lévinas leídos en clave Estado, como una figura posible de la (...) política; desentrañamos así la trama anti-política en tanto crítica política al Estado, para llegar a la trama del Estado justo e igualitario, lo que abre nuevas puertas para pensar lo político. A partir de esta descripción reflexionamos, por un lado, una postura crítica frente a las ideas sobre el Estado de Lévinas desde las vinculaciones ético-políticas que hace, tal como la de Alberto Sucasas. Y por otro, en contraposición a éstas, las interesantes y extravagantes lecturas que hace Miguel Abensour de Lévinas creyendo que las relaciones ético-políticas levinasianas aportan a renovar críticamente una nueva figura de Estado dejando el terreno político y estatal abierto a nuevas reflexiones. In several passages of Levinas' work we see that his way of presenting the political front is ambiguous. Or, more precisely, that the "object" of the political in his reflections about justice and the State is only apparently clear; there is a sort of equivocalness that is worth clarifying and distinguishing. The aim of this article is to describe two political moments in Levinas, read in terms of the State as a possible figure in politics. We thus unravel an anti-political theme which is critical of the politics of the State, in order to reach a theme of a State that is just and egalitarian. This opens up new territory from which to think of the political. One critique of Levinas' ideas of the State in terms of its ethical-political linkages is that put forth by Alberto Sucasas. A second contrasting critique is the interesting and extravagant reading of Miguel Abensour, in which Levinasian ethical-political relationships lead to a critical renewal of a new figure of the State, leaving the political and state terrain open to new reflections. (shrink)

Six variations on the Sleeping beauty theme are presented.

This paper provides a critical interpretation of the theme, point, and methodological status of Adorno’s so-called negative dialectic. The theme at issue, ‘non-identity’, comes in several varieties; and the point of Adorno’s dialectic, namely reconciliation, is multifaceted. Exploration of those topics shows that negative dialectic seques into substantive doctrines, including a version of transcendentalism and a claim about deformation. The peculiar methodological status of negative dialectic explains that adumbration. In the appraisive register, my principal contentions include these: Adorno’s (...) transcendentalism makes some sense of the aforementioned deformation claim; and negative dialectic qua method avoids mystery and metaphysical excess. (shrink)

Let ≺ be a primitive recursive well-ordering on the natural numbers and assume that its order-type is greater than or equal to the proof-theoretic ordinal of the theory T. We show that the proof-theoretic strength of T is not increased if we add the negation of the statement which formalizes transfinite induction along ≺.