Only recently have sociologists considered the role of nonhuman animals in human society. The few studies undertaken of battered women and their animal companions have revealed high rates of animal abuse co-existing with domestic violence. This study examines several aspects of the relationship between humans and animals in violent homes. The study explored the role of companion animals in the abusive relationship through in-depth, semi-structured interviews with clients at a battered women's shelter. In particular, the study (...) focused on the use of companion animals by women's violent partners to control, hurt, and intimidate the women; the responses of the animals to the women's victimization; and the role of pets as human surrogates and the resulting symbolic interaction between human and nonhuman family members. The significance of the findings for family violence research and application are discussed, as well as the broader implications for sociological investigation of human-animal interaction. (shrink)

In this paper I suggest that play is a distinctive behavioural category whose adaptive significance calls for explanation. Play primarily affords juveniles practice toward the exercise of later skills. Its benefits exceed its costs when sufficient practice would otherwise be unlikely or unsafe, as is particularly true with physical skills and socially competitive ones. Manipulative play with objects is a byproduct of increased intelligence, specifically selected for only in a few advanced primates, notably the chimpanzee.The adaptiveness of play in pongid (...) evolution is traced through the probable changes in selective pressures that occurred in hominid evolution. It is argued that fantasy was an emergent property in hominids, made possible by symbolic intelligence and language, and serving to make play complex enough to continue to provide useful practice for increasingly complex later skills.The advent of organised instruction and education has meant that play's unplanned, intrinisic goal-setting could be replaced by extrinsic goal-setting in the systematic development of particular skills. However, the need to ensure adequate motivation has continued to give play educational value. In addition, its capacity to enhance innovative behaviour seems to be a residual function of play which has acquired a new cultural importance. (shrink)

Play behaviour is notorious for constituting a much debated, yet little clarified field of research. In this article, attempts are made to reach conclusions on the relation between human play and the play of other animals (especially cat play), as well as on the very character of play. The concept of Umwelt is reviewed, as are definitions of animal play, categorization of animal play and the role of meta-communication in playful behaviour. For some, play is a symbol of everythingthat (...) is good. The author of the current article does not deny that social morality may have originated from play behaviour, but stresses the existence of cruelty play, which leads to additional assumptions. Another notion that is treated in some detail is perceptual play, which proves to demonstrate complex semiotic play that is related first of all to signification. At the end of the article an alternative categorization of animal play is suggested, in which the fundamental role of mind games is emphasized. Throughout the text, examples of play behaviour are offered by the two domestic cats Muki and Maluca. (shrink)

Symbol formation is a term used to unify the view on the interdependencies in the research of the Hamburg University before 1933: the Philosophical Institute (William Stern, Ernst Cassirer), the Psychological Institute (Stern) with its laboratory (Heinz Werner) in cooperation with the later joining Umwelt Institut (Jakob von Uexküll). The term, definitely used by Cassirer and Werner, is associated with the personalistic approach: “Keine Gestalt ohne Gestalter” (Stern), but also covers related terms like “melody of motion” (Uexküll), and “relational content” (...) (Cassirer), discussing the term “empirical scheme” (Kant). All this scientific interest addressed personal forces to structure thresholds in equivalent stimuli. This view on intermodal formation allowed research in common aspects in the environments of animals, of children and adults to meet there the symbol formation of artists (Weimar Bauhaus) and poets like R. M. Rilke, a friend of Uexküll. (shrink)

From a largely Western phenomenon, the “animal turn” has, in recent years, gone global. Animals and Human Society in Asia: Historical, Cultural and Ethical Perspectives is just such a timely product that testifies to this trend.But why Asia? The editors, in their very helpful overview essay, have from the outset justified the volume's focus on Asia and ensured that this is not simply a matter of lacuna filling. The reasons they set out include: the fact that Asia is the (...) cradle of early human settlement and animal domestication; Asia encompasses an extreme diversity of closely connected ecosystems and human cultures; Asia is the place where the world's major religions originated; and, as in other parts of the world, Asia's use of animals for food and other utilitarian purposes constitutes a prominent feature of its culture. All of these factors, they argue, made Asia a unique lab for the exploration of major developments in human civilization and the complexities of human-animal interactions.Based on these premises, the book is divided into four parts, each concentrating on areas that the editors consider to have paramount significance in world history: Part I, “Hunting and Domestication”; Part II “Animals as Food”; Part III “Animals at War”; and Part IV “Animals in Culture and Religion.” As many good works on animal studies do, the volume adopts a truly cross-disciplinary approach, uniting scholars from disciplines as diverse as archaeology, history, anthropology, art, religion, literature, and cultural studies. It too takes an interregional approach and covers a vast geographical area, stretching from the western edge of Asia in the Levant to Central Asia, where once roamed the horses of the nomadic pastoral tribes, to the other end of Asia, including India, China, and Japan. Temporally impressive as well, the work takes us from the deep history of the Paleolithic period up to the contemporary world, exploring the diverse roles that a wide range of animals—horses, donkeys, camels, elephants, tigers, and so forth—have played in Asia's rich and unique past and present.Strong in archaeology, Part I, “Hunting and Domestication,” responds to the much-called for “deep” or “coevolutionary” history of human-animal relations in recent years. The three chapters discuss, respectively, the roles that proboscideans have played in the diet and culture of early societies in Paleolithic China and beyond; the ways in which animals of all sizes have been increasingly integrated into the diet, daily uses, trade, and warfare in Holocene Negev; and the diversifying roles played by donkeys in the early Bronze Age in Southern Levant as a food source, a means of transport and in ritual sacrifices. Together, they demonstrate, with reference to telling archaeological evidence how the early societies in this region have been highly dependent upon the increasingly sophisticated interactions with and uses of mega-herbivores in the protracted and by no means clear-cut transition from hunting and herding towards the agricultural way of life, affirming the co-existing and co-constituting relations between humans and other animals in the deep past of Asia.The chapters in the section on “Animals at War” equally reveal the crucial roles that animals have played in the military sphere, as either a practical war technology or a show of military power. “Elephants in Mongol History” revisits the thesis of elephant-mounted troops in South and Southeast Asia as a barrier to Mongol expansion. Through its lively account of the pivotal battles in Mongolian history, especially that against India and China, it illustrates with great success the complex interactions between animals (especially elephants, horses, and humans), technology, and the geographical environment, which jointly exercised their influence on the outcome of warfare and degree of success of political rule. Turning away from the dynamic of warfare, the following two chapters explore the biopolitical question of the management of the horse as a bio-resource in the Mamluk Sultanate of Egypt and Syria (1250–1517) and early Ming Dynasty China, respectively. The first one places its focus on the breeding, procurement, and feeding of the horse subjects in question, while the latter concentrates on the human organization of various resources for the upkeep of government horses—a conventional area of study called “horse administration” in the institutional history of the government in China.The last section, “Animals in Culture and Religion,” examines the changing images of apex predators, such as lions and tigers, in Buddhist perceptions from South Asia to East Asia; the cult of the Horse King in late Imperial China; and the significance of animal signs in Mongolian historiography. They represent an established approach in animal studies that seeks to understand different aspects of human culture through symbolic or metaphorical animals. Instead of treating the animals discussed as mere abstractions, which has been a frequent criticism of works that adopt this approach, the relations between the symbolic animals and their prototype in the natural world were attentively explored. The essay on the cult of the Horse King, for example, closely links the wax and wane of the cult since late imperial China with the changing use and subsequent disuse of the actual horses in agriculture, transportation, commerce, and quotidian life. Yet, classic as these essays on symbolic animals are, one does feel slightly unsatiated when coming to the end of this section, which also marks the end of this volume. Having been reminded early in the introductory essay that Asia was “a major site for the emergence of moral teachings and ethical guidance on the treatment of animals” and how this legacy “still affects the lives of billions of humans to this very day,” one feels naturally rather let down that no article in this volume directly addresses this vital ethical dimension, especially since it belongs to a series on “animal ethics.”Indeed, regarding the task of placing either the nonhuman animals or the ethical relations between humans and other animals center stage, the essays in this volume achieve only varying levels of success. Some authors exhibit a more acute awareness of what “animal studies” or “animal ethics” might entail epistemically and methodically and experiment by paying closer attention to the species-specific characteristics, experience, and agency of nonhuman animals in order to cast off the deified anthropocentrism previously ruled in humanist scholarship. However, others have made no such attempt. For example, in Part II of “Animals as Food,” an essay on the production and consumption of milk in contemporary China, albeit alert to the issue of health hazards to consumers, omits any consideration of the subject from the dairy cows’ perspective under the modern intensive farming system. Moreover, otherwise superb research on the tuna-fishing industry in Japan, with its insightful discussion of the nexus between knowledge economies and imperial politics, too passes over any discussion of the fate of the tuna, whether collectively as a group of living organisms containing 15 species or individually as animals with an embodied experience. One does ponder whether these essays would fit better in a volume on the cultural history of food or on the entwining history of knowledge production, economics, and politics, which conventionally position human interests at the center of research.Taken as a whole, this is an impressive volume that directs our attention to the hitherto understudied world of Asia in animal studies. The long durée, with its interdisciplinary and interregional approach, also most powerfully presents a past in Asia that could not have been the same without the participation of animals at every level, from everyday life to the shaping of cultural values, the construction of belief systems, the building of a national identity, and even the rise and fall of regimes. Scholars and students interested in expanding the frontier of our understanding of the world with a more inclusive “we” should find a wealth of interesting subjects on which to build further research. Finally, the volume also presents a fitting occasion for all scholars committed to animal studies to consider the grave challenge confronting the field that arose alongside its growing respectability and rapid expansion: Should it be oriented toward the destabilization of our previously anthropocentric conception of the world? Or should no such perimeter be imposed, as in this volume? The overall breadth and limitations of this volume leave one pondering this issue. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Man and Animal in Severan Rome: The Literary Imagination of Claudius Aelianus by Steven D. SmithFabio TutroneSteven D. Smith. Man and Animal in Severan Rome: The Literary Imagination of Claudius Aelianus. Greek Culture in the Roman World. Cambridge: Cambridge University Press, 2014. 308pp. $99.When Otto Keller published his meticulous work Die Antike Tierwelt (1909–13), classical scholars still conceived of ancient zoological knowledge as an astonishingly labyrinthine corpus of (...) tales. One felt the need to separate objective truths and fabulous accounts on the basis of a modern-oriented comparatist approach which was especially suspicious of Aelian’s De Natura Animalium and the so-called paradoxographic tradition. At that time, classicists were also keen to [End Page 532] see Severan literature as a scarcely original (and relatively uninteresting) digest of earlier writings—a faithful mirror of the beginning of the end.Steven Smith’s book on Aelian’s “literary imagination” and its culturally embedded use of animal figures is paradigmatic of the notable progress of scholarship in both such fields of research—the role of animals as revealing symbolic constructs and the intellectual life of Severan Rome. Throughout his well-structured survey, Smith offers new insights into Aelian’s worldview as a profoundly Hellenized Roman writer creatively combining biological notions and literary mirabilia, socio-political patterns, and sophistic aesthetics. On the one hand, the book clearly situates itself in the flourishing area of cultural and animal studies, making the most of both well-known and newly emerging theoretical frameworks (from Michel Foucault to Donna Haraway, from Derrida and Deleuze to Giorgio Agamben). Of course, the purpose of Smith as well as of other contemporary scholars interested in the ancient representation of animals is no longer to identify reliable “scientific” data as distinct from ancient folklore. Rather, it is the intersection of rhetorical, historical, and anthropological factors which seems to characterize most properly the Graeco-Roman discourse on animal life. On the other hand, however, Smith engages in an ambitious reconfiguration of Aelian’s (admittedly enigmatic) profile as an exponent of the Second Sophistic, at the same time indebted and alien to the milieu of the third century c.e. The multifaceted textual construction of Aelian’s animal narratives is shown to entail a critical (and at times ambiguous) reflection on such different issues as gender, religion, ethnicity, natural philosophy, and kingship.The book is composed of ten chapters, each one investigating a specific aspect of Aelian’s Weltanschauung on the basis of thematically connected passages. While the main focus is on De Natura Animalium (and thus on animal-related topics), two chapters (2 and 10, respectively) extend the scope of the inquiry to Aelian’s Rustic Letters and Varia Historia (VH). The monograph as a whole is framed by an introductory overview (starting with a fictional first-person speech by Aelian) and a conclusive note which sums up Smith’s most relevant theses. In addition, a more “philological” appendix discusses seventeen short fragments possibly pertaining to Aelian’s lost Katēgoria tou gunnidos (“The Indictment of the Little Woman”), a bitter invective against Elagabalus prudently written after the emperor’s death (cf. Philostr. Vit. Soph. 625).The question of Aelian’s elusive literary persona figures prominently in the general introduction and is the core subject of chapter 1. By qualifying the author of the De Natura Animalium (NA) as “independent” and “countercultural,” Smith does not mean to remove him from his social and political context. On the contrary, the evidence drawn from the NA itself (especially from the impressionistic self-portrait of the preface and the epilogue), together with the biographical sketches in Philostratus’ Lives of the Sophists and in the Byzantine Souda lexicon, is used to demonstrate that, though “inextricably bound up with and perhaps even unwittingly celebratory of urban Roman culture of the early third century c.e., Aelian nevertheless also fashions a literary persona that is critical of that same [End Page 533] cultural milieu” (16). In Smith’s view, such a fascinatingly ambivalent effect is made possible by the overwhelming stylistic variety (poikilia) of the NA, which appears as an “open” work (in Umberto Eco’s terms) intentionally lacking any large-scale... (shrink)

This paper analyses the cultural and biosemiotic bases of human attitudes towards other species. A critical stance is taken towards species neutrality and it is shown that human attitudes towards different animal species differ depending on the psychological dispositions of the people, biosemiotic conditions (e.g. umwelt stuctures), cultural connotations and symbolic meanings. In real-life environments, such as zoological gardens, both biosemiotic and cultural aspects influence which animals are chosen for display, as well as the various ways in (...) which they are displayed and interpreted. These semiotic dispositions are further used as motifs in staging, personifying or de-personifying animals in order to modify visitors’ perceptions and attitudes. As a case study, the contrasting interpretations of culling a giraffe at the Copenhagen zoo are discussed. The communicative encounters and shifting per ceptions are mapped on the scales of welfaristic, conservational, dominionistic, and utilitarian approaches. The methodological approach described in this article integrates static and dynamical views by proposing to analyse the semiotic potential of animals and the dynamics of communicative interactions in combination. (shrink)

This study was an attempt to investigate the nature of metaphor by doing a cross-cultural comparison of metaphor in 2 typologically different languages-English and Persian. For this purpose, animal metaphors were taken for comparison. The "GREAT CHAIN OF BEING" metaphor (Lakoff & Turner, 1989), along with the principle of metaphorical highlighting (Kovecses, 2002), were used as a framework in comparing different aspects of animal metaphors as interpreted by native speakers of the 2 languages. The results showed that although animal (...) metaphors in English and Persian are similar to a certain extent, many aspects of them are culture-specific. The similarities and differences among 44 animal metaphors in these 2 languages are shown and some possible explanations are put forward. (shrink)

Der Mensch hat in den verschiedenen Bereichen des Alltagslebens, der Institutionen, der Wissenschaften und der Philosophie hochst verschiedene Verhaltnisse zu Tieren ausgebildet. Fur praktisch alle besteht eine Asymmetrie zwischen Mensch und Tier. Als Gegenstand des Wirtschaftens, der Wissenschaften und der Kunste unterliegen die Tiere menschlicher Verantwortung. Umgekehrt konnen sie weder Wissenschaften hervorbringen noch im wortlichen Sinne Verantwortung fur den Menschen ubernehmen. Hier bleiben unter anderem zeitgenossische Deutungen naturwissenschaftlicher Theorien zu bedenken. Der vorliegende Band reflektiert aus Sichtweise von neun wissenschaftlichen Disziplinen (...) die verschiedenen Mensch-Tier-Verhaltnisse. Er dokumentiert eine Vortragsreihe von Mitgliedern der Wissenschaftlichen Gesellschaft an der Goethe Universitat Frankfurt am Main im Winter 2012-2013. (shrink)

Interspecies Ethics explores animals' vast capacity for agency, justice, solidarity, humor, and communication across species. The social bonds diverse animals form provide a remarkable model for communitarian justice and cosmopolitan peace, challenging the human exceptionalism that drives modern moral theory. Situating biosocial ethics firmly within coevolutionary processes, this volume has profound implications for work in social and political thought, contemporary pragmatism, Africana thought, and continental philosophy. Interspecies Ethics develops a communitarian model for multispecies ethics, rebalancing the overemphasis on (...) competition in the original Darwinian paradigm by drawing out and stressing the cooperationist aspects of evolutionary theory through mutual aid. The book's ethical vision offers an alternative to utilitarian, deontological, and virtue ethics, building its argument through rich anecdotes and clear explanations of recent scientific discoveries regarding animals and their agency. Geared toward a general as well as a philosophical audience, the text illuminates a variety of theories and contrasting approaches, tracing the contours of a postmoral ethics. (shrink)

This paper develops a psychological and ethical ecofeminist position and then compares ecofeminism to corporate and free market capitalism in terms of effects along four scales of well-being: democracy/human rights, environmental health, psychological health, and cruelty toward animals. Using aspects of symbolic interactionism and Antony Weston's self-validating reduction model, it is demonstrated that an ecofeminist belief system tends to promote moral and psychological health whereas the discussed forms of capitalistic thinking militate in the other direction. Ecofeminism is (...) not, however, incompatible with all forms of capitalism, and toward the end of supporting this thesis the rudiments of an ecofeminist capitalism are provided, a capitalism radically divergent from traditional forms yet nevertheless respectful of certain key principles. (shrink)

The symbolic world of Corpus Areopagiticum is considered here from the prospect of the dichotomy in similar and dissimilar similarity (the images). The dissimilar images are divided into decent, average andthe distant ones. The similarand dissimilar images of Areopagite describe the world system by cataphatic and apophatic approach. The apophatic one seems to be noticeably more important for the author, as in denial (what God is not) or as in applying of unworthy predicates concerning him, his fundamental transcendence and (...) unknowability become more expressive. Similarand dissimilar images are both the divine names from the NewTestament and the Old Testament respectively. They allow the agent of cognition get closer to the understanding of the universe structure. The divine names correspond to the so-called universal concepts which are considered in the works of contemporary linguistic conceptualistics. Anthropomorphic and zoomorphic characters of the Scripture belong to the dissimilar images, such as parts of the human body, wild animals etc. The most distant dissimilar images should be analyzed as the manifestations of the human passions applied to the naming or description of God. This is the most controversial aspect of the dissimilar similarities because of their provocative character for a profane reader. Thomas Aquinas, one of the ardent admirers of the Corpus, has denied it while considering the theory of images ("The Mystical Theology"). The works of Areopagite have become an example of combining the Eastern and Western traditions ofargumentation which still remains within the framework of the Christian experience. (shrink)

As evidence of the unintended consequences of industrial farm animal production continues to mount, it is becoming increasingly clear that, far from being a trivial matter of personal preference, eating is an activity that has deep moral and spiritual significance. Surprising as it may sound, the simple question of what to eat can prompt Christians daily to live out their spiritual vision of Shalom for all creatures--to bear witness to the marginalization of the poor, the exploitation of the oppressed, the (...) suffering of the innocent, and the degradation of the natural world, and to participate in the reconciliation of these ills through intentional acts of love, justice, mercy, and good stewardship. The aim of this work is to understand the cultivation of more intentional "compassionate eating" habits as a form of engaged Christian discipleship that responds to a wide array of practical, moral, and spiritual problems affecting all aspects of creation--human, animal, and environmental. The guiding suggestion is that compassionate eating is a spiritual discipline that offers a symbolically significant and practically effective way to live in faithful anticipation of the "peaceable kingdom" described in Judeo-Christian creation and redemption narratives. (shrink)

Going beyond the creolisation theories of Brathwaite and Glissant, I attempt to develop ideas concerning the gendering of creolisation, and a historicising of affects within it. Addressing affects as ‘physiological things’ contextualised in the history of the Caribbean slave plantation, I seek, importantly, to delineate a trajectory and development of a specific Creole history in relation to affects. Brathwaite's proposition that ‘the most significant (and lasting) inter-cultural creolisation took place’ within the ‘intimate’ space of ‘sexual relations’ is key to my (...) argument. In the light of this, I consider how Creole cultural knowledge about affect—as the primary motivational system inclusive of fear, anger, outrage and so on — might be identified, and what constitutes such Creole knowledge within which affect might be embedded. How might Glissant's relationality and Creole literary texts add to this knowledge? I focus primarily on three texts: Clarke's The Polished Hoe, Collins’ The Colour of Forgetting and Morejón's ‘Amo a mi amo’/‘l Love My Master’. Each text on which I draw is selected for its intersectional representation of gender relations, ‘knowledge about sexual difference’ and its representation of Creole subjectivities within the context problematised here as the ‘demonic ground’. Moreover, as auto-theorising texts, they represent both narrative and meta-narrative of a creolising of affects in and against the economy of the slave plantation. Each represents also a stage or aspect of the development of subjectivities and an affective community that inform this intervention concerned with theorising against consolidated, universalising and Eurocentric conceptualisations of affect. In the process, I attempt to offer a differentiated cartography and literary archaeology of affect. (shrink)

The symbolic world of Corpus Areopagiticum is considered here from the prospect of the dichotomy in similar and dissimilar similarity (the images). The dissimilar images are divided into decent, average andthe distant ones. The similarand dissimilar images of Areopagite describe the world system by cataphatic and apophatic approach. The apophatic one seems to be noticeably more important for the author, as in denial (what God is not) or as in applying of unworthy predicates concerning him, his fundamental transcendence and (...) unknowability become more expressive. Similarand dissimilar images are both the divine names from the NewTestament and the Old Testament respectively. They allow the agent of cognition get closer to the understanding of the universe structure. The divine names correspond to the so-called universal concepts which are considered in the works of contemporary linguistic conceptualistics. Anthropomorphic and zoomorphic characters of the Scripture belong to the dissimilar images, such as parts of the human body, wild animals etc. The most distant dissimilar images should be analyzed as the manifestations of the human passions applied to the naming or description of God. This is the most controversial aspect of the dissimilar similarities because of their provocative character for a profane reader. Thomas Aquinas, one of the ardent admirers of the Corpus, has denied it while considering the theory of images ("The Mystical Theology"). The works of Areopagite have become an example of combining the Eastern and Western traditions ofargumentation which still remains within the framework of the Christian experience. (shrink)

Insects factored as ‘symbols of instinct’, necessary as a rhetorical device in the boundary work of early social psychology. They were symbolically used to draw a dividing line between humans and animals, clarifying views on instinct and consciousness. These debates were also waged to determine if social psychology was a subfield of sociology or psychology. The exchange between psychologist James Mark Baldwin and sociologist Charles Abram Ellwood exemplifies this particular aspect of boundary work. After providing a general background of (...) the debates, I turn specifically to the writings of Baldwin and Ellwood between 1890 and 1936, tracing the use of insects as ‘symbols of instinct’. (shrink)

Chapter 1 First Person Access to Mental States. Mind Science and Subjective Qualities -/- Abstract. The philosophy of mind as we know it today starts with Ryle. What defines and at the same time differentiates it from the previous tradition of study on mind is the persuasion that any rigorous approach to mental phenomena must conform to the criteria of scientificity applied by the natural sciences, i.e. its investigations and results must be intersubjectively and publicly controllable. In Ryle’s view, philosophy (...) of mind needs to adopt an antimentalist stance to achieve this aim. Antimentalism not only definitively rejects the idea that mind is a substance separated from the body, it also denies that mental phenomena radically differ from physical phenomena by virtue of several unique features. Most problematically, mental phenomena have a conscious character (mental states are related to specific qualitative feelings) and are accessible only to the first-person (only the subject knows directly what s/he is experiencing inside his/her mind). Ryle takes a strong stance on antimentalism going so far as to maintain that an approach to mind which aims to meet the criteria of scientificity set by the natural sciences must avoid any reference to internal, unobservable mental states. In his view (which is considered a specifically philosophical version of psychological behaviorism and also addresses questions put forward in psychological research), mental states can be redescribed in terms of behavioral dispositions. In this chapter, we address the historical roots of the antimentalist view and analyze its relation to the later tradition of research on mind. We show that, compared to the antimentalist stance, functionalism and cognitivism take a step back when they maintain that direct reference to mental states is necessary since mental states cause and therefore explain human behavior. This step backwards is often interpreted as a return to mentalism. However, this is only partially true. Indeed, we suggest that these later traditions retain one important element of Ryle’s antimentalism, i.e. the idea that mental states must be uniquely identified using external and publicly observable criteria, while excluding any reference to introspection and those qualitative dimensions of a mental state, which are accessible only to the first-person. According to the perspective we put forward, this epistemological stance has continued to influence contemporary research on mind and current philosophical and psychological theories which both tend to exclude the subjective qualities of human experience from their accounts of how the mind works. The issue we raise here is whether this is legitimate or whether subjective qualities do play a role with respect to the way our mind works. The conclusion of this chapter anticipates the argument the book makes in in favor of this latter position, starting from a particular angle, i.e. the problem of how we categorize concepts related to our internal states. -/- Chapter 2 The Misleading Aspects of the Mind/Computer Analogy. The Grounding Problem and the Thorny Issue of Propriosensitive Information -/- Abstract. After the crisis of behaviorism, cognitivism and functionalism became the predominant models in the field of psychology and of philosophy, respectively. Their success is mainly due to the new key they use for interpreting mental processes: the mind/computer analogy. On the basis of this analogy, mental operations are seen as cognitive processes based on computations, i.e. on manipulations of abstract symbols which are in turn understood as informational unities (representations). This chapter identifies two main problems with this model. The first is how these symbols can relate to and communicate with perception and thus allow us to identify and classify what we perceive through the senses. Here we limit ourselves to presenting this issue in relation to the classical symbol grounding problem originally put forward by Harnad on the basis of Searle’s Chinese room argument. An attempt to address the problem raised here will be made in chap. 3. The second point we discuss in relation to the mind/computer analogy concerns the idea of information it fosters. Indeed, following this analogy, information is something available in the external world which can be captured by the senses and transmitted to the central system without being influenced or modified by the procedures of transmission. This perspective does not take into account that – unlike computers – in living beings information is acquired by means of the body. As Ulric Neisser has already pointed out, the body is itself an informational source that provides us with additional sensory experience that influences (modifies or complements) the information extracted from the external world by the senses. To develop this line of analysis and to determine exactly what information is provided by the body and how this might influence cognition, we examine Sherrington’s and Gibson’s positions. Moving on from their views, we qualify bodily information in terms of ‘proprioception’. We use ‘proprioception’ in a broad sense to describe any kind of experience we have of our internal states (including postural information as well as sensations related to the general state of the body and its parts). Following Damasio’s and Craig’s studies, we further elaborate this position, arguing that living beings are equipped with an internal propriosensitive monitoring system which maps all the changes that constantly occur in our body and that give us perceptual (‘proprioceptive’ or propriosensitive) information about what happens inside us. Moreover, relying on Goldie’s and Ratcliffe’s view, we show that emotional information can also be considered as a form of ‘proprioception’ which contributes to determining everything we perceive. This analysis leads us to the second main thesis of this book: ‘proprioception’ is a form of internal perception and it is an essential component of the sensory information we can access and use for all cognitive purposes. -/- Chapter 3 Semantic Competence from the Inside: Conceptual Architecture and Composition -/- Abstract. Concepts are essential constituents of thought: they are the instruments we use to categorize our experience, i.e. to classify things and group them together in homogeneous sets. Here we define concepts as the internal mental information (representations) that allows us, among other things, to master words in natural language. By analyzing the way in which individuals master word meanings we explore a number of hypotheses regarding the nature of concepts. Following Diego Marconi’s research, we differentiate between two kind of abilities that underpin lexical competence – so-called ‘referential’ and ‘inferential competence’ – and we suggest that, in order to support these abilities, concepts must also include two corresponding kinds of information, i.e. inferential and referential information. We point out that the most widely used and acknowledged theories of concepts do not make this distinction, instead broadly characterizing the information used for categorization in terms of propositionally described feature lists. However, we show that while feature lists can explain inferential competence, they do not account for referential competence. To address the issue of referential competence we examine Ray Jackendoff’s hypothesis that to account for the possibility of linking perceptual and conceptual information we need to assume the existence of a (visual) representation that encodes the geometric and topological properties of objects and bridges the gap between the percept and the concept. Furthermore, we analyze the extension of this work by Jesse Prinz who introduced the notion of a proxytype, a perceptual representation of a class of objects that incorporates structural and parametric information related to their appearance. However, as we point out, proxytypes can only explain the relationship between perception and concepts with respect to instances that can be perceived through the senses and that belong to the same class by virtue of their physical similarity. We suggest that this notion be extended to include larger conceptual classes. To accomplish this, we further develop Mark Johnson, George Lakoff and Jean Mandler’s idea of a schematic image and argue that conceptual representations include a perceptual schema. Perceptual schemata are non-linguistic, structured experiential gestalts (patterns or maps) that make use of information taken from all sensory modalities, including body perception. They accomplish a quasi-conceptual function: they allow us to recognize and to classify different instances. In this work, we hypothesize that perceptual schemata are an essential component of concepts, but not identical to them. Instead, we suggest that concepts include both perceptual and propositional information with perceptual schemata providing the ‘perceptual core concept’ that grounds related propositional information. -/- Chapter 4 In the Beginning There Were Categories. The Bodily Origin of Prelinguistic Categorical Organization: The Example of Folkbiological Taxonomies -/- Abstract. Studies of categorization in psychology and the cognitive sciences have made use of the notions of ‘category’ and ‘concept’ without precisely defining what is meant by either; in fact, often these terms have been used as synonyms, making it difficult to address specific issues related to conceptual development. This chapter begins by discussing the definitions of, as well as the distinctions between, ‘categories’ and ‘concepts’ in the classical philosophical tradition (Aristotle, Kant and Husserl). We introduce our view of categories with reference to Husserl. Categorization is defined as the way in which our experience is originally (pre-linguistically) organized in a passive and fully unconscious manner on the basis of universal structuring principles. Conceptualization is explained as a later process in which the earlier categorical macro-classes are further subdivided into more specific and detailed sets; this later process also relies on linguistic learning and exposure to culture. On the basis of Ray Jackendoff, Jean Mandler, George Lakoff and Mark Johnson’s work, we hypothesize that categorization is a two-step process that begins with the formation of homogeneous sets of entities partitioned into regions that describe the ontological boundaries of the objects that humans perceive (categories) and continues at a later stage with the development of more specific classifications (concepts). In this chapter, we mainly address three related issues: Why should we assume that there is categorical organization which precedes the development of a conceptual system? How do categories and concepts relate to each other? Shall we hypothesize that categories are innate or that they are formed before concepts on the basis of information and organizational structure available at a very early developmental stage? We show that categorical partitions are necessary for categorization and, following Mandler, that the general categories we form at an early age do not match our adult superordinate concepts. As for the third issue, we argue that there might be no need to assume that categories are innately present in the human mind, since their formation can be explained – at least in certain cases – by basic mechanisms that work on body (propriosensitive) information. This hypothesis will not be discussed in general, but in relation to a particularly relevant example of categorical partition, i.e. the folk-biological dichotomy between ANIMATE/INANIMATE. This is compared with other dichotomies that derive from it, but are not directly categorical such as LIVING/NON-LIVING and BIOLOGICAL/NON-BIOLOGICAL. -/- Chapter 5 Internal States: From Headache to Anger. Conceptualization and Semantic Mastery -/- Abstract. Here we ask if we can also apply the distinction between referential and inferential competence we introduced in Chapter 3 to words that do not refer to things that are perceived using the external senses, especially to words/concepts that denote bodily experiences (such as pain, thirst, hunger, etc.) or emotions. We introduce and discuss the hypothesis that – even though such words/concepts do not refer to intersubjectively identifiable entities in the external world – they do have a kind of referent that can be accessed via direct perception, more specifically ‘proprioception’, as we have defined it in terms of all propriosensitive information we can consciously access. In the first part of the chapter, we specifically consider terms denoting bodily experiences such as ‘pain’ or ‘hunger’ and argue that their referents are identified and classified from a first-personal point of view on the basis of four main characteristics: their specific intensity, their localization in the body, their co-occurrence with other signals and above all their specific qualitative sensations. Emotions are addressed in the second part of the chapter. We suggest that there is a continuity between bodily experiences and emotions. In particular, we argue for a perceptual theory of emotions in line with that proposed by James and Lange at the end of the 19th century and developed more recently by authors such as Damasio (see also chap. 2§5, §6). The hypothesis we put forward is that the referential information that supports the categorization of emotions and therefore also our mastery of terms referring to emotions consists in the perception (i.e. the ‘proprioception’) of those bodily states and changes in bodily states which constitute our emotional experience. In the context of this discussion we examine some objections to this line of reasoning that arise from a cognitivist perspective and following authors such as Oatley, Johnson-Laird and Frijda, we distinguish between basic emotions that can be identified and classified solely on the basis on how they feel and complex emotions whose identification and classification additionally depends on cognitive factors. To describe how emotions are identified and classified on the basis of how they feel, we rely on Marcel and Lambie’s distinction between an ‘emotion state’ and an ‘emotion experience’. Both notions indicate kinds of feelings that we consciously experience. However, they describe first-order and second order emotion awareness respectively. The emotion state is the feeling we have of the bodily states and changes that occur when we are experiencing an emotion, while the emotion experience is the fully developed and integrated emotion we both experience and are, with reflection, aware of experiencing. On the basis of this differentiation, we also show that the same characteristics that aid in the identification and classification of bodily experiences (specific qualitative sensations; somatic localization; specific intensity; presence/absence of specific concomitant sensations) can also be used for the identification and classification of emotions – at least basic emotions. In the last two sections of the chapter we present some clinical evidence on the semantic competence of people who suffer from Alexithymia and Autism Spectrum Disorder which supports the conclusions of our preceding analyses. -/- Chapter 6 The ‘Proprioceptive’ Component of Abstract Concepts -/- Abstract. In this chapter, we address the issue of whether the mastery of abstract words requires only inferential knowledge and thus, if the concepts that support the mastery of abstract words include only linguistic information. We start by differentiating the notions of ‘abstract’ and ‘general’ which are often erroneously confused. We then identify a strict definition of abstract, as contrasted with ‘concrete’, that applies to words or concepts whose referent cannot be experienced by the senses. We argue that abstract words/concepts would be better described as theoretical, because they are usually conceived as structured sets of inferential knowledge expressed linguistically; that is, as small theories. Pointing out parallels with Carnap’s analysis of this issue in philosophy of science, we hypothesize that words/concepts denoting non-observable entities are not all ‘equally theoretical’, because their link to sensory experience can be stronger or weaker. We revive the distinction, inspired by Quine, between theoretical and intertheoretical concepts/words. This distinction relies on the fact that the former – unlike the latter – retains a strong, although indirect, connection with perception. In Quine’s discussion, perception is understood uniquely in terms of observability, i.e. of external sensory experience. Here we argue, however, that bodily, ‘proprioceptive’ (i.e. propriosensitive) experience can also serve to referentially ground theoretical (i.e. abstract) concepts/words. We frame this issue using the example of the theoretical concept ‘freedom’ and Lakoff’s hypothesis that this concept is developed on the basis of bodily information. We contrast this with the example of ‘democracy’ which more closely resembles an intertheoretical concept/word. Furthermore, we show that one of the classical views put forward in psycholinguistic research to explain how abstract concepts are mentally represented – i.e. Paivio’s Dual Coding Theory – points in the same direction as our analysis. The same is true of Barsalou’s work suggesting that we use internal information to understand at least some abstract words. To sustain this position, we put forward two lines of evidence: the first comes from psycholinguistic studies while the second examines deficits of semantic competence exhibited by people with Autism Spectrum Disorder. On the basis of our analysis, we put forward a classification that distinguishes between different kinds of concreteness and different degrees of abstraction: concepts/words referring to body experiences and basic emotions are described as analogous to concrete concepts/words because they are grounded in perceptual (i.e. propriosensitive) experience, while abstract concepts/words are considered more or less abstract depending on whether they are intratheoretical (and rely entirely on inferential information) or theoretical (and are partially grounded in perceptual – or more often in propriosensitive perceptual – information). In the last section of the chapter we consider two scales that have been used in psycholinguistic research to measure the degree of concreteness vs. abstractness of words and we show that – used conjointly – they can provide a measure of the internal vs. external grounding of specific words. (shrink)

In organic philosophy, the concept of naturalness is of major importance. According to the organic interpretation of animal welfare, natural living is considered a precondition for accomplishing welfare and the principal aims of organic production include the provision of natural living conditions for animals. However, respective regulations are lacking in organic legislation. In practice, the life of a calf in organic rearing systems can deviate from being natural, since common practices in dairy farms include early weaning, dehorning, or cow-calf (...) separation soon after birth. This case study explores how calf welfare is approached in six different organic dairy farms and how far the concept of naturalness is implemented. The farms included in this study were located in Norway and Sweden. A semi-structured questionnaire was used for data collection. The interviewed farmers approach the concept of welfare in various ways and state that naturalness is an aspect of animal welfare. However, in practice in the calf rearing systems under study, only a few naturalness aspects were implemented. Reasons for the observed discrepancy might lie in differing understandings of naturalness, in economic restrictions, and in other trade-offs resulting from production system inherent characteristics and in limited regulation concerning provision of natural living aspects. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LABYRINTHINE STRATEGIES OF SACRIFICE: THE CRETANS BY EURIPIDES Giuseppe Fornari The application of René Girard's mimetic hypothesis demands drastic re-interpretation of the history of our culture. The denunciation of sacrificial violence performed first by the Hebrew Bible and then by the Gospels figures as an objective watershed in the evaluation ofcivilizations and historical periods. This new methodological and theoretical situation brings Girard's ideas into conflict with current trends toward (...) relativism. The victim is the reality at the root ofhistory, an extra-historical element that disrupts the circle of interpretation and confronts us as an absolute value demanding our commitment one way or another. The epistemological problems thus become one and the same with a frankly religious need. In an elegant and paradoxical way Girard's thought gives new, vital emphasis to the Christocentric interpretation of human history typical of patristic and medieval thought. In this light, comparison ofour Christian Western civilization with its Classical predecessor becomes crucial. For the Middle Ages Antiquity was not separate from Christianity but itsfigura (préfiguration), in a positive or negative way. Modern culture, however, starting from humanism and the Renaissance, discovered the historical dimension of Classical civilization with ever-increasing admiration until, finally, Neoclassicism set it as the great alternative to modern civilization. This tendency became openly anti-Christian first with the French revolution and then with thinkers like Nietzsche and Heidegger. The very identity of Western culture is determined by its varying attitudes toward Classical Antiquity and Christianity, to such an extent that the different periods in history could be subdivided accordingly. The comparison is like asking ourselves 164Giuseppe Fornari what we would be without Christianity, or who we are and what Christianity is. The radical nature of these questions and the overall development of our culture therefore confirm Girard's radical, metahistorical model. Classical civilization is the inevitable touchstone for this trans-historical question of identity. The comparison is fascinating and complex, and it cannot be dismissed simply by juxtaposing victimary awareness and blindness. Girard himself in Violence and the Sacred notes the profound investigation of mimetic violence in Greek tragedy and pre-Socratic philosophy.1 Further research of my own into these aspects of Greek civilization confirms and widens the analysis, revealing a surprisingly varied and dramatic picture.2 The most interesting discovery may be that the Greeks had already faced this question of meta-historical identity in relation to the victim. I have chosen Euripides' lost tragedy,the Cretans, to illustrate this: its highly original subject within the corpus of Greek tragedy and its symbolic richness fully justify its choice. The few remaining fragments, which are almost entirely reproduced here, provide enough material for analyses that are necessarily more limited but more complete in themselves and thus more suitable for a single essay. Besides, they possess high literary quality and do not deserve to remain the sole preserve of specialists. The tragedy of the labyrinth Euripides probably wrote the Cretans before 430 B.C. The premisses of the plot are supplied by traditional mythical material. To demonstrate to his brothers that he has a divine right to the kingdom of Crete, Minos asks Poseidon to send a white bull from the sea for sacrifice. The god satisfies his request and Minos's power is confirmed, but he decided the bull is too beautiful to sacrifice. The wrath of the god is not slow to strike the king's family. Minos's wife, Pasiphae, falls in love with the bull and copulates with it. From this bestial union comes the Minotaur, the being, half-man half-bull, which is shut up in the labyrinth. Minos's nonperformance of the sacrifice therefore causes a grave crisis on the island, 1It could be said that the exciting comparison with Classical civilization is one of the inspiring forces of Violence and the Sacred. An analogous direction, as regards Virgil and sacrifice, is followed by Bandera in The Sacred Game (13IfI). See also note 1 1. 2G. Fornari, The Esoteric Knowledge of the Greeks: From Orphism to Tragedy, A SacrificialReading (forthcoming). Labyrinthine Strategies ofSacrifice165 jeopardizing the boundaries between man and animal. The monstrousness ofthe Minotaur represents the breaking-down ofthose differences that... (shrink)

The subject of the study is the cultural code "Rimon", covering phytomorphic symbolic images in the Jewish pictorial semiosis. The object of the study is the traditional symbolism in the pictorial practice of the Jews of the Crimea. The article uses the methods of semantic and semiotic analysis in deciphering the meanings of plant symbols of the pictorial semiosis of the Jews of the Crimea, the method of analysis of previous studies, the method of synthesis in structuring groups of (...) signs. The authors consider the following aspects of the topic: the codes of the pictorial semiosis of the Jews of the Crimea are designated, their morphology, semantics, key meanings and the main code are substantiated. The phytomorphic Rimon code and its features are considered in detail. The main conclusions of the study are: 1. As a result of studying the traditional culture of the Jews of the Crimea, five main codes of the Jewish pictorial semiosis were identified, covering the following groups of symbols: skewomorphic (subject), phytomorphic (plant), zoomorphic (animal), numeric. The source of all codes and the generalizing code is the Sefer code (Book). The interrelationships between the codes, four key meanings – Creation, Paradise, Torah persons and Messianic aspirations are revealed. The semantic center of the code system is defined – the Torah and Aron Hakodesh, as a repository of the Torah. 2. The considered phytomorphic code Rimon is a symbolism of traditional images of plants, the mention of which is found in the Torah, as well as in the Talmud and Midrash. The images of plants in the Jewish reading convey the meanings of human virtues and negative qualities, and also indicate the Messianic hopes laid down in the Torah and especially in the Midrash of the Talmud.The scientific novelty of the study consists in the fact that for the first time a semantic-semantic analysis was carried out and the interrelationships of cultural codes in the pictorial semiosis of the Jews of the Crimea were determined, with an emphasis on the Rimon code. (shrink)

Resumo: Este artigo é um exercício de leitura comparada dos textos Reden an die deutsche Nation, publicado por Johann Gottlieb Fichte, em Berlim, em 1808, e Crítica da razão tupiniquim, publicado por Roberto Gomes, em São Paulo, em 1977. Se, à primeira vista, os dois universos de discurso parecem tão distantes que dificilmente se vê o que os aproxima, parece haver contudo uma flama comum que os anima, na medida em que ambos buscam evitar o aprisionamento do espírito local nos (...) grilhões de um universo simbólico que não é o seu. O objetivo deste estudo é explorar cada uma das obras, em seus respectivos contextos, a fim de delinear os aspectos dessa chama comum que as motiva; após a confrontação dos dois textos, far-se-á, como conclusão, um breve esboço dos possíveis ganhos dessa abordagem comparativa.: This article is an exercise in the comparative reading of the Fichte’s Reden an die deutsche Nation, published in Berlin in 1808, and Robert Gomes’ Crítica da razão tupiniquim, published in São Paulo in 1977. At first glance, the two universes of discourse appear to be so distant as to render considerably difficult any kind of comparison. However, they seem to be animated by a common spirit inasmuch as both are essays that articulate an epistemological resistance to the imminent danger of being enclosed in a symbolic universe that bears no contact with their own socio-political realities. The aim of this study is to explore each text in its respective context, so as to delineate the main aspects of their commonality. After the comparing the texts, we say a brief word in conclusion on the relevance of this comparative approach. (shrink)

Comparing food taboos across 78 cultures, this paper demonstrates that meat, though a prized food, is also the principal target of proscriptions. Reviewing existing explanations of taboos, we find that both functionalist and symbolic approaches fail to account for meat's cross-cultural centrality and do not reflect experience-near aspects of food taboos, principal among which is disgust. Adopting an evolutionary approach to the mind, this paper presents an alternative to existing explanations of food taboos. Consistent with the attendant risk (...) of pathogen transmission, meat has special salience as a stimulus for humans, as animal products are stronger elicitors of disgust and aversion than plant products. We identify three psychosocial processes, socially-mediated ingestive conditioning, egocentric empathy, and normative moralization, each of which likely plays a role in transforming individual disgust responses and conditioned food aversions into institutionalized food taboos. (shrink)

The aim of this paper is to help refine the definition of humans as “linguistic animals” in light of a comparative approach on nonhuman animals’ cognitive systems. As Uexküll & Kriszat (1934/1992) have theorized, the epistemic access to each species-specific environment (Umwelt) is driven by different biocognitive processes. Within this conceptual framework, I identify the salient cognitive process that distinguishes each species typical perception of the world as the faculty of language meant in the following operational definition: the (...) ability to connect different elements according to structural rules. In order to draw some conclusions about humans’ specific faculty of language, I review different empirical studies on nonhuman animals’ ability to recognize formal patterns of tokens. I suggest that what differentiates human language from other animals’ cognitive systems is the ability to categorize the units of a pattern, going beyond its perceptual aspects. In fact, humans are the only species known to be able to combine semantic units within a network of combinatorial logical relationships (Deacon 1997) that can be linked to the state of affairs in the external world (Wittgenstein 1922). I assume that this ability is the core cognitive process underlying a) the capacity to speak (or to reason) in verbal propositions and b) the general human faculty of language expressed, for instance, in the ability to draw visual conceptual maps or to compute mathematical expressions. In light of these considerations, I conclude providing some research questions that could lead to a more detailed comparative exploration of the faculty of language. (shrink)

Images can be studied in many ways--as symbols, displays of artistic genius, adjuncts to texts, or naturally occurring phenomena like reflections and dreams. Each of these approaches is justified by the nature of the image in question as well as the way viewers engage with it. But images are often something more when they perform in ways that exhibit a capacity to act independent of human will. Images come alive--they move us to action, calm us, reveal the power of the (...) divine, change the world around us. In these instances, we need an alternative model for exploring what is at work, one that recognizes the presence of images as objects that act on us. Building on his previous innovative work in visual and religious studies, David Morgan creates a new framework for understanding how the human mind can be enchanted by images in Images at Work. In carefully crafted arguments, Morgan proposes that images are special kinds of objects, fashioned and recognized by human beings for their capacity to engage us. From there, he demonstrates that enchantment, as described, is not a violation of cosmic order, but a very natural way that the mind animates the world around it. His groundbreaking study outlines the deeply embodied process by which humans create culture by endowing places, things, and images with power and agency. These various agents--human and non-human, material, geographic, and spiritual--become nodes in the web of relationships, thus giving meaning to images and to human life. Marrying network theory with cutting-edge work in visual studies, and connecting the visual and bodily technologies employed by the ancient Greeks and Romans to secular icons like Che Guevara, Abraham Lincoln, and Mao, Images at Work will be transformative for those curious about why images seem to have a power of us in ways we can't always describe"--Provided by publisher. (shrink)

Among the national scientific groups, it was the Prague Linguistic Circle that had the most decisive affinity to the work of the Moscow-Tartu school. This paper examines the work of one of the most tireless contemporary Czech interpreters of the Lutman school, Vladimir Macura (1945-1999), whose work on Czech literary and historical texts are outstanding examples of the reverberation of Lotmanian semiotics of culture in the Czech Republic. This is particularly the case in Macura's reevaluations of the texts of the (...) Czech National Revival of the late eighteenth and early nineteenth centuries, especially in two books, Znamení zrodu (Signs of Birth) (1995) and Český sen (The Czech Dream) (1998). In these works Macura looked at this critical period in Czech national history as a multi-layered semiotic text in both the verbal and visual spheres. The present paper is an attempt at an exploration of Macura's treatment in this manner of the following: the Czech language, the city of Prague, the question of Czech national self-identification in general and as part of a larger category, the world of the Slavs. An important aspect of this project is an examination of Macura's exploration of the value functions of symbolic animals and plants in Czech Revival culture, and its relation to the axiology of Czech (Slavic) cultural identity. The paper is dedicated to Macura's memory. (shrink)

In this issue we include contributions from the individuals presiding at the panel All in a Jurnal's Work: A BABEL Wayzgoose, convened at the second Biennial Meeting of the BABEL Working Group. Sadly, the contributions of Daniel Remein, chief rogue at the Organism for Poetic Research as well as editor at Whiskey & Fox , were not able to appear in this version of the proceedings. From the program : 2ND BIENNUAL MEETING OF THE BABEL WORKING GROUP CONFERENCE “CRUISING IN (...) THE RUINS: THE QUESTION OF DISCIPLINARITY IN THE POST/MEDIEVAL UNIVERSITY” SEPTEMBER 21ST, 2012: SESSION 13 MCLEOD C.322, CURRY STUDENT CENTER NORTHEASTERN UNIVERSITY, BOSTON, MA. Traditionally, a wayzgoose was a celebration at the end of a printer’s year, a night off in the late fall before the work began of printing by candlelight. According to the OED, the Master Printer would make for the journeymen “a good Feast, and not only entertains them at his own House, but besides, gives them Money to spend at the Ale-house or Tavern at Night.” Following in this line, continent. proposes in its publication(s) a night out and a good Feast, away from the noxious fumes of the Academy and into a night of revelry which begins, but does not end, at the alehouse or Tavern. continent. proposes that the thinking of the Academy be freed to be thought elsewhere, in the alleys and doorways of the village and cities, encountered not in the strictly defined spaces of the classroom and blackboard (now white) but anticipated and found where thinking occurs. Historically, academic journals have served a different purpose than the Academy itself. Journals (from the Anglo-Fr. jurnal , "a day," from O.Fr. jornel , "day, time; day's work," hence the journalist as writer of the news of the day ) have served as privileged sites for the articulation and concretization of specific modes of knowledge and control (insemination of those ideas has been formalized in the classroom, in seminar). In contrast, the academic journal is post-partum and has been an old-boys club, an insider trading network in which truths are (re)circulated against themselves, forming a Maginot Line against whatever is new, or the distinctly challenging. All in a Jurnal’s Work will discuss (in part) the ramifications of cheap start-up publications that are challenging the traditional ensconced-in-ivory academic journals and their supporting infrastructures. The panel will be seeking a questioning (as a challenging) towards the discipline of knowledge production/fabrication (of truth[s]) and the event of the Academy (and its publications) as it has evolved and continues to (d)evolve. Issues to be discussed will revolve around the power of academic publishing and its origins, hierarchical versus horizontal academic modules (is there a place for the General Assembly in academia?) and the evolving idea of the Multiversity as a site(s) of a (BABELing) multivocality in the wake of the University of Disaster. STAGE NOTES AND/AS/OR TRACK CHANGES: INTRODUCTORY REMARKS AND MAGICAL THINKING ON PRINTING: AN ELECTION AND A PROVOCATION Isaac Linder “Of course most people don’t think of editing/publishing as theatre but as something boring or parasitical (vis-à-vis a ‘source’ text), a textual backwater populated by people with glasses. But I think publishing a book today is theatre, socially networked theatre…. Facebook and Flickr are our era’s administered and generic version of sixties happenings!” — Tan Lin 1 ELECTING A MASCOT: THE BARNACLE GOOSE After pitching the idea for this panel with the editorial help of my continental cohorts I became fascinated with the image of the goose—dead and roasted as it may be—and its relationship to the space of the printing press. For a long while after proposing this gathering I was seriously under the sway of delusions of grandeur, imagining that we might roast a goose (or goosefu) and, preparing a meal as one prepares a text for publication, feast in something approaching a warm and well-nourished revelry. I should note, by way of introduction, that a substantial part of my undergraduate experience involved learning to typeset and work as a devil, as typesetters mischievously call it, in a letterpress studio. This accounts in part for my fascination and helps to explain the fact that, when I began to leaf around in medieval beastiaries in lieu of being able to procure a goose, I was almost immediately struck by a fantastic monster that I hereby elect to be the mascot for our so-called para-academic practice(s) the relatively famed, but no less fabulous for it, barnacle goose. The barnacle goose is a creature that first makes its way into 12th century manuscripts with Giraldus Cambrensis in 1186. Phenomenologically speaking the monster is a tree, a tree which, when approached closer is seen to be birthing geese budding from the buds that hang like ripe fruit from its branches. As the story goes these trees were found over water; the fledgling geese, once wrested from their pods would take off in flight or fall to their watery death, where they would be transformed into driftwood. In retrospect we presume the barnacle goose was posited as a consequence of the fact that geese born in more northern regions, migrating to Ireland and western Europe at large, were never seen to give birth. And I should note that this is far from the only other animal posited to be born from trees at around this time, my other favorite being medieval accounts of Moroccan tree-climbing goats. 2 In particular I’ve thrown up the mascot of the barnacle goose and singled it out from the quires of its beatiaries because its thoroughly hybrid origins lead us to name two very real creatures we can find point to in abundance; discrete materialities of the world cobbled together in textual fancy: on the one hand, the modern day barnacle goose , a common species of goose and, on the other, goose barnacles , a particular type of crustacean with incredible feathery tendrils and—I can't help but mention—one of the largest body mass to penis size ratios of all of the animals in the kingdom. Why is this bit of genital trivia relevant? Because they’re all hermaphroditic and in rare cases have been found to reproduce just with themselves—to inseminate themselves and give birth to their kin. So I think it must be stressed, as a symbol for what we’re really here to talk about, it's not a boy’s club thing so much as a very queer thing and, I contend, para - in every perfect sense of the word... Alongside the natural world, a monstrous imaginary concatenation; Alongside the hulls of so many institutional structures, funding sources and resources, Serresian parasites in all manner of mutualist, symbiotic, or properly parasitic positions; migratory and adrift; The tree, center stage in the 21st century adaptation of Waiting for Godot that is unraveling in ateliers across the world, is a barnacle goose birthing a flurry of miscegenous texts beyond medium and genre. PROVOCATION 1: CHAOSMOSIS “Genre is obsolete.” — Ray Brassier 3 And so, here I was getting carried away in daydreams about this generative and genealogical symbol under which to think all of the diverse projects we are all involved in as architects of the dressed word, (well dressed, bespoke, mansy, butch, careless, or roguishly punk attired as those words may be), when it also dawned on me, mid-flight here from Denver, that we are, even in lieu of being able to roast geese together, very much so literalizing what was never just the metaphor of the wayzgoose—a tradition, as you know, celebrated to mark the crepuscular turn into fall—as we are poised here, tomorrow being the first official day of fall on our calendars in the US marking the seasonal change from at which point it will no longer be possible to print without the aid of candlelight. A beautiful thought, that tipped into magical thinking on account of a little quick math I was able to do to come to the conclusion that we can all be delighted to know that as we proceed into the autumn with our printing projects always ahead of us and still to be set, we will tonight be bathed not only by the artificial candlelight of our screens, but also in part by photons raining down on us at 186,282 miles per second—photons from an aspect of 9 cyg, a stereoscopic binary deep within Cygnus, the swan but not-so-distant-relative of the goose, with a distance of 572 Light years away; photons that are raining down on us, will rain down on us all winter, have been raining down on us all year, and which had their origin in the combustion cores at a center of 9 cyg 572 years ago, in 1440, the year which we point to today as the common year in which, as we all know, Gutenberg is said to have brought the movable type to the western world, inaugurating an era that stretches farther into the past and future than McLuhan could justify; the proliferation of so much ambient text; insurrectionary coups on (and re-crystallizations of) genre—perceived amidst so much ambient light—enveloping this campus, just now. So, with that thought, and perhaps a new mascot, Nico Jenkins... NOTES “ Writing as Metadata Container, An Interview with Tan Lin ,” Chris Alexander, Kristen Gallagher, Danny Snelson, Gordon Tapper, Tan Lin, Jacket 2. January 20, 2012. To explore Lin’s notion of ambient textuality, plagiarism, and parallel, cross­platform publication in the 21st century, also see Lin’s sampled novel, “ The Patio and the Index ,” Triple Canopy 14, October 24, 2011, as well as the Edit event, organized at the Kelly Writers House at the University of Pennsylvania, April, 2010 . For a fascinating and fecund exploration of medieval plant­animal hybrids in relation to media ecology, see Whitney Trettien, “ Becoming Plant: Magnifying a Microhistory of Media Circuits in Nehemiah Grew’s Anatomy of Plants (1682) .” postmedieval 3.1 (2012):97. See also the crowd­review version of the essay. “ Genre Is Obsolete .” Compléments de Multitudes . 28 (2007). (shrink)

The article proposes a re-examination of the role and position of the so-called “Disney villains” within the narrative framework of animated films and popular culture as a whole. In the first part, the historical evolution in the representation of these villains will be explored according to the practice of “queer coding,” which involves attributing stereotypically queer traits to them without explicitly stating their gender and sexual identity. It will be observed how their non-conforming gender and sexuality, used to mark their (...) moral deviance, challenge and defy dominant gender and narrative norms. It is precisely through their queer performance and camp aesthetic that “evil stepmothers,” “sissy-villains,” and “drag-queen-like” sea witches can emancipate themselves from their traditional roles as antagonists (narrative level) and as social outcasts (discursive level) to seize the spotlight through the screen (manifest surface). This study combines tools of Greimasian text analysis, including the canonical narrative schema and the generative trajectory of meaning, with Lotman’s theory and notion of “semiosphere,” to investigate the centrality and criticality of these “quillains” within the heteronormative narrative framework and the broader cultural context. To capture (or being captured by) the queer aspect of these characters and their stories, the invitation is to look at their visage not as a coded symbol of an underlying identity and truth, but as an image that exceeds any defined meaning thanks to its iconic power. (shrink)

Several language experiments have been carried out on apes and other animals aiming to narrow down the presumed qualitative gap that separates humans from other animals. These experiments, however, have been driven by the understanding of language as a purely symbolic sign system, often connected to a profound disinterest for language use in real situations and a propensity to perceive grammatical and syntactic information as the only fundamental aspects of human language. For these reasons, the language (...) taught to apes tends to discard iconic and indexical elements in favour of symbolic signs. This paper sheds light on the iconic components of human language, with close attention to the iconic properties of language as present in the ape language experiments. We emphasise the role of the body in the interpretation and production of iconic signs, while demonstrating the need to take into account the Umwelt theory in the research paradigm of the experiments. Uexküll’s Umwelt theory is used to exemplify the methodological problems connected to the teaching of human language to other animal species; furthermore, we discuss how the modelling capacities of language affect the biological layer that constitutes the animal Umwelt. Language is analysed as a particular case of Umwelt transition, and as such its implications are further discussed in the article. With this paper, we enrich the discussion surrounding the human-ape pidgin language by advocating for the need to include iconic components as vital parts of this research area. With this inclusion, we uncover the inter-dependency of iconic, indexical and symbolic signs in human language, aiming to further develop the research paradigm of the ape language experiments. (shrink)

Language is the species-specific human version of the animal system of communication. In contrast to non-human animals, language enables humans to invent a plurality of possible worlds; reflect upon signs; be responsible for our actions; gain conscious awareness of our inevitable mutual involvement in the network of life on this planet; and be responsibly involved in the destiny of the planet. The author looks at semiotics, the study of signs, symbols, and communication as developing sequentially rather than successively, more (...) synchronically than diachronically. She discusses the contemporary phenomenon that people in today's society have witnessed and participated in, as part of the development of semiotics. Although there is a long history preceding semiotics, in a sense the field is, as a phenomenon, more "of our time" than of any time past. Its leading figures, whom Petrilli examines, belong to the twentieth and twenty-first century. Semiotics is associated with a capacity for listening. This capacity is also the condition for reconnecting to and recovering the ancient vocation of semiotics as that branch of medical science relating to the interpretation of signs or symptoms. The pragmatic aspect of global semiotics studies the impact of language or signs on those who use them, and looks for consequences in actual practice. In this respect, Petrilli theorizes that the task for semiotics in the era of globalization is nothing less than to take responsibility for life in its totality. (shrink)

The novel use of symbolism in early modern mathematics poses both philosophical and historical questions. How can we trace its development and transmission through manuscript sources? Is it intrinsically related to the emergence of symbolic algebra? How does symbolism relate to the use of diagrams? What are the consequences of symbolic reasoning on our understanding of nature? Can a symbolic language enable new forms of reasoning? Does a universal symbolic language exist which enable us to express (...) all knowledge? This book brings together a collection of papers that address all these and related questions which were initially posed at a conference held in Ghent (Belgium) in August 2009. Scholars working on philosophy of science, history of philosophy and history of mathematics provide an insight into the role and function of symbolic representations in the development of early modern mathematics. The papers cover the period from early abbaco arithmetic and algebra (14h century) up to Leibniz (early 18th century). (shrink)

Gender representations reproduce and legitimate gender systems. To examine this aspect of the gendered social order, we analyze the representation of males and females in the titles and central characters of 5,618 children’s books published throughout the twentieth century in the United States. Compared to females, males are represented nearly twice as often in titles and 1.6 times as often as central characters. By no measure in any book series are females represented more frequently than males. We argue that these (...) disparities are evidence of symbolic annihilation and have implications for children’s understandings of gender. Nevertheless, important differences in the extent of the disparity are evident by type of character, book series, and time period. Specifically, representations of child central characters are the most equitable and animals the most inequitable; Little Golden Books contain the most unequal representations; and the 1930s-1960s—the period between waves of feminist activism—exhibits greater disparities than earlier and later periods. Examining multiple types of books across a long time period shows that change toward gender equality is uneven, nonlinear, and tied to patterns of feminist activism and backlash throughout the century. (shrink)

ABSTRACT Humans have been thinking with fire since ancient times. In elemental philosophy, fire is considered as one of the most important elemental technologies. Fire has allowed the building of our world by reshaping matter, by making the earth less inhospitable, providing warm shelters and chasing and attracting animals. In the current elemental turn in media theory, the material dimensions of fire as medium have gained importance. Fire, however, also has important epistemological, psychological, and symbolic meaning, captured by (...) Gaston Bachelard in a series of entangled “fire complexes.” This article focuses on these immaterial and subjective aspects of fire exemplified in a range of “matterphors” and combustive imagery of contemporary cinema to address its pyrotechnical dimensions and redefine media as affective fiery messages, interfaces, and environments. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Authority, Reading, Reflexivity: Pierre Bourdieu and the Aesthetic Judgment of KantKoenraad Geldof (bio)Translated by Alex Martin (bio)1. AuthorityFor some time now, Pierre Bourdieu has been a true author 1 —a producer, in other words, of an impressive number of theoretical and analytical discourses in a wide variety of research fields. 2 Whether in anthropology or ethnology, in the sociology of institutions or of the structure and workings of the (...) market of symbolic goods, or in the sociology of literature, the name Bourdieu imposes itself: it establishes authority. Contributing to this is another particularity quite typical of authority: it gets itself talked about; it generates, at accelerated speed, discourses that in one way or another (re-)produce and thus reinforce the authority of the author who was their point of departure and origin. The international proliferation of articles dealing with one aspect or another of Bourdieu’s thought, 3 essay collections, 4 and introductions to Bourdieu’s work 5 testifies to this. The intensity of metadiscursive production not only gives material form to the intrinsic analytic pertinence and richness of the discourse on which it comments—these are evident—but also shows, independent of the pieces’ intentions, that the proliferation is situated in a process of (re-)production of authority, that it is an integral part of a canonizing effort. The articles and introductions problematize, implicitly or explicitly, the direct accessibility of Bourdieu’s discourse. They make the oeuvre into a complex totality, difficult and diversified to the extreme, whose coherence can be revealed only with the help of a gradual, exegetic, and essentially submissive reading practice.To put it another way, and to examine the question more closely, the metadiscursive (re-)production of the authority of the author we call Pierre Bourdieu reveals itself to be [End Page 20] ambivalent: it is at once innovative—it invites the uninitiated to get to know a fascinating new universe of thought—and authoritarian, indeed even conservative. An introduction is never a simple mediation of discourse between an author and his or her potential readers: it provides a sort of user’s guide, it (re-)produces a reading habitus, an ideology of the correct interpretation the reader must learn and interiorize to be able to distinguish orthodox from false, heterodox, readings. Between the metadiscourse/commentary and the authority it discusses, a relationship of tautological circularity is established that surreptitiously transforms the discourse read into a legend (into what must be read): the possibility of an autonomous reading practice is erased by a pedagogy of legendary decoding. 6The authority of an author, that of Bourdieu for example, is consequently implicated in a dynamic of opening (the proliferation of metadiscourses) and closing (the tendency to discipline reading, to make it obey certain norms of legibility). It would be erroneous, however, to attribute the paradoxical aspect of authority simply to the ambivalent effect of metadiscourses/commentaries. This is because authors who establish authority can only rarely escape the canonizing efforts of which they are the object: in many cases, authors themselves participate in the production and reproduction of a mode of reading and interpretation judged to be legitimate. The fact that no authority can completely and exhaustively control its discursive and institutional space does not in any way contradict, therefore, that other distinctive and essential feature of authority: its intrinsic animation by a desire to control, by the desire to see itself respected. Authority wants to become Law and be recognized as such. Thus the tendency of certain authors to become actively involved in the modes of appropriation of their name and their discourses, to endeavor to make the reading of the author’s work not simply an act of connaissance but also a proof of reconnaissance. Authority detests being insufficiently or poorly known. Let us take the case of Bourdieu. As an author, he is first and foremost the one to whom we owe Raisons pratiques, La distinction, Homo academicus and Les règles de l’art, the producer, in other words, of a series of momentous works that, upon publication, established authority. Furthermore, Bourdieu is also the author of a considerable number of accompanying discourses, dominated by the... (shrink)

not only anomalous animals, but also exemplary animals often take on a symbolic value, thus raising a second problem. A solution to both problems is suggested, based on an examination of the cognitive..

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:William Wordsworth and the Hermeneutics of IncarnationEdwin SteinWilliam Wordsworth and the Hermeneutics of Incarnation, by David P. Haney; xiii & 269 pp. University Park: Pennsylvania State University Press, 1993, $35.00.To the English Romantic poets, David Haney notes, the world seemed to have died at the hands of Enlightenment rationalism by being made merely a referent of transpicuous representational sign-systems. One of their fundamental projects was to reanimate it, (...) and Wordsworth committed himself to an animating poetics, incarnational in concept. Haney quotes the Wordsworthian incarnational locus classicus, the third “Essay Upon Epitaphs”: “If words be not... an incarnation of the thought but only a clothing for it, then surely will they prove an ill gift;... Language, if it do not uphold, and feed,... is a counter-spirit unremittingly and noiselessly at work to derange, to subvert, to lay waste, to vitiate, and to dissolve” (p. 1). He conjoins Wordsworth’s statement in a note to “The Thorn” that words should seize us “not as symbols of the passion, but as things, active and efficient, which are themselves part of the passion” (p. 24). “Incarnational” is not further defined directly, though we are told that it characterizes a poetic practice, “a philosophically and theologically important concept embedded [in our cultural] heritage,” and a theoretical orientation that acts “against the very idea of a ‘theory’” (p. 4). Haney draws principally from Gadamer, Lévinas, Cavell, Geoffrey Hartman, and Charles Taylor to explore through philosophical argumentation the ways in which Wordsworth incorporated, elaborated, problematized, and even betrayed these aspects of the incarnational process in his work.One of Haney’s concerns is to show how reading through the lens of incarnational poetics helps us see that Wordsworth incorporated historicity rather than suppressing it, as he is often accused of doing these days. Another is to demonstrate that deconstructive analysis, new-historical critique, and the secularized-Protestantism approach of M. H. Abrams are each inadequate to account for the hermenuetics of this poetics, because it resists and finesses the drive to create the transparent representational structures on which these critics focus. In his incarnational mode, his poetic thought aims not at realizing allegorized abstract truth but at presenting kerygmatically what is instantiated by incarnation as event; thought becomes materially existent without being changed into something else. Incarnational poetics thus acts to counter the binary oppositions (presence/absence, body/spirit, divine/human, etc.) on which both Enlightenment and Romantic discourse relied (the latter reversing the values), and defeats the binarism-dependent drive toward pure self-consciousness that always gets entangled in solipsism and semiological webs. Incarnating thought opens it to the historical process in the sense of Gadamer’s wirkungsgeschichtliches Bewusstsein: incarnation is not embodiment or an “ideal effacement of the difference between word and referent, but rather a process of spirit becoming event”; and words thereby become “things and events... which must enter the realm of mortality” (p. 19). [End Page 138]Haney links this confrontation of mortality to both Cavell’s idea of skeptical acknowledgment of the mortal other replacing knowledge and Lévinas’ conception of a preontological “saying” that dialogically makes us responsible for the other but must die into the “said” to be understood. These connections allow him to enlarge brilliantly our understanding of The Prelude, Book 5, and the “Lucy poems.” Here words achieve visionary power not by a symbolic link to transcendence but “by allowing themselves to be interrupted by that which is absolutely other, and therefore ‘infinite’ in Levinas’ sense” (p. 87). Haney extends this and related insights in a chapter on the final books of The Prelude that shows, among other things, how its figural structures for the autobiographical self begin to break down and are replaced by tropological performatives. These lead away from a systematic code of representation but allow recuperation through the “dialogue” with Coleridge, a non-totalizing process of closure that by linking the autobiographical self to the extratextual self opens the poem to a “range of projective sympathies” (Charles Altieri, quoted in Haney, p. 137).Haney also explores how the incarnational hermeneutic works to close the widening gap between epistemology and ethics fostered by the Enlightenment’s commitment... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:For More than One Voice: Toward a Philosophy of Vocal ExpressionSarah K. Burgess and Stuart J. MurrayFor More than One Voice: Toward a Philosophy of Vocal Expression. Adriana Cavarero. Trans. Paul A. Kottman. Stanford: Stanford University Press, 2005. Pp. 262. $65.00, hardcover; $24.95, paperback.Adriana Cavarero's most recent book, For More than One Voice, offers the reader a critique of Western metaphysics that challenges the hegemony of speech's relation (...) to thought within politics. Revisiting Aristotle's Politics, Cavarero examines the famous definition of man as "zoon logon echon"—usually translated as "rational animal." She is critical of the tradition that renders logos here as "reason" or "rationality," modeled on the abstract and disembodied Platonic idea. Reading the Politics alongside the Poetics, she brings politics into a distinctly rhetorical sphere, and therefore figures logos as "phone semantike." In this light, man is a "speaking animal," an animal who speaks with a voice (phone) that is meaningful (semantike—an adjectival form that qualifies the voice itself). Cavarero's argument is that voice and meaning—phonic and semantic—must be sharply distinguished. The history of Western philosophy, she contends, has effaced this vital difference and focused instead on speech as a unitary phenomenon in which the vocalic and the semantic are always already joined as meaningful signification. In this way, the singularity of the vocalic itself has been elided in favor of speech that strongly privileges meaning. She therefore wishes to deliver us from language, as it were, through a recuperation of the force of the vocalic, the acoustic, the resonant and sonorous auditory quality of phone.Absent in the history of Western philosophy, this sonorous aspect of the vocalic stands as a corrective to our logocentric metaphysical tradition that singularly values the visual over the acoustic, semantic content over vocal utterances, and an abstract, anonymous "what" over a particular, embodied "who." Cavarero claims that the vocalic is an "anti-metaphysical" force that exceeds and challenges signification. In other words, the vocalic immediately communicates the uniqueness of the speaker without recourse to the signifying content of his or her speech. The voice is essentially relational—a relation that is described as "the condition of every communication.... the communicability of the communicable, or the significance of signification" (29). Indeed, for Cavarero the voice is that which "precedes, generates, and exceeds verbal communication" [End Page 166] (29–30). In this way, remarkably, Cavarero refigures the voice as a presymbolic origin that is both temporally and ontologically prior to signification, as that which is a condition of possibility for signification, and as that which is never exhausted by any signifying speech act as such.The voice is the expression of one unique, embodied individual to another. This expression, a "reciprocal invocation" founded in the sonorous, rhythmic, and resonant materiality of the voice, constitutes a "duet," a musical exchange of voices in and through which individuals mutually invoke one another. Cavarero resists inscribing such a relation within the symbolic realm; yet for her this relation is a "wordless language" that takes place in the paradigmatic scene between mother and infant. Here, in this originary scene, there is not yet the movement of language or speech as such, but the rhythm and cadence of demand and response—the voices of mother and infant that invoke one another. Drawing on Hélène Cixous's and Julia Kristeva's well-known work on the maternal chora, Cavarero demonstrates that the cadence of the "la-la melody" exchanged between mother and infant "configure[s] a reciprocal dependence" (170) that takes a structural form in the movement between demand and response.For Cavarero, the "scene of infancy" enjoys a primacy: it is both ontologically and chronologically prior to the institution of language and law. The maternal chora is figured as that which invisibly underwrites what will be understood as the law of the father—a law that is said to mark the inauguration of language. But if the law of the father is rational and semantic, the maternal should not be conceived as simply irrational and pure sound. For Cavarero, the maternal vocalic demonstrates its own reason through its rhythmic and musical resonance... (shrink)

It has been suggested that hierarchically structured symbols, a remarkable feature of human language, are produced via the operation of recursive combination. Recursive combination is frequently observed in human behavior, not only in language but also in action sequences, mind-reading, technology, et cetera.; in contrast, it is rarely observed in animals. Why is it that only humans use this operation? What is the adaptability of recursive combination? We aim (1) to identify the environmental feature(s) in which recursive combination is (...) effective for survival and reproduction, and that has facilitated the evolution of this ability, and (2) to demonstrate the possible evolutionary processes of recursive combination. To achieve this, we constructed an evolutionary simulation of agents that generated products using recursive combination and used the results to explore the types of fitness functions (that reflect the kinds of adaptive environments) that give rise to this ability. We identified two types of adaptability of the recursive combination: (1) diversifiability of production and (2) diversifiability of products. Through the former, recursive combination promotes robustness against failure of production caused by inaccurate manipulations or irreversible changes. In an environment in which diversified products are preferable, sharing a portion of the production process for these products entails producing multiple products in which recursive combination plays a key role. We suppose that recursive combination works as a driving force of material culture. Finally, we discuss the possible evolutionary scenarios of recursive combination that is later generalized to encompass many aspects of human cognition, including human language. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Scaena Feralium Nuptiarum: Wedding Imagery In Apuleius’ Tale Of Charite ( Met. 8.1–14)Stavros FrangoulidisThe implicit presence of wedding imagery in the servant’s narrative regarding the tragic end of Charite in Apuleius’ Metamorphoses (8.1–14) 1 has received little scholarly attention. 2 In the tale of Charite, her unsuccessful suitor, Thrasyllus, devises a scheme to kill her husband, Tlepolemus, during a hunt and to marry the widowed Charite. After the ghost (...) of Tlepolemus has exposed to his wife the actual circumstances of his death, the heroine devises a scheme for exacting vengeance on Thrasyllus, both for his cunning in killing her husband in the boar hunt and for his sexual ambitions toward her. The former is revealed in the similarities between Charite’s revenge scheme and Thrasyllus’ plot to bring about Tlepolemus’ death; the latter emerges from Charite’s clever exploitation of aspects of the wedding ritual in her revenge scheme. To be persuasive, the (fictional) marriage ritual, like the hunting scheme before it, requires role playing 3 and a reversal in gender roles such that [End Page 601] the heroine punishes her opponent most appropriately for his actions within the tale’s narrative. This wedding imagery is further sustained in the conclusion of the tale: Charite’s suicide on her husband’s tomb is represented as (re)marriage to her husband in death, since it reenacts several aspects of the wedding ritual from the earlier narrative of Tlepolemus’ liberation of his bride from her captivity in a robbers’ cave, and their subsequent marriage. 4 In the end, Thrasyllus’ suicide by starvation is also represented as a marriage in death, as Charite herself foreshadows in her angry speech as she prepares to attack him in his sleep.Our object here is to explore the ways in which Apuleius artfully designs the narrative of the latter portion of Charite’s story: the wedding imagery enhances her scheme for revenge, which is based both on Thrasyllus’ murderous plot against her husband and on Thrasyllus’ amatory designs upon her, and also intensifies the tragedy of the narrative, as all three marriages, Tlepolemus’, Charite’s, and Thrasyllus’, are fulfilled only in death. 5There are a number of intriguing resonances between the story of Charite and the tale of Cupid and Psyche that features so centrally in the novel as a whole. Space here does not permit much development of comparisons between the two narratives, but particularly striking points of similarity or contrast are indicated in the notes as we proceed.In the servant’s tale, Thrasyllus, the unsuccessful suitor, assumes the persona of a trusted friend in order to gain admission to the house of the married couple. After being forbidden access to Charite, he tricks his rival, Tlepolemus, into going hunting. Their departure on the hunt marks a spatial shift, from the interior of Tlepolemus’ home to the open space of wild nature, where Thrasyllus works his scheme.Charite has forbidden Tlepolemus to hunt horned and tusked animals (except mountain goats), a request that reveals her concern for her husband’s safety. Her apprehensions about his vulnerability also suggest a female aspect to Tlepolemus’ identity, an ambivalence of gender role that adumbrates her later worship of him as Liber/Dionysus, with both male and female characteristics. [End Page 602]For the tale’s authorial audience, Thrasyllus’ invitation to go hunting also recalls his own earlier advice to some robbers, to go on a hunt to collect animals for a sacrifice to their patron deity, Mars the Companion (7.10). In contrast to Tlepolemus’ earlier success in a hunt (which led to Charite’s liberation from captivity in the robbers’ den, and his marriage to her), Thrasyllus’ hunting scheme brings about Tlepolemus’ death, putting a violent end to Charite’s marriage. 6In a wedding context, Tlepolemus’ death may be interpreted as a prenuptial sacrifice for Thrasyllus’ planned marriage to Charite. Thrasyllus’ “sacrifice” here mirrors Tlepolemus’ earlier sacrifices of various animals at temples and public places in connection with the symbolic abduction of his bride from her parental home, at the opening of the Charite complex (4.26, ad nuptias... templis et aedibus publicis victimas [End Page 603] immolabat... (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

Toward post-constructivist epistemology -- Respecting common sense and first-person perspective -- On method -- Looking ahead -- Being is dwelling -- Dwelling grounds building and thinking -- The foundation of dwelling -- From epistemology to environmental ethics -- Response to a world in crisis -- On being rooted -- The earth does not move - literally -- The ground of the image -- Fostering the taking of roots -- On getting the earth to move -- Uprooting | rooting -- Cultivating (...) culture -- Cultivating (an interest in) science -- Nacherzeugung and nachverstehen -- Nacherzeugung, nachverstehen, and the cultivation of culture -- Emergence of the image -- An empirical case -- Recon/naissance: from first movements to symbolic gestures -- Ideation implies intersubjectivity and history -- Multiplicity, bifurcations, pregnance -- Movement and the birth of form -- Becoming aware -- Aspect dawning -- An empirical investigation -- A post-constructivist perspective on the coming of awareness -- The invisible body -- A mysterious illness -- Pathos and learning -- Our animate bodies and school learning -- Disappearance of the subject -- On theory and its relation to life -- Memorable moments of classroom life -- Inchoate living vs. an experience -- Life and its mimesis -- Concrete human psychology -- The subject-in-the-making -- The subject* as patient -- L'interloque -- The death of autopoiesis -- There is (a) life after constructivism. (shrink)

For many tribes of Plains Indians whose bison-hunting culture flourished during the 18th and 19th centuries, the sun dance was the major communal religious ceremony. Generally held in late spring or early summer, the rite celebrates renewal-the spiritual rebirth of participants and their relatives as well as the regeneration of the living earth with all its components. The sun dance reflects relationships with nature that are characteristic of the Plains ethos, and includes symbolic representations of various animal species, particularly (...) the eagle and the buffalo, that once played vital roles in the lives of the people and are still endowed with sacredness and special powers. The ritual, involving sacrifice and supplication to insure harmony between all living beings, continues to be practiced by many contemporary native Americans. (shrink)

The discussion on symbolic legislation unveils intriguing relationships between law and politics. However, the abundance of observations often results in conceptual chaos and raises numerous problematic questions. These inquiries revolve around the scope of the concept of symbolic legislation (is it a marginal or universal phenomenon in the legal system?), as well as the circumstances determining whether a provision or legal act is classified as symbolic legislation. Of particular interest is the question of whether a provision or (...) legal act can “become symbolic” over time. The research goal of this study is to analyse the process of “becoming symbolic” and derive conclusions that deepen the understanding of the phenomenon of symbolic legislation. This study organises the current discussion on symbolic legislation, focusing on a case study of the structure of the crime of animal abuse in the Polish Animal Protection Act. The author illustrates how certain elements of this provision “became symbolic,” demonstrating that this process is largely independent of the motives of the legislators. In conclusion, the author emphasises the importance of consistently separating the sphere of motives from the sphere of effects in the discussion on symbolic legislation. Furthermore, the author highlights the static nature of the former and the dynamic nature of the latter. (shrink)