Zhuangzi’s Butterfly Dream story can be read as a skeptical response to the Cartesian Cogito, ergo sum solution, for it presents I exist as fundamentally unprovable, on the grounds that the notion about “I” that it is guaranteed to refer to something existing, which Descartes seems to assume, is unwarranted. The modern anti-skepticism of Hilary Putnam employs a different strategy, which seeks to derive the existence of the world not from some “indubitable” truth such as the existence of (...) myself , but from the meaning of some particular assertion I make. In this paper, I argue, however, that Putnam’s argument fails to deliver on the promise of showing the self-refuting nature of the skeptical hypothesis, as it relies on a double use of “I”, a fallacy of equivocation, reflecting an unsolved tension between the argument’s general premise, which is rather Zhuangzian in spirit, and his unwitting adoption of that unwarranted notion about “I”. I try to show further that the skepticism in Zhuangzi’s Butterfly Dream not only can be used to refute the proofs of the existence of the empirical I , but also is effective against accounts concerning the existence of the transcendental I. (shrink)

ABSTRACTThe ‘dream of the butterfly,’ which seals the second chapter of the Zhuangzi, is often interpreted as undergirded by the bipolarity of dreaming and awakening or by the elusive interchange of identities between Zhuangzi and the butterfly, dreamer and dreamed. In this paper I argue that the underlying structure of the story may be better interpreted as exhibiting not two, but three stages of development, consistently echoing other tripartite parables in the Zhuangzi. In my reinterpretation I rely (...) on the phenomenology of dreams proposed by the Spanish philosopher María Zambrano, which distinguishes among three states: the primal dream, characterized by atemporality and wholeness; wakefulness, characterized by temporality and analytic thinking; and the creative dream, in which reality discloses itself as a meaningful, holistic unity. I suggest that Zhuangzi’s parable describes a similar self-transformative threefold process culminating in the joyous freedom of a shifting multifaceted subjectivity centered in the timeless pivot of the Dao. (shrink)

If people never dreamed, would it make a difference to how they picture reality? Or themselves? Philosophers would certainly lose the most natural way of introducing skepticism. The Chinese Taoist, Chuang Tzu (369 B. C. - ?), dreamt he was a butterfly. When he awoke he wondered whether he was a man who dreamt he was butterfly or a butterfly now dreaming he is a man. Any experience can be explained as either a faithful representation of the (...) world or as a mere figment of a sleeper's imagination. (shrink)

This paper follows the tradition of treating Zhuangzi's Butterfly Dream episode as presenting a version of skepticism. However, unlike the prevalent interpretations within that tradition, it attempts to show that the skepticism conveyed in the episode is more radical than it has been conceived, such that the episode can be read as a skeptical response to Descartes' refutation of skepticism based on the _Cogito, ergo sum_ proof. The paper explains how the lack of commitment in Zhuangzi to the (...) dubious assumption about 'I' that it necessarily refers to something existing to which Descartes seems to uncritically adhere allows Zhuangzi to doubt what for Descartes is absolutely indubitable: _I exist_. (shrink)

This paper attempts to recast Zhuangzi's Butterfly Dream within the larger normative context of the 'Inner Chapters' and early Daoism in terms of its moral significance, particularly in the way that it prescribes how a Daoist should live through the 'significant symbol' of the butterfly. This normative reading of the passage will be contrasted with two recent interpretations of the passage - one by Robert Allinson and the other by Harold Roth - that tend to focus more (...) on the epistemological and mystical concerns of the text. As will be argued, the undue emphasis on the epistemological and mystical significance of the passage not only comes to grief when considered in light of philosophical and textual concerns but also obscures the moral dimensions of the passage that are more congruent with the 'Inner Chapters' as a whole. (shrink)

In this article, I examine two conflicting readings of Zhuangzi's butterfly dream story in the second chapter of the book named after him: the internal transformation and the external transformation reading. I argue that the external interpretation is better supported by the theme of the second chapter and stories in the second chapter and other chapters. However, I argue, the internal transformation interpretation does not necessarily contradict the external transformation interpretation; rather, it reinforces the external transformation interpretation if (...) we give a different reading to the content of the internal transformation interpretation. (shrink)

The parable of the butterfly dream is one of the most interesting and influential passages among Zhuangzi's beautiful writings. This article interprets the butterfly dream from an interdisciplinary approach. The review of mythological and religious sources reveals that the image of the butterfly is widely understood to symbolize the human self or soul. The scientific study of dream experience touches upon the issue of self-consciousness and the sense of two-tiered self. The philosophical and psychological (...) perspectives further highlight the tension between the wu 吾-self and the wo 我-self, self and ego, bodily and spiritual soul, and allow me to test my hypothesis of self-alienation. (shrink)

This paper advances the thesis that the raw version of the butterfly dream story in the Chuang-tzu is logically untenable and should thus be replaced by a logically coherent altered version. First, it sets out the positive meaning of the butterfly dream. Second, it examines the raw version of the butterfly dream so as to point up its inherent illogicality. Third, it sets out a modified version of the butterfly dream and demonstrates (...) its superior logicality. Fourth, it shows how conventional interpretations of the butterfly dream story—the ‘confusion hypothesis’ and the ‘external endless transformation’ hypothesis—arise from the raw version and identifies basic weaknesses in the conventional interpretation options. Fifth and last, it returns to an in-depth consideration of the interpretation which arises from a re-ordering of the butterfly dream story fragments. The raw version of the story makes little sense, which is why, I propose, it has lacked a satisfactory interpretation. This thesis stands on three presuppositions. The butterfly dream story is an analogy of the enlightenment experience. The enlightenment experience, or the experience of illumination, is the phenomenological correlate of the central objective of the Chuang-tzu, that of self-transformation. And the enlightenment experience is not only the phenomenological correlate, but the essential pre-condition for self-transformation. By refashioning our (mis)interpretations of the butterfly dream story, we can more fully appreciate its transformative message. (shrink)

The Zhuangzi begins with Peng, a soaring bird transformed from a bounded fish, which is the first metaphor that points beyond limited standpoints to a higher point of view. The transformation is one-way and symbolizes that there is a higher viewpoint to attain which affords mental freedom and the clarity and scope of great vision. Under the alternate thesis of constant transformation, values and understandings must ceaselessly transform and collapse. All cyclical transformations must collapse into skeptical relativism and confusion. But (...) Peng does not turn back into a fish, and the awakened sage does not fall into a slumber of ignorance and confusion. It is only the thesis of a one-way transformation that leaves the sage in a state of knowledge. (shrink)

A glimpse is provided into the Zhuangzi (Master Zhuang) commentary of Fang Yizhi (1611–1671), Yaodi pao Zhuang (Monk Yaodi Distills the Essence of the Zhuangzi), by providing the first translation of all the remarks on the famous butterfly story from the end of the “Qiwulun” (Discourse on Equalizing Things) chapter. The bricolage (pinzhuang) structure of Fang’s text, with layer upon layer of intertextuality (huwenxing), is preserved throughout, thereby giving insights into the structure as well as the content of the (...) text. (shrink)

Guo Xiang's (252-312) reading of the famous "Butterfly Dream" passage from the Zhuangzi differs significantly from modern readings, particularly those that follow the Giles translation. Guo Xiang's view is based on the assumption that the character of Zhuang Zhou has no recollection of his dream after awakening and therefore does not entertain doubts about what or who he really is. This leads to a specific understanding of the allegorical and philosophical meaning of the text that stands in (...) contradistinction to most modern interpretations. A translation of the Butterfly passage and commentary are appended. (shrink)

The moral commonly drawn from Zhuangzi’s butterfly dream is that there is no distinction between the subjectivity of the dreamer and the awake. It is, however, tenuous to incorporate this insight into an overall view of Zhuangzi, whether as a perspectival relativist, a mystic, or an anti-rationalist, just to name the more popular positions. The parable, despite its brevity and clarity, is difficult because the assertion about metaphysical distinction in the last two lines does not cohere with the (...) preceding text about knowledge. To cope with this problem, there are recent interpretations that advocate textual revision or adumbrate a non-skeptical Zhuangzi. In this article, I shall evaluate these strategies and explain the discrepancy in understanding the butterfly dream. Besides employing the concept of self-locating belief to account for the paradox of waking and not-knowing, I shall also argue for an epistemic grounding of the metaphysical distinction. (shrink)

With Peach Blossom Spring and other poetical works written by Tao Qian in the 5th century, there was born a vision of utopia that remains forever etched into the Chinese collective imaginary. Thirteen centuries later, Cao Xueqin drew inspiration from it when he gave form to the ‘Grandview Garden’, a universe with fundamentally female characteristics and one of the centres for the plot of The Story of the Stone, a masterpiece of Chinese romantic fiction also known as ‘Dream of (...) the Red Chamber/Mansions’. Reading the two works in parallel, in both the figurative and the literal sense, points up the message of the Daodejing that utopia cannot be planned or imposed. In fact it emerges from a spirit of openness, an attitude of patient waiting, listening with the ear of the other. This intuition leads to reflection on difference, based on Zhuangzi’s Butterfly Dream. (shrink)

The book also sheds new light on many important allegories by showing how modern translations often conceal the wit and humor of the Chinese original.

I argue that the main theme of the Zhuangzi is that of spiritual transformation. If there is no such theme in the Zhuangzi, it becomes an obscure text with relativistic viewpoints contradicting statements and stories designed to lead the reader to a state of spiritual transformation. I propose to reveal the coherence of the deep structure of the text by clearly dividing relativistic statements designed to break down fixed viewpoints from statements, anecdotes, paradoxes and metaphors designed to lead the reader (...) to a state of spiritual transformation. Without such an analysis, its profound stories such as the butterfly dream and the Great Sage dream will blatantly contradict each other and leave us bereft of the wisdom they presage. Unlike the great works of poetic and philosophic wisdom such as the Dao de Jing and the Symposium, the Zhuangzi will be reduced to a virtually unintelligible, lengthy, disjointed literary ditty, a potpourri of paradoxical puzzles, puns and parables, obscure philosophical conundrums, monstrous interlocutors and historical personages used as mouthpieces authoritatively arguing on behalf of viewpoints humorously opposite to what they historically held. (shrink)

Zhuangzi chooses a butterfly as a metaphor for transformation, a sighted creature whose inherent nature contains, and symbolizes, the potential for transformation from a less valued state to a more valued state. If transformation is not to be valued; if, according to a recent article by Jung Lee, 'there is no implication that it is either possible or desirable for the living to awake from their dream', why not tell a story of a mole awakening from a (...) class='Hi'>dream? This would be a more perfect story. There would be no point of a mole awakening since (setting aside tactile, olfactory, auditory and taste sensations for the purpose of the example), there is no way to distinguish between the world of the mole's imagination and the real world that is forever unavailable to a mole. In addition, Zhuangzi relates the story of the coming of a great sage in which it is clearly stated that 'Only at the ultimate awakening shall we know that this is the ultimate dream'. Such textual evidence both from the choice of metaphors and evidential passages indicates that the message of the Zhuangzi is not epistemological relativity, but one of transformation from a state of intellectual blindness to a state of true understanding. (shrink)

Identifying the theme of self and death as central to the “Qiwulun” — or Discussion on Making All Things Equal3 — is at odds with a majority of interpreters: they tend to see issues such as the possibility of knowledge and the nature of language or epistemic perspectives as lying at the core of the concerns for Zhuangzi. Chad Hansen, for instance, ascribes a thoroughgoing version of skepticism and relativism to Zhuangzi, a position stating that nothing can be known and (...) no school of thought enjoys a privileged status over others (Hansen 1983, 1992). Some philosophers are reluctant to ascribe such a radical form of skepticism to Zhuangzi. For example, Paul Kjellberg holds that Zhuangzi offers relevant considerations .. (shrink)

Abstract Since the seventeenth century the dream of rendering human life less arduous and of securing it against the whims of fate through the development and deployment of technological devices has been a factor stimulating scientific research and development. This dream rests on a supposition that we live in a universe governed by deterministic laws in which limits on our ability to predict and control are set only by the imperfection of our knowledge and skill. But recent work (...) in chaos theory combined with reminders that human beings themselves form part of the worldin which they live and seek to control suggests that this supposition is unjustified. If this is the case, then the idea that there is a technological solution to every problem, one which can be found by scientists or experts (the modern heroes) is revealed as a magical attitude which should have no place in rational decision making and whose persistence threatens to turn scientists into the high priests of a cult of technology. (shrink)

What are we to make of statements that jaguars see themselves as humans, or of doubts about the boundary between dreams and waking? Jointly authored by an anthropologist and a philosopher, this book investigates some of the most puzzling ideas and practices reported in modern ethnography and ancient philosophy, concerning humans, animals, persons, spirits, agency, selfhood, consciousness, nature, life, death, disease and health. The study's twin aims are first to explore the possibility of achieving a better understanding of the materials (...) we discuss and then to see what lessons we can draw from them to challenge and revise our own fundamental assumptions. (shrink)

Sweet cross -- Butterfly dreams -- On luxury -- Satori -- Moral entertainment -- Healthy entertainment -- Being as passion -- A hunger artist -- Serenity before the world -- A meta-theory of entertainment.

Chad Hansen is one of the strongest proponents of the view that the important second chapter of Zhuangzi's Inner Chapters (The Qi Wu Lun) reveals Zhuangzi to be a relativistic sceptidst. Hansen argues that Zhuangzi is a sceptic because he is first and foremost a relativist. Hansen's argument is essentially that Zhuangzi's perspectivism, his belief that one's linguistic and conceptual perspective determines what one claims to know, makes him a thorough going relativist and sceptic. I agree that Zhuangzi is a (...) perspectivist, but disagree with Hansen's portrayal of him as a relativistic sceptic. I first show that there is an important ambiguity in Hansen's argument. I then proceed to argue that important passages in the Qi Wu Lun (in particular the butterfly dream passage,) reveal serious problems with Hansen's interpretation of Zhuangzi's philosophical stance, I maintain that Zhuangzi is neither a sceptic nor a perspectival relativist. He is rather a perspectival realist. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The 2004 Gerald Weisfeld Lectures:Buddhism and Christianity in DialoguePerry Schmidt-LeukelIn May 2004 the Centre for Inter-Faith Studies (University of Glasgow) sponsored the second series of Gerald Weisfeld Lectures, titled "Buddhism and Christianity in Dialogue." The lectures were part of the events leading up to the Dalai Lama's visit to Scotland at the end of May 2004. Over four weeks there were two lectures each week, one read by a (...) Christian and one by a Buddhist—both of them speaking on the same topic and both of them speaking comparatively, but from the background of their own tradition.The theme of week 1 was "Human Existence in Buddhism and Christianity"—the Christian speaker being Elizabeth Harris of London; the Buddhist speaker being Kiyoshi Tsuchiya, who teaches at Glasgow University. Harris pointed out that in their analysis of the human condition, Buddhism and Christianity show serious commonalities. For both traditions, human existence is ambivalent: on the one hand deeply permeated by the roots of evil (craving and ignorance according to Buddhism; sin according to Christianity), and on the other hand human (existence also offers a way out: there is the possibility of salvation or liberation). However, said Harris, Buddhism and Christianity "converge and diverge." Human self-centeredness is seen at the root of the problem according to both traditions, and there are convergences of their respective ways of salvation, too. The differences are, said Harris, primarily located in the active function of God for the salvific process within Christianity and in the role of reincarnation within the Buddhist analysis of human existence which is without any parallel in Christianity.Tsuchiya agreed that both traditions understand the self as the major source of the human predicament, but held that they understand this in a different sense. While the self is seen as sinful but nevertheless real in Christianity, Buddhism sees it as an unwholesome illusion. Resulting are two different or even contradictory forms of self-understanding, a "relational," individualistic ego dominant in Christianity, a sort of cosmological ego characteristic for Buddhism, particularly within the Zen-Daoist tradition from which Tsuchiya speaks. He illustrated this point provocatively by a comparative analysis of Kafka's story of Gregor Samsa's metamorphosis into a beetle and Chuang tzu's famous butterfly dream. This difference of self-concepts is, [End Page 157] said Tsuchiya, crucial for the rival Christian and Buddhist understandings of transcendence and cosmos: personal transcendence versus cosmological transcendence, anti-naturalism versus naturalism.In her response Harris raised the question whether Tsuchiya's representation of Christianity is really comprehensive. Are there not dimensions in Christianity supportive of his nondualist approach to nature and human existence? Tsuchiya, in his response, admitted that the ultimate religious goals might converge, but insisted on at least a "possibly contradictory" religious orientation with specific dangers on both sides, so that there is room for mutual constructive challenge.The debate of week 1 continued through week 2, which was dedicated to "Ultimate Reality in Buddhism and Christianity," the Christian speaker being Karl Baier from the University of Vienna; the Buddhist lecturer Minoru Nambara, professor emeritus from the University of Tokyo. Baier presented an admittedly selective view of Christianity following the line of the neoplatonic, mystical tradition. From here he offered a comparative analysis of the deconstructive efforts of Nagarjuna and Nicolas Cusanus, who both employed the fourfold negation in order to introduce their nondual and nonconceptual view of the relation between ultimate and nonultimate reality. For Baier the obvious affinities between these two (sub-)traditions are getting even stronger in the present situation, for "by means of transformative encounter Buddhism and Christianity cease to be independent bodies of thought."Sketching the various transformations of Buddhism on its way from India to China, Nambara held that for Chinese Buddhism "this very world is in and of itself the ultimate subject, the ultimate reality." Zen practice, accordingly, is "a way where no metaphysical flowers blossom." To live by the bottomless ground of everything, which is in itself no-thing, is to live as "neither masters nor slaves of nature." The biblical God—understood as the one who can create and destroy nature—is at deep variance with... (shrink)

This article offers a meta-analysis of contemporary approaches aimed at resolving the internal, relativistic-non-relativistic tension within the text of the Chuang-Tzu. In the first section, the four most commonly applied approaches are unpacked and evaluated, ranging from relativistic approaches such as hard relativism and soft relativism, to approaches that acknowledge both relativism and non-relativism, as well as others which acknowledge neither of the two perspectives (relativism and non-relativism). After demonstrating the immanent difficulties these four types of approaches encounter, the latter (...) section of this paper puts forward a different philosophical solution known as asymmetrical relativism. This novel approach preserves textual evidence for both relativistic and non-relativistic attitudes within the Chuang-Tzu by proposing that the mind engages in relativism insofar as it is in a state of ignorance; en route to enlightenment, however, value-laden discourse and pedagogical heuristics are nonetheless still employed as instruments for the mind to transcend its own ignorance. (shrink)

Transformation of the sparrow and the butterfly -- Meeting the gods of poverty in a dream -- The greatest joys of the cicada and its cast-off shell -- The owl's understanding -- The centipede questions the snake -- The toad's way of the gods -- The mysterious technique of the cat -- Afterword by William Scott Wilson.

In lieu of an abstract, here is a brief excerpt of the content:Art and Evolution:Spiegelman's The Narrative CorpseBrian BoydIHas art evolved, like opposable thumbs and the whites of our eyes? If it has, will knowing so help us understand better not just art in general but particular works, even works of avant-garde art? Over recent decades many have come to accept that not only have humans evolved from other animals but that many features of their minds and behavior can be (...) explained by the deep past of evolution.1 Yet art remains a puzzle for biocultural analysis. How can we explain art in the hard-nosed terms of biological advantage, especially if it lacks analogies or precursors in other species and seems so pleasurably part of being distinctly human?2Nevertheless we have good reasons to examine whether art might be an adaptation. All cognitively normal individuals in all known societies engage in some form of art, actively or at least passively: music and dance, story, visual art. No one has to be pressured into listening to music on a radio or an iPod. And like language but unlike reading and writing, art develops reliably to a basic level without special training.Art could be what evolutionary biologists call a byproduct, a mere side-effect of our bigger brains or of culture. Yet that seems unlikely. Byproducts by definition do not offer advantages in terms of survival and reproduction: a bodily or behavioral feature whose design offers such advantages we classify as an adaptation. But if art were a byproduct, if it offered on average no advantage in terms of survival and reproduction, many generations of intense evolutionary competition would have eliminated it. If art offered no benefits but exacted the costs it does in time, [End Page 31] energy and resources, it would over many generations have been selected against through the superior fitness of those less inclined to pay such costs, those who preferred to devote their time and energy to securing material or social advantage or simply to save energy by resting.We can understand art in all its varieties, I suggest, as cognitive play with pattern, with multiple, high-intensity patterns. Play exists throughout much of the animal kingdom: in all mammals in which it has been looked for, in birds, and even in invertebrates like octopi. Play, like sleep and dreaming, puzzles and fascinates biologists because it is so widespread and so highly conserved (evolutionary lineages in which play has arisen do not lose it as they continue to evolve) that it must fulfill some function, because it has high costs in energy and risk, and because its functions are not as evident as those of "serious" behavior.3The amount of play in a species correlates highly with the flexibility of its behavior. In all species in which it occurs, play seems remarkably self-rewarding. Animals like pigs and rats play compulsively. In fact this seems the core of play: the self-rewarding nature of play makes animals engage in exuberant, intense behaviors that, under conditions of relative security, allow them to extend their capacities and improve their competence in situations of minimal risk. The skills honed will prove of advantage in real world situations where it is too late to learn on the job, in situations like fight or flight. Because play is compulsive, animals engage in it again and again, incrementally altering their neural wiring, strengthening and speeding up synaptic pathways, improving their capacity and performance.Humans uniquely inhabit what has been called "the cognitive niche":4 we gain most of our advantages from intelligence. We have an appetite for information, and especially for pattern, for information that falls into meaningful arrays from which we can make rich inferences. We therefore like bright, distinct colors, crisp outlines, complex shape or surface design: think of our special fondness for butterflies and flowers. And we have an appetite for open-ended pattern, new kinds of patterns, not only the patterns we have evolved to detect automatically. Vervet monkeys signal to one another in different ways when they see snakes, or leopards, or eagles, because they need to react in different ways to different threats, but they never learn to associate... (shrink)

The early Chinese text _Master Zhuang_ (_Zhuangzi_) is well known for its relativistic philosophy and colorful anecdotes. In the work, Zhuang Zhou ca. 300 B.C.E.) dreams that he is a butterfly and wonders, upon awaking, if he in fact dreamed that he was a butterfly or if the butterfly is now dreaming that it is Zhuang Zhou. The text also recounts Master Zhuang's encounter with a skull, which praises the pleasures of death over the toil of living. (...) This anecdote became popular with Chinese poets of the second and third century C.E. and found renewed significance with the founders of Quanzhen Daoism in the twelfth century. The Quanzhen masters transformed the skull into a skeleton and treated the object as a metonym for death and a symbol of the refusal of enlightenment. Later preachers made further revisions, adding Master Zhuang's resurrection of the skeleton, a series of accusations made by the skeleton against the philosopher, and the enlightenment of the magistrate who judges their case. The legend of the skeleton was widely popular throughout the Ming dynasty (1368-1644), and the fiction writer Lu Xun (1881-1936) reimagined it in the modern era. The first book in English to trace the development of the legend and its relationship to centuries of change in Chinese philosophy and culture, _The Resurrected Skeleton_ translates and contextualizes the story's major adaptations and draws parallels with the Muslim legend of Jesus's encounter with a skull and the European tradition of the Dance of Death. Translated works include versions of the legend in the form of popular ballads and plays, together with Lu Xun's short story of the 1930s, underlining the continuity between traditional and modern Chinese culture. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * "… to sleep perchance to dream " 1 To dream: to be not quite asleep, yet not particularly awake. Or, rather: to be awake but not quite know it. For, it is only when we dream, when we are dreaming, that we know that we are not in that final sleep. But we can only know that we are dreaming, that we have dreamt, when we are awake, when we have awoken; after it is too late. When all we know is that the sleep beyond finitude, the sleep that is the step beyond, is not yet upon us, is only to come. To die to sleep … To dream: a sleep that refuses sleep. Perchance to dream: to drift—between sleep and sleep. Aye there's the rub For, can we even know if we have been sleeping? Or, if death has claimed us?—even if a little death. α Ω α Ω α Ω To drift: but from, to, what? For, to drift implies a certain direction that one was headed from, heading to, headed for; without these indications, markers, points in relation with each other, one would just be moving. Can one know—intend—one's drift? Certainly a stunt driver would say so. But even as (s)he is starting her slide, all that (s)he can know is that she is setting the car, herself, the car with herself in it, in motion: after which the drift itself takes over. After which, all (s)he can do is attend to it. At the point of the drift: both (s)he and the car are drifting—here, one might not even be able to separate the movement from those involved in it. Without either of them, there would not be a drift; there is no drifting without the drifter. Both the drifter and the drifting are in a relationality; in which, all that they can know is that they are in relation with each other. Hence, the drift itself is a relationality. A non-essence. But, it is not as if we cannot speak of it. Perhaps though: we can only speak of it as if we can speak of it. Always already an imaginary gesture; where what is being imagined is the relationality between the drift and the ones drifting. Thus, we have a situation where the drifter and drifting are in a relationality; where relationality itself is what is being imagined. Perhaps then, what are we drifting from, to? , is a moot question. As is, what is drifting? Perhaps then, all we can say is drift? To speak of drift is an attempt to speak of the unspeakable. Not that what is speakable and what is unspeakable are antonyms: if that were so, speaking the unspeakable would make no sense, be a contradiction. But that in every act of speaking, something unspeakable is potentially said: something that opens, ruptures, wounds even. And not just that—at the point where it punctures, speaking itself moves out of the way for the unspeakable; speaking itself disappears. "… the whole art is to know how to disappear before dying, and instead of dying. " 2 To disappear; or, to drift out of sight. Where the words themselves slip away. After all: "in the Beginning was the Word. It was only afterwards that Silence came." Perhaps the wish, the hope, is that "the end itself has disappeared …" (Baudrillard, 70) Remaining hidden from us. Perhaps only glimpsed when we dream. Secret. α Ω α Ω α Ω " Bury all your secrets in my skin " (Corey Taylor) Which is the problem: words cling. And they remain. Perhaps not ontologically; but they certainly remain to haunt us. And here, we should not forget Lucretius' lesson that communication occurs in the skin between the parties in communion with each other. Which is not to say that the encounter is determined by atoms—and more precisely atoms that move in straight lines until they collide with each other—that communication is pre-determined. For, one must not forget that will is found, discovered, enacted even, at the moment the atoms swerve. Clinamen . Drift. But even in their movement—drifting—they trace themselves into the skin between; a tangential touching. Perhaps only briefly. But even then, enough … "… there's always texture that betrays the place." (May Ee Wong) Here though, one must not forget that betrayal cannot happen in the absence of love. In fact, betrayal is the very excess of love: where one loves the other so much that one can no longer bear to see the other drift from what (s)he could have been. Whether that idealised other exists or is only in one's head is another question altogether. Perhaps, a fetishised other: keeping in mind that "fetishes are hinged around simulation." After all, "when one is supposed to show up as an oil rig diver no one is expecting actual crude oil" (Amanda Sordes); in fact, actualisation is the perfect way to destroy the fantasy. Perhaps then, the only way to maintain love for another is to maintain a proper distance, as it were, from love: allow the love to constantly alter, change. And here, one must not forget that if love is a relationality between one and another who remains wholly other (otherwise just a mere manifestation of the self), love is a relationality that knows nothing except for the fact that it is in a relation. For, to love one has to attend to—without subsuming another, some other, under oneself. Which means that to love, one has to be willing to risk, to open oneself, to allow oneself to be wounded, torn apart. In new ways, ways that we have yet to understand, come across, ways we do not yet have a name for. Thus, this movement in love is one that occurs in utter blindness; to not only the other, but to what love is. This is love as pure drifting. Perhaps always searching for love itself, without ever knowing what it is that it is looking for. Love: only at the very moment when the word love itself disappears. Perhaps all we can do is sit, and attend: watching the tides flowing away—as if they were having their "last swim of the summer." (Hendrik Speck) Like a butterfly. α Ω α Ω α Ω Isn't it quite amazing how the appearance of a butterfly can inject a stutter or pause into any conversation? Words and words pour out of the animals in assembly, before they are all of a sudden arrested by the passing flight. Heads turn to trace a lilting poetics, attempting to close the distance with this seemingly awkward beauty. There are no straight lines here, only a relative arrival and departure to bracket a brilliant and bewildering trajectory, surging and lurching in a vibrating and nomadic line avant la lettre. (Sean Smith, 'I Seek You: Countdown to Stereoscopic Tear') Before the letter. Before the possibility of naming. Before being sayable. Quite possibly also before language. And yet, a "surging and lurching," a movement with an effect—"vibrating and nomadic"—tracing itself before there is even anything to trace. Leaving something, even if that thing remains unknowable, for us to attend to. Drifting into us. I had some dreams they were clouds in my coffee, clouds in my coffee..." (Carly Simon) NOTES William Shakespeare, Hamlet , Act 3 Scene 1. Jean Baudrillard, Why hasn't everything already disappeared? , 25.  . (shrink)

The diversity in colour patterns on butterfly wings provides great potential for understanding how developmental mechanisms may be modulated in the evolution of adaptive traits. In particular, we discuss concentric eyespot patterns, which have been shown by surgical experiments to be formed in response to signals from a central focus. Seasonal polyphenism shows how alternate phenotypes can develop through environmental sensitivity mediated by ecdysteroid hormones, whereas artificial selection and single gene mutants demonstrate genetic variation influencing the number, shape, size, (...) position, and colour composition of the eyespots. The expression patterns of the regulatory gene Distal-less reveal that these changes can arise at several different developmental stages, and the phenotypes indicate that some forms of changed pattern may occur much more readily than others. Further study of the genes, of the developmental mechanisms, and of the functions of the patterns will provide novel insights about the evolution of morphological diversity. BioEssays 21:391–401, 1999. © 1999 John Wiley & Sons, Inc. (shrink)

An efficient intelligent fault diagnosis model was proposed in this paper to timely and accurately offer a dependable basis for identifying the rolling bearing condition in the actual production application. The model is mainly based on an improved butterfly optimizer algorithm- optimized kernel extreme learning machine model. Firstly, the roller bearing’s vibration signals in the four states that contain normal state, outer race failure, inner race failure, and rolling ball failure are decomposed into several intrinsic mode functions using the (...) complete ensemble empirical mode decomposition based on adaptive noise. Then, the amplitude energy entropies of IMFs are designated as the features of the rolling bearing. In order to eliminate redundant features, a random forest was used to receive the contributions of features to the accuracy of results, and subsets of features were set up by removing one feature in the descending order, using the classification accuracy of the SBOA-KELM model as the criterion to obtain the optimal feature subset. The salp swarm algorithm was introduced to BOA to improve optimization ability, obtain optimal KELM parameters, and avoid the BOA deteriorating into local optimization. Finally, an optimal SBOA-KELM model was constructed for the identification of rolling bearings. In the experiment, SBOA was validated against ten other competitive optimization algorithms on 30 IEEE CEC2017 benchmark functions. The experimental results validated that the SBOA was evident over existing algorithms for most function problems. SBOA-KELM employed for diagnosing the fault diagnosis of rolling bearings obtained improved classification performance and higher stability. Therefore, the proposed SBOA-KELM model can be effectively used to diagnose faults of rolling bearings. (shrink)

[M]y attention was drawn to the flower garden of the grey matter, which contained cells with delicate and elegant forms, the mysterious butterflies of the soul, the beating of whose wings may someday... clarify the secret of mental life. Art can actually facilitate scientific understanding, even discovery. Art can be, and has been, the entryway to vision and the understanding of natural phenomena as demonstrated in its role in the development of neuron theory. While developing a course on current brain (...) research and learning and then projects for S.T.E.A.M. curriculum, I was repeatedly drawn to the work of Santiago Ramon y Cajal, whose life work provides an extraordinary example of the.. (shrink)

This paper integrates genetical studies of variation in the wing patterns of Lepidoptera with experimental investigations of developmental mechanisms. Research on the tropical butterfly,Bicyclus anynana, is described. This work includes artificial selection of lines with different patterns of wing eyespots followed by grafting experiments on the lines to examine the phenotypic and genetic differences in terms of developmental mechanisms. The results are used to show how constraints on the evolution of this wing pattern may be related to the developmental (...) organisation. The eyespot pattrn can be envisaged as a set of developmental homologues; a common developmental mechanism is associated with a quantitative genetic system involving high genetic correlations. However, individual genes which influence only subsets of the eyespots, thus uncoupling the interdependence of the eyespots, may be important in evolutionary change. The postulated evolutionary constraints are illustrated with respect to differences in wing pattern found among other species ofBicyclus. (shrink)

In this article, a chapter from a more general study, the butterfly is considered as an arresting `index', highlighting the evolution of children's culture and the relationships between science and literature. Comparing Furetière's knowledge of this insect, as set out in his Dictionnaire universel (1690), to its literary representations in Charles Perrault's or Fénelon's tales, helps to assess the context in which children's literature came to be written within the higher circles of the Versailles Court society. It also explains (...) some aspects of the `Querelle des Anciens et des Modernes'. Flying the flag for modernism, the butterfly stands in rhetorical opposition to the industrious bee or `zephyr' of the pastoral and idyll, as a sign of liberated childhood. An epilogue shows that butterflies in contemporary writings for children offer a postmodern illustration of the baroque trend that was initiated in children's literature at the end of the 17th century, and impart a special flavour to some of the most popular tales and picture-books. (shrink)

The particular fascination of butterfly wings for developmental biologists (and others) lies in their spectacular array of colour patterns. The evolutionary and developmental relationships between these patterns have been analysed and we know something of the cell interactions involved in their formation(1). Now butterfly homologues of Drosophila wing‐patterning genes have been identified, and their expression patterns offer the first clues to the molecular mechanisms which specify wing colour patterns(2).

Commentary on research on butterflies' eyespots as a model in evolutionary developmental biology.

In this paper, we present two proofs of the reciprocal butterfly theorem. The statement of the butterfly theorem is: Let us consider a chord PQ of midpoint M in the circle Ω(O). Through M, two other chords AB and CD are drawn, such that A and C are on the same side of PQ. We denote by X and U the intersection of AD respectively CB with PQ. Consequently, XM = YM. For the proof of this theorem, see (...) [1]. The reciprocal of the butterfly theorem has the following statement: In the circle Ω(O), let us consider the chords PQ, AB and CD which are concurrent in the point M≠O, such as the points A and C are on the same side of the line PQ. Let X and Y respectively be the intersections of the chord PQ with AD and BC respectively. If XM = YM, then M is the middle of the chord PQ. (shrink)

This is the third volume in a trilogy of fables by Steven Carter. Carter's butterflies are naive, worldly, sarcastic, philosophical, and very funny—in short, perfectly human!

The diversity in colour patterns on butterfly wings provides great potential for understanding how developmental mechanisms may be modulated in the evolution of adaptive traits. In particular, we discuss concentric eyespot patterns, which have been shown by surgical experiments to be formed in response to signals from a central focus. Seasonal polyphenism shows how alternate phenotypes can develop through environmental sensitivity mediated by ecdysteroid hormones, whereas artificial selection and single gene mutants demonstrate genetic variation influencing the number, shape, size, (...) position, and colour composition of the eyespots. The expression patterns of the regulatory gene Distal-less reveal that these changes can arise at several different developmental stages, and the phenotypes indicate that some forms of changed pattern may occur much more readily than others. Further study of the genes, of the developmental mechanisms, and of the functions of the patterns will provide novel insights about the evolution of morphological diversity. BioEssays 21:391–401, 1999. © 1999 John Wiley & Sons, Inc. (shrink)

In this paper we describe a test for Nijhout's hypothesis that the eyespot patterns on butterfly wings are the result of a threshold reaction of the epidermal cells to a concentration gradient of a diffusing degradable morphogen produced by focal cells at the centre of the future eyespot. The wings of the nymphalid butterfly, Bicyclus anynana, have a series of eyespots, each composed of a white pupil, a black disc and a gold outer ring. In earlier extirpation and (...) transplantation experiments it has been established that these eyespots are indeed organised around groups of signalling cells active during the first hours of pupal development. If these cells were to supply the positional information for eyespot formation in accordance with Nijhout's diffusion-degradation gradient model, then, when two foci are close together, the signals should sum, and this effect should be apparent in the detailed shape of the resulting pigment pattern. We give an equation for the form of the contours that would be obtained in this manner. We use this to test the morphogen gradient hypothesis on measurements of the outlines of fused eyespots obtained either by grafting focal cells close together, or by using a mutation that produces adjacent fused eyespots. The contours of the fused patterns were found to satisfy our equation, thus corroborating Nijhout's hypothesis to the extent possible with this particular type of experiment. (shrink)