Several authors have hypothesized that completely positive maps should provide the means for generalizing quantum dynamics. In a critical analysis of that proposal, we show that such maps are incompatible with the standard phenomenological theory of spin relaxation and that the theoretical argument which has been offered as justification for the hypothesis is fallacious.

The role of completely positive mappings in quantum dynamics and measurement theory is reanalyzed in light of the possibility of a generalized dynamics.

The assertion by Simmons and Park that the dynamical map associated with the Bloch equations of nuclear magnetic resonance is not completely positive is wrong.

In this rejoinder to a critique by Raggio and Primas of our paper, “On Completely Positive Maps in Generalized Quantum Dynamics,” we acknowledge that, contrary to our original assertion, the Bloch equations are indeed completely positive. We then explain briefly why this modification of our analysis does not alter its main conclusions.

There has been a long-standing and sometimes passionate debate between physicists over whether a dynamical framework for quantum systems should incorporate not completely positive (NCP) maps in addition to completely positive (CP) maps. Despite the reasonableness of the arguments for complete positivity, we argue that NCP maps should be allowed, with a qualification: these should be understood, not as reflecting ‘not completely positive’ evolution, but as linear extensions, to a system’s entire state space, of (...) CP maps that are only partially defined. Beyond the domain of definition of a partial-CP map, we argue, much may be permitted. (shrink)

This chapter provides a background for a virtue ethical map of Hume and Nietzsche. A map offers an interpretation of a terrain or subject matter that is “stylized,” “abstract,” and “simplified. A complete map of Nietzsche and Hume, whether or not it involves a virtue ethical map of their ethics, ideally requires a thoroughly explicated conception of their metaphysical perspective. The chapter offers instead a very abstract map of the main issues and the author's general position. Of great importance for (...) a virtue ethical map of Hume and Nietzsche is their emphasis on psychology. Psychological interpretation must not be confused with an “individualistic” interpretation, according to which persons are viewed as if they were not shaped by their cultures. Indeed Nietzsche frequently draws the attention to the virtues of different ages which may be embryonic in earlier ages. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Maps for the Classical World: Where Do We Go from Here?Richard TalbertThe apa’s classical atlas project was conceived as the means to an end, and rightly so. Good maps were taken to be vital tools for understanding ancient history and culture at any level, and the ones available in the early 1980s were altogether woefully inadequate. The project was designed to fill this void by preparing a comprehensive atlas (...) for publication in the not-too-distant future.To make a definitive claim at this moment that the target of publication by the end of 1999 will be met must still rank as hubris. Without doubt, however, the odds have increasingly shifted over the past few years in favor of timely completion. As everyone knows, the problems of designing, funding, and developing any ambitious collaborative project are immense, and the atlas has been handed its full share of such difficulties and more. Yet gradually the difficulties seem to have been surmounted, and the project—at present, anyway—remains resolutely on schedule, as much to the surprise of its Director as to everyone else.As the odds have shifted, so, too, has my own perception of the project as an end. To be sure, the maps appearing in the atlas volume will offer the intended comprehensive vision of the physical and cultural landscape of classical antiquity that has been so seriously lacking since Carl Müller provided the last one for William Smith’s Atlas of Ancient Geography in the 1870s. Further gains are assured, too. In particular, to accommodate different needs, it should certainly prove practical to issue the maps in a variety of alternative formats—in sets of loose sheets, for example (with or without cultural data marked on the ancient physical landscape), as wall-maps, slides, digitized images, even a reduced-size textbook atlas. One way or another, these maps have the potential to exert a formative influence on our perception of the classical landscape for many decades to come.Even at the current stage, well before publication, the Atlas Project [End Page 323] has already stimulated fresh attention to cartography: this has grown without any special effort on the project’s part. Most notably, colleagues have become aware that there is now for the first time somewhere to which they can turn as they seek out suitable cartographic materials and design for their research or publications or field survey.Classical studies worldwide would benefit immensely if that “somewhere” were to be made a permanent “center,” established around the same time as the publication of the Atlas of the Greek and Roman World. In the creation of the atlas, both materials and expertise have been accumulated, which it would be irresponsible simply to abandon. The materials cover a wide range—from elements for all the aeronautical charts forming the physical bases for the atlas maps, to copies of older rare maps devoted to classical antiquity.Such maps (and whatever text accompanies them) are by no means necessarily all about to be rendered obsolete by the atlas. The French “archaeological atlases” of Algeria and Tunisia, for example, were compiled by the Brigades Topographiques in the late nineteenth and early twentieth centuries at scales as generous as 1 : 50,000, whereas the atlas limits itself to 1 : 500,000 in this region (and the area covered by one map at 1 : 500,000 corresponds to literally dozens at 1 : 50,000). Thus for any study with a close focus on Algeria or Tunisia, these French series remain indispensable, although the Tunisian one, with its two editions, is exceptionally rare and hard to obtain. Typically, the few libraries that hold this material have bound the original loose sheet maps into books (rendering it impossible to use the sheets individually), and for obvious reasons, they are not willing lenders. The Atlas Project, I imagine, has been the first to photograph the printed map sheets onto transparent plastic positives. These are sturdy, dimensionally stable, and immune from the fading and deterioration of paper; in addition, when they are laid on top of other maps, everything underneath remains visible.Examples of further cartographic materials for the classical world which will continue to... (shrink)

State transformations in quantum mechanics are described by completely positive maps which are constructed from quantum channels. We call a finest sharp quantum channel a context. The result of a measurement depends on the context under which it is performed. Each context provides a viewpoint of the quantum system being measured. This gives only a partial picture of the system which may be distorted and in order to obtain a total accurate picture, various contexts need to be employed. (...) We first discuss some basic definitions and results concerning quantum channels. We briefly describe the relationship between this work and ontological models that form the basis for contextuality studies. We then consider properties of channels and contexts. For example, we show that the set of sharp channels can be given a natural partial order in which contexts are the smallest elements. We also study properties of channel maps. The last section considers mutually unbiased contexts. These are related to mutually unbiased bases which have a large current literature. Finally, we connect them to completely random channel maps. (shrink)

It is almost universally believed that in quantum theory the two following statements hold: all transformations are achieved by a unitary interaction followed by a von-Neumann measurement; all mixed states are marginals of pure entangled states. I name this doctrine the dogma of purification ontology. The source of the dogma is the original von Neumann axiomatisation of the theory, which largely relies on the Schrődinger equation as a postulate, which holds in a nonrelativistic context, and whose operator version holds only (...) in free quantum field theory, but no longer in the interacting theory. In the present paper I prove that both ontologies of unitarity and state-purity are unfalsifiable, even in principle, and therefore axiomatically spurious. I propose instead a minimal four-postulate axiomatisation: associate a Hilbert space \ to each system \; compose two systems by the tensor product rule \; associate a transformation from system \ to \ to a quantum operation, i.e. to a completely positive trace-non-increasing map between the trace-class operators of \ and \; evaluate all joint probabilities through that of a special type of quantum operation: the state preparation. I then conclude that quantum paradoxes—such as the Schroedinger-cat’s, and, most relevantly, the information paradox—are originated only by the dogma of purification ontology, and they are no longer paradoxes of the theory in the minimal formulation. For the same reason, most interpretations of the theory interpret the same dogma, not the strict theory stripped of the spurious postulates. (shrink)

Acknowledging separable factors underlying negative symptoms may lead to better understanding and treatment of negative symptoms in individuals with schizophrenia. The current study aimed to test whether the negative symptoms factor (NSF) of the Positive and Negative Syndrome Scale (PANSS) would be better represented by expressive and experiential deficit factors, rather than by a single factor model, using confirmatory factor analysis (CFA). Two hundred and twenty individuals with schizophrenia spectrum disorders completed the PANSS; subsamples additionally completed the Brief Negative (...) Symptom Scale (BNSS) and the Motivation and Pleasure Scale—Self-Report (MAP-SR). CFA results indicated that the two-factor model fit the data better than the one-factor model; however, latent variables were closely correlated. The two-factor model’s fit was significantly improved by accounting for correlated residuals between N2 (emotional withdrawal) and N6 (lack of spontaneity and flow of conversation), and between N4 (passive social withdrawal) and G16 (active social avoidance), possibly reflecting common method variance. The two NSF factors exhibited differential patterns of correlation with subdomains of the BNSS and MAP-SR. These results suggest that the PANSS NSF would be better represented by a two-factor model than by a single-factor one, and support the two-factor model’s adequate criterion-related validity. Common method variance among several items may be a potential source of measurement error under a two-factor model of the PANSS NSF. (shrink)

No-cloning theorem says that there is no unitary operation that makes perfect clones of non-orthogonal quantum states. The objective of the present paper is to examine whether an imperfect cloning operation exists or not in a C*-algebraic framework. We define a universal \ -imperfect cloning operation which tolerates a finite loss \ of fidelity in the cloned state, and show that an individual system’s algebra of observables is abelian if and only if there is a universal \ -imperfect cloning operation (...) in the case where the loss of fidelity is less than \ . Therefore in this case no universal \ -imperfect cloning operation is possible in algebraic quantum theory. (shrink)

We consider a quaternionic quantum formalism for the description of quantum states and quantum dynamics. We prove that generalized quantum measurements on physical systems in quaternionic quantum theory can be simulated by usual quantum measurements with positive operator valued measures on complex Hilbert spaces. Furthermore, we prove that quaternionic quantum channels can be simulated by completely positive trace preserving maps on complex matrices. These novel results map all quaternionic quantum processes to algorithms in usual quantum information theory.

This paper formulates a notion of independence of subobjects of an object in a general (i.e. not necessarily concrete) category. Subobject independence is the categorial generalization of what is known as subsystem independence in the context of algebraic relativistic quantum field theory. The content of subobject independence formulated in this paper is morphism co-possibility: two subobjects of an object will be defined to be independent if any two morphisms on the two subobjects of an object are jointly implementable by a (...) single morphism on the larger object. The paper investigates features of subobject independence in general, and subobject independence in the category of C∗ - algebras with respect to operations (completely positive unit preserving linear maps on C∗ - algebras)as morphisms is suggested as a natural subsystem independence axiom to express relativistic locality of the covariant functor in the categorial approach to quantum field theory. (shrink)

In the Schrödinger equation, time plays a special role as an external parameter. We show that in an enlarged system where the time variable denotes an additional degree of freedom, solutions of the Schrödinger equation give rise to weights on the enlarged algebra of observables. States in the associated GNS representation correspond to states on the original algebra composed with a completely positive unit preserving map. Application of this map to the functions of the time operator on the (...) large system delivers the positive operator valued maps which were previously proposed by two of us as time observables. As an example we discuss the application of this formalism to the Wheeler-DeWitt theory of a scalar field on a Robertson-Walker spacetime. (shrink)

Positive logics are $\{ \wedge, \vee, \to \}$-fragments of intermediate logics. It is clear that the positive fragment of $Int$ is not structurally complete. We give a description of all hereditarily structurally complete positive logics, while the question whether there is a structurally complete positive logic which is not hereditarily structurally complete, remains open.

The notion of an instrument in the quantum theory of measurement is studied in the context of transformation valued linear maps on von Neumann algebras and their *-subalgebras. An extension theorem is proved which yields among other things characterizations of the Fourier transforms of instruments and their noncommutative analogues. As an application, an ergodic type theorem for a general class of transformation valued functions on a locally compact group is obtained.

_The most complete picture to date of the moral worlds of the political left and right and how their different views relate to specific political issues_ The left and right will always have strong policy disagreements, but constructive debate and negotiation are not possible when each side demonizes the other. We need to move past our poisonous politics. In this book, social psychologist Ronnie Janoff-Bulman provides a new framework for understanding why and how we disagree. Janoff-Bulman asks readers to consider (...) the challenging possibility that both liberalism and conservatism are morally based and reflect genuine concern for the country. Moral psychology is an invaluable lens for understanding the roots of political differences. She presents a “Model of Moral Motives” that maps the most fundamental motivations recognized by psychology—approach and avoidance—onto these differences. Liberal morality focuses on providing for the group’s well-being and ensuring social justice. Conservative morality focuses on protecting the group from threats and preserving order. These moralities can account for the psychological differences between liberals and conservatives and for why certain positions resonate on each side of the political spectrum. Why, for example, do conservatives oppose abortion and favor unfettered free markets while liberals favor a woman’s right to choose and economic regulation? Understanding that our political differences are rooted in two natural forms of morality can help us begin to detoxify our politics. (shrink)

We give positive answers to two open questions from [15]. (1) For every set C countably determined over A, if C is Π 0 α (Σ 0 α ) then it must be Π 0 α (Σ 0 α ) over A, and (2) every Borel subset of the product of two internal sets X and Y all of whose vertical sections are Π 0 α (Σ 0 α ) can be represented as an intersection (union) of Borel sets (...) with vertical sections of lower Borel rank. We in fact show that (2) is a consequence of the analogous result in the case when X is a measurable space and Y a complete separable metric space (Polish space) which was proved by A. Louveau and that (1) is equivalent to the property shared by the inverse standard part map in Polish spaces of preserving almost all levels of the Borel hierarchy. (shrink)

Deepak Sarma completes the first outline in more than fifty years of India's key philosophical traditions, inventively sourcing seminal texts and clarifying language, positions, and issues. Organized by tradition, the volume covers six schools of orthodox Hindu philosophy: Mimamsa (the study of the earlier Vedas, later incorporated into Vedanta), Vedanta (the study of the later Vedas, including the _Bhagavad Gita_ and the _Upanishads_), Sankhya (a form of self-nature dualism), Yoga (a practical outgrowth of Sankhya), and Nyaya and Vaisesika (two forms (...) of realism). It also discusses Jain philosophy and the Mahayana Buddhist schools of Madhyamaka and Yogacara. Sarma maps theories of knowledge, perception, ontology, religion, and salvation, and he details central concepts, such as the _pramanas_ (means of knowledge), _pratyaksa_ (perception), _drayvas_ (types of being), _moksa_ (liberation), and _nirvana_. Selections and accompanying materials inspire a reassessment of long-held presuppositions and modes of thought, and accessible translations prove the modern relevance of these enduring works. (shrink)

We first want to express our thanks to the commentators for their close and critical readings of The Phenomenological Mind. We would like to treat their comments and challenging questions as a productive opportunity to clarify and to make our positions more precise. Before we address the specific points raised by our colleagues, we do want to say that the intersection between phenomenology and the cognitive sciences is a rich one, and growing richer as collaboration and research continues. Our book (...) was meant to be an introduction to this area rather than a complete map of ongoing research. For that reason we were not able to cover every interesting issue, many of which are raised in the set of commentaries. (shrink)

On April 6, 2000, Dr. J. Craig Venter of Celera Genomics told a Congressional committee that his company finished its analysis of the human DNA and would have a completed map of the human genome by early summer, 2000. Scientists expect the completed human genome to revolutionize drug therapies through the creation of treatments tailored to specific genetic makeups. In order to create a map of the human genome, three billion letters of DNA that encode eighty thousand genes must be (...) identified and ordered. In March, 2000, Celera released a successful sequence of the fruit fly genome, and it employed the same methods in creating the human genome. (shrink)

This book is a collection of important writings on deflationism, with a detailed introduction and an exhaustive annotated bibliography. Among philosophers concerned with the theory of truth, deflationist positions have quickly gained ground and have become the most popular. Yet heretofore there has been no single book to which the readers can go for a detailed, overall view of the entire phenomenon of deflationism. This is the only available map of the whole terrain of deflationism. -/- Deflationism is a comparatively (...) new approach, though it has its roots in the thinking of some philosophers in the early twentieth century. Deflationism rejects all the traditional theories of truth: the correspondence theory (truth corresponds with facts), the coherence theory (truth is membership of a coherent set of beliefs), the pragmatist theory is provability or verifiability). This book gives complete coverage to all the different varieties of deflationism, and to earlier philosophers who anticipated deflationism. The articles and exerpts include classic works by Frege, Ayer, Ramsey, Tarsk, and Quine, and recent works by the leading deflationist authors of today: Paul Horwich, Hartry Field, Stephen Schiffer, Robert Brandom, and Stephen Leeds. (shrink)

With the introduction of Deleuze’s conception of the flow of desire, Foucault’s explication of Velasquez’s Las Meninas is enhanced through a new interpretation of Picasso’s lengthy cubist study of Las Meninas. By examining the arrow-headed structuration of the painting as filtered through panopticism, the single sided diamond that Foucault discovers in Velasquez’s painting is rendered as only half of the picture. Focusing the cone of sight on the panoptic figure and inverting the cone, with the bodies at the edges of (...) the painting serving as the hinges that hold the double perspective together, completes the diamond structuration of the painting with the inclusion of the synoptic dimension. As the viewer’s eyes are drawn across the figures in the forefront of the painting towards the circular mirror hanging on the black wall at the back of the painting, the opposite maneuver is happening simultaneously. The viewer usurps the position of an ambiguous and ever changing subject, and fills out this pan-synoptic scene. A new diagram that conjoins the operative structure of surveillance can decode the valuations of desired commodities, diagnose the economy of control, and program a mode of becoming that breaks our complicity in the social machine and produces unfamiliar, unforeseen, and transgressive behaviors that blaze lines of escape from the predominant system. The goal in this paper, by drawing together these Deleuzian and Foucauldian ideas and applying them to contemporary art, is to map or diagram the manipulation and reproduction of gender identities in the modern world. (shrink)

A structure ${\mathbb Y}$ of a relational language L is called almost chainable iff there are a finite set $F \subset Y$ and a linear order $\,<$ on the set $Y\setminus F$ such that for each partial automorphism $\varphi $ of the linear order $\langle Y\setminus F, <\rangle $ the mapping $\mathop {\mathrm {id}}\nolimits _F \cup \varphi $ is a partial automorphism of ${\mathbb Y}$. By theorems of Fraïssé and Pouzet, an infinite structure ${\mathbb Y}$ is almost chainable iff the (...) profile of ${\mathbb Y}$ is bounded; namely, iff there is a positive integer m such that ${\mathbb Y}$ has $\leq m$ non-isomorphic substructures of size n, for each positive integer n. A complete first order L-theory ${\mathcal T}$ having infinite models is called almost chainable iff all models of ${\mathcal T}$ are almost chainable and it is shown that the last condition is equivalent to the existence of one countable almost chainable model of ${\mathcal T}$. In addition, it is proved that an almost chainable theory has either one or continuum many non-isomorphic countable models and, thus, the Vaught conjecture is confirmed for almost chainable theories. (shrink)

Ensuring the trustworthiness of autonomous systems and artificial intelligence is an important interdisciplinary endeavour. In this position paper, we argue that this endeavour will benefit from technical advancements in capturing various forms of responsibility, and we present a comprehensive research agenda to achieve this. In particular, we argue that ensuring the reliability of autonomous system can take advantage of technical approaches for quantifying degrees of responsibility and for coordinating tasks based on that. Moreover, we deem that, in certifying the legality (...) of an AI system, formal and computationally implementable notions of _responsibility_, _blame_, _accountability_, and _liability_ are applicable for addressing potential responsibility gaps (i.e. situations in which a group is responsible, but individuals’ responsibility may be unclear). This is a call to enable AI systems themselves, as well as those involved in the design, monitoring, and governance of AI systems, to represent and reason about who can be seen as responsible in prospect (e.g. for completing a task in future) and who can be seen as responsible retrospectively (e.g. for a failure that has already occurred). To that end, in this work, we show that across all stages of the design, development, and deployment of trustworthy autonomous systems (TAS), responsibility reasoning should play a key role. This position paper is the first step towards establishing a road map and research agenda on how the notion of responsibility can provide novel solution concepts for ensuring the _reliability_ and _legality_ of TAS and, as a result, enables an effective embedding of AI technologies into society. (shrink)

Background: Although performance on the category fluency test is influenced by many cognitive functions, item-level scoring methods of CFT performance might be a promising way to capture aspects of semantic memory that are less influenced by intervenient abilities. One such approach is based on the calculation of correlation coefficients that quantify the association between item-level features and the serial order with which words are recalled.Methods: We explored the neural underpinnings of 10 of these correlational indices in a sample of 40 (...) healthy adults who completed a classic 1-min CFT and an MRI protocol inclusive of T1-weighted and resting-state fMRI sequences for the evaluation of the default-mode network. Two sets of linear models were defined to test the association between neural maps and each correlational index: a first set in which major demographic and clinical descriptors were controlled for and a second set in which, additionally, all other 9 correlational indices were regressed out.Results: In the analysis of the DMN, ‘SRO-frequency’, ‘SRO-dominance’ and ‘SRO-body-object interaction’ correlational indices were all negatively associated with the anterior portion of the right temporoparietal junction. The ‘SRO-frequency’ correlational index was also negatively associated with the right dorsal anterior cingulate and the ‘SRO-dominance’ correlational index with the right lateral prefrontal cortex. From the second set of models, the ‘SRO-typicality’ correlational index was positively associated with the left entorhinal cortex. No association was found in relation to grey matter maps.Conclusion: The ability to retrieve more difficult words during CFT performance as measured by the correlational indices between SRO and item-level descriptors is associated with DMN expression in regions deputed to attentional reorienting and processing of salience of infrequent stimuli and dominance status. Of all item-level features, typicality appears to be that most closely linked with entorhinal functioning and may thus play a relevant role in assessing its value in testing procedures for early detection of subtle cognitive difficulties in people with suspected Alzheimer’s degeneration. Although exploratory, these findings warrant further investigations in larger cohorts. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophy, Dissent, and Nonconformity, 1689–1920Bruce KuklickAlan P. F. Sell. Philosophy, Dissent, and Nonconformity, 1689–1920. Cambridge: James Clark & Co., 2004. Pp. 296. Cloth, £50.00This is a competent, clearly written, and authoritative exploration of its topic, in some respects a labor of love, for the author is both a pastor and a student of theology. Sell comprehensively examines the proliferation of dissenting academies and nonconformist colleges of England and (...) Wales, with some excursions into the Scottish scene, from the Toleration Act of 1689 through the early twentieth century. For the 230 years of this study, a great variety of schools, many of which had only a brief moment of existence, and most of which were barely funded, offered training for the ministers of over a dozen protestant denominations in Britain. Often one man provided instruction in subjects as diverse as mathematics, science, and literature—as well as religious fields.Sell does not focus on ministerial training or even theology, but the way in which the nonconforming religious élite expounded on and was taught philosophy. Thus, one sees how a diverse group that surely had sectarian needs in mind was also interested in grasping how thinkers outside its belief system approached basic problems of human existence. Over time Descartes and other continental rationalists, Locke and the Cambridge Platonists, Kant and Hegel, and the nineteenth-century British idealists were taught by the dissenting professoriate. In summarizing its interpretation, Sell presents a history of modern Anglo-European philosophy as it was refracted in the minds of (some) English-speaking Protestants. Their emphases are not unexpected: empiricism is somewhat devalued, and rationalistic and a priori modes of thinking perhaps inflated. The ethical implications of epistemology and metaphysics are most carefully explicated, and what is taken to be most strategic for [End Page 211] Reformed theology is underscored. Overall, if one is tempted to generalize (as Sell himself does not), the positions reached are credible and not out of line with the philosophical cutting edge of each era.For the most part the dissenters were not themselves creative philosophers of the first rank, but Sell rightly puts forward (206) a short list of thinkers at these schools who have genuine claims to merit, and my own very short list would include Richard Price, James Martineau, and Robert Mackintosh.The author uses diverse strategies to give readers a sense of the effort of these mostly forgotten men. To some extent the book is a biographical compendium, with brief sections on individual or paired thinkers. But Sell also offers coverage by denomination, and he adds a series of discussions by topics—on an assortment of recurring dilemmas in moral philosophy and on apologetics. A final and most useful feature of the book is a trio of indices, in addition to the very full notes and a complete bibliography, mainly of the writings of the many authors cited. Two of the indices are standard, but helpful, lists of persons and topics; the third one is a compendium of all the academies Sell treats, as well as their denominational affiliation, and the duration of their existences.Philosophy, Dissent, and Nonconformity has the defects of its virtues. It is encyclopedic in nature, available for reference but unlikely to be read as a synthetic book, except by devotees of a certain kind of historical philosophical theology. The author also presumes his readers are unlikely to tackle the volume unless they have a prior attraction. That is, the book is written without much contextual explication, and attention to the needs of the non-specialist certainly would have made the volume of wider interest. The work is still relatively brief, under 300 pages, and because of its character, I would have liked to have seen a series of maps that pinpointed the whereabouts of the dissenting schools, giving the reader a visual sense of when and where they arose and declined among particular denominations, and that informed us of what the relations were among the successive professors who defined the learning.Bruce KuklickUniversity of PennsylvaniaCopyright © 2005 Journal of the History of Philosophy, Inc.... (shrink)

There are two possible strategies for investigating questions on logic and mathematics. First, one can adopt the pattern recommended by the phenomenologists, which consists in looking for the actual essences of logic and mathematics in order to relate both fields. The second approach, adopted in this paper, starts with a historical review of the foundational standpoints. I will then try to extract on this base some insights on how logic and mathematics are mutually related. In particular, I am interested in (...) the concept of logic suggested by the development of the foundational debate. Yet one more preliminary remark is here in order. I will take into account the classical foundational positions: logicism, intuitionism, and formalism, as well as their later modifications and changes.1 Of course, this, so to speak, Foundational Trinity, does not exhaust the complete map of the foundations and philosophy of mathematics. For instance, I entirely neglect views wich might be exemplified by Lakatos, Dieudonné or Hersh, who, roughly speaking, radically deny that the study of logic and its relation to mathematics provides any interesting problem. I do not feel competent myself to judge this matter from the point of view of working mathematicians. On the other hand, philosophers are traditionally interested in the nature of logic and its links with other fields. Consequently, I regard my problem rather as a way of understanding what logic is, than whether it is important for mathematics or not. (shrink)

Short, middle and long-term objectives for the logic of sense are outlined. The short-term objective is, firstly, to sketch the logic-and-meaning map of the four big cultures of hu­mankind (European, Arab-Muslim, South Asian and Far Eastern) producing the first de­scription of the logics of sense manifold. This description will outline that variant of (1) power of judgment, (2) basic (indefinable) categories of the theoretical (philosophi­cal included) discourse and (3) basic logical regulative principles that underlies that spe­cific big culture and defines (...) its “morphology” (Spengler) and all the stages of its epis­temic chain (the most important of them being perception, speech and thought). Sec­ondly, we need to sketch the logic-and-meaning map for the individual consciousness which is basically open to all possible kinds of the logic of sense, elaborating on the line of psychological studies developed by V.K. Solondaev. Thirdly, it is especially promising to discover the neural network parallels for the logic-and-meaning regularities of human consciousness activity and to map them. The three maps superposition is likely to suggest new interesting conclusions. The middle term objective is to develop the cognitive history of philosophy as an antipode to the analytic history of philosophy. The cognitive history of philosophy will study the development of philosophy in the big cultures and their sub­cultures as defined by the basic toolkit provided by the concrete variant of the logic of sense (that is, the variant of the power of judgment and of the set of basic categories and logical principles). The cognitive history of philosophy approaches the philosophical tra­ditions of every big culture as, firstly, independent and irreducible to the philosophical discourse in any other big culture, and, secondly, as embedded in the system of that big culture and organically belonging to it. The long term objective is to make logic of sense and the cognitive history of philosophy converge to arrive at the cognitive phi­losophy which will discover the freedom of sense positing by virtue of mastering its regularities in full. The ‘cognitive philosophy’ is another name for the logic of sense in its completeness. (shrink)

We consider countable so‐called rich subsemigroups of ; each such semigroup T gives a variety CPEAT that is axiomatizable by a finite schema of equations taken in a countable subsignature of that of ω‐dimensional cylindric‐polyadic algebras with equality where substitutions are restricted to maps in T. It is shown that for any such T, if and only if is representable as a concrete set algebra of ω‐ary relations. The operations in the signature are set‐theoretically interpreted like in polyadic equality set (...) algebras, but such operations are relativized to a union of cartesian spaces that are not necessarily disjoint. This is a form of guarding semantics. We show that CPEAT is canonical and atom‐canonical. Imposing an extra condition on T, we prove that atomic algebras in CPEAT are completely representable and that CPEAT has the super amalgamation property. If T is rich and finitely represented, it is shown that CPEAT is term definitionally equivalent to a finitely axiomatizable Sahlqvist variety. Such semigroups exist. This can be regarded as a solution to the central finitizability problem in algebraic logic for first order logic with equality if we do not insist on full fledged commutativity of quantifiers. The finite dimensional case is approached from the view point of guarded and clique guarded (relativized) semantics of fragments of first order logic using finitely many variables. Both positive and negative results are presented. (shrink)

I survey recent work on mental causation. The discussion is conducted under the twin presumptions that mental states, including especially what subjects believe and desire, causally explain what subjects do, and that the physical sciences can in principle give a complete explanation for each and every bodily movement. I start with sceptical discussions of various views that hold that, in some strong sense, the causal explanations offered by psychology are autonomous with respect to those offered by the physical sciences. I (...) then proceed to views that see the problem of mental causation as that of identifying where in the physical story about us and our world lie the parts that in effect tell us abut mental causation - the kind of position that is pretty much standard in the cognitive science community - and consider issues raised by various forms of functionalism and externalism. The general thrust of my discussion is sympathetic to the story about mental causation suggested by those type-type versions of the mind-brain identity theory that allow for the possiblity of multiple realisability. I include a brief discussion of how a map-system account of belief, by contrast with a language of thought one, should understand explanations of behaviour in terms of what a subject believes. (shrink)

Psychopathy is increasingly in the public eye. However, it is yet to be fully and effectively understood. Within the context of the DSM-IV, for example, it is best regarded as a complex family of disorders. The upside is that this family can be tightly related along common dimensions. Characteristic marks of psychopaths include a lack of guilt and remorse for paradigm case immoral actions, leading to the common conception of psychopathy rooted in affective dysfunctions. An adequate portrait of psychopathy is (...) much more complicated, however. Though some neural regions and corresponding functions are commonly indicated, they range across those responsible for action planning and learning, as well as emotional processes. Accordingly, a complete fine-grained map of all neural mechanisms responsible for psychopathy has not been realized, and even if it were, such a map would have limited utility outside of the context of surgical or chemical intervention. The utility of a neural-level understanding of psychopathy is further limited by the fact that it is only applicable in the clinical identification of individual subjects, and the neuro-chemical/biological correction of those subjects after they are positively identified as psychopaths. On the other hand, an information processing model of moral cognition provides for wider-ranging applications. The theoretical and practical implications for such a feasible working model of psychopathic personalities are assessed. Finally, this chapter raises the possibility of directed modification of social-environmental factors (including at the meta-organizational level) discouraging the development of psychopathic personalities in the first place, modifications which are also open to simulation and testing in terms of the same model of moral cognition. (shrink)

Driving is central to adult independence and autonomy; yet most autistic young adults do not acquire driver’s licenses. It is important to understand barriers to achieving this milestone for autistic adults. Differences in negative affect and emotion dysregulation associated with autism may interfere with managing difficult driving situations. The current study compared perceived driving difficulty, emotion dysregulation, and negative affect in emerging drivers with and without autistic traits, and investigated how emotion dysregulation and negative affect relate to perceived DD. We (...) expected greater perceived DD, emotion dysregulation, and negative affect in participants with AT and a positive correlation of perceived DD with both emotion dysregulation and negative affect in the whole sample. Thirty-seven adolescents and young adults self-reported perceived DD in 15 scenarios and completed the Difficulty in Emotion Dysregulation Scale and the Depression, Anxiety, and Stress Scale. Autistic participants scored significantly higher on mean perceived DD, DERS Impulse subscale, DASS total and DASS Stress subscale scores. Perceived DD positively correlated with the DERS and DASS total scores, all DASS subscales, and DERS Nonacceptance, Goals, and Impulse subscales across the whole sample. The findings highlight the roles of emotion dysregulation and negative affect in perceived DD in emerging drivers with AT. In particular, emotional stress and impulsivity may map onto mechanisms of over-reactivity to negative affect and explain why autistic people perceive particular situations as difficult when driving. Implications and directions for future research are discussed. (shrink)

The basis of the paper is a logic of analytical consequential implication, CI.0, which is known to be equivalent to the well-known modal system KT thanks to the definition A → B = df A ⥽ B ∧ Ξ (Α, Β), Ξ (Α, Β) being a symbol for what is called here Equimodality Property: (□A ≡ □B) ∧ (◊A ≡ ◊B). Extending CI.0 (=KT) with axioms and rules for the so-called circumstantial operator symbolized by *, one obtains a system CI.0*Eq (...) in whose language one can define an operator ↠ suitable to formalize context-dependent conditionals (so to counterfactual conditionals) via the definition (Def ↠) A ↠ B = df *A ⥽ B ∧ Ξ (Α, Β).. The central problem of the paper is to identify inside CI.0*Eq + Def ↠ a set of axioms yielding the fragment consisting of all and only theorems in which only truth-functional operators and the two operators → and ↠ occur. This system, here called CI.0, is introduced in §3. In view of the intended purpose, it is introduced a complete and tableau-decidable system KTw, which is an extension of KT with axioms for the so-called quasi-variables w(A), w(B)… Three translation functions among the three languages used in the paper are then introduced. The first, Tr, maps every wff of form *A into wffs of form w(A) ∧ A and translates theorems of CI.0*Eq into theorems of KTw. The second, t°, translates theorems of CI.0 into theorems of CI.0*Eq by applying Def↠. A third one, t, translates theorems of CI.0 into theorems of KTw. As a consequence, it follows that t°A = TrtA. In §4 it is proved that CI.0 is complete w.r.t. the class of CI.0-models of form where f is a selection function and R an access relation. It is then proved (i) that CI.0 models may be converted into KTw-models; (ii) that the truth-value of a proposition in a world of a CI.0-model is preserved in the same world of the derived KTw-model; (iii) that A is a CI.0-thesis iff its translation tA is KTw-thesis. It follows that, if A is not a CI.0-thesis, tA is not a KTw-thesis, so also that TrtA is not a CI.0*Eq-thesis. Since t°A = TrtA and t°A is a function built on Def↠, this proves that every t°-translation of a CI.0-wff that is a CI.0*Eq-theorem is a CI.0-theorem. Since the converse proposition is proved in §2, their conjunction establishes the desired result. In the final section, it is proved that CI.0 is tableau-decidable, that ↠ is not a trivial operator and that ↠ enjoys the positive and negative properties required in §1 for context-dependent conditionals. Some final remarks suggest that studying the relations between CI.0 and systems of classical conditional logic may be a promising line of investigation. (shrink)

Shows how we must make deep changes to complete our paradigm shift from the old mechanistic worldview to the new organic worldview • Reveals the distinct stages of paradigm shifts through the ages, including the 18th-century Enlightenment and the critical stage of our current shift • Explains how the new organic worldview began with Goethe and Kant • Offers solutions for each of us to be able to realize and make the deep changes needed for global regeneration In Global Awakening, (...) Michael Schacker shows that hidden within our global crises is a positive future for the planet. Sharing his 30 years of intensive research into the history of change as well as the evolution of consciousness and regenerative science, Schacker explains how our current shift from the old mechanistic worldview to a new organic worldview based on biological models follows the same pattern as other paradigm shifts across history, including the 18th-century Enlightenment and the American Revolution. He reveals the creative geniuses who have contributed to the birth of the organic worldview, beginning with Goethe, Kant, and Hahnemann. Exposing the scientific and social forces that drive paradigm shifts, he details the stages every paradigm shift progresses through: the early Enlightenment, the conservative backlash, the intensive phase, and and the transformational phase leading to the Organic Shift. Explaining that we are currently in the throes of the paradigm flip, the critical last phase of our paradigm shift, Schacker shows how the mechanistic worldview is crumbling around us and nothing but a complete transformation in the way we think will keep us from the path of total self-destruction. Providing a map to overcome the allure of the simplistic mechanical model that has spawned countless unsustainable practices and problems--from global warming to intense economic disparities--the author offers concrete solutions showing how each of us can use our talents, skills, and time to make the deep changes needed for global regeneration. (shrink)

Our concern is the completeness problem for spi-logics, that is, sets of implications between strictly positive formulas built from propositional variables, conjunction and modal diamond operators. Originated in logic, algebra and computer science, spi-logics have two natural semantics: meet-semilattices with monotone operators providing Birkhoff-style calculi and first-order relational structures (aka Kripke frames) often used as the intended structures in applications. Here we lay foundations for a completeness theory that aims to answer the question whether the two semantics define the (...) same consequence relations for a given spi-logic. (shrink)

No serious attempt to answer the question ‘What is hate speech?’ would be complete without an exploration of the outer limits of the concept(s). This book critically examines both the ordinary and legal concepts of hate speech, contrasting social media platform content policies with national and international laws. It also explores a range of controversial grey area examples of hate speech. Part I focuses on the ordinary concept and looks at hybrid attacks, selective attacks, reverse attacks, righteous attacks, indirect attacks, (...) identity attacks, existential denials, identity denials, identity miscategorisations, and identity appropriations. Part II concentrates on the legal concept. It considers how to distinguish between hate speech and hate crime and examines the precarious position of denialism laws in national and international law. Together the authors draw on conceptual analysis, doctrinal analysis, linguistic analysis, critical analysis, and diachronic analysis to map the new frontiers of the concepts of hate speech. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Immigration from Eastern European countries to Portugal is a recent phenomenon. Within the last decade, economic migrants from Ukraine, Russia, Romania and Moldova set up a number of supplementary schools across the country. No academic attention has been given to the phenomenon of supplementary ethnic schools in Portugal, whilst there is a growing interest in and beyond Europe in the ways they serve as cultural, social and political sources for identity negotiation, and structures for social capital formation in migrant communities. (...) This study addresses this gap in knowledge. Drawing on a survey completed by 184 students between the ages of 12 and 20, attending eight Ukrainian supplementary schools, this paper contributes to wider international research through its mapping of the population of Ukrainian schools in Portugal and examining students? reasons for attendance, highlighting both positive and negative aspects of their experiences. Recommendations are made for schools in light of the findings. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Philosophy and the Modern African American Freedom Struggle: A Freedom Gaze by Anthony Sean NealKordell DixonPhilosophy and the Modern African American Freedom Struggle: A Freedom Gaze Anthony Sean Neal. Rowman & Littlefield, 2022.Philosophy and the Modern African American Freedom Struggle begins with a clear and concise establishment of its aim: to analyze and expand upon those figures mentioned when discussing the academic project of studying black people. Neal (...) broadens the account of black scholars examining racialized existence by centering his work on the modern era and its initiator W. E. B Du Bois. Neal develops an ethnic reflective canon that documents the long history of black thinkers attempting to define their blackness and advance the conception of freedom. This book does an excellent job of capturing the genealogical structure of the struggle for freedom. Within the work, Neal denotes that all relevant figures in this tradition are freedom gazers. These gazers are spectators of a radically imagined future liberated from the oppressive systems that encumber the persecuted. Du Bois's approach to freedom gazing uses academic training to examine his blackness and inevitably to solve the "race problem." What Neal provides the reader is a road map of the intellectual work of black scholars. This road map details the common themes among black thinkers and how these themes relate to Du Bois. Neal's intricate network of philosophers uses their experience and their expertise to write about what is necessary for black people to obtain freedom. Neal composes a complex and remarkable catalog of black scholars that demonstrates the interconnectedness and progression of black thought on oppression and liberation.In the second chapter, Neal elucidates why Du Bois is chosen as the inaugurator of the modern era. As a formally educated black man, Du Bois questions his experience and what tethers him to oppression. Neal uses Du Bois as a focal point, not because Du Bois is the first black person to document their struggle with their racialized existence, but because he believes that Du Bois is the first scholar to analyze the black experience completely. The holistic nature of Du Bois's study of the existential conflict that race can manifest within its subjects allows Du Bois's analysis to be used as a tool to unify other works that discuss race and the struggle for freedom. Neal expresses how other scholars such as Frederick Douglass, Martin Delany, and Anna Julia Cooper all had work that takes up a similar task as Du Bois's but lacks the fullness of Du Bois's study. Here, Neal does not articulate clearly [End Page 87] how these figures are inadequate with respect to their work. It could be argued that each scholar named could be said to have accomplished a task similar to that of Du Bois. However, how these figures are studied throughout different disciplines gives the impression that their examination of race and freedom is much more focused on one specific field. This point speaks to how we interpret the work of these scholars and not to these scholars' work itself. Neal proceeds to describe Du Bois as a freedom gazer and explains how Du Bois's imagining of black persons as freed would allot a perceptual framework that motivates them to proclaim their right to mental and physical freedom. Further, Neal establishes that Du Bois's position as a freedom gazer allows him to expand the ethnic reflective canon. This canon includes Ida B. Wells, whose journalism on the lynching of black people during the Reconstruction era made headway on what social sciences could contribute to the struggle against injustice. Anna Julia Cooper is included in this canon; her radically imagined future was thought to be achieved through education. Wells and Cooper proceeded and directly influenced the work of Du Bois, creating a lineage of radical social thought. Neal maps his transition through the intellectual work of black scholars by using conceptions of peace, rebellion, revolution, and freedom as relational markers. The reader can identify the relationships among the varied work of freedom gazers despite the vast range of their spatiotemporal placement.In the third chapter, Neal examines the subjects Hubert Harrison, William H... (shrink)

This paper provides a partial solution to the completeness problem for Joyal's axiomatization of open and etale maps, under the additional assumption that a collection axiom holds.

We first want to express our thanks to the commentators for their close and critical readings of The Phenomenological Mind. We would like to treat their comments and challenging questions as a productive opportunity to clarify and to make our positions more precise. Before we address the specific points raised by our colleagues, we do want to say that the intersection between phenomenology and the cognitive sciences is a rich one, and growing richer as collaboration and research continues. Our book (...) was meant to be an introduction to this area rather than a complete map of ongoing research. For that reason we were not able to cover every interesting issue, many of which are raised in the set of commentaries. (shrink)

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

I won’t here sketch out completely the contentions of all phenomenologists about the question of Europe, what would rather refer to a book-project. By taking over some of the statements, I will rather try to situate Max Scheler’s original contention, while showing, to begin with, how he concurs with some aspects of Husserl’s pionneer-conception, but also strongly disagree on some others. As a second step, the map of the contentions of the different phenomenologists on Europe will allow to draw (...) a fairly enough dividing line between euro-centrists or europeo-centrists on the one side and, on the other side, the promotors of an alternative Europe, of an « alter-Europe », of a euro-excentrism, or again, in more contemporary terms, of a « globalisation » or an « alter-mondialism ». Max Scheler is clearly on this latter side of the line, as we will see. But this dividing line becomes still more complex and generates other distinctions, according to the « valence » that is attributed to Europe, positive (its opening future) or negative (its foreseen decline), or, in other terms, if it is its metaphysical meaning (principle, idea, essence, value) that is underlined, or its social, legal, economic and political historicisation. With such a multifactorial configuration in mind, I will seek to place the author of Politisch-pädagogische Schriften and, namely, of « L’idée de paix et le pacifisme » on the chessboard of Europe. (shrink)

The way people at the receiving end of humanitarian assistance perceive this intervention may provide invaluable bottom-up feedback to improve the quality of the intervention. We analyzed and mapped Haitians’ views regarding international humanitarian aid in cases of natural disaster. Two hundred fifty participants–137 women and 113 men aged 18-67–who had suffered from the consequences of the earthquake in 2010 were presented with a series of vignettes depicting a humanitarian team's action and were asked to what extent these actions corresponded (...) to what ought to be expected from an international aid mission. Four factors were considered in the vignettes whether the team worked in close association with local institutions, whether it was composed of competent people who were prepared for their mission, whether they treated people as a function of immediate needs, and whether they behaved in a respectful way. Through cluster analysis, five qualitatively different positions were found: Complete hostility to any kind of humanitarian aid ; Strong hostility to humanitarian aid in the case of disrespectful attitudes or behaviors ; Technical competence is the only factor that matters ; Both manifestation of respect for the population and technical competence matter and Undetermined. Most Haitians expect humanitarian teams to be technically competent, but even very competent aid is not considered adequate if provided in an arrogant and disrespectful manner. (shrink)

In many real-life applications of logic it is useful to interpret a particular sentence as true together with its negation. If we are talking about classical logic, this situation would force all other sentences to be equally interpreted as true. Paraconsistent logics are exactly those logics that escape this explosive effect of the presence of inconsistencies and allow for sensible reasoning still to take effect. To provide reasonably intuitive semantics for paraconsistent logics has traditionally proven to be a challenge. Possible-translations (...) semantics can meet that challenge by allowing for each interpretation to be composed of multiple scenarios. Using that idea, a logic with a complex semantic behavior can be understood as an appropriate combination of ingredient logics with simpler semantic behaviors into which the original logic is given a collection of translations preserving its soundness. Completeness is then achieved through the judicious choice of the admissible translating mappings. The present note provides interpretation by way of possible-translations semantics for a group of fundamental paraconsistent logics extending the positive fragment of classical propositional logic. The logics PI, Cmin, mbC, bC, mCi and Ci, among others, are all initially presented through their non-truth-functional bivaluation semantics and sequent versions and then split by way of possible-translations semantics based on 3-valued ingredients. (shrink)

The traditional verbal/nonverbal dichotomy is inadequate for completely describing cerebral lateralization. Musical functions are not necessarily mediated by the right hemisphere; evidence for a specialist left-hemisphere mechanism dedicated to the encoded speech signal is weakening, and the right hemisphere possesses considerable comprehensional powers. Right-hemisphere processing is often said to be characterized by holistic or gestalt apprehension, and face recognition may be mediated by this hemisphere partly because of these powers, partly because of the right hemisphere's involvement in emotional affect, (...) and possibly through the hypothesized existence of a specialist face processor or processors in the right. The latter hypothesis may, however, suffer the same fate as the one relating to a specialist encodedness processor for speech in the left. Verbal processing is largely the province of the left because of this hemisphere's possession of sequential, analytic, time-dependent mechanisms. Other distinctions are special cases of an analytic/holistic dichotomy. More fundamentally, however, the left hemisphere is characterized by its mediation of discriminations involving duration, temporal order, sequencing, and rhythm, at thesensory level, and especially at themotorlevel. Spatial aspects characterize the right, the mapping of exteroceptive body space, and the positions of fingers, limbs, and perhaps articulators, with respect to actual and target positions. Thus there is a continuum of function between the hemispheres, rather than a rigid dichotomy, the differences being quantitative rather than qualitative, of degree rather than of kind. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Slavoj Žižek’s Hegelian ReformationGiving a Hearing to The Parallax ViewAdrian Johnston (bio)Slavoj Žižek. THE PARALLAX VIEW. Cambridge: MIT P, 2006. [PV]Near the end of a two-hour presentation at Calvin College in Grand Rapids, Michigan, on November 10, 2006, Slavoj Žižek confesses that, in terms of the intellectual ambitions nearest to his heart, “my secret dream is to be Hegel’s Luther” [“Why Only an Atheist Can Believe”]. This confession comes (...) just months after the publication of his latest major work, The Parallax View, a book described as a new magnum opus. There are ample justifications within this text to license retroactively rereading it through the lens of Žižek’s subsequent public admission that he is now preoccupied with rescuing Hegel from the numerous misinterpretations to which this giant of German idealism (who casts such a long shadow over the Continental European philosophical tradition) has been repeatedly subjected over the past two hundred years. The Parallax View, at certain points explicitly and in other places implicitly, can be seen as centered on an effort to confront aggressively the various received versions of Hegel widely accepted as official and orthodox exegetical renditions. The motif of the “parallax gap,” elaborated in a plethora of guises throughout this 2006 tome, condenses and reflects the axiomatic theses of what could be called Žižek’s Hegelian reformation.The critical assessment of The Parallax View offered here seeks to go straight to its theoretical heart by highlighting a single line of argumentation running through the full span of this text’s different moments and phases. Žižek’s own Hegelian-style conceptions of truth (as fiercely partisan rather than calmly neutral) and universality (as immanently concrete rather than transcendently abstract) validate such an interpretive approach—“universal Truth is accessible only from a partial engaged subjective position” [PV 35]. Deliberately extracting particular conceptual constellations and forcing them to link up with each other according to the plan of a certain directed philosophical agenda promises to be much more revealing of the essential features of Žižekian thought than a comprehensive survey of this latest of his major works.The specific argumentative thread to be isolated here is the new extended engagement with the terrain covered by cognitive science and the neurosciences. Apart from the task of denouncing falsifying popular pictures of Hegel, one of Žižek’s other driving ambitions in this book is the desire to formulate a fundamental ontology appropriate to the theory of subjectivity mapped out over the course of his entire intellectual itinerary (a theory informed by Kant and post-Kantian German idealism combined with Lacanian psychoanalytic metapsychology). And, herein, the articulation of such an ontology appropriately gets entangled, via reflections on the nature of the brain, with the latest instantiations of the perennial philosophical problem of the relationship between mind and [End Page 3] body. Žižek grants that the central nervous system is, in at least several undeniable and important senses, the material, corporeal ground of the subject, the bodily being without which there cannot be the parlêtre (speaking being). But, in the spirit of Schelling and Hegel (especially their philosophies of “productive” nature), the fashions in which Žižek attempts to tie together systematically a materialist ontology with an account of more-than-material, transontological subjectivity illuminate a normally obscured and ignored set of implied consequences flowing from the gesture of dissolving hard-and-fast dualist distinctions between body and mind, nature and spirit.The past few decades of philosophical engagement with the neurosciences, an engagement almost completely monopolized by the Anglo-American Analytic philosophical tradition and neglected by the Continental European philosophical tradition to an equal degree, has emphasized (to put this in the vernacular of German idealism) the naturalization of spirit resulting from the collapse of any strict nature-spirit dichotomy. The materialisms promoted by those Analytic philosophers amenable to grounding the mental on the neuronal simply assume that the outcome of folding mind and matter into each other is a becoming-material of the mind, namely, a naturalization of the spirit (that is, the mind comes to resemble the brain conceived of as just another part... (shrink)