In lieu of an abstract, here is a brief excerpt of the content:At St. Isidore’s Franciscan College in Rome, the following maxim attributed to St. Patrick is inscribed above the door-way of the church: Si quae difficiles quaestiones in hac insula oriantur ad Sedem Apostolicam referantur; ut Christiani ita et Romani sitis.1 The college was founded in 1625 by Luke Wadding, O.F.M. and, under his direction, became a major seat of theological learning and political influence for the Irish in (...) Rome.2 In the nineteenth century, the Friars Minor of the Province of Ireland assigned many documents from St. Isidore’s for use in their Irish friaries. In 1872, amid the unrest caused by the Risorgimento, medieval and early-modern Irish Franciscan manuscripts were transferred to Dublin.3 At the Merchants’ Quay Convent, the librarians T.A. O’Reilly, O.F.M. and E.B. Fitzmaurice, O.F.M. divided the manuscripts into sections with alphabetically ordered shelf-marks.4 This practical approach followed the long-established system used at Italian libraries and archives in Franciscan custody.5 From 1947 until 2000, the manuscripts of the Irish Friars Minor were kept at the Franciscans’ Dún Mhuire House of Studies in Killiney, County Dublin, before their transfer to the Archives, University College Dublin.The ‘D’ collection is preserved in twenty-six sets of volumes, folders and boxed papers. The greater part consists of Luke Wadding’s correspondence, relating to his activities as theologian, historian, Irish agent in Rome and consultor to several congregations and commissions at the papal secretariat.6 In the 1920s, Paul Grosjean, S.J. included four manuscripts then housed at Merchants’ Quay in a catalogue of hagiographical works.7 Clement Schmitt, O.F.M. treated of a collection of the Franciscan documents kept in Dublin in 1964.8Letters to and from Luke Wadding are also preserved at the Vatican Library; the Archivo Generale at the General Curia of Friars Minor, Rome; the Biblioteca Landiana, Piacenza; the Biblioteca Nazionale, Naples; the Biblioteca Ambrosiana, Milan; the Archives of the Bollandists, Brussels; the Archives Générales de Royaume, Brussels; the Von Harrach Archive, Vienna; and the Franciscan friary of St. Jerome in Vienna.9Compared to some six hundred that Luke Wadding received, “the text of approximately one hundred of his letters, in whole or in part, has survived.”10 Nearly all Wadding’s extant correspondence dates from the three decades after the publication of his Acta legationis on the doctrine of the Immaculate Conception in 1624. Most of his letters were sent from St. Isidore, some from the friaries of Aracoeli and San Pietro in Montorio, Rome, and a few from Naples.11Luke Wadding was born in Waterford on October 16, 1588, the eleventh of fourteen children.12 He was baptized two days later on the Feast of St. Luke. His father Walter was a well-established Waterford merchant and his mother Anastasia a kinswoman of the prominent Lombard family of Waterford. After the death of his parents, Luke left Ireland with his elder brother, Matthew, who enrolled him at the Irish Jesuits’ College in Lisbon. At seventeen years of age, Wadding made his way to Matozinhos in northern Portugal, near Oporto, where he entered the Franciscan Order. On completion of his novitiate, Wadding’s superiors sent him to the University of Coimbra and from there, to Salamanca. At Easter 1613, Luke Wadding was ordained to the priesthood after his studies. He was then appointed as a professor of theology at the Franciscan College of León and later at his own alma mater, Salamanca.13Called to the Spanish capital, Luke Wadding stayed at the Convent of Jesus and Mary in the south-east of Madrid where “lived not only the heads of the Franciscan Order in Spain but also the principal preachers.”14 Such was the distinction Wadding achieved that he was chosen by Philip III for the office of theologian in the embassy sent to defend the doctrine of the Immaculate Conception in Rome.15 He lived there for almost forty years, in which time he founded St. Isidore Franciscan College, the.. (shrink)

continent. 2.3 (2012): 224–228 Introduction Jamie Allen Thierry Geoffroy’s conceptual, event- and environment-based art practice has generated over two-decades of definitional activity around what he terms “format art.” The works re-galvanize the energies of a syndicatable, open and atmospheric arrangement, of varying specifics dependent on context, participants and environment. With formats like the Emergency Room, Biennalist, and the Critical Run, Geoffroy endeavors to imbricate art and artist in the most exigent and current of social, political and mediatised spectacles. The result (...) seems to plant us at a triangulation of the configurations proposed by Alan Kaprow, Andrea Fraser and Alan Abel. Geoffroy plays up a guileless innocence (at times sporting the “Naive Blue Helmet”) as he interviews spectactors at the 2012 dOCUMENTA13 exhibitions in Kassel, Germany. What he evokes is a declamation of the appropriative, unenthusiastic, cool inclinations of the mainstream art festival, the profligate biennial (triennial, quadrennial, etc.) circuit and national and global ideological cultural-engines. In propositional artifacts, definitional articles and direct transmissions from Geoffroy’s Emergency Room field office at dOCUMENTA13, the masking of an emergency is here questioned: Can an art show like dOCUMENTA be dangerous? —JA Is dOCUMENTA designed to make people cry about something and not make them see something else? Is the contemporary a distraction from the present? Can art in delay have any impact with today? Do we learn anything by seeing art shows reflecting on history? Could 860,000 visitors have been intoxicated by an apathic gaze than keep them away from reacting? Why is dOCUMENTA proud of having recieve no critic? Why is proximity less important? Why was dOCUMENTA in Kabul? Can weapons designed to kill protesters sold to a repressing regime be contradictory to the support of the Arab Spring? Is the contemporary like a flea market to avoid to debating the important topics of today? Can art be in advance of the broken arm, and avoid accident? Is the goal of dOCUMENTA to create a revolution or to entertain? Is dOCUMENTA betterly done than Disney Land? Is it better to watch Fox News for two years or to go to dOCUMENTA for two days? If a curator, curating a contemporary art show about war, forgets to debate about the weapons factories next door, should it be considered as a professional mistake? Is it OK to employ philosophers to promote vodka? Is navigation a threat? Can an art show like dOCUMENTA be dangerous? Thierry Geoffroy / Colonel author of the month Global Art and the Museum @ZKM: " THE NEXT DOCUMENTA SHOULD BE CURATED BY A TANK " Link to Emergency Room Dictionary < /a> "COOLNESS" from the EMERGENCY ROOM DICTIONARY by COLONEL MUSIC Biennalist at dOCUMENTA 13 "TIRED" from the EMERGENCY ROOM DICTIONARY by COLONEL MUSIC Link to " APATHY " (from the Emergency Room Dictionary ) AWARENESS MUSCLE [fr. muscle de la conscience ] In the same sense memory can be trained, an awareness muscle can be developed by an effort. To develop the awareness muscle, the artist has to reduce his gesticulations. When an artist is busy the artist is not very aware the artist is occupied. A daily training is necessary But how to train? Scanning the news in a critical way could be one exercise. Daily debating politics with others could be another. Looking at other point of views usually produces significant improvements. Fighting prejudice is an excellent exercise. Many other forms of training could also produce beneficial effects for the awareness muscle. Continuous and daily training is important. For instance rewinding and slow motioning what has been absorbed getting away the sugar from the propaganda machines talking to everyone excercise comparatif critical run. If not daily trained the awareness muscle can degrade into atrophy To develop the awareness muscle requires will-power Thierry Geoffroy / Colonel. (shrink)

continent. 1.2 (2011): 70-75. cartography of ghosts . . . And as a way to talk . . . of temporality the topography of imagination, this body whose dirty entry into the articulation of history as rapturous becoming & unbecoming, greeted with violence, i take permission to extend this grace —Akilah Oliver from “An Arriving Guard of Angels Thusly Coming To Greet” Our disappearance is already here. —Jacques Derrida, 117 I wrestled with death as a threshold, an aporia, a bandit, (...) a part of life. —Akilah Oliver Moraine in geological lingo is that which is left behind. Moraine- a euphemism for the de-stabilizing referent of the writer-ly body as a “troubled and troubling landscape marked by cultural and historical signifiers, the body as flesh memory [...] the body as transitory” (Oliver, Author Statement). Moraine— a geological metaphor of the poet as a holder of memory, as an accumulation of rocks and debris carried along the edge, terminal, dropped at the foot of language (in language). “Flesh Memory” according to Akilah Oliver is "that which my body recalls [...] everything has to do with the task of remembrance and its narrative reinvention [...] I was always translating an idea of the world as it presented itself at any given time. To write was a choice about how to be seen, how to enter the world as translator, actor, participant, in the dialogues that apparently made the real 'real'" (Levitsky). Flesh. Memory. The stuff some poems are made from. The stuff that gets abandoned, gleaned, and picked up by more flesh and memory. "My body, my life has always felt like a kaleidoscopic rip in the dominant fabric [...] has always been a dialogue with the impossible and the apparent” (Levitsky). The impossible-body or poet's body anticipates and performs (through language) an irretrievable death. IN APORIA I realized everything I must have been doing must have been Death. It was Christmas or Labor Day—a holiday—and every time you turned on the radio they said something like ‘four million’ or ‘going to die’.” — Andy Warhol I’m trying on egos, [a justification for the planet’s continuance]. Oh hello transgressor, you’ve come to collect utilitarian debts, humbling narrative space. Give me condition and wheatgrass, I his body disintegrating. I his body is ossification. Death my habit radius, yeah yeah. I his body can’t refuse this summons. I can’t get out this fucking room. Tell me something different about torture dear Trickster. Tell me about the lightness my mother told me to pick the one i love the best how it signals everything I ever wish to believe true just holy on my ship. I jump all over this house. this is it [what I thought is thought only, nothing more deceptive than]: I his body keeps thinking someone will come along, touch me. As like human or lima bean. I’m cradling you to my breast, you are looking out. A little wooden lion you & Peter carve on Bluff Street is quieting across your cheekbone. Not at all like the kind of terror found in sleep, on trembling grounds. It is yesterday now. I have not had a chance to dance in this century. Tonight I shall kill someone, a condition to remember Sunday morning. To think of lives as repetitions [rather than singular serial incarnations]. To understand your death is as exacerbating as trying to figure out why as schoolchildren in mid-nineteen-sixties Southern California we performed reflexive motions: cutting out lace snowflakes, reading Dick and Jane search for their missing mittens, imagining snow. Disintegrat ing . The -ing gerund catapults from the non-finite verb into past, present, future. The -ing as a tail pinned to death, a dog spinning to bite and never fully reaching itself, always shy of the end, circumreferential; a double copulative: deathing. Possessively AO calls it “habit radius” (a virtual fetish attribute) or an inescapable death presence that “confronts us with the paradox of an unattainable object [...] through it’s being unattainable” (Agamben, 27). A flirtation or dialogue with an unknowable thing and aporia utilized as investigative instrument to engage (death) while (in Southern California) we “perform reflexive motions,” cut lace snowflakes, imagine snow, and pay rent like “yeah, yeah” what else is new. And this too, fiction. The book I wish to right. The restored fallen, heroic. Did you expect a different grace from the world? Or upon exit? I’m working on “tough.” They think I am already. All ready. Who is the dead person? Is "I'm sorry" real to a dead person? Browning grass. My hands on this table. A contentious century. A place to pay rent. Redemptive moments. Am I now the dead person? Dead person, dead person, will you partake in my persimmon feast? The body inside the body astounds, confesses sins of the funhouse. I too have admired the people of this planet. Their frilly, orderly intellects. The use they’ve made of cardamom, radiation as well. How they’ve pasteurized milk, loaned surnames to stars, captured tribes, diseases, streets, and ideas too. The living-body as archive: is it possible to experience the living-body as archive without a (kind of) death? Sifting the rubble, rummaging through hoarded debris, skin sheds, memory-napping, and re-awoken (in flesh and) on terrain. “An investigative poetics seeks to unravel staid communities of thought and grasp at what might always be just beyond reach; a poetics of inquiry that lies between language as meaning, and language as rapturous entry into the world of posited ideas and idealism”( Levitsky). Something snaps. Lights blow out prior to embarking upon an investigative poetics. It begins with a question (often a sexy aporia) that leads to openings. "Every politics of memory [...] implies an intervention of the state. It's a state that legislates and acts with regard to the nonfinite mass of materials to be stored, materials which must be collected, preserved” (Derrida & Stiegler, 62). It seems poetic investigation already contains the potentiality of an (invisible) archive if the writer is “always writing” especially when not. Here’s my stupid digital romantic inclination: the living-body (of a poet) is a self-sustaining archive of non-finite memories. But not even I really believe that. AO innovated and sculpted an investigative poetic praxis. In a conversation with poet Rachel Levitsky, poetic-voice is viewed not as a precious identifier, but as a means to think through/about form, concluding that form is linked to framing. While poetic-voice may have tendency to precede form, it also erupts as a result of framing techniques. “They are frames that hold the shape of thinking (which is also to say of imagining) [...].”7 This reminds me of my rabbit who symmetrically chewed the corners of his hutch, which makes me wonder if it’s an expression of the shape of some animal anxiety tick I won’t ever have access to. Beyond the form/frame, death is an unoriginal yet unique limit; death is a damn deathless thing. It functions as a source of poetic investigation; that thing always “just beyond reach.” And how is death not a fetish (in this case an obsessive reverence for something non-material)? “Insofar as it [death] is a presence, a fetish [...] it is in fact something concrete and tangible; but insofar as it is the presence of an absence, it is, at the same time, immaterial and intangible, because it alludes continuously beyond itself to something that can never really be possessed [...] The fetish is [...] a sign of an absence, it is not an unrepeatable unique object; on the contrary, it is something infinitely capable of substitution, without any successive incarnations ever succeeding in exhausting the nullity of which it is the symbol” (Agamben, 33). AO utilized absence (the absent body [catapulted by the death of a beloved]) as an apparatus to investigate. In the process of conversing with absence or that which is absent, the absent body is affectionately objectified, incessantly summonsed back to a place of recognition, of objects, a desire for the absent body to remain intact while exiting the structural limits of grammar and syntax by moving into chant forms “to say what cannot be said” (Levitsky). from AN ARRIVING GUARD OF ANGELS THUSLY COMING TO GREET dear oluchi- the light is blinking rapidly on the black boxy machine. your room seems bigger than before and i am still planning to read some of those robert jordan books of yours. yesterday at the used bookstore where i was browsing the mysteries to “stall reality” (they are really not mysteries at all, they just employ death as the plot mistress but are unable to grasp its mystery at all)—well the point is, things were calm down here for a while and the world was little. i want to be big like you. or i want you not vast, not dead, not gone, but human small and here. i am so selfish. that is what i really want. to see you again. to oil your scalp. to hear you walk in the door, say ma i’m home . give me a chance to say welcome home son. or when leaving, don’t forget your hat . what do you wear out there? i wish you could have taken your new shoes with you. i’m so proud of you. i’m sorry for the way you died. i miss you all the time. even before, i missed you. out there, one time, some different men said: “shake for me girl, i wanna be your backdoor man.” who dat you love. 5/18/03 A letter-poem in sixteen lines “dear oluchi-” is safe-housed in epistolary form. Poetic voice is rendered as internal thought meanderings, a not-so-much confession, private/(pillow?) talk in the desire to be heard/witnessed by the referent and reader with an intent to absolve. The diminutive “i” bears a relation to poet Fanny Howe’s “little g God” in that “One of the (many) things I like about little g God is that you can have a vodka tonic while you talk to little g God, sing along to Bowie’s “I’m Afraid Of Americans,” and hum Coltrane’s “A Love Supreme,” though maybe not all at the same time” (Oliver, 2009). Towards the middle of the poem AO is at a used bookstore and remarks on the funny employment of death as a ‘plot mistress’ that ‘they’ (the dubious employed mystery authors) are ‘unable to grasp’, thereby giving death a mouthpiece, a modeling job, something to do to pass the time. from THE VISIBLE UNSEEN When I first saw graffiti, I recognized in it an ugly aesthetic, a dialectics of violence, a distortion of limbs, a hieroglyph. It was only later when I read the names of the dead that I then saw the path of ghosts charted there; its narrative of loss for the visible unseen whose place in history has been fictionalized and rendered unseen under the totalizing glare of history. Inscriptions, traces, specters. Graffiti begs a public face just as ghosts require non-ghosts (humans) to sense them. The “visible unseen” is a game of hide-and-seek between public viewer and graffiti-inscriber, an ephemeral-violent aesthetic on an ephemeral-policed canvas. Graffiti-inscribers already submit to being forgotten, expect to be washed away; perhaps it’s a holy urban mandala created by gangster-type monks without Buddhism. [...] in its refusal to disappear it forces a discourse in the public imagination we are forced to see what we would rather not, to make sense of an encoded language that we cannot read on the level of meaning. it irritates, forces its agency on us, speaks outside and beyond semiotic reach. An epic font-size pervading the public’s imagination, illegible, I could just close my eyes, remain passive, drive past, abandon it beyond reach, push it further away beyond death walls. In Barcelona I watched a clean up crew wash walls with an awesome water hose but I was more intrigued by their bodies; not a distortion of limbs, not hieroglyph but also not entirely legible; the laboring body permanently erasing specters of the city, and of course they knew it was also an invitation for the ghosts to return. Graffiti is death’s little sister, is also an aporia. [...] Graffiti (fr GK -graph(os), something drawn or written, to diagram or chart) attempts to stage the impossible: to erase the essence of its own subjectivity. Graffiti is a cartography of ghosts, a mapping of elegiac rapture (the transporting of a person from one place to another, as in heaven) and rupture (the state of being broken open.) Dwelling is a fiction stasis. [...] The notion of the past as being something done with, a look-back event, inhibits the possibility of reading graffiti as rapture, as rupture. If graffiti posits history as always in the process of becoming undone. [...] Because what is the body, if not also a complex temple, an unstable site through which to negotiate subjects, materiality, economies, gods, and modes of representations? The site where we are all already belated. Graphein meaning “to write.” “Derrida says every archive makes a law, and the law of genre is its own rupture” (Bloch, 39). However, graffiti is an (non/anti)-archive of erasure due to (the politics of) washing out its subjectivity, which only adds onto (or is symptomatic of) its character. The inhibition of “reading graffiti as rapture, as rupture” is partly due to it being a “look-back” event in that it’s process involves scratching through layers to reveal previous specters underneath. Graffiti (as an ancient genre) has always been a thing of ‘becoming undone’, and therefore ‘belated and always in arrival’ (Levitsky). It’s a Dionysian activity done at night with it’s back turned toward us. "The specter [...] is of the visible, but of the invisible visible, it is the visibility of a body which is not present in flesh and blood [...] appearing for vision, to the brightness of day [...] something becomes almost visible which is visible only insofar as it is not visible in flesh and blood. It is a night visibility. As soon as there is a technology of the image, visibility brings night. It incarnates in a night body, it radiates in a night light" (Derrida & Stiegler, 115). (shrink)

Kant’s emphasis on the immorality of lying even to a murderer at the door who is asking about a victim hidden inside has drawn criticism ever since. The example originally given by Constant has been read as the thread of morality by totalitarian ruthlessness. In order to defend the importance of Kant’s moral philosophy, many critics have tried to update his position by taking into account the threat of modern totalitarianism. Nonetheless, this article tries to argue that Kant is (...) right, especially since the rise of post-truth politics. Sincerity towards oneself and towards others remains the basis of democracy: we have to admit what seems to be the truth regardless of our feelings about it. (shrink)

I. The argument from design or ‘teleological argument’ purports to be an inductive proof for the existence of God, proceeding from the evidence of the order exhibited by natural phenomena to the probable conclusion of a rational agent responsible for producing that order. The argument was severely criticized by David Hume in his Dialogues Concerning Natural Religion , and it was widely conceded that Hume's objections had cast serious doubt on the adequacy of the teleological argument, if not destroyed its (...) credibility entirely. However, there has been a recent reappraisal of this claim by R. G. Swinburne, who maintains that none of Hume's criticisms have any validity against a ‘carefully articulated version of the argument’. Using an analogical argument based on temporal regularities rather than on spatial regularities , Swinburne claims to have shown that the teleological argument is a legitimate inference to the best explanation whose force depends only on the strength of the analogy and on the degree to which the resulting theory makes explanation of empirical matters simpler and more coherent. Moreover, he claims to have shown that the argument provides support for the Christian monotheistic hypothesis and not merely for the weak claim that the universe was designed . This is an important claim since it has long been thought that Hume's most devastating blow was dealt when he showed that the teleological argument provides just as much support for the negation of certain propositions considered essential to Christian monotheism as it does for their affirmation. (shrink)

The architectural study of four multi-purpose rooms in the Quartier du Théâtre at Delos This article comprises the architectural study of four rooms of commercial purpose in the Quartier du Théâtre at Delos. These rooms are characteristic examples of a large category of commercial establishments, and their good state of conservation permits examining part of their fittings. It is in particular a question of the mezzanine and of the shop-front, which often includes a large bay and a second door (...) accessing a staircase leading to the upper storey. These elements are found in other rooms of this type at Delos, constituting one of the criteria for their identification, and enable a better understanding of their function. (shrink)

There is widespread agreement among philosophers that William James's well-known attempt to justify religious faith in ‘The Will to Believe’ is a failure. But despite the fact that James wrote his essay as a reply to the ‘tough-minded’ ethics of belief represented by such thinkers as W. K. Clifford and T. H. Huxley, the reasons commonly given today for rejecting James's position seem to be mostly based on the same principle of intellectual ethics that motivated Clifford and Huxley. Clifford, it (...) may be recalled, maintained that ‘It is wrong always, everywhere, and for everyone, to believe anything upon insufficient evidence’. Although this is a rather rhetorical way of stating it, the principle is basically the same one adhered to by most scientists and philosophers who consider themselves rigorous and ‘objective’ thinkers. Even philosophers not associated with the hardheaded modern Anglo-American style of empiricism commonly pledge their allegiance to such a principle. For example, Brand Blanshard holds that the ‘main principle’ of the ethics of belief is that one should ‘equate one's assent to the evidence’ and he then goes on to criticize James, on the basis of this principle, for advocating self-deception and intellectual dishonesty. (shrink)

Marie-Agnès Cathiard stands out for her important contributions to research on the imaginaire. Her commitment to interdisciplinarity has opened the door to rare partnerships with the scientific community. Projects such as “Mondes numériques et spectacle vivant (Digital Worlds and Performing Arts)” have led Marie-Agnès to work at the crossroads of scientific research and artistic creation, exploring the multi-sensory aspects of the work of the electro-video artist Lionel Palun and the director Isis Fahmy. His collaboration with Patrick Pajon, illustrated by (...) a project such as “Tech’sens”, brought together seemingly distant fields of research, with the aim of constructing a typology of new models of perception linked to digital tools. Their work addressed the upheavals underway in the fields of creation and imagination, calling for a reassessment of our relationship with the changing world and technology. (shrink)

“New communities” are a real force in the contemporary Catholic landscape. However, a certain number of them are affected by crises of various types. Abuses of all kinds and sectarian excesses can create stigmas in the lives of communities and their members. In short, new communities are proving to be more fragile than we initially understood them to be. What are the causes of these struggles? To examine this question, the author proposes to take stock of the current situation by (...) pointing out the critical and focal elements in the life of suffering communities. This step, preliminary to all others, aims to open the door to further research and interventions. (shrink)

L’exhortation paulinienne adressée aux « forts » dans la foi à Rome, « ta conviction, garde-la pour toi devant Dieu » est souvent comprise comme une recommandation de ne pas donner de publicité à toute conviction religieuse qui pourrait troubler d’autres chrétiens. Les traductions courantes de Rm 14. 22a et certains commentaires paraissent encourager cette lecture. Une traduction différente est proposée, « garde-la, pour ce qui te concerne, devant Dieu », qui, tout en prônant une fermeté dans la foi personnelle, (...) ne ferme pas la porte à un dialogue fraternel avec ceux qui pensent différemment. Paul’s exhortation to the « strong » in Rome, « your conviction, keep it to yourself before God » is often understood as a call not to give outward expression to any religious belief involving a risk for the « weaker » brethren. Most of the existing translations and some commentaries seem to promote, more or les distincly, such an interpretation. A somewhat different translation is offered, « keep it, as far as you are concerned, before God », which puts the emphasis upon a steadfast personal commitment but, at the same time, does not shut the door for a brotherly dialogue with Christians of an other mind. (shrink)

In his writings on the conception and the birth of the Son of God, Jacob of Sarug perceives Mary’s perpetual virginity as a mystery intimately linked to that of the Son of God. In fact, the Son of God has taken flesh from the Virgin for us men and for our salvation. Jacob presents two ways to describe the Incarnation : the conception of the Word of God through the ear, and his entrance in the world through the common (...) class='Hi'>door of all men. This paper intends to identify the Mariological and Christological challenges of Mary’s virginal motherhood, according to Jacob of Sarug. For this purpose, it proposes to review both ways in the light of the two images of Mary : the sealed letter in which the Divine Word was inscribed, and the closed door of Ezekiel’s vision. (shrink)

Résumé : Le PPBS a été conçu comme un instrument destiné à ceux qui décident de l'allocation des ressources publiques : il doit leur permettre de prendre de meilleures décisions. S'il est très difficile de repérer et de juger les choix que le développement du système a inspirés aux Etats-Unis, il n'en est pas mains certain que ses résultats tangibles sant maigres car la masse des anciens programmes, principale source potentielle de moyens nouveaux, n'a guère été remise en question.La valeur (...) intrinsèque du PPBS ne peut être mise en cause. Ce qui doit l'être, c'est la lenteur de son développement, qui demeure peu avancé. Cette lenteur s'explique, car le système ne peut produire des fruits dans une terre stérile qu'on n'a pas préparée.La brutalité et les maladresses de l'opération déclenchée en 1965 dans le gouvernement fédéral américain ne pouvaient que renforcer la résistance au changement et retarder, sinon compromettre, le succès final. Les perspectives demeurent heureusement favorables, puisque la nouvelle administration ne semble pas décidée à faire machine arrière et que les Etats et Villes ont démarré sous de bien meilleurs auspices.La principale conclusion qu'imposent les expériences américaines est que toute juridiction intéressée par le PPBS doit impérativement développer, de la façon la plus générale, la volonté d'instaurer le système et s'assurer les moyens de le faire. C'est dire qu'il est peu sage d'engager la bataille sur tous les fronts à la fois : il faut tenter des percées. Mais c'est dire aussi combi en l'information et la formation sant essentielles. A cet égard, l'installation généralisée de certains éléments du système, à savoir la structure de programmes et le budget-programme, loin de présenter des inconvénients, peut constituer un excellent exercice en dehors de son utilité directe pour le preneur de décision. La bataille en cause est surtout celle de la conviction: l'outil est prêt, il est bon, encore faut-il que l' ouvrier accepte de s'en servir.Samenvatting:Planning-programming-budgeting werd ontworpen als een instrument voor diegenen die beslissen over de toewijzing van de overheidsmiddelen.Dit instrument moet de beslissers in staat stellen betere beslissingen te treffen. Het is niet makkelijk deze beslissingen op te sporen en te beoordelen welke in de Verenigde Staten getroffen werden onder invloed van de ontwikkeling van deze systeembenadering. Toch is het met vrij grote zekerheid te stellen dat de tastbare resultaten gering zijn omdat de veelheid aan oude programma's die tenslotte toch de voornaamste potentiële bronnen zijn van nieuwe middelen, nooit werden aangevochten.De intrinsieke waarde van PPBS kan daarom evenwel niet worden genegeerd. Wat wel dient aangeklaagd is de traagheid van zijn aanslepende ontwikkeling. Deze traagheid is te verklaren door het feit dat het systeem slechts vruchten kan afwerpen zo het ingeplant wordt in degelijk voorbereid terrein.De brutaliteit en de onhandigheden bij de operatie die in 1965 werd ingezet in het amerikaans federaal overheidsbestel konden niets anders dan de weerstand tegen de verandering versterken en afbreuk doen aan het uiteindelijk slagen van het systeem. Gelukkiglijk blijven de vooruitzichten gunstig want de nieuwe beleidsvoerders sinds de presidentsverkiezingen, blijken ermee te willen doorgaan en de staten en lokale overheden zijn ermee van wal gestoken onder veel betere omstandigheden. Het doorslaggevend besluit uit de amerikaanse ervaringen terzake is wel dat elke instantie welke belangstelling heeft voor PPBS, nodig moet op zo breed mogelijk vlak de wil doen groeien om het systeem te ontwikkelen en er ook de nodige middelen toe ter beschikking stellen. Dit betekent tevens dat het weinig aan te bevelen is de strijd op alle fronten terzelvertijd aan te binden maar wel geleidelijk doorbraken te verwezenlijken. Dit brengt dan evenwel ook met zich dat informatie en vorming essentieel zijn bij deze strategie. In dit verband moet dan ook gezegd worden dat reeds het invoeren van sommige deelementen van het systeem, zoals de programmastructuur en het programmabudget, voor de beslisser nuttig kan zijn voor zijn persoonlijk inzicht en vorming.De te voeren actie dient nog slechts te worden toegespitst op het overtuigen van de verantwoordelijken. Het instrument is immers gebruiksklaar en degelijk, er is alleen nog het wachten op de wil van de gebruiker dit instrument ter hand te nemen. (shrink)

Les analyses de la mondialisation procèdent souvent de modes de réflexion qui excluent le principe de non contradiction et conduisent à des hypothèses rigides sur son évolution. La pensée complexe, selon Edgar Morin, ne présente pas cette contrainte et admet, à l’instar de la pensée chinoise stricto sensu, la coexistence de contraires, dont le dynamisme, selon la philosophie taoïste devrait aboutir à l’harmonie. Cela laisse en quelque sorte du jeu, ouvrant ainsi la porte à une pluralité de possibles. Cet article (...) présente quelques-unes des parentés entre pensée complexe et mode de réflexion chinois. Il examine aussi une touche spécifique qu’apporte Edgar Morin, héritée de la pensée grecque. Elle concerne l’accompagnement de ce jeu des contraires, par la démocratie cognitive et communicationnelle, alors que le système de pensée chinois n’intègre pas cette question. Un pont est ainsi jeté entre les modes de pensée de l’Occident et d’Extrême-Orient.Analyzes of globalization often proceed ways of thinking that excludes the principle of non-contradiction and leads to rigid assumptions about its evolution. Complex thought, according to Edgar Morin, does not have this constraint and admits, like Chinese thought, strictly speaking, the coexistence of opposites, whose dynamism, according to Taoist philosophy should lead to harmony. This leaves some sort of game, thus opening the door to a plurality of possibilities. This article presents some of the kinship between complex thought and Chinese way of thinking. It also examines a specific key brings Edgar Morin, inherited from Greek thought. It relates to the accompaniment of this game of opposites, the cognitive and communicative democracy, while the Chinese system of thought does not include this question. A bridge is built between and modes of thought of the West and the Far East. (shrink)

In this paper I want to discuss a certain way of understanding the concept of religion which I think is more satisfactory than other ways that have often been proposed in the literature, arguing, in brief, that the way to an adequate understanding does not lie through an analysis of the concept of ‘worship’ or ‘the worshipful’ or any notions derivative from these, as some writers have maintained, but instead through a comparative analysis of the various concepts of a ‘highest (...) good’, thought of as a final salvation or ‘liberation’ for its seekers, found in the major religions. I shall also discuss some of the advantages of this way of regarding religion, as well as what I take to be certain of its consequences for the philosophy of religion. The discussion will also lay the groundwork for a pragmatic justification of religious belief , and will, I hope, help to shed light on the question of what would constitute a religiously satisfactory notion of the highest good. (shrink)

In a recent book on the historical development of Buddhist thought, the author, David J. Kalupahana, has presented the thesis that early Buddhist philosophy, as found in the Pali Nikāyas and Chinese Āgamas, is radically different from that of later Buddhism, and supports his claim by tracing the historical divergence of the later schools from original Buddhism as he reconstructs it. He then goes on to assert that not only does early Buddhism differ philosophically from the later schools, but also (...) that even the spiritual goal of nirvāna was fundamentally different, i.e., that the experience or condition denoted by the term ‘ nirvāna ’ in early Buddhism is quite different from that state which the same term came to denote later – a theory which is perhaps the most controversial feature ofhis overall interpretation of Buddhism. (shrink)