Was society’s response adequate in the cases of Mrs Pretty and Ms B?On the 11th of May, less than two weeks after losing her final legal appeal, Mrs Diane Pretty died, under sedation and in the care of a hospice. It was not the end she had pursued through the English High Court, the Court of Appeal, the House of Lords, and the European Court of Human Rights. Paralysed by motor neurone disease and unable to take her own life, Mrs (...) Pretty wanted her husband to be allowed to help her to die when they decided the time had come. But in England, assisting suicide is a crime, although suicide itself no longer is, and the English courts refused Mrs Pretty’s request to grant her husband legal immunity. In turning to the European Court of Human Rights, Mrs Pretty argued that the English courts’ refusal had violated the European Convention on Human Rights.The European court, however, judged that there had been no violation. The right to life could not be construed as conferring a “right to die”, and consequently the state could not be required to “sanction actions intended to terminate life” in order to protect Mrs Pretty from the “inhuman or degrading treatment” to which she claimed the law on assisted suicide subjected her. The right to respect for private life , moreover, had to be exercised “in accordance with the law” of the state concerned. “States were entitled to regulate through the operation of the general criminal law activities which were detrimental to the life and safety of other individuals”; and such activities were what the English law against assisting suicide was designed to prevent. Exceptions to this law could not be allowed without undermining the …. (shrink)

Previous research showed that story illustrations fail to enhance young preschoolers' memories when they accompany a pre-recorded story (e.g., Greenhoot and Semb, 2008 ). In this study we tested whether young children might benefit from illustrations in a more interactive story-reading context. For instance, illustrations might influence parent-child reading interactions, and thus children's story comprehension and recall. Twenty-six 3.5- to 4.5-year-olds and their primary caregivers were randomly assigned to an Illustrated or Non-Illustrated story-reading condition, and parents were instructed to “read (...) or tell the story” as they normally would read with their child. Children recalled the story after a distracter and again after 1 week. Analyses of the story-reading interactions showed that the illustrations prompted more interactive story reading and more parent and child behaviors known to predict improved literacy outcomes. Furthermore, in the first memory interview, children in the Illustrated condition recalled more story events than those in the Non-Illustrated condition. Story reading measures predicted recall, but did not completely account for picture effects. These results suggest that illustrations enhance young preschoolers' story recall in an interactive story reading context, perhaps because the joint attention established in this context supports children's processing of the illustrations. (shrink)

But still I think some account has to be given of the application of CM to tides and cannon balls etc. etc. It seems to me that Einstein's and Bohr's analysis was essentially correct: we make the connection, and thus apply the mathematical statements of CM to macroscopic features of the world about us, by constructing, within the mathematical framework,. macroscopic conglomerates of the elementary particles and fields that should have the general appearance of tides and billiard, looked at from (...) a distance, and that would respond to the probings of mathematical models of measuring devices, whose "pointers" we can see from afar, in the ways that waves and billiard balls do. I think a look at how CM has been used and applied since the time of Newton and Galileo shows that the mathematical theory is linked into our experiences of the world in this nonproblematic way, and that this correspondence at this nonproblematic level is part of classical mechanics in the broad sense in which it is understood by people who use it. (shrink)

CHAPTER ONE Introduction Twenty-five years ago it was pretty widely held among Anglo- American philosophers that it was sheer confusion to suppose that an ...

In lieu of an abstract, here is a brief excerpt of the content:Life in LimboM. ChiuWhen my son was 7 years old, he began complaining of headaches. They were frequent, but never seemed severe. “I have a headache!” was always followed by “Can I watch TV?” I didn’t believe the pain was real until it woke him up in the middle of the night. I knew then that something must be wrong. I approached our pediatrician, who said it sounded like (...) migraines, but we should order an MRI to rule anything out. The appointment was scheduled several months in advance, and I always had the urge to cancel it. I was pretty sure my son just wanted to watch TV. The pediatrician told me I might as well do the MRI. He told me that if we skipped it and something was wrong, I would never be able to live with the regret. We kept the Monday morning appointment, and went to the MRI expecting reassurance that nothing was wrong. Instead, we got a phone call later that day. They needed to see us on immediately, but wouldn’t tell me why. Of course, I knew something was wrong. “Is it a tumor?” I asked. “This isn’t something we can discuss on the phone” was the answer I got. An appointment was scheduled for Wednesday. Two days might be “immediately” to medical professionals, but to a parent who just heard that her child had an abnormal MRI, it was an eternity. I planned my son’s funeral in those two days.Our meeting with the Neurologist began with reviewing the MRI. “See this spot here? It shouldn’t be there”. A tumor. 1 ½ × 1 ½ × 2 ½ cm tumor, in the right thalamus. Small, they said. Looks like a Low Grade Glioma they said. The kind of tumor you want to have, if you have to have a brain tumor. A biopsy was scheduled for two weeks later. The [End Page E2] biopsy confirmed it was a Juvenile Pilocytic Astrocytoma (JPA). The neurosurgeon was confident she could remove all of the tumor. We were at one of the best Children’s Hospitals in the world. We were in good hands.A few days before the surgery, a friend who is a medical doctor suggested we get a second opinion. “It couldn’t hurt, it could help”, my husband said. Fortunately, he just sold a start–up company, and was planning to take a few months off from work before starting his next venture. He had time to research, talk to friends in the medical field and make phone calls.Our second opinion from another leading hospital reviewed the MRI’s with us. The neurosurgeon asked, “Did they say tumor? One?” Yes, they did. “See this here?” he said, pointing to a second spot on the MRI. He said it was possibly a second tumor, or more likely, an extension of the first. It was in inoperable location. Surgery wasn’t an option. Chemo would be our best choice. Why would we cut into our son’s brain to remove part of the tumor when he would need to do chemo anyway? Why not try chemo first?I would like to say that we do not fault our original neuro–oncology team for missing this second abnormality. It is hard to notice an ant in the room when there is an elephant staring at you. People make mistakes, and tumors don’t always look the same. That’s what second opinions are for. That is why doctors should encourage patients to get second opinions.We scheduled the surgery for port implantation, and got busy educating ourselves about chemo regimes. It was going to be a long journey. 18 months of transfusions with a pretty low success rate and a high rate of secondary complications. Unsure if we were doing the right thing, we got a third opinion. I am so grateful that my husband was between jobs and had time to devote to finding the best possible treatment for our son. We were financially stable and had great insurance. What do people do when they don’t have this luxury?By now, several months had passed since our first MRI. Our... (shrink)

Of articles which are submitted for publication in Philosophy, a surprisingly large proportion are about the views of Richard Rorty. Some, indeed, we have published. They, along with pretty well all the articles we receive on Professor Rorty, are highly critical. On the perverse assumption that there must be something to be said for anyone who attracts widespread hostility, it is only right to see what can be said in favour of Rorty's latest collection of papers, entitled, Truth and Progress,.

Of articles which are submitted for publication in Philosophy, a surprisingly large proportion are about the views of Richard Rorty. Some, indeed, we have published. They, along with pretty well all the articles we receive on Professor Rorty, are highly critical. On the perverse assumption that there must be something to be said for anyone who attracts widespread hostility, it is only right to see what can be said in favour of Rorty's latest collection of papers, entitled, Truth and Progress,.

Of articles which are submitted for publication in Philosophy, a surprisingly large proportion are about the views of Richard Rorty. Some, indeed, we have published. They, along with pretty well all the articles we receive on Professor Rorty, are highly critical. On the perverse assumption that there must be something to be said for anyone who attracts widespread hostility, it is only right to see what can be said in favour of Rorty's latest collection of papers, entitled, Truth and Progress,.

Of articles which are submitted for publication in Philosophy, a surprisingly large proportion are about the views of Richard Rorty. Some, indeed, we have published. They, along with pretty well all the articles we receive on Professor Rorty, are highly critical. On the perverse assumption that there must be something to be said for anyone who attracts widespread hostility, it is only right to see what can be said in favour of Rorty's latest collection of papers, entitled, Truth and Progress,.

Of articles which are submitted for publication in Philosophy, a surprisingly large proportion are about the views of Richard Rorty. Some, indeed, we have published. They, along with pretty well all the articles we receive on Professor Rorty, are highly critical. On the perverse assumption that there must be something to be said for anyone who attracts widespread hostility, it is only right to see what can be said in favour of Rorty's latest collection of papers, entitled, Truth and Progress,.

Of articles which are submitted for publication in Philosophy, a surprisingly large proportion are about the views of Richard Rorty. Some, indeed, we have published. They, along with pretty well all the articles we receive on Professor Rorty, are highly critical. On the perverse assumption that there must be something to be said for anyone who attracts widespread hostility, it is only right to see what can be said in favour of Rorty's latest collection of papers, entitled, Truth and Progress,.

One of the most important achievements of the Internationale Hegel-Vereinigung over the past twenty years has been the way in which it has managed to meet the needs of both the specialist and the general public. In the normal course of events it organizes symposia on research subjects. Every two years it gets a group of experts to pool information and exchange views within a relatively narrow field of inquiry, a comparatively neglected topic which looks as though it might benefit (...) from being brought into the limelight. In order to maintain its international character, it is the general rule that these meetings should take place outside Germany, that they should be hosted by one or other of the countries from which the Society draws its members. It is often the case that they are sponsored by the respective Academy of Sciences or Ministry of Culture. Those invited to take part in them can, therefore, be pretty certain that they are being co-opted into a well co-ordinated program. They also know that their papers will be appearing in a series widely recognized as a trendsetter in continental Hegel studies, in an undertaking which already includes such influential publications as Gadamer’s edition of the Urbino Lectures, Well’s edition of the Lille papers on Objective Spirit, the Zwettl papers on the Jena Period, and the proceedings of the Amersfoort meeting on the Philosophy of Nature. (shrink)

How should we understand the emotional rationality? This first part will explore two models of cognition and analogy strategies, test their intuition about the emotional desire. I distinguish between subjective and objective desire, then presents with a feeling from the "paradigm of drama" export semantics, here our emotional repertoire is acquired all the learned, and our emotions in the form of an object is fixed. It is pretty well in line with the general principles of rationality, especially the lowest reasonable (...) principles. Turned to the second part of this side of reasonable. I will inquire how emotional beliefs, desires, and behaviors contribute to the rationality. I will present a very general biological hypothesis: emotions by controlling highlights the characteristics of perception and reasoning, so that we remove the difficulties due in particular to lead to paralysis; they are being simulated by a simplified perception of information, thus limiting our practice and cognitive choice. How are we to understand emotional or axiological rationality? I pursue analogies with both the cognitive and the strategic models, testing them against intuitions about emotional desires. We distinguish two different classes of desires, the subjective and the objective, and propose that emotions have a semantics that derives from "paradigmatic scenarios", in terms of which our emotional repertoire is learned and the formal objects of our emotions fixed. This fits in well with emerging facts about how our emotional capacities develop, and it can also be squared with the general principles of rationality, particularly minimal rationality. In the second part, I return to the perspective of rationality. I ask how emotions contribute to the rationality of beliefs, desires, and behavior. I proffer a very general biological hypothesis: Emotions spare us the paralysis potentially induced by a particular predicament by controlling the salience of features of perception and reasoning; they temporarily mimic the informational encapsulation of perception and so circumscribe our practical and cognitive options. (shrink)

The puzzling case of the broken arm -- Hernias, diets, and drugs -- Why physicians cannot know what will benefit patients -- Sacrificing patient benefit to protect patient rights -- Societal interests and duties to others -- The new, limited, twenty-first-century role for physicians as patient assistants -- Abandoning modern medical concepts: doctor's "orders" and hospital "discharge" -- Medicine can't "indicate": so why do we talk that way? --"Treatments of choice" and "medical necessity": who is fooling whom? -- Abandoning informed (...) consent -- Why physicians get it wrong and the alternatives to consent: patient choice and deep value pairing -- The end of prescribing: why prescription writing is irrational -- The alternatives to prescribing -- Are fat people overweight? -- Beyond prettiness: death, disease, and being fat -- Universal but varied health insurance: only separate is equal -- Health insurance: the case for multiple lists -- Why hospice care should not be a part of ideal health care I: the history of the hospice -- Why hospice care should not be a part of ideal health care II: hospice in a postmodern era -- Randomized human experimentation: the modern dilemma -- Randomized human experimentation: a proposal for the new medicine -- Clinical practice guidelines and why they are wrong -- Outcomes research and how values sneak into finding of fact -- The consensus of medical experts and why it is wrong so often. (shrink)

This article argues, first, that the fundamental structure of the skeptical argument in Kripke's book on Wittgenstein has been seriously misunderstood by recent commentators. Although it focuses particularly on recent commentary by John McDowell, it emphasizes that the basic misunderstandings are widely shared by other commentators. In particular, it argues that, properly construed, Kripke offers a fully coherent reading of PI #201 and related passages. This is commonly denied, and given as a reason for rejecting Kripke's reading of Wittgenstein's text. (...) Second, it is pretty universally accepted that Kripke's Wittgenstein is a `non-factualist' about ascriptions of meaning. The article argues that, when Kripke's discussion is rightly understood and the content of `non-factualism' is clarified, there is an important sense in which the skeptical solution is not committed to non-factualism. (shrink)

0. My aims in this paper are largely expository: I am more interested in presenting the picture theory than deciding its truth. Even so, I hope that the arguments by which I develop the theory will do something to support it, since I believe that what I will present as Wittgenstein's view is indeed the truth. This is not an admission of insanity, though some things that have been thought intrinsic to the picture theory are things it would be insane (...) to believe. So clearly the view I will present, when compared to the most embracing interpretations, is a partial and selective one. It would be another kind of madness, one I am just as eagre to disown, to suppose that my own favoured selection is the only possible one. That is pretty well the last remark in this paper about other commentators. I trust my reticence entitles me to be presumed catholic until proven nonconformist. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Making the Best of Things: Character Skepticism and Cross-Cultural PhilosophyJohn M. Doris (bio)With your spirit settled, accumulate practice day by day, and hour by hour.—Miyamoto MusashiLike many of my colleagues in moral psychology, I’ve focused almost exclusively on Western philosophy, so I was pleasantly surprised when practitioners of cross-cultural and comparative philosophy responded to character skepticism with resources drawn from Eastern traditions.1 [End Page 571]As a reminder: the character (...) skeptic asserts a descriptive claim, to the effect that traditional conceptions of character are empirically inadequate, accompanied by a prescriptive claim to the effect that, as a result of this inadequacy, traditional notions of character should receive considerably diminished emphasis in ethical thought (e.g., Doris 2022, p. 2).2 The antiskeptic rejects both claims: a suitably nuanced conception of character has nothing to fear from empirical moral psychology and may safely retain its focal role in ethical thought.Near as I can see, cross-cultural philosophers commenting on the issues have generally been anti-skeptical. This anti-skepticism might be either contrastive or complementary in tenor. In a contrastive approach, Eastern conceptions of character, while bearing some affinities to Western conceptions (if there are no affinities, we’d have a change of subject), are supposed to be substantially different than Western notions, so defending the West by way of the East marks a departure from the Western characterological tradition. In a complementary approach, the Eastern and Western conceptions are substantially similar, so defending the West by way of the East is fundamentally a continuation of the Western characterological tradition. (Though continuation can’t be quite the right word, since the referenced Eastern traditions are often older than the Western.)While this dichotomy, like most dichotomies, oversimplifies, my sense is that cross-cultural philosophy’s contributions have tended to be complementary: consideration of Eastern traditions, often times Confucian, is said to illuminate what’s valuable in Western, frequently Aristotelian, traditions.3 This circumstance is both surprising to, and convenient for, me. Surprising, for my reading of the one Eastern text I have studied closely,4 over my thirty-five-year avocation as a martial artist, the legendary swordsman Miyamoto Musashi’s Book of Five Rings (Musashi/Harris 1974), suggests a contrastive reading: courage seems nearly invisible in Musashi’s treatment of success in combat, while martial valor is central to Aristotle’s understanding of courage. In any case, that those with vastly more scholarly credibility than I have favored complementary projects is a welcome convenience for me, since it allows me to enter discussion of cross-cultural philosophy and character along my usual pathways in contemporary Western moral psychology.Paul Condon, Seth Robertson, and Matthew Spencer, the gracious and insightful commentators for this symposium on my essay collection, Character Trouble (2022), seem generally to favor a complementary approach: while careful to note the existence of differences, they find in Eastern traditions resources to blunt the force of character skepticism as applied to its usual target, virtue ethics in a broadly Aristotelian tradition.5 Quite expectedly, in my responses, I’ll beg to differ. The essays in question span over twenty years, and on the main points of character skepticism, I’ve failed to change my mind in the face of (sometimes strident) criticism, so it’s [End Page 572] unlikely I would do so now, despite my commentators’ astute recommendations. In fact, I’m now more convinced of character skepticism than when I started, or at least have better arguments for it (more on this below). Nevertheless, my commentators have done much to enrich the issues; in this unavoidably and regrettably incomplete response, I’ll attempt to enrich things a bit more.Framing the Rhetorical SpaceI take it my commentators and I are united in thinking that the kind of empirical moral psychology embodied in character skepticism and celebrated in Character Trouble (CT) has important implications for how philosophers and psychologists should think about character and virtue.6 This makes refreshing contrast with early responses to character skepticism from the 2000s, which often insisted that things could go on pretty much as they had before interdisciplinary moral psychologists set to work... (shrink)

Hutcheson on the I dea of B eauty PATRICIA M. MATTHEWS IN "POPPIES ON THE WHEAT," Helen Jackson compares the farmer's experience of "counting the bread and wine by autumn's gain" to the pleasure she feels on her observation of the same farm: A tropic tide of air with ebb and flow Bathes all the fields of wheat until they glow Like flashing seas of green, which toss and beat Around the vines? Although we may express ourselves less poetically, we (...) have all had the experi- ence of being immediately pleased with some complex object: the dramatic view from a mountain peak, a series of movements in dance, a pretty face. In An Inquiry Concerning Beauty, Order, Harmony, Design, 2 Francis Hutcheson ar- gues that this common phenomenon is the key to understanding beauty.3 The kinds of pleasure heretofore recognized by modern philosophers have been limited to sensible pleasures immediately associated with simple sensations like taste and smells, and rational pleasures mediated by a process of reflection on the advantage that objects may bring us. This limited understanding of plea- sure misses the fact that we often take an immediate pleasure in complex objects that is not reducible to either of these two recognized kinds of plea- sure. Based on this insight, Hutcheson argues that beauty is immediately perceived by an internal sense, much in the way that we take an immediate pleasure in individual tastes or colors. Further, he.. (shrink)

“Big Data” and data analytics affect all of us. Data collection, analysis, and use on a large scale is an important and growing part of commerce, governance, communication, law enforcement, security, finance, medicine, and research. And the theme of this symposium, “Individual and Informational Privacy in the Age of Big Data,” is expansive; we could have long and fruitful discussions about practices, laws, and concerns in any of these domains. But a big part of the audience for this symposium is (...) students and faculty in higher education institutions (HEIs), and the subject of this paper is data analytics in our own backyards. Higher education learning analytics (LA) is something that most of us involved in this symposium are familiar with. Students have encountered LA in their courses, in their interactions with their law school or with their undergraduate institutions, instructors use systems that collect information about their students, and administrators use information to help understand and steer their institutions. More importantly, though, data analytics in higher education is something that those of us participating in the symposium can actually control. Students can put pressure on administrators, and faculty often participate in university governance. Moreover, the systems in place in HEIs are more easily comprehensible to many of us because we work with them on a day-to-day basis. Students use systems as part of their course work, in their residences, in their libraries, and elsewhere. Faculty deploy course management systems (CMS) such as Desire2Learn, Moodle, Blackboard, and Canvas to structure their courses, and administrators use information gleaned from analytics systems to make operational decisions. If we (the participants in the symposium) indeed care about Individual and Informational Privacy in the Age of Big Data, the topic of this paper is a pretty good place to hone our thinking and put into practice our ideas. (shrink)

Jesse Prinz’s The Emotional Construction of Morals is among the most significant of illuminations of human morality to appear in recent years. This embarrassment of riches presents the space-starved commentator with a dilemma: survey the book’s extraordinary sweep, and slight the textured argumentation, or engage a fraction of the argumentation, and slight the sweep. I’ll fall on the second horn, and focus mostly on Chapter 7, ‘The Genealogy of Morals’. Like Prinz , 1 I think that genealogical arguments have not, (...) despite their frequent appearance, received enough self-conscious discussion in ethical theorizing; I’ll try to extend Prinz’s amelioration of this neglect, by making some recurring themes explicit. In so doing, I indulge myself in a bit of therapy. I’ve always regarded genealogical arguments with certain ambivalence: genealogies frequently make a beguiling first impression, but just as often, when one gets to know them, their appeal turns out to be superficial. In articulating the contrasting uses to which genealogical arguments might be put, I hope to distinguish uses that deliver real substance from uses where the promise is not realized in the practice.Genealogical arguments are indelibly associated with Nietzsche, so it is unsurprising that Prinz in this chapter parts company with Hume, his usual muse, 2 and takes up, somewhat ambivalently , a Nietzschean torch. I won’t fret the historical details, nor will I trouble myself over where Nietzsche ends and Prinz begins; I’ll simply raise some general issues about genealogy and ethics. 3The Nietzschean insight, according to Prinz , is that ‘the values we currently cherish have a history’ and this history ‘may not be pretty’. Notoriously, Nietzsche was a bit grumpy about Christianity, and he supposed that tracing morality through the dark and labyrinthine history of the Church would unmask the attendant values …. (shrink)

This is a critical edition of a set of particularly detailed and carefully prepared lecture notes, taken down in 1804 during a course on mathematical and experimental physics given at the University of Tübingen by Christoph Friedrich von Pfleiderer. Since Pfleiderer had been appointed to the chair of mathematics and physics in 1782, and had previously held a similar post at the Warsaw Military Academy, when he delivered these lectures he had been teaching the subject for nearly forty years. Besides (...) providing these public courses on “theoretical physics,” he also held private classes in elementary and advanced mathematics and in experimental physics. The lectures were based on a general textbook, which was supplemented with information from a wide range of other sources. Up until the summer term of 1792, they followed the layout of the first edition of a standard work on the subject, Anfangsgründe der Naturlehre, by Wenceslaus Johann Gustav Karsten, professor of the mathematical sciences at Halle. Pfleiderer’s personal copy of this book, annotated in his own hand, is still preserved in the University Library at Tübingen, and throws a lot of light on the precise manner in which he elaborated on the basic text. From 1792 until 1815 he made use of a similar but more up-to-date work, with the same title, by Georg Simon Klügel, and it is therefore this book which forms the basis of the lecture notes now published. At this stage in his career, however, Pfleiderer had got into a well established routine, and the similarities between these 1804 lectures and the manner in which he annotated Karsten, indicate that the notes also give a pretty accurate account of the way in which “theoretical physics” was being taught at Tübingen a decade or so earlier. Like the whole of Pfleiderer’s private collection of books, the manuscript of the notes is preserved in the University Library at Tübingen, which acquired it in 1879. The note taker was Gottlieb Friedrich Harttmann, who studied at Tübingen from 1799 until 1804, subsequently took holy orders and taught at Maulbronn, and eventually emigrated to America. (shrink)

In the early days, before Superman's full array of superpowers “developed,” Clark Kent's reporter persona was necessary for gathering information. Although he was pretty tough and fast, Superman didn't yet have the flight, the super‐hearing, the super‐vision, or the super‐intelligence that he would later have. The strategies that explain why a mere mortal or even a Golden Age Superman might not be up to meeting the demands of the S‐principle full time won’t apply to today's Superman. We may face a (...) choice: either we say goodbye to Clark or we abandon the S‐Principle. Clark Kent and Superman: We've had glimpses of worlds in which one exists without the other. But they're both normally there, and occasionally at odds. Jor‐El wants Superman to embrace his destiny as Earth's savior, Martha wants Clark to find a life for himself, and Lex wants Superman to leave and let humanity find its own path. (shrink)

Quine made it conventional to portray the contradiction that destroyed Frege’s logicism as some kind of act of God, a thunderbolt that descended from a clear blue sky. This portrayal suited the moral Quine was antecedently inclined to draw, that intuition is bankrupt, and that reliance on it must therefore be replaced by a pragmatic methodology. But the portrayal is grossly misleading, and Quine’s moral simply false. In the person of others – Cantor, Dedekind, and Zermelo – intuition was working (...) pretty well. It was in Frege that it suffered a local and temporary blindness. The question to ask, then, is not how Frege was overtaken by the contradiction, but how it is that he didn’t see it coming. The paper offers one kind of answer to that question. Starting from the very close similarity between Frege’s proof of infinity and the reasoning that leads to the contradiction, it asks: given his understanding of the first, why did Frege did not notice the second? The reason is traced, first, to a faulty generalization Frege made from the case of directions and parallel lines; and, through that, to Frege’s having retained, and attempted incoherently to combine with his own, aspects of a pre-Fregean understanding of the generality of logical principles. (shrink)

Nine of the papers collected here derive directly from a conference organized by Schirn in Munich in 1991. Seven others, three of them reprinted, have been intelligently chosen to complement the original nine. The collection has no overarching theme, nor is it dominated by any particular approach to Frege’s thought. It is “a mixed selection”, and aims to reflect “the prevailing tendency in current Frege scholarship”. The influence of Dreben is less in evidence than one might expect, but otherwise the (...) collection meets that broad brief pretty well. Some of the collection’s best papers—for example, those by Burge, Boolos, Dummett, Heck, and Terence Parsons—are essential reading. Inevitably, not all the others have that standing. But, excepting only an over-long essay by the editor, each deserves its place. (shrink)

This chapter provides an introduction to The Ultimate South Park and Philosophy. South Park is one of the most important series on TV, because the show isn't afraid to lampoon the extremist fanatics that are associated with any social, ethical, economical, or religious position. This is extremely important and necessary in our diverse society of free and autonomous persons who hold a plurality of beliefs and values. Fanatics usually stop thinking issues through and, ultimately, they're primed to cause harm to (...) others through their actions. Religious fanatics get hit pretty hard by the creators of South Park and rightly so. Philosophy deals with the love and pursuit of wisdom, and this quest makes us ask what kinds of things really exist, what we're justified in believing, what we ought to do, and how we ought to be living, among other things. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 27.2 (2003) 444-449 [Access article in PDF] Psychoanalysis and Morality Eugene Goodheart Equals, by Adam Phillips; 246 pp. New York: Basic Books, 2002, $25.00. I THINK I WOULD RECOGNIZE an unattributed essay by Adam Phillips by its manner. Every serious writer aspires to such recognition. A comment on the book jacket of his latest collection of essays Equals tells us that his "territory is complication," though (...) "he reports back in the simplest of words." The words may be simple, but the movement of thought through the sentence, the paragraph and an entire essay is not. His way with complication, as I hope to show, is not always to Phillips's credit. The difficulty in reading him is in trying to know where he or she is being taken. The complication often leads to inconclusiveness, which is not a fault if the problem is insoluble or the situation genuinely intractable. Too often, however, the complication seems to reflect a love of it for its own sake. On other occasions, it degenerates into obscurantism.When Phillips does take a stand, he deliberately plants himself on shifting sands. As his title suggests, he is an egalitarian democrat, to which he brings the perspective of psychoanalysis. (He was Principal Child Psychotherapist at Charing Cross Hospital in London.) All hierarchy is anathema, all claims to superiority are to be resisted. Authority turns into authoritarianism. These are my sentences, uttered in an apodictic style, foreign to that of Phillips, but they reflect a view (his view) that the prose sometimes blurs. In its psychoanalytic application, the psychoanalyst is or should be unseated from his superior [End Page 444] position. Both the analyst and the analysand need to listen to what each has to say without passing (premature?) judgment, a model for all human interactions. (Phillips does not say whether the listener is permitted to distinguish sense from nonsense.) Conflict should be the rule, for where there is no conflict there is suppression. (But conflict on either side usually presupposes a desire to impose one's will on another. Is there a distinction to be made between fruitful and destructive conflict? Again Phillips has nothing to say on the subject.) As for the meaning of equality, he avoids all the real-life obstacles to genuine equality. He approves of Chantal Mouffe's version in which there can never be "an equality of wealth, or talent or beauty," but rather "an equality of rivenness, an equality of unknowingness, the equality of there being no foundations to master." I am not sure I understand what it means to be equal in rivenness. I believe that we are all unknowing in many ways, but not that we are equally unknowing. Is equality (in the presence?) of no foundations the same as equality in the prospect of death? In any event, I'm pretty sure that no authoritarian person or institution would be much troubled when faced with these banners of equality.Yet equality is a serious matter for Phillips, so serious that in another essay he is troubled by the threat that laughter presents. In a characteristically tortuous essay in which he tries conscientiously to sort out the benign and malign effects of mockery and ridicule, he ends by concluding that mockery is "the emotional terror of democracy" and "that what is always being ridiculed is our wish to be together, our secret affinity for each other." Always? Phillips of course knows the pleasures of ridicule, even its benignly toxic effect on our self-importance. But he begins from such an extreme position of its noxiousness (at the beginning of the essay he cites Primo Levi's initial response to the concentration camp as a joke: how could it possibly be what it purports to be?) that he cannot shake himself of the solemnity of his democratic conviction to allow a place for the human comedy. I wonder too at the authority of his claim for "our secret affinity for each other." The difficulty of democracy or togetherness for many or at least some may be precisely the secret aversion that they have for... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:My StoryDawn Ruggeroli–CollinsMy story starts on October 17, 1981. I was 17–years–old and was riding home from a night with friends at the Roundup Rodeo in Simonton, Texas. The girl who was driving was a friend of a friend, so unfortunately I did [End Page E5] not know her well enough to realize that she was drunk. I have very little recollection of the accident, nor of the few (...) days that followed. However, I do recall being very aware that I was paralyzed.For some reason, I had for the previous few years been reading books by women who had spinal cord injuries as a result of some type of accident. I read Joni Eareckson’s book “Joni” and “The Other Side of the Mountain” about Jill Kinmont, and saw the movies about both women. Additionally, my mother bought me “Karen,” and “With Love, from Karen” the story of Karen Killalea, who has cerebral palsy. It seemed to me that reading these books prepared me for dealing with my disability in a positive way rather than “woe is me.”I’m actually one of the luckiest people you’ll ever know! While I have a C–4/C–5 SCI, it is pretty incomplete and as a result I’m pretty mobile. I wear an ankle–foot orthotic (AFO) on my right foot and use a cane. I do have Brown–Séquard syndrome, with better sensation on my right side and better function on the left. So, I was right–handed the first 17 years of my life and I’m now a leftie.A couple of days after my accident, while I was still in the intensive care unit (ICU), one of the nurses felt that it was important for me to realize that I would probably be paralyzed for the rest of my life; never to walk again. So she took it upon herself to deliver this message personally. Well, I wasn’t having any of that! I yelled and screamed and threw the biggest tantrum that one can throw while one’s head is clamped down by Gardner–Wells tongs. Given how well I have recovered, I have often thought how it would be to find Judy, walk up to her, and ask if she remembers me.My dad has often told me that he thinks I went through the grieving process pretty quickly after my accident. It wasn’t always easy, and I did have my down moments, but for the most part I think he’s right. I’ve always been a positive person and that helped get me through this and many other trying times in my life. I think at the time I also had a fear that no one would want to be around me if I was stuck in a wheelchair and was a Debbie Downer. I was only 17 after all.When I went away to college I was still mainly using a wheelchair. When I told a friend that I didn’t want to be in a dorm with all of the disabled students, she laughed and asked me why I didn’t want to be with “my people.” Aside from playing some wheelchair basketball, I had never really hung out with other people with disabilities. I was briefly involved with a disabled support type of group but many of them had really negative attitudes. I didn’t stick around for very long after I learned that one of the guys said to one of the women that she would be really attractive if it weren’t for “that wheelchair.” This coming someone in a wheelchair himself!During my second year at Michigan State I had my first realization that people don’t just see me as someone with a disability. A friend was talking with an acquaintance from the other side of our dorm and she mentioned me. The acquaintance said “oh, Dawn in the wheelchair?” and her response was “yeah, I guess she is in a wheelchair.” When she relayed this conversation to me later I was really moved that she didn’t see me as someone in a wheelchair first... (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

That's Brandenberg Concerto #3,” the Latino teenager informed me as I entered the exam room. I have a habit of whistling around the hospital. A little Bach. A little Gershwin. Disney. The Beatles. Italian folk songs. Christmas carols in December. I mix it up. As whistlers go, I'm pretty good—maybe a seven out of ten, all around—but I'm no virtuoso. In my work as a family physician, my repertoire is also quite broad, but not endlessly deep.My Latino teenager ostensibly came (...) in for evaluation of a “lump” that turned out to be a small lymph node. The real reason for his visit, however, was to discuss symptoms of depression and anxiety, a self‐described sense of “disassociation,” and his severely alcoholic father. “Tell the doctor why you are really here,” his mother told us both in Spanish as she exited the room. And I had fifteen minutes. With patients waiting. (shrink)

This article deals with political socialization and political participation, in the context of visiting phenomenon, in Turkey. We took the Ali Baba Tomb in central Sivas and Celtek Baba Tomb in Celtek village as the sample of our study. In the study, political socialization and participation was seen as a dialectical process between individual and society. Visiting phenomenon embodying a rich historical, religious and cultural accumulation is important in that it defines the religious tendency of huge masses. As a matter (...) of fact, they have realized their potitical socialization in a pretty much authentic culture with different interests, duties, roles and positions. At the same time, they have shown their political participation with reference to the religious world of meaning. -/- SUMMARY In the contrast to the secular paradigm, religion continues to keep its reciprocal relations with the whole social system without giving an opportunity to any speculation. Religion and politics are two important fields in which this living relationship is stood for institutional structures. This article focuses on political socialization and political participation in Turkey by taking into consideration the phenomenon of visiting. The question of how the visiting phenomenon provided an input to the political system in terms of political socialization and political participation constitutes the problem of the research. Ali Baba Tomb in the center of Sivas province and Celtek Baba Tomb situated in central Celtek Village were selected as samples for the study. The political socialization and participation were talked with 33 visitors who had been selected randomly from different days between September and December 2015 and were tried to understand the data obtained by semi-standardized interview form. It has been examined in terms of its historical development and orientation of relationship between the visiting phenomenon in the research and the political system. For this reason, the basic methodological acceptance of the research has been to understand and interpret political socialization and participation in its specific environment. In this framework, firstly, the socialization of the sample in the context of family, school, mass communication and social environment was evaluated. Later, it has been tried to understand the religiousness in the context of the visiting through the same group. Their political participation has also been resolved according to the classification of Milbrath and Goel’s hierarchical political participation level through the field of political socialization and religiousness. Finally, this research, which is considered as a singular case study, has been subjected to a systematic and phenomenological analysis according to gender, age, education and belief variables on the basis of data obtained through problem-centered interviewing and participatory observation. The visiting in a phenomenological sense involves a trip and travel made with certain requests to the people who are believed to have been buried in places such as tombs, attributed to certain spiritual powers and virtues. The visiting phenomenon in the field of research had brought a rich historical and cultural content, exceeding a simple grave visit. Today, in the religious and traditional meaning world the traumas caused by the modernization and other socio-psychological thrillers have brought a different interest in Turkish society than ever before. The visiting phenomenon has created a continuity with a perception of sanctity and understanding which were shaped by an interaction with many different cultures, pre-Islamic beliefs and eventually mystical and charismatic personalities. However, the visiting phenomenon according to the severity of the individual and social crises experienced in the modern period has also revealed some variations that included popular patterns in both structural and practical contexts. Thus, the visiting phenomenon today is seen in a change by creating new universes appropriate to tradition in different social categories. In the modern era the influence of this change on the political culture is evident. This effect is generally related to the social structure of Turkish society and manifests itself as a closing within the sense of protection of the world of meaning. The visiting phenomenon, which has a special place in the religious life of very large masses in Turkey, has created a peculiar structure of political socialization and political participation around a profound historical accumulation. The participants have realized their political socialization in a unique cultural environment. This culture was formed in the context of family, school, mass communication and social environment. The dramatic situations that have taken place in the process have brought the important socialization problems in this environment. The community associations, the system of obsolete values, the distorted hierarchical relationships and the insecure environments created no longer lead to the searching for meaning by them. These people, who express themselves not like politics (27 people) at last, instead of expressing politics themselves with ideological concepts like ideological rightist, leftist, Islamist, communities people (ʾumma), Kemalist (5 people), but rather Turkish, Muslim, homeland, nation, human and righteousness as the concepts and words to prefer to identify. This should be a socialization that they carry out by transferring the objective world they created outwardly around a set of meanings to their subjective consciousness again. It should be a socialization again that they carry out by transferring the objective world they created outwardly around a set of meanings to their subjective consciousness. The visitors have carried out a political participation with the accumulation created by this field of political socialization. They saw themselves as often religious and the visiting activity as a sign of religiosity. As a result, the visiting a tomb could have been a simple manifestation of inner happiness and ease in a happy moment or an entertainment as much as it was in distress in this environment. The mystical attitude which is far from the world that many poor people built around the visit has caused them to put reserves in the political institution that represents a secular field. As a matter of fact, the visitors often characterize the world with the terms like empty, lie, trial, and so on. Politics, on the other hand, had been seen as a relationship of interest, cheating and lying. It has been understood that it provides a political input in the framework that Milbrath and Goel conceptualize as audience actions when we look at the political participation of the visiting phenomenon in the Sivas universe. According to this visit, in the sample of the phenomenon 29 people of the participants said that they are not open to the politics while 4 of them said that they are open to the politics. However, given that voting attitudes in the elections, only 2 of the participants did not see this very important; others (31 people) regard voting as a responsibility in the name of country, nation, country or even religion. From time to time, those who say either that they have started to the political discussions or that they have participated in political debates (11 people of them) are less than those who have never attended this kind of debates (22 people). In this sample, the number of people trying to persuade a person to vote for a particular party is 6; the number of people carrying a rosette of a party or hanging the symbols of the party to the house, to the car, was only 4 among those participants. Visiting people usually provide the political socializations in a fatalistic and restrictive environment. Their political participation is also in accord with the symbolic world of this hierarchical structure in which life is defined by certain rules. Therefore, they had produced an unquestionability of the authority as it is in family as well as political institutions. The politics is frightening for them; it is not interested in them and they should be away from it. (shrink)

The Spiritualist Movement is divided into three hardback volumes (handsomely produced) which between them contain 43 chapters on assorted aspects of the subject, the boundaries of which are generously interpreted. Most of the chapters are between 15 and 25 pages in length. The topics covered can be relatively narrow or relatively broad, and not all of them will be of keen interest to every reader. The contributors (who range from Ph.D. candidates to emeritus professors) are of varied academic backgrounds and (...) attitudes toward the phenomena or alleged phenomena of Spiritualism. Some are pretty skeptical, others less so-indeed (interestingly), several are or have been practicing mediums. However, excessive partisanship, pro or con, is refreshingly absent. The editor, Christopher Moreman, makes clear in his Introduction (which is printed in each of the three volumes) that his "collection" (he also refers to it as an "anthology") does not aim to provide a "comprehensive coverage of scholarship on Spiritualism," but rather to "illustrate the complexity of the movement and the ways it might be open to academic consideration." And this is the light in which we must consider it. (shrink)

I'm now in my forties, but my teacher is still alive and well; so I'm still one of the junior generation. When I was a graduate student, my teacher told me that I didn't have enough background in Chinese traditional studies, and in a burst of energy I went off and read my way, albeit in a rather random fashion, through everything from the Four Books to the Cheng brothers [Cheng Hao and Cheng Yi, Confucian scholars of the Song dynasty] (...) and Zhu Xi. My studies had started off with fiction, and the Four Books came afterwards; I had started off as an "educated youth," and became a student later. Doing things that way round, one can expect to have problems; but even so, when I read the ancient classics, I still feel some singular emotions, which I cherish purely because they are my own. When I finished reading the Analects and closed my eyes to think about it, I felt that to utter those great truths so often and so earnestly Confucius must have been a very sweet and naive old man. His students were always hanging on his every word and, in his concern for them, he said that A could do this, or B could do that, like an old lady listing the characteristics of her grandchildren. Sometimes the old gentleman had a furtive side to him, as in the chapter "The Master went to see Nanzi" [See Analects VI. 28; Nanzi was the wife of Duke Ling of Wei]. When he emerged, he insisted that he had committed no "impropriety." In a nutshell, I liked him, and if I had been born during the Spring and Autumn period [722-481 b.c.e.], I would have gone and studied under him, because the atmosphere round him was like that of the Pickwick Club. His ideas were actually pretty ordinary, and there is nothing special about them to win our admiration. The ceremonial on which he laid such particular emphasis was in my view much the same as the rituals performed during the Cultural Revolution—I've been through all those morning requests for instructions and evening reports myself and it wasn't very interesting. It may be indispensable for the very young, but for educated adults it is a burden. However, if I'd gone along to be taught by Confucius, I would have gone for the atmosphere, and I would not have expected to learn much. (shrink)

It is always awkward when someone asks me informally what I’m working on and I answer that I’m trying to figure out what gender is. For outside a rather narrow segment of the academic world, the term ‘gender’ has come to function as the polite way to talk about the sexes. And one thing people feel pretty confident about is their knowledge of the difference between males and females. Males are those human beings with a range of familiar primary and (...) secondary sex characteristics, most important being the penis; females are those with a different set, most important being the vagina or, perhaps, the uterus. Enough said. Against this background, it isn’t clear what could be the point of an inquiry, especially a philosophical inquiry, into “what gender is”. (shrink)

It’s pretty standard to find pretty compelling the claim that for all one can tell one may be a vat‐brain: not least, to say the least, because it’s a version of Descartes’ demon thought‐experiment in the First Meditation. Here I refute that claim. Like Descartes I start with the idea that one has an undeniable grip on most of what one is thinking. To this I add the idea that knowing thinking as thinking is being able to engage in it. (...) Then I argue that one can’t engage in the (purported) thinking of a vat‐brain (there are various specimens of vat‐brain to be considered). The essential point is that one cannot make anything of what a vat‐brain’s intended ontology would be, and how the brain might conceive of it. So one cannot engage with any vat‐brain’s (purported) thinking. Yet one engages with one’s own. So one isn’t any of them. I’m not, anyway: you can speak for yourself. (shrink)

Did Donald Davidson agree with G.E.M. Anscombe that action requires a distinctive form of agential awareness? The answer is No, at least according to the standard interpretation of Davidson’s account of action. A careful study of Davidson’s early writings, however, reveals a much more subtle conception of the role of agential belief in action. While the role of the general belief in Davidson’s theory is familiar and has been much discussed, virtually no attention has been paid to the singular belief. (...) This essay makes a start on remedying this neglect. I begin, in section 1, by examining Davidson’s claim that for a desire or belief to rationalize and cause an action it must have a suitable generality. It must, he says, be ‘logically independent’ of the action itself. While he was clear about this requirement in the case of the desire that forms part of a person’s primary reason, I show in section 2 that his early treatment of belief confuses general and singular beliefs. This confusion reflects his failure clearly to distinguish the two roles belief can play in his account of action: as rationalizing cause and as agential awareness. Somewhat surprisingly, though, after he carefully drew the distinction and announced that intentional action requires practical knowledge, he pretty much ignored it. This may explain why some have assumed that Davidson parted ways with Anscombe on this. But a careful study of their writings shows that in fact they held remarkably similar views on the nature and need for practical knowledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Transgressing the Boundaries: An Afterword*Alan D. SokalAlas, the truth is out: my article, “Transgressing the Boundaries: Toward a Transformative Hermeneutics of Quantum Gravity,” which appeared in the spring/summer 1996 issue of the cultural-studies journal Social Text, is a parody. 1 Clearly I owe the editors and readers of Social Text, as well as the wider intellectual community, a non-parodic explanation of my motives and my true views. One of (...) my goals here is to make a small contribution toward a dialogue on the Left between humanists and natural scientists—“two cultures” which, contrary to some optimistic pronouncements (mostly by the former group), are probably farther apart in mentality than at any time in the past fifty years.Like the genre it is meant to satirize—myriad exemplars of which can be found in its reference list—my article is a mélange of truths, half-truths, quarter-truths, falsehoods, non sequiturs, and syntactically correct sentences that have no meaning whatsoever. (Sadly, there are only a handful of the latter: I tried hard to produce them, but I found that, save for rare bursts of inspiration, I just didn’t have the knack.) I also employed some other strategies that are well-established (albeit sometimes inadvertently) in the genre: appeals to authority in lieu of logic; speculative theories passed off as established science; strained and even absurd analogies; rhetoric that sounds good but whose meaning is [End Page 338] ambiguous; and confusion between the technical and everyday senses of English words (for example: linear, nonlinear, local, global, multidimensional, relative, frame of reference, field, anomaly, chaos, catastrophe, logic, irrational, imaginary, complex, real, equality, choice).I should emphasize that all works cited in my article are real, and all quotations are rigorously accurate; none are invented. Indeed, the most hilarious passages in my article were not written by me: they are direct quotes from the Masters.But why did I do it? I confess that I’m an unabashed Old Leftist who never quite understood how deconstruction was supposed to help the working class. And I’m a stodgy old scientist who believes, naively, that there exists an external world, that there exist objective truths about that world, and that my job is to discover some of them. (If science were merely a negotiation of social conventions about what is agreed to be “true,” why would I bother devoting a large fraction of my all-too-short life to it? I don’t aspire to be the Emily Post of quantum field theory.)But my main concern isn’t to defend science from the barbarian hordes of lit crit. Rather, my concern is explicitly political: to combat a currently fashionable postmodernist/poststructuralist/social-constructivist discourse—and more generally a penchant for subjectivism—which is, I believe, inimical to the values and future of the Left. 2 Alan Ryan said it well:It is, for instance, pretty suicidal for embattled minorities to embrace Michel Foucault, let alone Jacques Derrida. The minority view was always that power could be undermined by truth.... Once you read Foucault as saying that truth is simply an effect of power, you’ve had it.... But American departments of literature, history and sociology contain large numbers of self-described leftists who have confused radical doubts about objectivity with political radicalism, and are in a mess. 3Likewise, Eric Hobsbawm has decriedthe rise of “postmodernist” intellectual fashions in Western universities, particularly in departments of literature and anthropology, which imply that all “facts” claiming objective existence are simply intellectual constructions. In short, that there is no clear difference between fact and fiction. But there is, and for historians, even for the most militantly antipositivist ones among us, the ability to distinguish between the two is absolutely fundamental. 4 [End Page 339](Hobsbawm goes on to show how rigorous historical scholarship can refute the fictions propounded by reactionary nationalists in India, Israel, the Balkans and elsewhere.) And as the acerbic sociologist Stanislav Andreski noted long ago,So long as authority inspires awe, confusion and absurdity enhance conservative tendencies in society. Firstly, because clear and logical thinking leads to a cumulation of knowledge (of which the progress of... (shrink)

Bioethics at the Movies explores the ways in which popular films engage basic bioethical concepts and concerns. Twenty philosophically grounded essays use cinematic tools such as character and plot development, scene-setting, and narrative-framing to demonstrate a range of principles and topics in contemporary medical ethics. The first section plumbs popular and bioethical thought on birth, abortion, genetic selection, and personhood through several films, including The Cider House Rules, Citizen Ruth, Gattaca, and I, Robot. In the second section, the contributors examine (...) medical practice and troubling questions about the quality and commodification of life by way of Dirty Pretty Things, Eternal Sunshine of the Spotless Mind, and other movies. The third section's essays use Million Dollar Baby, Critical Care, Big Fish, and Soylent Green to show how the medical profession and society at large view issues related to aging, death, and dying. A final section makes use of Extreme Measures and select Spanish and Japanese films to discuss two foundational matters in bioethics: the role of theories and principles in medicine and the importance of cultural context in devising care. Structured to mirror bioethics and cinema classes, this innovative work includes end-of-chapter questions for further consideration and contributions from scholars from the United States, Canada, the United Kingdom, Israel, Spain, and Australia. Contributors: Robert Arp, Ph.D., Michael C. Brannigan, Ph.D., Matthew Burstein, Ph.D., Antonio Casado da Rocha, Ph.D., Stephen Coleman, Ph.D., Jason T. Eberl, Ph.D., Paul J. Ford, Ph.D., Helen Frowe, M.A., Colin Gavaghan, Ph.D., Richard Hanley, Ph.D., Nancy Hansen, Ph.D., Al-Yasha Ilhaam, Ph.D., Troy Jollimore, Ph.D., Amy Kind, Ph.D., Zana Marie Lutfiyya, Ph.D., Terrance McConnell, Ph.D., Andy Miah, Ph.D., Nathan Norbis, Ph.D., Kenneth Richman, Ph.D., Karen D. Schwartz, LL.B., M.A., Sandra Shapshay, Ph.D., Daniel Sperling, LL.M., S.J.D., Becky Cox White, R.N., Ph.D., Clark Wolf, Ph.D. (shrink)

Where are we to look for the unique hues? Out in the world? In the eye? In more central processing? 1. There are difficulties looking for the structure of the unique hues in simple combinations of cone-response functions like ( L − M ) and ( S − ( L + M )): such functions may fit pretty well the early physiological processing, but they don’t correspond to the structure of unique hues. It may seem more promising to look to, (...) e.g., Hurvich & Jameson’s ‘chromatic response functions’; but these report on psychophysical behaviour, not on underlying physiology. So ‘opponent processing’ isn’t any particular help on the unique hues—and even physiology in general seems not to have come up with any good correlate or explanation. 2. Wright ( Review of Philosophy and Psychology 2: 1–17, 2011 ) looks in a different place: to (a) magnitude of total visual response that a stimulus light provokes, the maxima and minima of which, he thinks, give us the boundaries of the main hue categories (Wright connects these with Thornton’s ‘prime’ and ‘antiprime’ colours in an illuminant: Journal of the Optical Society of America 61 ( 1971 ): 1155–1163); and (b) the ratio of chromatic to achromatic response, the maxima and minima of which, he suggests, give us the focal points of the unique hues. The suggestions are extremely interesting; but the desired correspondences have some counterexamples; and where they hold, one could wonder how much they depend upon the particular choice of functions to measure (a) and (b); and one could hope for more of an explanatory linkage between the sets of items in question. 3. Could the unique hues come from, so to speak, the external world? White and black can easily be defined as particular kinds of reflectance. What of the standard four unique hues? Variation in kinds of sunlight and skylight coincides well with variation along a line from unique yellow to unique blue (cf. Shepard 1992 , Mollon 2006 ). If we wanted something to calibrate our standards for unique yellow and blue as the lens of the eye changes with age, and despite interpersonal cone differences, this would be a good basis—and there are several ways this can be extended to surface colours. But is there any essential connection between these things: is there any rationale why the light of the sun and the sky should be counted as unique hued ? An answer may be: because in our environment, these illuminants are as close to white (or the natural illuminant colour) as you can get—to see things tinged with sunlight or skylight should be to see them minimally tinged with any alien colour. Whereas other hues in an illuminant would be treated as tinging with a more alien colour the thing seen. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Eating Disorders and Mimetic Desire René Girard Stanford University Among younger women, eating disorders are reaching epidemic proportions. The most widespread and spectacular at this moment is the most recently identified, the so-called bulimia nervosa, characterized by binge eating followed by "purging," sometimes through laxatives or diuretics, more often through self-induced vomiting. Some researchers claim that, in American colleges, at least one third of the female student population is (...) involved to some degree. (Since nine out of ten sufferers are women I will use feminine pronouns in this paper but some undergraduates at Stanford tell me that the epidemic is spreading to male students.) G.M.F. Russell, the first researcher who focused on the specific aspects ofmodern bulimia, is usually presented as the discoverer of a new illness. The title ofhis 1979 publication contradicts this view: "Bulimia Nervosa: An Ominous Variant ofAnorexiaNervosa." And, indeed, all the symptoms he describes had been mentioned before in connection with anorexia (see Bruch). The insurance companies and the medical profession like only welldefined illnesses, and so does the public. We all try to distance ourselves from pathological contamination by giving it a name. Eating disorders are often discussed as ifthey were new varieties ofmeasles or oftyphoid fever. Why distrust the distinction between two illnesses with symptoms as radically opposed as those of anorexia and bulimia? Because we live in a world where eating too much and not eating enough are opposite but inseparable ways ofcoping with the slenderness imperative that dominates 2 René Girard our collective imaginations. Most of us oscillate all our lives between attenuated forms ofthese two pathologies. The man in the street understands perfectly a truth that most specialists prefer not to confront. Our eating disorders are caused by our compulsive desire to lose weight. Most books on the subject acknowledge the universal calorie phobia but somewhat absent-mindedly, as if it could not be the major cause ofa serious illness. How could a fundamentally healthy desire become the cause ofpathological behavior, even ofdeath? Many people would be healthier, no doubt, ifthey ate less. In view of this fact, it is not illogical to suppose that, in anorexia, there must be some motivation other than this healthy desire, some unconscious drive, no doubt, that generates abnormal behavior. By turning anorexia and bulimia into two separate pathologies, the classificators make it easier for us to lose sight of their common basis. The bankruptcy of modern theories The search for hidden motivations is the alpha and omega, ofcourse, of our modern culture. Our number one principle is that no human phenomenon is really what it seems to be. A satisfactory interpretation must rely on one of the hermeneutics of suspicion that have become popular in the nineteenth and twentieth century, or on several ofthese, on a cocktail of soupçon: psychoanalysis, Marxism, feminism, etc. We automatically assume that social phenomena have little if anything to do with what is obvious in them, in this case the rejection offood. In anorexia, psychoanalysts usually diagnose "a refusal of normal sexuality," due to the patient's excessive desire "to please her father," etc. These explanations are still invoked in books being written right now but the voice is growing fainter. Around this sort of thing the smell of mustiness is overpowering. Even in Lacan's own land, the old arrogance is gone. Early in my life, I had an opportunity to observe that the eating practices ofyoung women have nothing to do with a desire to please their fathers. Just before World War II, a pretty cousin of mine was dieting furiously and her father, my uncle, was storming about helplessly, trying to get her to eat more. Fathers, as a rule, are not pleased to see their daughters starve themselves. This particular father was also a physician, at a time when the medical profession had not yet caught the disease it was already trying to cure. Eating Disorders andMimetic Desire3 This uncle was our family doctor and, as such, had great prestige in my eyes, at least until that day. I had not yet read Freud but my later skepticism regarding his conception offatherhood may well originate in this incident. I immediately... (shrink)

Most commentators think that Plato's account of the varieties of false pleasure is disjointed and that various types of false pleasure he identifies are false in different ways. It really doesn't look that way to me: I think that the discussion is unified, and that Plato starts with less difficult cases to build up to a point about more important but less clear cases. In this paper, I do my best to show how this might work. I don't think I (...) will ever work on this again: the experience of writing this paper and dealing with frustrating refereeing practices has led me to pretty much switch to aesthetics. I'm much happier. But here are the fruits of my labor. I know there are a few details I got wrong (in particular a place or two where I should have scrutinized Frede's translation more closely), but I still think that I'm on the right track. I hope it's useful to someone. (shrink)

odel’s Theorems (CUP, heavily corrected fourth printing 2009: henceforth IGT ). Surely that’s more than enough to be going on with? Ah, but there’s the snag. It is more than enough. In the writing, as is the way with these things, the book grew far beyond the scope of the lecture notes from which it started. And while I hope the result is still pretty accessible to someone prepared to put in the time and effort, there is – to be (...) frank – a lot more in the book than is really needed by philosophers meeting the incompleteness theorems for the first time, or indeed by mathematicians wanting a brisk introduction. You might reasonably want to get your heads around only those technical basics which are actually necessary for understanding how the theorems are proved and for appreciating philosophical discussions about incompleteness. So you need a cut-down version of the book – an introduction to the Introduction! Well, isn’t that what lectures are for? Indeed. But there’s another snag. I haven’t got many lectures to play with. So either (A) I crack on at a very fast pace (hard-core mathmo style), cover those basics, but perhaps leave too many people puzzled and alarmed. Or (B) I do relaxed talk’n’chalk, highlighting the really Big Ideas, making sure everyone is grasping them as we go along, but inevitably omit important stuff and leave quite a gap between what happens in the lectures and what happens in the book. What to do? I’m going for plan (B). But then I ought to do something to fill that gap between lectures and book. Hence these notes. The idea, then, is to give relaxed lectures, highlighting Big Ideas, not worrying too much about depth or fine-detail (nor even about getting through all of the day’s intended menu of topics). These notes then expand things just enough, and give pointers to relevant chunks of IGT. Though I hope these notes will be to a fair extent be stand-alone, and tell a brief but coherent story read by themselves: so occasionally I’ll copy a paragraph or two from the book, rather than just refer to them.. (shrink)

I take into account Ferraris’ attempt at reversing the traditional order of explanation going from thought to language and writing, as exposed in Documentalità. The reversal is supposed to provide a new ontology of social objects that dispenses with Searle’s notion of (collective) intentionality. The book’s motto is «[social] object = written act». What does that identity sign mean? Given that social objects are not identical with documents taken as mere material objects, they must be identical with documents taken as (...) (systems of) signs, sÚmbola. Can one explain how a sign refers to what it is a sign of, without resorting to intentionality? I’m not sure – but I am pretty sure that the Derridean notion of arch-writing is not going to help. (shrink)

A major theme in rap lyrics is that the only way to survive is to use your head, be aware, know what’s going on around you. That simple idea packs a lot of background. The most obvious ideas about knowledge turn out if you look at them close up to be pretty questionable. For example: How do we get knowledge about the world? A natural and ancient answer to this question is that much if not all of our knowledge comes (...) from our senses. So for example the nose gives us knowledge of what things smell like, and if all goes well, also indicates whether the thing we’re smelling is healthy, tasty, or noxious. Likewise, the eyes tell us the color and shape of things, and thereby give us information about whether those things are useful, dangerous, and so on. Like everybody else, rappers know all this. Or do they? Maybe some rappers know that this isn’t really so. I’m not talking about Extra-Sensory Perception, channeling, auras, or about what. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mitzvah of the BrisThomas McDonaldHaving worked as a clinician in emergency medicine, internal medicine, and urgent care for a number of years, I've treated plenty of patients with skin infections. On a few rare occasions, some have casually mentioned that they were thinking about getting circumcised as adults to prevent reoccurring, frequent infections like Jock Itch. I think you're probably more likely to experience that kind of problem if (...) you're uncircumcised. Jock itch is a fungal infection, and fungus likes dark, hot, sweaty places on our bodies. These infections are nothing serious—they are just sort of annoying for the patients experiencing them.I have two sons—both were circumcised, but my experience as a clinician did not play a role in the decision. My sons' mother is Jewish, while I grew up Catholic. I attended a Catholic high school and went to religious education classes until I was confirmed [End Page 77] as a teenager. Both of my parents are pretty serious Catholics. I can't remember ever missing a Sunday service. I always thought any sons I had would be circumcised, even before I was married and before I married someone who was Jewish.When we were expecting our first baby, my son's mother and I didn't really talk about circumcision or debate whether we should do it or not. Is it more socially acceptable to be circumcised versus not? I'm not exactly sure why, but I think the answer is probably yes. It seems like circumcision is the norm in our society. My son's mother wanted our son to be circumcised too but thought it would be great to have a bris. With my Catholic background, I didn't know the details about what was involved with a bris at the time. She explained that a person comes to the house (or to a relative's house) and circumcises the baby. All the relatives attend. It would be a party! At the time, the thought of throwing a party at a relative's home to celebrate a circumcision was amusing to me. Before the conversation with my son's mother, I assumed that the bris was probably done in the hospital with everyone attending there. But she went on to explain that a person who is trained to do it—a mohel—does this work as their main job and makes sure that the baby is anesthetized and that sterile techniques are used.To be clear, I didn't ever think that my sons wouldn't be circumcised. I just thought it would happen in the hospital rather than in Baba's living room, followed immediately by a meal of deli meat sandwiches. But the bris sounded like it would make a nice memory for the family, so I agreed to it. I was always (and still am) interested in Jewish traditions. I think they're pretty cool, so I was all in. I assume there could have been some pressure from my son's mother's family if the bris was something I didn't want to do, but that wasn't an issue since I was completely on board.There is an episode of Seinfeld called "The Bris" in which Elaine and Jerry are nervous about the duties they must perform for a bris when they agree to become godparents to a Jewish couple's newborn. Elaine is charged with booking the mohel and asks Jerry, "Where am I going to find a mohel!" Jerry responds, "Oh, finding a mohel is a piece of cake. Any idiot can find a mohel. I have the tough job—I have to hold the baby while they do it! How would you like that job?"I don't know how much planning goes into a bris. Unlike Elaine and Jerry, I did nothing. I just showed up that day. If someone asked me how to find a mohel, I wouldn't have an answer. It's possible my son's mother found and booked the mohel, or her family may have set it up. They have roots where we were living at the time, so they may have gotten... (shrink)

continent. 1.3 (2011): 149-155. The world is teeming. Anything can happen. John Cage, “Silence” 1 Autonomy means that although something is part of something else, or related to it in some way, it has its own “law” or “tendency” (Greek, nomos ). In their book on life sciences, Medawar and Medawar state, “Organs and tissues…are composed of cells which…have a high measure of autonomy.”2 Autonomy also has ethical and political valences. De Grazia writes, “In Kant's enormously influential moral philosophy, autonomy (...) , or freedom from the causal determinism of nature, became prominent in justifying the human use of animals.”3 One of the oldest uses of autonomy in English is a description of the French civil war from the late sixteenth century: “Others of the…rebellion entred in counsell, whether they ought to admit the King vpon reasonable conditions, specially hauing their autonomy.”4 Life, and in particular human life, and in particular human politics, is well served by the usages of autonomy . What about the rest of reality, however? Should it be thought of, if it's even considered real and mind-independent, as pure stuff for the manipulation or decorative tastes of truly autonomous beings? We tend to think of things such as paperweights and iPhones as mere tools of human design and human use. To use them is to cause them to exist as fully and properly as they can. But according to Martin Heidegger, when a tool such as a paperweight is used, it disappears, or withdraws ( Entzug ). We are preoccupied with copying the page that the paperweight is holding down. We are concerned with an essay deadline, and the paperweight simply disappears into this general project. If the paperweight slips, or if the iPhone freezes, we might notice it. All of a sudden it becomes vorhanden (present-at-hand) rather than zuhanden (ready-to-hand).5 Yet Heidegger is unable to draw a meaningful distinction between what happens to a paperweight when it slips from the book I'm copying from and what happens to the paperweight when it presses on the still resilient pages of the thick paperback itself. Further still and related to this point, even when I am using the paperweight as part of some general task, I am not using the entirety of the paperweight as such. My project itself selects a thin slice of paperweight-being for the purposes of holding down a book. Even when it is zuhanden the paperweight is withdrawn. Graham Harman is the architect of this way of thinking.6 Harman discovered a gigantic coral reef of withdrawn entities beneath the Heideggerian submarine of Da-sein, which itself is operating at an ontological depth way below the choppy surface of philosophy, beset by the winds of epistemology, and infested with the sharks of materialism, idealism, empiricism and most of the other isms that have defined what is and what isn't for the last several hundred years. At a moment when the term ontology was left alone like a piece of well chewed old chewing gum that no one wants to have anything to do with, object-oriented ontology (OOO) has put it back on the table. The coral reef isn't going anywhere and once you have discovered it, you can't un-discover it. And it seems to be teeming with strange facts. The first fact is that the entities in the reef—we call them “objects” somewhat provocatively—constitute all there is: from doughnuts to dogfish to the Dog Star to Dobermans to Snoop Dogg. People, plastic clothes pegs, piranhas and particles are all objects. And they are all pretty much the same, at this depth. There is not much of a distinction between life and non-life (as there isn't in contemporary life science). And there is not much of a distinction between intelligence and non-intelligence (as there is in contemporary artificial intelligence theory). A lot of these distinctions are made by humans, for humans (anthropocentrism). And the concept autonomy has come into play in policing such distinctions. In this essay I shall to try to liberate autonomy for the sake of nonhumans. I shall do so by parsing carefully the title, which is taken from Hakim Bey's work The Temporary Autonomous Zone .8 First we shall explore the term autonomous . Then we shall explore what the full meaning of zone is. Finally, we shall investigate what temporary means. Each of these terms is of great value. An object withdraws from access. This means that its very own parts can't access it. Since an object's parts can't fully express the object, the object is not reducible to its parts. OOO is anti-reductionist. But OOO is also anti-holist. An object can't be reduced to its “whole” either, “reduced upwards” as it were. The whole is not greater than the sum of its parts. So we have a strange irreductionist situation in which an object is reducible neither to its parts nor to its whole. A coral reef is made of coral, fish, seaweed, plankton and so on. But one of these things on its own doesn't embody part of a reef. Yet the reef just is an assemblage of these particular parts. You can't find a coral reef in a parking lot. In this way, the vibrant realness of a reef is kept safe both from its parts and from its whole. Moreover, the reef is safe from being mistaken for a parking lot. Objects can't be reduced to tiny Lego bricks such as atoms that can be reused in other things. Nor can be reduced upwards into instantiations of a global process. A coral reef is an expression of the biosphere or of evolution, yes; but so is this sentence, and we ought to be able to distinguish between coral reefs and sentences in English. The preceding facts go under the heading of undermining . Any attempt to undermine an object—in thought, or with a gun, or with heat, or with the ravages of time or global warming—will not get at the withdrawn essence of the object. By essence is meant something very different from essentialism . This is because essentialism depends upon some aspect of an object that OOO holds to be a mere appearance of that object, an appearance-for some object. This reduction to appearance holds even if that object for which the appearance occurs is the object itself! Even a coral reef can't grasp its essential coral reefness. In essentialism, a superficial appearance is taken for the essence of a thing, or of things in general. In thinking essentialism we may be able to discern another way of avoiding OOO. This is what Harman has christened overmining .? The overminer decides that some things are more real than others: say for example human perception. Then the overminer decides that other things are only granted realness status by somehow coming into the purview of the more real entity. When I measure a photon, when I see a coral reef, it becomes what it is. But when I measure a photon, I never measure the actual photon. Indeed, since at the quantum scale to measure means “to hit with a photon or an electron beam” (or whatever), measurement, perception ( aisthesis ), and doing become the same. What I “see” are deflections, tracks in a diffusion cloud chamber or interference patterns. Far from underwriting a world of pure illusion where the mind is king, quantum theory is one of the very first truly rigorous realisms, thinking its objects as irreducibly resistant to full comprehension, by anything.9 So far we have made objects safe from being swallowed up by larger objects and broken down into smaller objects—undermining. And so far we have made objects safe from being mere projections or reflections of some supervenient entity—overmining. That's quite a degree of autonomy. Everything in the coral reef, from the fish to a single coral lifeform to a tiny plankton, is autonomous. But so is the coral reef itself. So are the heads of the coral, a community of tiny polyps. So is each individual head. Each object is like one of Leibniz's monads, in that each one contains a potentially infinite regress of other objects; and around each object, there is a potentially infinite progress of objects, as numerous multiverse theories are now also arguing. But the infinity, the uncountability, is more radical than Leibniz, since there is nothing stopping a group of objects from being an object, just as a coral reef is something like a society of corals. Each object is “a little world made cunningly” (John Donne).10 We are indeed approaching something like the political valance of autonomy . The existence of an object is irreducibly a matter of coexistence. Objects contain other objects, and are contained “in” other objects. Let us, however, explore further the ramifications of the autonomy of objects. We will see that this mereological approach (based on the study of parts) only gets at part of the astonishing autonomy of things. Yet there are some more things to be said about mereology before we move on. Consider the fact that since objects can't be undermined or overmined, it means that there is strictly no bottom object . There is no object to which all other objects can be reduced, so that we can say everything we want to say about them, hypothetically at least, based on the behavior of the bottom object. The idea that we could is roughly E.O Wilson's theory of consilience .11 Likewise, there is no object from which all things can be produced, no top object . Objects are not emanations from some primordial One or from a prime mover. There might be a god, or gods. Suppose there were. In an OOO universe even a god would not know the essential ins and outs of a piece of coral. Unlike even some forms of atheism, the existence of god (or nonexistence) doesn't matter very much for OOO. If you really want to be an atheist, you might consider giving OOO a spin. If there is no top object and no bottom object, neither is there a middle object . That is, there is no such thing as a space, or time, “in” which objects float. There is no environment distinct from objects. There is no Nature (I capitalize the word to reinforce a sense of its deceptive artificiality). There is no world, if by world we mean a kind of “rope” that connects things together.12 All such connections must be emergent properties of objects themselves. And this of course is well in line with post-Einsteinian physics, in which spacetime just is the product of objects, and which may even be an emergent property of a certain scale of object larger than 10?¹?cm).13 Objects don't sit in a box of space or time. It's the other way around: space and time emanate from objects. How does this happen? OOO tries to produce an explanation from objects themselves. Indeed, the ideal situation would be to rely on just one single object. Otherwise we are stuck with a reality in which objects require other entities to function, which would result in some kind of undermining or overmining. We shall see that we have all the fuel we need “inside” one object to have time and space, and even causality. We shall discover that rather than being some kind of machinery or operating system that underlies objects, causality itself is a phenomenon that floats ontologically “in front of” them. In so doing, we will move from the notion of autonomy and begin approaching a full exploration of the notion of zone , which was promised at the outset of this essay. Since an object is withdrawn, even “from itself,” it is a self-contradictory being. It is itself and not-itself, or in a slightly more expanded version, there is a rift between essence and appearance within an object (as well as “between” them). This rift can't be the same as the clichéd split between substance and accidents , which is the default ontology. On this view, things are like somewhat boring cupcakes with somewhat less boring sugar sprinkles on them of different colors and shapes. But on the OOO view, what is called substance is just another limited slice of an object, a way of apprehending something that is ontologically fathoms deeper. What is called substance and what is called accidence are just on the side of what this essay calls appearance. The rift (Greek, chorismos ) between essence and appearance means that an object presents us with something like what in logic is known as the Liar: some version of the sentence “This sentence is false.” The sentence is true, which means that it is a lie, which means that it is false. Or the sentence is false, which means that it is telling the truth, which means that it is true. Now logic since Aristotle has tried desperately to quarantine such beasts in small backwaters and side streets so that they don't act too provocatively.14 But if OOO holds, then at least one very significant thing in the universe is both itself and not-itself: the object. An object is p ? ¬p. To cope with this fact, we shall need some kind of paraconsistent or even fully dialetheic logic, one that is not allergic to dialetheias (double-truthed things). Yet if we accept that objects are dialetheic, p ? ¬p, we can derive all kinds of things easily from objects. Consider the fact of motion. If objects only occupy one location “in” space at any “one” time, then Zeno's paradoxes will apply to trying to think how an object moves. Yet motion seems like a basic, simple fact of our world. Either everything is just an illusion and nothing really moves at all (Parmenides). Or objects are here and not-here “at the same time.”15 This latter possibility provides the basic setup for all the motion we could wish for. Objects are not “in” time and space. Rather, they “time” (a verb) and “space.” They produce time and space. It would be better to think these verbs as intransitive rather than transitive, in the manner of dance or revolt . They emanate from objects, yet they are not the object. “How can we know the dancer from the dance?” (Yeats).16 The point being, that for there to be a question, there must be a distinction—or there must not be (p ? ¬p).17 It becomes impossible to tell: “What constitutes pretense is that, in the end, you don't know whether it's pretense or not.”18 In this notion of the emergence of time and space from an object we can begin to understand the term zone . Zone can mean belt , something that winds around something else. We talk of temperate zones and war zones. A zone is a place where a certain action is taking place: the zone winds around, it radiates heat, bullets fly, armies are defeated. To speak of an autonomous zone is to speak of a place that a certain political act has carved out of some other entity. Cynically, Tibet is called TAR, the Tibetan Autonomous Region, for this very reason. In this phrase, Region tries to emulate zone : it sounds as if the place has its own rules, but of course, it is very much under the control of China. What action is taking place? “[N]ot something that just is what it is, here and now, without mystery, but something like a quest…a tone on its way calling forth echoes and responses…water seeking its liquidity in the sunlight rippling across the cypresses in the back of the garden.”19 If as suggested earlier there is no functional difference between substance and accidence; if there is no difference between perceiving and doing; if there is no real difference between sentience and non-sentience—then causality itself is a strange, ultimately nonlocal aesthetic phenomenon. A phenomenon, moreover, that emanates from objects themselves, wavering in front of them like the astonishingly beautiful real illusion conjured in this quotation of Alphonso Lingis. Lingis's sentence does what it says, casting a compelling, mysterious spell, the spell of causality, like a demonic force field. A real illusion: if we knew it was an illusion, if it were just an illusion, it would cease to waver. It would not be an illusion at all. We would be in the real of noncontradiction. Since it is like an illusion, we can never be sure: “What constitutes pretense…” A zone is what Lingis calls a level . A zone is not entirely a matter of “free will”: this concept has already beaten down most objects into abject submission. Objects are far more threateningly autonomous, and sensually autonomous, than the Kantian version of autonomy cited in the first paragraph of this essay. A zone is not studiously decided upon by an earnest committee before it goes into action. One of its predominant features is that it is already happening . We find ourselves in it, all of a sudden, in the late afternoon as the shadows lengthen around a city square, giving rise to an uncanny sensation of having been here before. Objects emit zones. Wherever I find myself a zone is already happening, an autonomous zone. It is the nonautonomous zones that are impositions on what is already the case. Or rather, these zones are autonomous zones that exclude and police. They are brittle. Every object is autonomous, but some objects try to maintain themselves through rigidity and brittleness, like (and such as) a police state. Paradoxically, the more rigidly one tries to exclude contradiction, the more virulent become the dialetheias that are possible. I can get around “This sentence is false” by imagining that there are metalanguages that explain what counts as a sentence. Then I can decide that this isn't a real sentence. This is basically Alfred Tarski's strategy, since he invented the notion of metalanguage specifically to cope with dialetheias.20 For example we might claim that sentences such as “This sentence is false” are neither true nor false. But then you can imagine a strengthened version of the Liar such as: “This sentence is not true”; or “This sentence is neither true nor false.” And we can go on adding to the strengthened Liar if the counter-attack tries to build immunity by specifying some fourth thing that a sentence can be besides true, false, and neither true nor false: “This sentence is false, or neither true nor false, or the fourth thing.” And so on.21 It seems as if language becomes more brittle the more it tries to police the Liars of this world. Why? I believe that this increasing brittleness is a symptom of a deep fact about reality. What is this deep fact? Simply that there are objects, that these objects are withdrawn, and that they are walking contradictions. This means indeed that (as Lacan put it) “there is no metalanguage,” since a metalanguage would function as a “middle object” that gave coherency and evenness to the others.22 Since there is no metalanguage, there is no rising above the disturbing illusory play of causality. This may even have political implications: no global critique is therefore possible, and attempts to smooth out or totalize are doomed to fail. To think the zone is to think the notion of temporary , which we shall now begin to discuss in greater detail. The zone is not in time: rather it “times.” But because a zone is an emanation of an object, it is based on a wavering fragility, since objects are p ? ¬p. When an object is born, that means that it has broken free of some other object. An object can be born because it and other objects are fragile. If not, no movement would be possible. Objects contain the seeds of their own destruction, a dialetheic sentence that says something like “This sentence cannot be proved.” Kurt Gödel argues that every true system of propositions contains at least one sentence that the system cannot prove. In order to be true, the system must have a minimum incoherence. To be real, it has to be fragile. Imagine a record player. Now imagine a record called I Cannot Be Played on This Record Player . When you play it on this record player, it produces sympathetic vibrations that cause the record player to shudder apart. No matter how many defense mechanisms you build in, there will always be the possibility of at least one record that destroys the record player.23 That is what being physical is. An object is inherently fragile because it is both itself and not-itself. When the rift between appearance and essence collapses, that is called destruction, ending, death. When an object breaks, several new objects are born. An opera singer sings a loud note in tune with the resonant frequency of a wine glass. (See the movie included below.) The singing is a zone, an autonomous level of intensity, opening a rift between appearance and essence. The glass ripples—for a moment it is nakedly a glass and a not-glass—almost as if it were having an orgasm, a little death. It is caught in the rift of the singing. Then its structure can't handle the coherence of the sound waves, and it breaks. It is incoherence and inconsistency that is the mark of existence, not consistency and noncontradiction. When things break or die, they become coherent. Essence disappears into appearance. I become the memories of friends. A glass becomes a dancing wave. Instantly, there are glass fragments, new temporary autonomous zones. The fragments have broken free from the glass. They are no longer its parts, but emanate their own time and space, becoming perhaps accidental weapons as they bury themselves in my flesh. Thus Hakim Bey's instructions on creating temporary autonomous zones oscillate disturbingly between performance art and politics, circus clowning and revolution. To play with the aesthetic is to play with causality, to rip from the sensual ether emanating from things new regions, new zones. Anarchist politics is the creation of fresh objects in a reality without a top or a bottom object, or for that matter a middle object: Everything in nature is perfectly real including consciousness, there's absolutely nothing to worry about. Not only have the chains of the Law been broken, they never existed; demons never guarded the stars, the Empire never got started, Eros never grew a beard. … There is no becoming, no revolution, no struggle, no path; already you're the monarch of your own skin—your inviolable freedom waits to be completed only by the love of other monarchs: a politics of dream, urgent as the blueness of sky.24 Bey imagines that this is because chaos is a primordial “undifferentiated oneness-of-being.” A Parmenides or a Spinoza or a Laruelle would read this a certain way. Individual objects, or decisions to talk about this rather than that, are just maggot-like things crawling around on the surface of the giant cheese of oneness.25 Yet he also describes chaos as “Primordial uncarved block, sole worshipful monster, inert & spontaneous, more ultraviolet than any mythology.” This image is of an inconsistent object, not of an undifferentiated field. An object, indeed, that can be distinguished from other things. If not, then the first part of The Temporary Autonomous Zone , subtitled “The Broadsheets of Ontological Anarchism,” is a kind of onto-theology. Onto-theology proclaims that some things are more real than others. Bey, however, is writing poetically, and thus ambiguously. We are at liberty to read “undifferentiated oneness-of-being” as something like the irreducibility of a thing to its parts and so forth (undermining and overmining). This certainly seems closer to the language in the following paragraph: “There is no becoming … already you're the monarch of your own skin.”26 On this view, there is no difference between art and politics: “When ugliness, poor design & stupid waste are forced upon you, turn Luddite, throw your shoe in the works, retaliate.” Since Romanticism this has been the war cry of the vanguard artist.27 To say to is to fall prey to the tired axioms of the avant-garde, and we think we know how the game goes. But OOO is not simply a way to advocate “new and improved” versions of this shock-the-bourgeoisie boredom. Bey's text is certainly full enough of that. Rather, since causality as such is aesthetic, and since nonhumans are not that different from humans, the new approach would be to form aesthetic–causal alliances with nonhumans. These alliances would have to resist becoming brittle, whether that brittleness is right wing (authoritarianism) or left wing (the endless maze of critique). No “ism,” especially not the ultimate forms, nihilism and cynicism, is in any sense effective at this point. All forms of brittleness are based on the mistaken assumption that there is a metalanguage and that therefore “Anything you can do, I can do meta.” I will not be listing any approaches here, as Bey does. Such lists and manifestos belong to the vanguardism that no longer works. Why? Not because of some marvelous revolution in human consciousness, but because nonhumans have so successfully impinged upon human social, psychic and aesthetic space. It is the time after the end of the world. That happened in 1945, when a thin layer of radioactive materials was deposited in Earth's crust. Geology now calls it this era the Anthropocene . Ironically, this period, named after humans, is the moment at which even the most thick headed of us make decisive contact with nonhumans, from mercury in our blood to manta rays to magnesium. Richard Dawkins, Pat Robertson and Lady Gaga all have to deal with global warming and mass extinction, somehow. We now live in an Age of Asymmetry marked by a skewed, spiraling relationship between vast knowledge and vast nonhuman things—both become vaster and vaster because of one another and for the same reasons.28 This means that coming up with the perfect attitude or the perfect aesthetic prescription just won't work any more. Even the most hardened anthropocentrist now has to pay through the nose for basic food supplies, and has to use more sunscreen. Whether he knows it or acknowledges it, he is already acting with regard towards nonhumans. There is nothing special to think, no special critique that will get rid of the stains of coexistence. The problem won't fit into the well-established modern boxes, which is why the “mystical,” “spiritual” quality of Bey's prose is welcome. Of course, when I put it this way, you may immediately close off and decide that I am talking about perfect attitudes after all, or something outside of politics, or other ways that the radical left marshals to police its thinking of the nonhuman. Because that is what is really at stake in all this: the nonhuman in its coexistence with the human—bosons, gods, clouds, spirits, lifeforms, experiences, the sunlight rippling across the cypresses. Bey begins to get at this in a Latour litany in the second part of The Temporary Autonomous Zone , “The Assassins”: Pomegranate, mulberry, persimmon, the erotic melancholy of cypresses, membrane-pink shirazi roses, braziers of meccan aloes & benzoin, stiff shafts of ottoman tulips, carpets spread like make-believe gardens on actual lawns—a pavilion set with a mosaic of calligrammes—a willow, a stream with watercress—a fountain crystalled underneath with geometry— the metaphysical scandal of bathing odalisques, of wet brown cupbearers hide-&-seeking in the foliage—“water, greenery, beautiful faces.”29 This will be conveniently dismissed as orientalism. If we're never allowed to escape the crumbling prison of modernity for fear of imperialism there is truly no hope. In a similar way, the fear of anthropocentrism and anthropomorphism is very often staged from a place that just is anthropocentrism .30 Critique turns into ressentiment . An object radiates a zone that is aesthetic and therefore causal. Because objects “time” they are temporary. Not because they exist “in” time that eventually gets the better of them. Their very existence implies the possibility of their non-existence. Since objects are not consistent, they can cease to exist. But nothing, no one, will ever be able to insert a blade between appearance and existence, even thought there is a rift there. Now that's what I call autonomy. NOTES 1. John Cage, Silence: Lectures and Writings (Middletown, CT: Wesleyan University Press, 1973), 96. 2. P. B. Medawar and J. S. Medawar, The Life Science: Current Ideas in Biology (London: Wildwood House, 1977), 8. 3. David DeGrazia, Animal Rights: A Very Short Introduction (Oxford: Oxford University Press, 2002), 5. 4. Antony Colynet, A True History of the Civil Warres in France (London, 1591), 480. 5. Martin Heidegger, Being and Time , tr. Joan Stambaugh (Albany, N.Y: State University of New York Press, 1996) 62–71. 6. Graham Harman, Tool-Being: Heidegger and the Metaphysics of Objects (Peru, IL: Open Court, 2002). 7. Hakim Bey, The Temporary Autonomous Zone (Brooklyn: Autonomedia, 1991). 8. Graham Harman, The Quadruple Object (Ripley: Zero Books, 2011), 7–18. 9. This is not the place to get into an argument about quantum theory, but I have argued that quanta also do not endorse a world that I can't speak about because it is only real when measured. This world is that of the reigning Standard Model proposed by Niels Bohr and challenged by De Broglie and Bohm (and now the cosmologist Valentini, among others). See Timothy Morton, “Here Comes Everything: The Promise of Object-Oriented Ontology,” Qui Parle 19.2 (Spring–Summer, 2011), 163–190. 10. John Donne, Holy Sonnets 15, in The Major Works: Including Songs and Sonnets and Sermons , ed. John Carey (Oxford: Oxford University Press, 2009). 11. Edward O. Wilson, Consilience: The Unity of Knowledge (New York: Knopf, 1998). 12. Martin Heidegger, What Is a Thing? (Washington: Regnery, 1968), 243. 13. Albert Einstein, Relativity: The Special and the General Theory (London: Penguin, 2006); Petr Horava, “Quantum Gravity at a Lifshitz Point,” arXiv:0901.3775v2 [hep-th]. 14. Graham Priest, In Contradiction (Oxford University Press, 2006), passim: the most notable recent quarantine officers have been Tarski, Russell, and Frege. 15. Priest, In Contradiction , 172–181. 16. William Butler Yeats, “Among School Children,” Collected Poems , ed. Richard J. Finneran (New York: Scribner, 1996). 17. Paul de Man, “Semiology and Rhetoric,” Diacritics 3.3 (Autumn, 1973), 27–33 (30). 18. Jacques Lacan, Le seminaire, Livre III: Les psychoses (Paris: Editions de Seuil, 1981), 48. See Slavoj Zizek, The Parallax View (Cambridge, Mass.: MIT Press, 2006), 206. 19. Alphonso Lingis, The Imperative (Bloomington: Indiana University Press, 1998), 29. 20. Priest, In Contradiction , 9–27. 21. See Graham Priest and Francesco Berto, “ Dialetheism ,” The Stanford Encyclopedia of Philosophy (Summer 2010 Edition), ed. Edward N. Zalta. 22. Jacques Lacan, Écrits: A Selection , tr. Alan Sheridan (London: Tavistock, 1977), 311. 23. The analogy can be found at length in Douglas Hofstadter, “Contracrostipunctus,” Gödel, Escher, Bach: An Eternal Golden Braid (New York: Basic Books, 1999), 75–81. 24. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 25. This is closest to the language of François Laruelle in Philosophies of Difference: A Critical Introduction to Non-Philosophy (New York: Continuum, 2011) 179. 26. Bey, “ Chaos: The Broadsheets of Ontological Anarchism ,” Temporary Autonomous Zone . 27. Peter Bürger, Theory of the Avant Garde (Minneapolis: University of Minnesota Press, 1984). 28. For further discussion see Timothy Morton, “From Modernity to the Anthropocene: Ecology and Art in the Age of Asymmetry,” The International Social Science Journal 209 (forthcoming). 29. Bey, “ The Assassins ,” Temporary Autonomous Zone . 30. Timothy Morton, The Ecological Thought (Cambridge, Mass.: Harvard University Press, 2010), 75–76. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 23 (2003) 35-37 [Access article in PDF] Seeking Emancipation through Engagement:One Nichiren Buddhist's Approach to Practice Bill Aiken SGI-USA I was born and raised Roman Catholic, which meant attending Catholic schools, first in the local parish schools and later at a private academy in suburban Philadelphia. As a child I was serious about my religion. I served as an altar boy and had serious thoughts about becoming (...) a priest.That was until the mid-1960s, when my hormones took over, my voice changed, and I converted to hedonism. I hadn't so much turned against my Catholic upbringing as I was temporarily distracted from it.It was when I went away to college that the religious questions began to resurface. Friends and classmates wanted to know what I believed in, and I really didn't know. The old form of Catholicism, with its stern, patriarchal vision of God, didn't seem to fit anymore. But the mystery remained as a palpable presence, and it seemed to require an answer. Was I an atheist? That seemed so negative. How about an agnostic? Possibly. They seemed to believe in something, even if they didn't know what it was. That seemed about right for the moment.My first encounter with Buddhism came during that freshman year at Penn State University in the fall of 1968. While attending a rather psychedelic party, a friend asked me if I knew anything about Buddhism. Replying that I didn't, I asked what Buddhism had to say for itself. My friend said that it spoke of the oneness and interrelatedness of everything. All I can say is that at that particular moment this made sense to me and started me on what would at first be a pretty casual exploration of Buddhism.But it would be in the bedridden summer of 1970, while recovering from a lifestyle-inflicted illness, that I started to reflect on my life in earnest and began to read as though Buddhism had something to say directly to me. More books by Alan Watts led to D. T. Suzuki, which in turn led to collections of sutras and finally to Phillip Kapleau and the Three Pillars of Zen. This would be my guide for the next year as I struggled to bring focus to my mind and my life.Being the poor and struggling student that I was, I could not afford the cost of a [End Page 35] retreat or sesshin training. So I struggled as well as I could with a combination of self-instruction and whatever I could learn from those who did attend these sessions.I should say at this point that while I may have had a highly developed religious sense, I never wanted to become a religious virtuoso or a renunciate. From the depths of my adolescent angst and confusion, I longed for an awakening, but I had conditions. And chief among them was that I would not be pried apart from my life as I knew it. The quietude of the monastery and hours of prayer or meditation held absolutely no appeal for me. If I were going to attain enlightenment it would have to be in Times Square (before Disney took it over). And so, through my daily stumbling efforts at zazen, I began struggling to bring about this awakening.So this is where I was spiritually when on a late summer day in 1971, a pleasant though somewhat scattered young woman approached me on the streets of downtown Philadelphia, invited me to a Buddhist meeting, and introduced me to the chanting of Nam-myoho-renge-kyo. The first meeting I attended was a rather large one on the campus of Columbia University in NewYork. Everyone seemed pleasant enough, but the meeting seemed more like a pep rally than a serious discussion about the profound teachings of the Buddha. When the main speaker finally took the stage, I found it nearly impossible to understand his broken English. So I'm afraid that I don't remember a single word he... (shrink)

To return to last week’s yammering, I want to say that I've been getting some interesting responses to the personal/political/feminist article, responses that are underlining for me the fact that I'm still pretty conflicted about defining feminism. A lot of you have said that feminism is a belief set like a religion, and that because of this there will naturally be a certain amount of disagreement among feminists and feminisms. I agree on the second point: debate is essential to learning, (...) to be sure. And I certainly wasn’t arguing that there should be any sort of unchanging rule-book. Quite the contrary—I believe feminists should disagree with one another, debate one another, learn from each other. (Can you say feminist praxis?) (3.5.98) 1. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 347 Anoelus Silesius, le POlerin ChOrubinique. By Eugene Susini. (Paris: Presses Universitaires de France, 1964. 2 vols.) "II a fallu pratiquement attendre le vingti~me si~cle pour que ffit donn~e sa vdritable place Angelus Silesius (de son vrai nom Johannes Scheffier) tomb~ dans l'oubli ou presque pendant plus de deux cents ans," ~crit M. Eugene Susini, Professeur en Sorbonne, dans son introduction au P$lerin Ch~rubinique. Mais si les (...) travaux consacr~s ~ ce podte mystique sont ddj~ nombreux, on n'avait jusqu'~ present ~ditd en France que quelques fragments, ~parpill~s dans des anthologies. Depuis l'ouvrage de M. Henri Plard (1943), il n'y avait pas eu d'ddition qui present ~t ~ nouveau le texte original et une traduction en regard. C'est maintenant chose faite, et M. Susini fair plus que combler cette lacune. En effet, les textes d'Angelus Silesius (16241677 ) sont prdcddds d'une introduction historique, biographique et litt~raire, dtude substantielle sur le milieu off v~cut Angelus Silesius, et sur son itin~raire spirituel. L'originalitd profonde de ce catholique converti se ddgage de cette dtude, dont l'ampleur et la concision forcent l'admiration. Ce n'est pas tout. Ace premier volume un second fait suite, consaer~ ~ d'abondantes notes (178 p.) relatives aux distiques et aux quatrains; ces derni~res s'~elairent les unes les autres, et grace ~ une minutieuse critique interne et externe, ces vers sont replaces dans un contexte plus vaste que le prdsentateur a pris soin d'~clairer par de constantes r~f~rences ~ des passages d'autres oeuvres mystiques, ou des Ecritures elles-mdmes. Enfin, un index alphabdtique complete tr~s utilement ces notes (p. 179 s 257). On ne salt ce qu'il convient d'admirer le plus, le travail de l'~rudit et de l'historien, ou celui du traducteur. La t~iche n'dtait pas aisde; il fallait rendre en alexandrins ce qui avait dt~ compos~ de m~me, afin de laisser aux sentences non seulement leur saveur, mais aussi leur forme d'dpigrammes-proverbes. I1 faut dire que la r~ussite est totale. Le P~lerin Ch~rubinique est en m~me temps un ouvrage ddfinitif, car on ne volt pasce que pourrait apporter une nouvelle traduction, une prgsentation du texte original different, ou un nouveau recueil de notes--ces derni~res ~tant ici d'une grande ampleur. C'est un ouvrage important, non seulement pour le germaniste, mais aussi pour l'historien des litt~ratures, et celui des religions. ANTOINE F~IVRE The Sense oj Decadence in Nineteenth-Century France. By Koenraad W. Swart. (Archives Internationales d'Histoire des Idles, 7; The Hague : M. Nijhoff, 1964. Pp. xi + 272. Gld. 27.50.) "Seek and ye shall find!" Scholars have generally followed this injunction and found in history pretty much what they set out to discover. For a long time, the nineteenth century was seen as an age of progress, its own self-image seeming to bear this out. More recently our own concern with decadence has led us to discover similar views in earlier times. After A. E. Carter, 1 Professor Koenraad Swart has given us The Sense o] Decadence in NineteenthJCentury France (The Hague : 1964), the seventh volume to appear in Martinus Nijhoff's International Archives of the History of Ideas. This is a broader chronicle than Carter's. It presents the antecedents of the idea of decadence from antiquity to the French Revolution, its modern forms rooted in a diversity of romantic reactions, its fin-de-si~cle culmination and its (temporary) waning before the brief affirmative revival that preceded World War I. In terms of present preoccupations, this is a timely book. A solid concluding chapter sketches "the foreign perspective," in which French developments appear as part of a broader context. The study provides a mine of information, a convenient companion and counterindicator to Bury's Idea o] Progress. Why, then, is it a dull and unsatisfactory book? In the first place because, having suggested the existence of another dimension to the histoire de grand-papa, the history of ideas cannot be written as, simply, another version of the serial chronicle of events. It... (shrink)