continent. 2.1 (2012): 40–43. Lance Olsen is a professor of Writing and Literature at the University of Utah, Chair of the FC2 Board of directors, and, most importantly, author or editor of over twenty books of and about innovative literature. He is one of the true champions of prose as a viable contemporary art form. He has just published Architectures of Possibility (written with Trevor Dodge), a book that—as Olsen's works often do—exceeds the usual boundaries of its genre as it (...) explores his interests in narrative theory and pedagogy. The book is a kind of “anti-textbook;” a performative polemic against the stale, conservative and monolithic conception of the literary that so often dominates institutional discourse around creative writing. The following interview takes the occasion of AoP's publication as a chance to speak with Olsen about the book itself as well as to engage with larger, unanswerable, questions about the futures and intersections of literature and education. —Ben Segal INTERVIEW: 1) First, I want to start before the beginning, with the title. I’m really fascinated by the concept it conjures. Can you say something about innovative/experimental/(choose your adjective) literature in relation to both ideas around architecture and possibility? Innovative or experimental are tremendously fraught adjectives, needless to say. But for the purposes of my book, they modify a fiction concerned with the questions: What is fiction? What can it do, and how, and why? Now, of course, what looks “innovative” or “experimental” to one at 17 may not be what looks “innovative” or “experimental” to one at 27 or 57, and what looks “innovative” or “experimental” in 1812 may not be what looks “innovative” or “experimental” in 2012. A certain existential and historical perspectivism is always at work. But I think it’s fair to say that innovative and experimental usually refer to a narrativity that includes a self-reflective awareness of and engagement with theoretical inquiry, concerns, and obsessions, as well as a sense of being in conversation with fiction across space and time. One can't create challenging writing in a vacuum; it has to challenge in relation to something. So contemporary writers interested in the subject are not only in pursuit of the innovative, but are also always-already writing subsequent to it—writing, that is, in its long wake. Architectures of Possibility conceives of creativity as a possibility space, a locale just outside our comfort zones where we can and should take multiple chances in order to imagine in new ways, explore fresh strategies for finding and cultivating ideas, re-view what it is we’re doing and why, better understand what Samuel Beckett meant when he wrote: “Try again. Fail again. Fail better.” It reminds us that there are other ways of narrating our worlds and ourselves than those we have inherited from the entertainment industry, the government, academia, previous writing, and so on. 2) AoP seems to be directed at several audiences (and purposes) simultaneously. What I mean is that it seems at times a polemic in favor of innovative literature, at other times a creative writing textbook, and still other times a guide to the network of publishers, journals, and programs that make up the current world of non-mainstream literary art in the U.S. In my mind, Architectures is a theorized anti-textbook about writing. Most textbooks on the subject (think of Janet Burroway’s Writing Fiction: A Guide to Narrative Craft , taught in most creative-writing classroom across the country) orchestrate how to construct conventional stories. They instruct from a place of power how to generate familiar stories that are repeated so often that many of us begin to take them as the primary model for narrativity, if not unconsciously as a kind of truth. The result, as Brian Kiteley points out in 3 A.M. Epiphany (one of the only other alternative textbooks about innovative writing around, by the way, and a tremendous repository of exercises), is merely competent texts. Architectures problematizes that gesture by outlining what conventional narrativity looks like, urging writers to think about its ideology of form as well as content, and invites them to imagine writing, not as a set of relatively stable conventions, but, rather, as a possibility space where everything can and should be thought, tried, challenged. It thereby rhymes with Roland Barthes’s definition of literature: the question minus the answer—which is to say Architectures poses complications to the act of writing rather than solutions. 3) One of the most notable things about the book is the use of interviews. This is also one of the reasons that I think the book works so well for a variety of audiences—that anyone with even a passing interest in the state and future of literature will have an interest in your conversation with people like Ben Marcus, Samuel Delany, and Lydia Davis. I was hoping you could just talk a little about how you chose these subjects to interview, how you edited the interview material, and which answers you received struck you the most. Experimentalism , like realism , wants to appear in the plural. The idea of gathering more than forty interviews (with the help of my awesome collaborator, Trevor Dodge, himself a fine innovative author) represents an attempt to suggest that: the wide, rich, exciting opportunities inherent in the term. There are interviews with younger writers, elder statesmen in the field, publishers, editors, hypermedia artists, comic book makers, and so on: Joe Wenderoth, Carole Maso, Scott McCloud, Nick Montfort, Kathy Acker, et al. Trevor and I decided to do flash interviews: short, concentrated Q&As, each focusing on a particular troubling of writing. We only lightly edited the results to match the manuscript’s overall style, and every interview arrived as a surprise housing several unexpected insights. Three brief examples: Michael Mejia, when asked about what he dreads when setting about writing: “Dread is an interesting word here. I associate it less with loathing or aversion, I suppose, than with a kind of productive fear. Do I dread a project’s failure? Sure, who doesn’t? Who wants to waste time on something that comes to nothing, or is unreadable? But then, what do these terms mean, and who or what defines a work as a ‘failure,’ as ‘waste,’ as ‘unreadable’? Should a work actually try to interrogate and exceed these conceptual limitations? My tendency is to write into dread in order to reveal to myself, as much as to any reader that may come after, the varied complacencies that make other, mostly more conventional writings, readable. It’s at the frontier between readability (security) and unreadability (terror) that I want to live creatively.” Carole Maso, when asked what she’d like a sentence to accomplish: “I think a sentence can if allowed carry emotional and intellectual states as they flee, as they come and go, an escaping essence difficult to hold in other ways. In this way I think the sentence can work as a phrase of music does, sounding something large and elusive in us. Alternatively it can provide sometimes a stability, an essence, a moment of being. Unlike music the sentence also of course carries language with all its potential for meaning making and memory traces and association with it as well. I probably love the accretion of sentences most—those patterns, that shimmer, that resonance.” Shelley Jackson, when asked what is innovative about the innovative: “The purpose of the innovative is, I think, to wake us up. We are not quite alive, most of the time; we occupy a sort of cartoon version of our lives, its lines made smooth by repetition. Writing can open the seams in that world, reintroduce us to the real lives that we have forgotten. Maybe all good writing is innovative in some sense, in that it shows or tells or makes you feel something you never felt before—something for which you have no cartoon ready.” 4) You talk a little about N. Katherine Hayles’s concept of Media Specific Analysis and propose the supplemental notion of Medium Specific Generation—basically taking Hayles and applying her thought from the perspective of the writer. I’ve been trying to develop somewhat related theoretical frameworks, so I was really excited to come upon this section of the book. I’m wondering if you can talk a little more about this idea and, in general, about the potentials that you see as being opened up by writers engaging with and exploiting different media as literary platforms? “Lulled into somnolence by five hundred years of print,” Hayles urges in her (at least for me) transformative 2004 essay, “Print is Flat, Code is Deep,” “literary analysis should awaken to the importance of media-specific analysis, a mode of critical attention which recognizes that all texts are instantiated and that the nature of the medium in which they are instantiated matters.” She goes on to argue critics should learn to become more attuned to the materiality of the medium under investigation—which is to say a story isn’t a story isn’t a story. Rather, the “same” story remediated through film is intrinsically different from that story remediated through conventionally printed books is intrinsically different from that story remediated through hypermedia. “Materiality,” Hayles goes on, “is reconceptualized as the interplay between a text’s physical characteristics and its signifying strategies, a move that entwines instantiation and signification at the outset.” My point in Architectures is simply to emphasize Media Specific Generation: the idea that when writing you should be cognizant, not only of the thematics of the text you are working on, and, as it were, the internal components of its narrativity (character, language, plot, etc.), but also of the material embodiment those components take, and, perhaps more important, the material embodiment those components can take. The idea that the way texts matter matters isn’t something usually addressed in any significant way in creative-writing classrooms and textbooks. It may almost go without saying such experimentation with typography, layout, and white space has a long tradition—certainly one that tracks back at least as far as Guillaume Apollinaire’s early twentieth-century Calligrammes , Laurence Sterne’s textually ribald eighteenth-century Tristram Shandy , although one could arguably plot a hypothetical trajectory that reaches to ancient Greek romances like Achilles Tatius’ second-century Leucippe and Clitophon . Experiments into atomic materiality and digital immateriality bracket the definition of “book” at the same time they highlight Michael Martone’s prediction of its present future as increasingly viral, collaborative, and ephemeral. Or, as Matthew Battles points out: the future of the “book” has already arrived, and it is “ethereal and networked” rather than “an immutable brick.”While conventional writing and reading practices are conceptualized as private, individual, relatively fixed experiences, many of the new forms indicate that writing and reading—from production through dissemination—are rapidly becoming public, collective, incrementally unfixed experiences. That strikes me as an astonishing set of opportunities for a writer to investigate. 5) Another concept you elaborate in AoP is that of limit texts, basically texts that, once you read them, change what you imagine as the shape/horizon/potential of literature. You provide a fantastic reading list of limit texts at the end of AoP. I was hoping you could talk about a few of them in terms of how they specifically operate as limit texts for you—how they expand your understanding of what literature could be or do. Karl Jaspers coined the word Grenzsituationen (border/limit situations) to describe existential moments accompanied by anxiety in which the human mind is forced to confront the restrictions of its existing forms—moments that make us abandon, fleetingly, the securities of our limitedness and enter new realms of self-consciousness. Death, for example. Limit texts are a variety of disturbance that carries various elements of narrativity to their brink so the reader can never quite imagine them in the same terms again. Once you’ve taken one down from the shelf, you’ll never be able to put it back up again. They won’t leave you alone. They will continue to work on your imagination long after you’ve read them. Simply by being in the world, they ask us to embrace difficulty, freedom, radical skepticism. One of the most important for me is Samuel Beckett’s The Unnamable . Instead of establishing conventional setting and building traditional character, from its first words it unsettles both: “Where now? Who now? When now?” That first trio of question marks broadcasts the thematics of the writing (“novel” may be too strong a word) that will follow: it is all about a voice (or, perhaps, voices, about the grammatical mistake of the first-person pronoun), a consciousness (maybe, again, too strong a word), often genderless, removed from place and chronology and socioeconomic reality, hovering in a state of perpetual aporia. All it knows is what it doesn’t know, and its not-knowing is blackly, sardonically comic. The Unnamable is the embodiment of an unreliable narrator—a subject position that can’t trust itself, let alone be trusted by a reader. It contradicts, takes back, digresses, undoes what it just did, forgets, lies, hallucinates gloriously. The language is abstract, disembodied, devoid of sensory data, grayish rather than painterly in texture. Without knowing this passage is from a novel, a reader might well conclude s/he were reading a patch of (anti-)Cartesian philosophy. It might be helpful to conceive of what Beckett is doing as post-genre writing, then, or perhaps what Raymond Federman referred to as critifiction—a mode that blurs conventional distinctions between theory and narrative. In completely different register, and much more recently, Anne Carson’s Nox blew me away. It takes the form of an elegy for her older brother, whom she didn’t know well and who died unexpectedly while on the run from the law in Europe. The thing itself arrives in a box that simulates a thick book, as well as the brother’s textual coffin. Open it, and inside you discover, not a codex, but an accordioned series of “pages” that folds out into an arrangement that suggests an ancient scroll (Carson is, perhaps illuminatingly, a professor of classics) made up of shards of her brother’s letters, old photographs, tickets, Carson’s observations, Catullus’ poem 101 (the one addressed to the Roman poet’s dead brother, a doubling of Carson’s situation), and extensive dictionary entries on all the words that compose that poem. The aggregate produces a collage about the impossibilities of aggregates, the impossibilities of understanding fully, of capturing absences in language. At times Nox feels less an example of what most readers consider a book than something closer to a three-dimensional work of assemblage art. It’s a beautiful mechanism for contemplating Media Specific Analysis, for urging us all to be more extreme. 6) Finally, I want to talk a little about pedagogy and institutions. I’m less interested in questions like “Are MFA programs good for writers?” than in questions about how your role as teacher informs your understanding of literature and your writing practice. I’m also very curious about your take on how commercially marginal literary art is largely patronized by large state institutions and at the same time often imagines itself as a critical and even possibly revolutionary practice. How have your own positions within universities and university-affiliated organizations shaped your thinking about them and about innovative literature? I can imagine in many ways it might make you even more critical. And (I know, another ‘and’...) how does AoP (especially given its relation to Rebel Yell , your previous text on creative writing) reflect your personal history and experience as a teacher and member of communities that are largely defined by institutions? In the classroom, I try to generate the pedagogical field I would have liked to have inhabited as a student, but didn’t. Roland Barthes has a lovely line about this: “We need to substitute for the magisterial [classroom] space of the past (the word delivered by the master from the pulpit above with the audience below, the flock, the sheep, the herd)—a less upright, less Euclidean space where no one, neither teacher nor students, would ever be in his final place.” Easier said than done, of course, but an important life project for all who think of themselves as educators. My own classroom, my own writing, and Architectures of Possibility itself attempt to create the sort of possibility space where, as I mentioned at the outset of our interview, everything should be thought, tried, challenged; where everything rhymes with Roland Barthes’s definition of literature: the question minus the answer. I’m not sure I could write what I’m writing now without the conversations I have almost daily with my students, the conversations they have with each other, the conversations we all have with the texts we study. Especially in light of the paradigm shift over the last, say, quarter century from academia as intellectual exploration to academia as McDonaldized trade school, the irony isn’t lost on me concerning the discrepancy between the safe harbor innovative authors find there and the cultural critiques those authors launch through their writing and pedagogical work. In 2001, I quit my full professorship at one institution precisely because of my disappointment over what had happened to the learning environment there. I had no intentions of reentering the field. In 2007, however, the University of Utah approached me, and I found myself in an environment much more hospitable to the sort of work I want to do—teaching experimental narrative theory and practice. It isn’t by any means a simple irony. One could easily argue innovative writing and pedagogy represents the trace of the paradigm Barthes suggests, and that trace is tremendously productive in all kinds of ways. Innovative writing has never and will never change the world in any large, macrocosmic way. But we’ve all had our lives changed, one by one, by an encounter with a difficult, rich, resonant piece of prose, poetry, music, art, you name it. We’ve all had our lives changed at the ahistorical, microcosmic moment by a class we’ve taken, a teacher we’ve studied with, to such an extent that we became, quite literally, different people. I just came across a stunning set of sentences from Derrida on the topic: “What is education? The death of the parents.” That’s what we’re all up to in the innovative, be it in written texts or the texts we call our classrooms or the texts we call our politics: trying to disrupt what both can and can’t be disrupted, trying to undo what both can and can’t be undone, continuously. (shrink)

Our paper consists of three parts. In the first part we explain the concept of mental fictionalism. In the second part, we present the various versions of fictionalism and their main sources of motivation.We do this because in the third part we argue that mental fictionalism, as opposed to other versions of fictionalism, is a highly undermotivated theory.

It is common in the literature on classical electrodynamics and relativity theory that the transformation rules for the basic electrodynamical quantities are derived from the pre-assumption that the equations of electrodynamics are covariant against these---unknown---transformation rules. There are several problems to be raised concerning these derivations. This is, however, not our main concern in this paper. Even if these derivations were completely correct, they leave open the following fundamental question: Are the so-obtained transformation rules indeed identical with the true transformation (...) rules of the fundamental electrodynamical quantities? In other words, is it indeed the case that the values calculated from the quantities in one inertial frame by means of the transformation rules we derived are equal to the values of the same quantities obtained by the same operations with the same measuring equipments when they are co-moving with the other inertial frame? This is of course an empirical question. In this paper, we will investigate the problem in a purely theoretical framework by applying what J. S. Bell calls “Lorentzian pedagogy”---according to which the laws of physics in any one reference frame account for all physical phenomena. We will show that the transformation rules of the electrodynamical quantities are indeed identical with the ones obtained by presuming the covariance of the equations of electrodynamics, and that the covariance is indeed satisfied. Beforehand, however, we need to clarify the operational definitions of the fundamental electrodynamical quantities. As we will see, these semantic issues are not as trivial as one might think. (shrink)

This study considers the role of different cognitive units in sound change: phonemes, contextual variants and words. We examine /u/-fronting and /j/-dropping in data from three generations of Derby English speakers. We analyze dynamic formant data and auditory judgments, using mixed effects regression methods, including generalized additive mixed models (GAMMs). /u/-fronting is reaching its end-point, showing complex conditioning by context and a frequency effect that weakens over time. /j/-dropping is declining, with low-frequency words showing more innovative variants with /j/ than (...) high-frequency words. The two processes interact: words with variable /j/-dropping (new) exhibit more fronting than words that never have /j/ (noodle) even when the /j/ is deleted. These results support models of change that rely on phonetically detailed representations for both word- and sound-level cognitive units. (shrink)

We consider a real-valued function f defined on the set of infinite branches X of a countably branching pruned tree T. The function f is said to be a limsup function if there is a function $u \colon T \to \mathbb {R}$ such that $f(x) = \limsup _{t \to \infty } u(x_{0},\dots,x_{t})$ for each $x \in X$. We study a game characterization of limsup functions, as well as a novel game characterization of functions of Baire class 1.

While Schelling’s anticipation of Freudian psychoanalysis is well established, it has thus far gone unnoticed that Schelling’s ideas also proved fruitful in the context of a distinctively philosophical theory of the psyche developed by a younger contemporary of Freud. During the 1920s Helmuth Plessner, a key figure of philosophical anthropology, outlined a complex conception of the psyche as an individualized, inner region of reality. Although Plessner did not present his philosophical psychology in a systematic form, its building blocks can be (...) found in _The Unity of the Senses_, _The Limits of Community_, and _Levels of Organic Life and the Human_, among other writings. Moreover, Plessner left a clue as to how these building blocks fit together, which suggests that Plessner viewed his philosophical psychology as structurally analogous to the model of personality outlined in Schelling’s 1809 treatise on human freedom. I propose that Plessner sought to formulate an alternative to both idealism and realism about the psyche that might reconcile the insights motivating these rival positions. Schelling provided Plessner with a workable model for such a reconciliation. After reviewing textual evidence for my hypothesis, I sketch Schelling’s predecessor theory. Based on the Schellingian template, I then reconstruct Plessner’s non-reductively naturalistic theory of the psyche, which aligns the real bodily ground of the psyche with its ideal existence. Highlighting the strengths of Plessner’s philosophical psychology against the foil of Paul Ricoeur’s and John McDowell’s relevant arguments, I argue that the theory reconstructed here deserves contemporary consideration as a plausible contender. (shrink)

According to the standard realistic interpretation of classical electrodynamics, the electromagnetic field is conceived as a real physical entity existing in space and time. The problem we address in this paper is how to understand this spatiotemporal existence, that is, how to describe the persistence of a field-like physical entity like electromagnetic field. First, we provide a formal description of the notion of persistence: we derive an “equation of persistence” constituting a necessary condition that the spatiotemporal distributions of the fundamental (...) attributes of a persisting physical entity must satisfy. We then prove a theorem according to which the vast majority of the solutions of Maxwell’s equations, describing possible spatiotemporal distributions of the fundamental attributes of the electromagnetic field, violate the equation of persistence. Finally, we discuss the consequences of this result for the ontology of the electromagnetic field. (shrink)

Contemporary debate over laws of nature centers around Humean supervenience, the thesis that everything supervenes on the distribution of non-nomic facts. The key ingredient of this thesis is the idea that nomic-like concepts—law, chance, causation, etc.—are expressible in terms of the regularities of non-nomic facts. Inherent to this idea is the tacit conviction that regularities, “constant conjunctions” of non-nomic facts do supervene on the distribution of non-nomic facts. This paper raises a challenge for this conviction. It will be pointed out (...) that the notion of regularity, understood as statistical correlation, has a necessary conceptual component not clearly identified before—I shall call this the “conjunctive relation” of the correlated events. On the other hand, it will be argued that there exists no unambiguous, non-circular way in which this relation could be determined. In this regard, the notion of correlation is similar to that of distant simultaneity where the necessary conceptual component is the one-way speed of light, whose value doesn’t seem to be determined by matters of facts. (shrink)

Este artigo resulta das experiências vividas no decorrer da realização de nosso trabalho de "filosofia com crianças", que se apresentou a nós como uma rica experiência de pensamento. As crianças nos possibilitaram vislumbrar a filosofia como condição imanente ao infante, o que implica no encontro de si com o outro e na criação de novas formas de ser e estar no mundo. Atentamos para o fato de que a escuta da infância passa necessariamente pelo ato de parar para escutar a (...) criança que existe em nós. Nesse processo de escuta, a nossa condição humana se abre, se descobre, se amplia, potencializando-se. Observamos que o deslocamento desse exercício de escuta para a escola aponta múltiplas possibilidades de desencadear processos internos nas crianças de modo a criarem suas próprias "paisagens", reorganizando assim seus padrões de compreensão do mundo e da vida. (shrink)

Esta obra trata da recepção do pensamento de Nietzsche na Itália, marcada por vários pontos de inflexão. Ligada, de início, ao nome de Gabriele D'Annunzio, a fortuna de sua obra toma outra direção com Benedetto Croce, para ser uma vez mais redirecionada com Giovanni Gentile. Os socialistas, porém, para ela abrem um novo caminho, que os fascistas se empenham rapidamente em desviar. Na cena acadêmica, a partir do final dos anos 1920, trabalhos vêm operar uma reviravolta na abordagem do pensamento (...) nietzschiano, abordagem essa que, na década de 1960, será outra vez revista com a interpretação heideggeriana. Ponto de inflexão maior, porém, constitui a edição crítica das obras completas do filósofo e a fundação dos Nietzsche-Studien. (shrink)

O filósofo alemão Friedrich Heinrich Jacobi (1743-1819) foi um dos grandes representantes no período pós-kantiano de uma concepção de filosofia como harmonia entre discurso filosófico e modo de vida, ação e palavra. Este trabalho pretende mostrar como ele se aproxima do significado originário de filosofia (amor à sabedoria) e daquele que foi considerado o primeiro filósofo: Sócrates. O não saber socrático aparece como resposta privilegiada, porque é um sábio não saber, isto é, reconhece a limitação do conhecimento humano e busca (...) a sabedoria e virtude na conduta pessoal e na prática de vida. Jacobi aponta para o conflito da filosofia moderna consigo mesma, isto é, de uma filosofia que almeja a unidade e a plena coerência lógica e, com isso, se distancia do seu sentido mais próprio. (shrink)

Neste artigo, apresento e discuto a solução oferecida por John Perry para o Problema de Frege em termos do conteúdo reflexivo de elocuções. Em primeiro lugar, discuto sua solução para a versão indexical do Problema de Frege, e argumento que o conteúdo reflexivo não pode explicar a trivialidade de certas e locuções. Se isso está correto, então o conteúdo reflexivo não é o tipo de coisa que explica adequadamente o valor cognitivo. Depois, discuto a solução de Perry para o Problema (...) de Frege envolvendo nomes próprios. Argumento que, mesmo que esse conteúdo explique o valor cognitivo, ele não o faz em termos do significado das expressões, como Perry pretendia originalmente. (shrink)

Yablo’s Paradox, an infinite-sentence version of the Liar Paradox, aims to show that semantic paradox can emerge even without circularity. I will argue that the lack of meaning/content of the sentences involved is the source of the paradoxical outcome.I will introduce and argue for a Moderate Antirealist approach to truth and meaning, built around the twin principles that neither truth nor meaning can outstrip knowability. Accordingly, I will introduce a MAR truth operator that both forges an explicit connection between truth (...) and knowability and distinguishes between truth and factuality. I will also argue that the meaning/content of propositions should be identified not with the set of possible worlds in which the propositions are true/factual, but rather in which they are known.I will show that our MAR framework dissolves Yablo’s Paradox and also confirms our intuition that these sentences are all devoid of content/meaning. (shrink)

This paper is a further consideration of Hemmo and Shenker’s ideas about the proper conceptual characterization of macrostates in statistical mechanics. We provide two formulations of how macrostates come about as elements of certain partitions of the system’s phase space imposed on by the interaction between the system and an observer, and we show that these two formulations are mathematically equivalent. We also reflect on conceptual issues regarding the relationship of macrostates to distinguishability, thermodynamic regularity, observer dependence, and the general (...) phenomenon of measurement. (shrink)

Cette étude se propose de montrer que les considérations de Nietzsche sur le langage sont déterminantes pour son projet philosophique. S'il est vrai qu'elles n'arrivent pas à constituer une théorie du langage, elles jouent tout de même un rôle central dans le cadre de sa pensée. D'une part, dans le versant critique de son œuvre, quand il s'agit de s'attaquer à la métaphysique, Nietzsche reprend deux propositions consignées dans ses écrits philologiques; il soutient la thèse selon laquelle le langage est (...) indispensable au processus d'élaboration des connaissances philosophiques et défend l'idée que la pensée ne devient consciente que grâce au langage. D'autre part, dans le versant constructif de son œuvre, quand il s'agit d'exprimer ses propres conceptions, il met en pleine lumière son besoin de trouver une forme d'expression qui ne se limite pas à représenter le monde. Dans son œuvre à double volet, Nietzsche ne se présente pas comme un penseur qui se débat emprisonné dans les rets du langage; bien au contraire, il fait le langage se retourner contre lui-même — afin de créer un nouveau langage. This study intends to show that Nietzsche's considerations about language are fundamental to his philosophical project. While it is true that they do not form a theory of language, they nevertheless play a central role within the framework of his thought. On the one hand, within the critical dimension of his work, when he tackles metaphysics, Nietzsche resumes two propositions from his philological papers : he supports the thesis according to which language is indispensable to the process of elaborating philosophic knowledge and defends the idea that language is what allows thought to become conscious. On the other hand, within the constructive dimension of his work, when he expresses his own conceptions, he highlights the need to find a form of expression which is not limited to representing the world. Within the framework of his bidimensional thought, Nietzsche does not appear to be a thinker struggling and imprisoned in the snares of the language; on the contrary, he turns language against itself — in order to create a new language. (shrink)

This book presents the psychological basis, methodology, and application of Marton's phenomenographic approach to the theory of learning.

In this paper, I argue that the first and the third premises of the zombie argument cannot be jointly true: zombies are either inconceivable beings or the possible existence of them does not threaten the physicalist standpoint. The tenability of the premises in question depends on how we understand the concept of a zombie. In the paper, I examine three popular candidates to this concept, namely zombies are creatures who lack consciousness, but are identical to us in their (a) functional (...) organization, (b) entire physical makeup, and (c) microphysical structure. The main aim of the paper is to argue that none of these conceptions conveys a consistent zombie-concept to us, which, at the same time, would be dangerous for physicalism. In the conclusion, I argue that the source of this failure can be found in the logical fallaciousness of the argument, namely the premises simply presuppose the truth of the conclusion. (shrink)

While there is a longstanding discussion about the interpretation of the extended, general principle of relativity, there seems to be a consensus that the special principle of relativity is absolutely clear and unproblematic. However, a closer look at the literature on relativistic physics reveals a more confusing picture. There is a huge variety of, sometimes metaphoric, formulations of the relativity principle, and there are different, sometimes controversial, views on its actual content. The aim of this paper is to develop a (...) precise language in order to provide a precise formulation of the principle. In view of the fact that the special relativity principle is considered as a universal meta-law, which must be valid for all physical laws in all situations, we try to keep the formalism as general as possible. The benefit of the formal reconstruction is that it makes explicit all the necessary conceptual components of the principle; it brings out many subtle details and the related conceptual problems. (shrink)

It is common in the literature on classical electrodynamics and relativity theory that the transformation rules for the basic electrodynamical quantities are derived from the hypothesis that the relativity principle applies to Maxwell's electrodynamics. As it will turn out from our analysis, these derivations raise several problems, and certain steps are logically questionable. This is, however, not our main concern in this paper. Even if these derivations were completely correct, they leave open the following questions: Is the RP a true (...) law of nature for electrodynamical phenomena? Are, at least, the transformation rules of the fundamental electrodynamical quantities, derived from the RP, true? Is the RP consistent with the laws of ED in a single inertial frame of reference? Are, at least, the derived transformation rules consistent with the laws of ED in a single frame of reference? Obviously, and are empirical questions. In this paper, we will investigate problems and. Abstract First we will give a general mathematical formulation of the RP. In the second part, we will deal with the operational definitions of the fundamental electrodynamical quantities. As we will see, these semantic issues are not as trivial as one might think. In the third part of the paper, applying what J. S. Bell calls “Lorentzian pedagogy”---according to which the laws of physics in any one reference frame account for all physical phenomena---we will show that the transformation rules of the electrodynamical quantities are identical with the ones obtained by presuming the covariance of the equations of ED, and that the covariance is indeed satisfied. Abstract As to problem, the situation is much more complex. As we will see, the RP is actually not a matter of the covariance of the physical equations, but it is a matter of the details of the solutions of the equations, which describe the behavior of moving objects. This raises conceptual problems concerning the meaning of the notion “the same system in a collective motion”. In case of ED, there seems no satisfactory solution to this conceptual problem; thus, contrary to the widespread views, the question we asked in the title has no obvious answer. (shrink)

In this paper I give an overview of the recent developments in the phenomenalism – intentionalism debate and try to show that the proposed solutions of neither sides are satisfying. The claims and arguments of the two parties are rather vague and attribute to intentional and phenomenal properties either a too weak or a too strong relationship: too weak in the sense that they establish only mere coexistence, or too strong in the sense that they attribute some a priori conceptual (...) connection to intentional and phenomenal properties. I also compare these theories to other theories developed for solving the mind–body problem and argue that these former are much less elaborated. In the end of the paper I try to explain that all of this is not just a contingent feature of the topic, but has deep conceptual roots: intentionality and phenomenal consciousness are two quite distinct concepts on two quite distinct levels. (shrink)

BackgroundNarcissism viewed as a personality process rather than a stable trait explains narcissistic functioning as a tool for maintaining a positive self-view. Studying narcissism therefore needs adequate momentary measures for collecting higher frequency longitudinal data in experience sampling method studies. In this study, a shorter version of the Pathological Narcisissm Inventory is offered to measure vulnerable and grandiose narcissistic states, applicable in momentary assessment.MethodsThe measurement tool was tested in three samples. First, we assessed the factor structure and associations with other (...) contemporary measures of narcissism in a cross-sectional design on one English speaking and one Hungarian sample. Second, we conducted a five-day long experience sampling method study with a total of 15 measurement points.ResultsBased on structural equation modelling and multilevel analyses, the results suggest that the measure has adequate psychometric properties in both the within and between subject levels as well as acceptable convergent and discriminant validity.ConclusionsThe Pathological Narcissism Inventory – State Version can be a useful tool in momentary data collection enabling the examination of personality processes behind narcissistic functioning. (shrink)

Como propiciar um estado permanente de criação filosófica no ensino da Filosofia entre os estudantes do Ensino Superior? Eis o objetivo deste artigo. Essa questão está previamente acompanhada por dois argumentos: um deles relativo ao fato de que o ensino prevê uma atitude de abertura, disposição e curiosidade, condições essas indispensáveis à aprendizagem. O segundo, decorrente do primeiro, é que o ensino de Filosofia está intimamente vinculado à natureza própria da Filosofia que, distante da busca pela verdade como afirmação ou (...) detenção de um saber, resulta da experiência de alguém que é perguntado pela verdade, em certa atitude que se expressa no “cuidado de si mesmo” conduzindo a uma transformação, como vem apresentado por Michel Foucault em sua obra “A Hermenêutica do Sujeito”. Argumentaremos que o filosofar pode ser intensificado pela arte e, nesse aspecto, iremos estabelecer relações entre experiência filosófica e música como paisagem sonora. Essa conexão estimula entre os alunos a construção de realidades materiais e imateriais – paisagens – de modo que habitem seu universo de memórias afetivas, intelectuais, poéticas, musicais e filosóficas. Em sintonia com essa forma de pensar, será apresentado o conceito de pensamento-sentimento desenvolvido pela filósofa portuguesa Paula Cristina Pereira, que exibe grande fecundidade na direção do acesso às matrizes fundantes de nossa condição antropológica existencial. Nesse diálogo entre filosofia e música, escuta musical e experiência filosófica suscitam-se possibilidades para um ensino de filosofia habitado pelo sensível e pelos sentidos da vida em tempos tão difíceis como na atualidade, porque extremamente fugazes, dispersos, “líquidos” e carentes de densidade e dignidade humana. Palavras-chave: Ensino de Filosofia. Filosofia e Educação. Arte e Filosofia. Paisagem Sonora. Pensamento-Sentimento. (shrink)

El propósito de este artículo, consiste en investigar el estrecho vínculo entre reflexión filosófica y vivencia en la obra nietzscheana de la madurez. A partir del examen de la crítica a la noción del sujeto, tal como aparece en la modernidad, se muestra que Nietzsche subvierte radicalmente la concepción de autobiografía intelectual y, por tanto, la idea de autoría.

A exposição tem como ponto de partida a leitura hegeliana de Jacobi, exposta na obra mais madura Enciclopédia das ciências filosóficas de 1827-1830, a respeito do saber imediato e, consequentemente, da oposição entre crença e saber. A finalidade da comparação é evidenciar o que Jacobi de fato entende por “saber imediato” em oposição ao saber mediato e mostrar por que a crença não pode ser meramente subjetiva — como foi e é ainda largamente interpretado — e sobretudo por que individualidade (...) não é sinônimo de subjetividade como queria Hegel. Afinal, as dificuldades e equívocos da leitura hegeliana servem para entender melhor os próprios conceitos de Jacobi. (shrink)

Se trata de discutir las críticas que este pensador francamente antidemocrático hace a la democracia, cuestionando y evaluando los argumentos que emplea para ello. Primero se pretende aclarar sus reflexiones sobre la modernidad y la decadencia, para comprender las razones que lo llevan a asociar el movimiento democrático con las llamadas “ideas modernas”. Después, centrando el análisis en la idea de igualdad, se examinan las consecuencias de su posición a favor del aristocratismo.

The U.S. patent office has granted patents on segments of human DNA to several biotechnology companies, enabling them to control the development of DNA-related "products." While it is recognized that expanded knowledge of DNA codes is extremely important in helping to overcome genetic diseases, such knowledge can easily also be used to redefine genetically the human person. Much wisdom is needed for such an endeavor. This paper suggests that the market should not have control of this important knowledge because it (...) is incapable of exercising such wisdom, specifically because of the salient traits that govern the market. Those traits are: expediency, efficiency, the need for quantifiable results, and impersonality. The very structures of the market necessarily lead to a deterministic and reductionist view of the human person and overlook important issues of distributive justice. (shrink)

PERSONS WHO ARE IN A MINIMALLY CONSCIOUS STATE DIFFER FROM those who are vegetative in that they have some awareness of themselves and others. Because of this awareness, their care should differ from the custodial care that is given to people in a persistent vegetative state. It should also include rehabilitative services that would help to increase their ability to function at their optimal level. This care also needs to include assistance in restructuring identity. Because persons in a minimally conscious (...) state have a story, a narrative, that both precedes and follows their time in health care institutions, their families are best equipped to help them work on their identity issues. Many families are willing to accept this challenge if proper support systems have been put in place. The principle of subsidiarity suggests that this should be done. In addition, this approach would build on the relational components of these individuals and would eliminate the feelings of abandonment that most patients in a minimally conscious state and their families currently experience. (shrink)

This essay has two main claims about EPR’s Reality Criterion. First, we claim that the application of the Reality Criterion makes an essential difference between the EPR argument and Einstein’s later arguments against quantum mechanics. We show that while the EPR argument, making use of the Reality Criterion, does derive that certain interpretations of quantum mechanics are incomplete, Einstein’s later arguments, making no use of the Reality Criterion, do not prove incompleteness, but rather point to the inadequacy of the Copenhagen (...) interpretation. We take this fact as an indication that the Reality Criterion is a crucial, indispensable component of the incompleteness argument(s). The second claim is more substantive. We argue that the Reality Criterion is a special case of the Common Cause Principle. Finally, we relate this proposal to Tim Maudlin’s recent assertion that the Reality Criterion is an analytic truth. (shrink)

Dogmatists often exploit the skeptical argument based on the brains-in-a-vat scenario as a test case for their epistemological enterprises. I argue that this ‘argument’ does not deserve our attention, so it should not be used as a test case. I first show that the possibilities of empirical knowledge and of skeptical scenarios are inconsistent. If so, the BIV-skeptic must make the case for preferring such scenarios over the possibility of empirical knowledge. The central argument of my paper is that the (...) BIV-skeptic can neither rely on any selection principle for this purpose, nor can she claim that she needs no such principle. Then I will show that we can even dispense with the Inconsistency Thesis: if the skeptic wishes, she may allow for the possibility of empirical knowledge. The essay concludes with considering the morals of the above argument for the dogmatist endeavor. (shrink)

In recent years, the attention of scholars to the figure and work of Iamblichus has increased, while the emphasis is on his thought in the history of the Platonic school. However, a major work still remains to be studied: the De Anima. Preserved only in fragments in the anthology of Stobaeus, it proves to be of crucial importance for the understanding of the development of Platonism at the end of antiquity.

Trata-se de apresentar ao público brasileiro o trabalho de Jörg Salaquarda, tomando como ilustração seu artigo "Zaratustra e o asno”. Através do exame desse texto, conta-se aquilatar o alcance de sua interpretação da filosofia nietzschiana.