Peter Abelard (1079–1142 ce) was the most wide‐ranging philosopher of the twelfth century. He quickly established himself as a leading teacher of logic in and near Paris shortly after 1100. After his affair with Heloise, and his subsequent castration, Abelard became a monk, but he returned to teaching in the Paris schools until 1140, when his work was condemned by a Church Council at Sens. His logical writings were based around discussion of the “Old Logic”: Porphyry's Isagoge, aristotle'S Categories and (...) On Interpretation and boethius'S textbook on topical inference. They comprise a freestanding Dialectica (“Logic”; probably c.1116), a set of commentaries (known as the Logica [Ingredientibus], c. 1119) and a later (c. 1125) commentary on the Isagoge (Logica Nostrorum Petititoni Sociorum or Glossulae). In a work Abelard called his Theologia, issued in three main versions (between 1120 and c.1134), he attempted a logical analysis of trinitarian relations and explored the philosophical problems surrounding God's claims to omnipotence and omniscience. The Collationes (“Debates,” also known as “Dialogue between a Christian, a Philosopher and a Jew”; probably c.1130) present a rational investigation into the nature of the highest good, in which the Christian and the Philosopher (who seems to be modeled on a philosopher of pagan antiquity) are remarkably in agreement. The unfinished Scito teipsum (“Know thyself,” also known as the “Ethics”; c.1138) analyses moral action. (shrink)

About one-third of Australians use the services of complementary and alternative medicine (CAM); but debate about the role of CAM in public healthcare is vociferous. Despite this, the mechanisms driving CAM healthcare choices are not well understood, especially in rural Australia. From 2016 to 2018, 2,679 persons from the Goulburn Valley, northern Victoria, were surveyed, 28% (755) of whom reporting visiting CAM practitioners. A Generalized Linear Mixed Model was used to assess associations between various socio-demographic variables and the use of (...) CAM services. The strongest significant inverse (p < 0.05) association with CAM use overall was being unemployed, with markedly lower odds of using CAM than those employed full-time (OR 0.22 [0.12, 0.41]). The next strongest inverse relationship was being retired (OR 0.44 [0.30, 0.65]). The strongest positive associations were with English spoken at home (OR 2.38 [1.34, 4.24]), private health insurance (hospital cover) (1.57 [1.28, 1.91]), being Australian born (OR 1.61 [1.14, 2.28]), and female sex (1.25 [1.02, 1.52])). Females had significantly higher odds of using osteopathy than males (OR 1.98 [1.33, 2.96]) but there were no significant sex differences for chiropractic or massage. This is the first such study conducted solely for a rural Australian population. The drivers of CAM use differed from previous nation-wide studies and they varied across modalities. The factors identified here as being associated with CAM use could be used by CAM practitioners in developing person-centred services. Similarly, the findings are relevant to primary-care services in understanding what sectors of society might eschew conventional health care for CAM in rural regions, where health services are often limited. (shrink)

M. F. Burnyeat taught for 14 years in the Philosophy Department of University College London, then for 18 years in the Classics Faculty at Cambridge, 12 of them as the Laurence Professor of Ancient Philosophy, before migrating to Oxford in 1996 to become a Senior Research Fellow in Philosophy at All Souls College. The studies, articles and reviews collected in these two volumes of Explorations in Ancient and Modern Philosophy were all written, and all but two published, before that decisive (...) change. Whether designed for a scholarly audience or for a wider public, they range from the Presocratics to Augustine, from Descartes and Bishop Berkeley to Wittgenstein and G. E. Moore. Their subject-matter falls under four main headings: 'Logic and Dialectic' and 'Scepticism Ancient and Modern', which are contained in this first volume; 'Knowledge' and 'Philosophy and the Good Life' make up the second volume. The title 'Explorations' well expresses Burnyeat's ability to discover new aspects of familiar texts, new ways of solving old problems. In his hands the history of philosophy becomes itself a philosophical activity. (shrink)

Among the many components of legal preparedness for public health emergencies is the assurance that the public health workforce and its private sector partners are competent to use the law to facilitate the performance of essential public health services and functions. This is a significant challenge. Multiple categories of emergencies, stemming from natural disasters to emerging infectious diseases, confront public health practitioners. Interpreting, assessing, and applying legal principles during emergencies are complicated by the changing legal environment and differences in governmental (...) organization of emergency management functions. While law and legal competencies are essential to routine public health practices, once government declares a state of public health emergency or disaster, the legal landscape changes. Typical legal responses to protect the public's health may no longer be the norm. Public health practitioners, legal counsel, health care partners, and others need to be able to assess changing laws and policies and apply them in real-time. (shrink)

“You Have Seen Their Faces”: Gisèle Freund, Walter Benjamin and Margaret Bourke-White as Headhunters of the Thirties -/- Abstract This paper concentrates on one work by each of three authors: Walter Benjamin’s Deutsche Menschen (Germans), an anthology of twenty-five 18th and 19th century German personal letters; Margaret Bourke-White and Erskine Caldwell’s You Have Seen Their Faces; and Gisèle Freund’s collection of photographic portraits of writers and artists, compiled between 1936 and 1939. The purpose of this paper is to (...) compare the politics of representation of these three figures and to examine the challenge they addressed to the dominant iconography of the 1930s. At the heart of each one’s work was a desire to bring about a shift in contemporary cultural politics by reimagining the body politic. Benjamin’s and Freund’s aim was to displace the monumentalizing, distancing, ‘heroic’ forms of fascist art and writing. They construct and project an intimate, or ‘domestic’ image of humanism as a form of social practice, past and present. Bourke-White’s aim was to bring to visibility an America concealed beneath the glossy homogenized images of white American advertising. All three authors aligned themselves with a documentary tradition that believed that representation should function as a constructed record of the traces of lived experience. Driven by a need to expose the other side’s deliberate falsifications of experience, they saw their own constructed fictions as ways of ‘documenting,’ and then perhaps transforming, an experiential world of ‘facts,’ bodies, and ‘truths.’ -/- Working Paper 3:15 European Society and Culture Research Group. Center for German and European Studies, University of California at Berkeley. April 1994 37pp. -/- M. Kay Flavell Critical Theory, University of California at Davis . (shrink)

Book reviewed in this article: The Philosophical Assessment of Theology: Essays in Honour of Frederick C. Copleston. Edited by Gerard J. Hughes. Language, Meaning and God: Essays in Honour of Herbert McCabe OP. Edited by Brian Davies. God Matters. By Herbert McCabe. Philosophies of History: A Critical Essay. By Rolf Gruner. The ‘Phaedo’: A Platonic Labyrinth. By Ronna Burger. Lessing's ‘Ugly Ditch’: A Study of Theology and History. By Gordon E. Michalson, Jr. Peirce. By Christopher Hookway. Frege: Tradition and Influence. (...) Edited by Crispin Wright. The Private World. Selections from the Diario Íntimo and Selected Letters 1890–1936. By Miguel de Unamuno, translated by Anthony Kerrigan, Allen Lacy, Martin Nozick. A Third Collection: Papers by Bernard J.F. Lonergan, S.J. Edited by Frederick E. Crowe. Philosophical Papers. By Charles Taylor. 2 vols. Principles of Language and the Mind. By T.P. Waldron. The Principle of Double Effect: A Critical Appraisal of its Traditional Understanding and its Modern Reinterpretation. By L.I. Ugorji. Human Rights: Fact or Fancy By Henry B. Veatch. Enlightenment and Alienation: An Essay towards a Trinitarian Theology. By Colin Gunton. Only Human. By Don Cupitt. The Roots of the Modern Christian Tradition. Edited by E. Rpzanne Elder. ‘Africanische Theologie’: Darstellung und Dialog.. By Heribert Rücker. African Religions in Western Conceptual Schemes. By Emefie Ikenga Metuh. The Destiny of Man: Dagaare Beliefs in Dialogue with Christian Eschatology. By Edward Kuukure. The World in Between: Christian Healing and the Struggle for Spiritual Survival. By E. Milingo. Theology in Africa. By Kwesi A. Dickson. The Future of Anglican Theology. Edited by M. Darrol Bryant. Reconciling. By John Coventry. The Genesis of Faith: The Depth Theology of Abraham Joshua Heschel. By John C. Merkle. Anthropology in Theological Perspective. By Wolfhart Pannenberg. Contemporary Approaches to the Study of Religion. Volume II: The Social Sciences. Edited by Frank Whaling. American Sociology: Worldly Rejections of Religion and Their Directions. By Arthur J. Vidich and Stanford M. Lyman. A Critical Theory of Religion: The Frankfurt School. By Rudolf J. Siebert. The Anthropology of Evil. Edited by David Parkin. The Wealth of Christians. By Redmond Mullin. Biblical Interpretation in Ancient Israel. By Michael Fishbane. Reading the Old Testament: An Introduction. By Lawrence Boadt. Old Testament Theology: Its History and Development. By John H. Hayes and Frederick C. Prussner. God's Conflict with the Dragon and the Sea: Echoes of a Canaanite Myth in the Old Testament. By John Day. Law and Wisdom from Ben Sira to Paul. By Eckhard J. Schnabel. The Order of the Synoptics: Why Three Synoptic Gospels? By Bernard Orchard and Harold Riley. The Making of Mark. By J. Duncan M. Derrett. Argumentation bei Paulus. By Folker Siegert. Christians and the Military: The Early Experience. Edited by Robert J. Daly. Origienes' Eucharistielehre im Streit der Konfessionen; Die Auslegungsgeschichte seit der Reformation. By Lothar Lies. L'église de Cappadoce au IVe siècle d'après la correspondance de Basile de Césarée. By Benpit Gain Cave Monasteries of Byzantine Cappadocia. By Lyn Rodley. Augustine of Hippo, Selected Writings. Translated with an Introduction by Mary T. Clark. Wisdom from St Augustine. By Vernon J. Bourke. A History of Religious Ideas, Vol. 3: From Muhammad to the Age of Reforms. By Mircea Eliade. Les Lectionnaires Copies Annuels: Basse‐Egypte. By Ugo Zanetti. Humanism and Scholasticism in Late Medieval Germany. By James H. Overfield. Wyclif. By Anthony Kenny. The Lady and the Virgin: Image, Attitude and Experience in Twelfth Century France. By Penny Shine Gold. Unquiet Souls: Fourteenth‐Century Saints and Their Religious Milieu. By Richard Kieckhefer. Luther: Theologian for Catholics and Protestants. Edited by George Yule. La Réforme Catholique: Le Combat de Maldonat. By Paul Schmitt. Roman Catholicism in England: From the Elizabethan Settlement to the Second Vatican Council. By Edward Norman. The Life of David Brainerd. Edited by Norman Pettit. Nineteenth Century Religious Thought in the West. Edited by Ninian Smart, John Clayton, Patrick Sherry and Steven T. Katz The Significance of Jesus Christ in Asia. By Hans Staffner. Is the Virgin Mary Appearing at Medjugorje? By René Laurentin and Ljudevit Rupčić. Mary Queen of Peace: Is the Mother of God Appearing in Medjugorje? By Lucy Rooney and Robert Fancy. (shrink)

The problem of ‘wayward causal chains’ threatens any causal analysis of the concept of intentional human action. For such chains show that the mere causation of an action by the right sort of belief and/or desire does not make the action intentional, i.e. one done in order to attain the object of desire. Now if the ‘because’ in ‘wayward’ action-explanations is straightforwardly causal, that might be argued to indicate by contrast that the different ‘because’ of reasons-explanations (which both explain and (...) justify) is non-causal. Myles Brand, in Intending and Acting (1984), resists this conclusion, but argues that waywardness shows that philosophers must ‘naturalize’ action theory by drawing on contemporary work in cognitive science and artificial intelligence. I argue that this is a misconceived response to the problem of waywardness: in Brand’s work action theory itself has gone astray, unsure which way to tum next. (shrink)

Bu makale, Platon’un mektupları arasında “felsefî” içeriği bulunan 2. 7. ve 10. Mektup’un diyaloglar ile arasındaki ilişkiyi açığa çıkarma çabasıdır. Literatürde hem Platon’un mektuplarının Türkçe çevirisi hem de mektuplar ile diyaloglar arasındaki tutarlılık veya tutarsızlık meselesi hakkında ciddi bir eksiklik mevcuttur. Dolayısıyla, bahsi geçen mektupların en azından “felsefi” olarak kabul edilen kısımlarının Türkçeye çevrilmesi ve diyaloglar ile tutarlı olup olmadığının açığa çıkarılması gerekmektedir. Makalenin ilk kısmında, diyaloglar ile mektuplar arasında ciddiye alınması gereken ölçüde tutarlılık olduğu savunulmaktadır. Özellikle 2. 7. 10. (...) Mektuplara ve diyaloglara bir bütün olarak bakıldığında, Platon’un sisteminde hayatî önem taşıyan hakiki-sahte ayrımının tutarlı bir şekilde anlatılmaya çalışıldığı, bu ayrım temelinde Platon’un dönemin Surakousa kralı Dionûsios ile ilişkisi üzerinden “philosophia” derken ne kastettiğini ve ne kastetmediğini birbirinden ayırt etmeye çalıştığı görülmektedir. Myles Burnyeat, Platon sisteminde hayatî bir anlamı bulunan söz konusu hakiki-sahte aslî ayrımını dikkate almadan diyaloglar ile 7. Mektup arasında bir bütünlük bulunmadığını hatta çeliştiklerini iddia ederek ironik bir şekilde 7. Mektup’u “sahte” ilân etmiştir. Makalenin ikinci kısmında, 7. Mektup’un sahte olduğunu iddia eden Burnyeat’in “7. Mektup’un Sahte-Felsefi Ara-Sözü” başlıklı makalesine bir eleştiri sunulmuştur. (shrink)

M. J. Levett's elegant translation of Plato's _Theaetetus_, first published in 1928, is here revised by Myles Burnyeat to reflect contemporary standards of accuracy while retaining the style, imagery, and idiomatic speech for which the Levett translation is unparalleled. Bernard William’s concise introduction, aimed at undergraduate students, illuminates the powerful argument of this complex dialogue, and illustrates its connections to contemporary metaphysical and epistemological concerns.

In lieu of an abstract, here is a brief excerpt of the content:DULLES AND AQUINAS ON REVELATION 1. Beginning the Dialogue RESPECT FOR Avery Dulles' achievement in Models of Revelation 1 need not oonsist entirely in "enthusiastic recognition of its many merits " 2 even though it is " the mature reflection of an experienced teacher " and " as of now... the most comprehensive treatment on revelation in the English"'speaking world ".3 Learning from it involves recognizing the " worthwhileness (...) of dialogue with Dulles ' work ".4 In this questions,are essential to advancing the discussion. This article will proceed in appreciative dialogue by means of critical questions and wiH move in the direction of modifying aspects of Dulles' basic principle in Models of Revelation. Dialogue, according to the hermeneutical work of H.-G. Gadamer,5 is not first of all a genre for organizing,and presenting themes and ideas already attained. It belongs to the act of understanding itself, occurs in reading a text, always takes place in and through tradition and is one of the ways in which interpretation enters into every experience. In this light, the Summa Theologiae 6 of St. Thomas Aquinas belongs to a read1 Avery Dulles, Models of Revelation (Garden City, N.Y.: Doubleday, 1983). 2 Bernard Cooke, " God Revealing in Symbol", OommonweaZ 110: 308, May 20, 1983. 3 Dermot Lane, "A Review Essay: Dulles on Revelation", The Living Light, 21:74-76, Oct. 1984; p. 74. 4 William Loewe, review in New Catholic World, 226:185, July-August, 1983. 5 Hans-Georg Gadamer, Truth wnd Method (New York: Crossroad, 1982); pp. 325-341, 345-351. 6 St. Thomas.Aquinas, Summa Theofogiae, Vol. 45, Prophecy and Other 445 446 THOMAS HUGHSON, S.J. ing of 211odels of Revelation, despite the absence of evidence that it influenced Dulles' theology of revelation. It does not belong to it, that is, because it served as a source for 211odels of Revelation. Nevertheless, the Summa is within, and has significantly changed, the theological tradition shared by 211odels of Revelation. Reading Dulles' book in light of its tradition, then, brings Aquinas into the dialogue 7 in a way that would not be appropriate for a strictly historical-theological analysis of influences upon Dulles' theology of revelation. The Summa stands as a classic 8 work in the Catholic theological tradition. The inescapable magnitude of Aquinas' achievement makes it pertinent to every part of that tradition. Karl Rahner judged that, " Thomas Aquinas is to be immbered among the great figures of theology with whom any contemporary theology must engage in a genuine dialogue ".9 Rahner observed, too, the way in which attitudes toward Aquinas have changed. He noted, "From being the teacher of theology in the theological schools themselves, Thomas has acquired the status of a Father of the Church ".10 In this new and somewhat reduced condition, Aquina:s' text's can assume their true proportions as theological classics whose claim upon generation after generation arises not so much from official sanction as from their self-evidencing power to speak about subject-matter whose intr:insic significance brings it before a succession of eras and to a variety of cultures. It is easy Charisms (2a2ae, 171-8), Latin text; English translation, Introduction, Notes, Appendices & Glossary by Roland Potter, O.P. (New York: McGraw-Hill Book Co., 1969). English translations and Latin text will be from Vol. 45 through-out this article; references will be to parts of Aquinas' article. 7 M.-D. Chenu's Toward Understanding Et. Thomas, translated by A-M Landry & D. Hughes (Chicago: Henry Regnery, 1964), it is true, places the modern reader in dialogue with medieval texts through careful recovery of their contexts. But the relationship tends to lead into Aquinas's texts and their meaning rather than back from them to contemporary themes. s H.-G. Gaclamer, pp. 253-258. 9 Karl Rahner, "On Recognizing the Importance of Thomas Aquinas", Theological Investigationg Vol. XIII, translated by D. Bourke (New York: Seabury Press, 1975); pp. 3-12, 6-7. 10 Rahner, p. 4. DULLES AND AQUINAS ON REVELATION 447 enough to see that dirulogue with Aquinas inspired the work of Karl Rahner and Bernard Lonergan as well as the early writings of Edward Schillebeeckx and Johann Baptist Metz. Yet this is not to... (shrink)

Troubadour of truth, by R. E. Brennan.--Reflections on necessity and contingency, by Jacques Maritain.--Intellectual cognition, by Rudolf Allers.--The problem of truth, J. K. Ryan.--The ontolgical roots of Thomism, by Hilary Carpeuter.--The role of habitus in the Thomistic metaphysics of potency and act, by V. J. Bourke.--The nature of the angels, by J. O. Riedl.--The dilemma of being and unity, by A. C. Pegis.--Prudence, the incommunicable wisdom, by C. J. O'Neil.--A question about law, by M. J. Adler.--The economic philosophy of (...) Aquinas, by J. A. Ryan.--Beyond the crisis of liberalism, by Y. R. Simon.--The fate of representative government, by Walter Farrell.--The Thomistic concept of education, by R. J. Slavin.--The perennial theme of beauty, by Immanuel Chapman.--Epilogue, by H. T. Schwartz.--Bibliography (p.[363]-419). (shrink)

AimsThis study evaluates a protocol for early, routine ethics consultation for patients on extracorporeal membrane oxygenation to support decision-making in the context of clinical uncertainty with the aim of mitigating ethical conflict and moral distress.MethodsWe conducted a single-site qualitative analysis of EC documentation for all patients receiving ECMO support from 15 August 2018 to 15 May 2019. Detailed analysis of 20 ethically complex cases with protracted ethics involvement identifies four key ethical domains: limits of prognostication, bridge to nowhere, burden of (...) treatment and system-level concerns. There are three subthemes: relevant contextual factors, the role of EC and observed outcomes. Content analysis of transcripts from interviews with 20 members of the multidisciplinary ECMO team yields supplemental data on providers’ perceptions of the impact of the early intervention protocol.ResultsLimited outcome data for ECMO, unclear indications for withdrawal, adverse effects of treatment and an obligation to attend to programme metrics present significant ethical challenges in the care of this patient population. Upstream EC mitigates ethical conflict by setting clear expectations about ECMO as a time limited trial, promoting consistent messaging among multiple services and supporting surrogate decision-makers. When ECMO becomes a ‘bridge to nowhere’, EC facilitates decision-making that respects patient values yet successfully sets limits on non-beneficial use of this novel therapy.ConclusionData from this study support the conclusion that ECMO poses unique ethical challenges that necessitate a standardised protocol for early, routine EC—at least while this medical technology is in its nascent stages. (shrink)

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

We demonstrate that the key components of cognitive architectures (declarative and procedural memory) and their key capabilities (learning, memory retrieval, probability judgment, and utility estimation) can be implemented as algebraic operations on vectors and tensors in a high‐dimensional space using a distributional semantics model. High‐dimensional vector spaces underlie the success of modern machine learning techniques based on deep learning. However, while neural networks have an impressive ability to process data to find patterns, they do not typically model high‐level cognition, and (...) it is often unclear how they work. Symbolic cognitive architectures can capture the complexities of high‐level cognition and provide human‐readable, explainable models, but scale poorly to naturalistic, non‐symbolic, or big data. Vector‐symbolic architectures, where symbols are represented as vectors, bridge the gap between the two approaches. We posit that cognitive architectures, if implemented in a vector‐space model, represent a useful, explanatory model of the internal representations of otherwise opaque neural architectures. Our proposed model, Holographic Declarative Memory (HDM), is a vector‐space model based on distributional semantics. HDM accounts for primacy and recency effects in free recall, the fan effect in recognition, probability judgments, and human performance on an iterated decision task. HDM provides a flexible, scalable alternative to symbolic cognitive architectures at a level of description that bridges symbolic, quantum, and neural models of cognition. (shrink)

M. F. Burnyeat; XII—Belief in Speech, Proceedings of the Aristotelian Society, Volume 68, Issue 1, 1 June 1968, Pages 227–248, https://doi.org/10.1093/aristotel.

In Contingent Computation, M. Beatrice Fazi offers a new theoretical perspective through which we can engage philosophically with computing. The book proves that aesthetics is a viable mode of investigating contemporary computational systems. It does so by advancing an original conception of computational aesthetics that does not just concern art made by or with computers, but rather the modes of being and becoming of computational processes. Contingent Computation mobilises the philosophies of Gilles Deleuze and Alfred North Whitehead in order to (...) address aesthetics as an ontological study of the generative potential of reality. Through a novel philosophical reading of Gödel’s incompleteness theorems and of Turing’s notion of incomputability, Fazi finds this potential at the formal heart of computational systems, and argues that computation is a process of determining indeterminacy. This indeterminacy, which is central to computational systems, does not contradict their functionality. Instead, it drives their very operation, albeit in a manner that might not always fit with the instrumental, representational and cognitivist purposes that we have assigned to computing. (shrink)