The second volume of Ray Monk's biography of Bertrand Russell focuses on Russell's tragic and moving relationship with his first son John. It uses the relationship as a centerpoint to expound on Russell's public achievements, such as his political campaigning for peace.

'There is no Nietzsche, just a shifting set of contradictory views' suggests Hayman in this stimulating and provocative guide. Those envious contemporaries who smeared Nietzsche with the mark of madness came closer than they knew in characterising a philosopher in whose thought ambivalence approximated to disintegration of the self. Yet while the nineteenth century's coherent, consistent systems of certainty came crashing down ingloriously at the very first touch of the twentieth, Nietzsche's discourses survived. He was more modern, it seemed, than (...) the moderns. Today is work is more contemporary than ever, his various voices speaking compellingly to a sensibility for which paradox is the only truth. (shrink)

An attempt is made to establish the historical context in which the structure and function of haemoglobin were investigated by X-ray crystallographers in the 1940s and 50s. It is concluded that until the 1960s the interpretations of the data of crystallographic investigations were dependent upon the results of applying traditional techniques of physical and organic chemistry. In the case of haemoglobin, no less than in those of smaller organic molecules, crystallographic studies in the 1940s and early 50s served to validate, (...) and metricize conclusions already suggested or adopted on other grounds, but the subsequent tracing of the actual conformation of the polypeptide chains in the globin portion of the molecule was a unique achievement of the X-ray crystallographers and marked the beginning of the independent establishment of structures by this profession. The impact of this achievement upon the structure-function relationships of haemoglobin is discussed briefly. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

‘Poor Bertie’ Beatrice Webb wrote after receiving a visit from Bertrand Russell in 1931, ‘he has made a mess of his life and he knows it’. In the 1931 version of his Autobiography, Russell himself seemed to share Webb’s estimate of his achievements. Emotionally, intellectually and politically, he wrote, his life had been a failure. This sense of failure pervades the second volume of Ray Monk’s engrossing and insightful biography. At its heart is the failure of Russell’s marriages to Dora (...) Black and Patricia (Peter) Spence, his poor relationships with his children John and Kate, and the decline in his reputation as a philosopher. Russell, who had changed the direction of philosophy irrevocably, was in later years unable to find permanent academic employment in Britain, ousted from his professorship at the City College of New York because of his views on sex and marriage, and was reduced to giving nonspecialist lectures at a foundation established by the Philadelphia philanthropist Albert C. Barnes. Eventually in 1944 he returned to Cambridge, but by then the philosophical world was in the grip of Ludwig Wittgenstein’s ideas, and Russell was largely ignored. (shrink)

Arthur Rimbaud, a prominent figure in the late 19th-century literary scene, is often celebrated for his groundbreaking contributions to modernist poetry. His work, characterized by its experimental form and vivid imagery, embodies many of the philosophical tenets of modernism. This essay explores how the philosophy of modernism manifests in Rimbaud's poetry, focusing on themes of rebellion against tradition, fragmentation, subjectivity, symbolism, and alienation. -/- 1. Rebellion against Tradition -/- One of the hallmark features of modernist poetry is its defiance of (...) traditional forms and conventions. Rimbaud was a pioneer in this regard, rejecting the rigid structures of classical poetry in favor of free verse and unconventional rhythms. In works such as "A Season in Hell" ("Une Saison en Enfer"), Rimbaud employs a prose-poetic style that eschews the constraints of meter and rhyme, allowing for a more fluid and dynamic expression of thought. This rebellion against tradition reflects a broader modernist impulse to break free from the past and explore new artistic possibilities. -/- Fragmentation and Juxtaposition -/- Modernist poets often use fragmentation and juxtaposition to create complex layers of meaning and challenge readers' perceptions. Rimbaud's poetry is replete with abrupt shifts in imagery and tone, resulting in a disjointed yet evocative narrative. In "The Drunken Boat" ("Le Bateau Ivre"), for example, Rimbaud presents a series of vivid, seemingly unrelated images that collectively convey a sense of disorientation and liberation. This technique mirrors the fragmented nature of modern existence, as well as the modernist desire to capture the multiplicity of human experience. -/- 2. Subjectivity and Inner Experience -/- A key aspect of modernist philosophy is its emphasis on subjectivity and the inner workings of the mind. Rimbaud's poetry delves deeply into the realm of personal experience, exploring themes of identity, perception, and self-discovery. His work often blurs the line between reality and imagination, reflecting the modernist interest in the unconscious and the fluidity of human consciousness. In "A Season in Hell," Rimbaud's introspective journey becomes a vehicle for examining the complexities of the self and the elusive nature of truth. -/- Exploration of Identity and Self-Discovery -/- Rimbaud's poetry is marked by a profound introspection and a quest for self-discovery. In works such as "A Season in Hell" ("Une Saison en Enfer"), Rimbaud embarks on a journey of inner exploration, grappling with questions of identity and the nature of existence. The poem is a confessional and autobiographical narrative that delves into the poet's inner turmoil and existential angst. Through vivid and often surreal imagery, Rimbaud articulates the fragmented and fluid nature of the self, reflecting the modernist emphasis on the subjective experience of the individual. The theme of self-discovery is also evident in Rimbaud's famous assertion, "I is another" ("Je est un autre"), which encapsulates his belief in the multiplicity and fluidity of identity. This notion challenges the conventional understanding of a stable and coherent self, suggesting instead that identity is constantly shifting and evolving. Rimbaud's exploration of identity resonates with the modernist preoccupation with the inner life of the individual and the complexities of human consciousness. -/- Perception and the Unconscious Mind -/- Rimbaud's poetry often blurs the line between reality and imagination, reflecting his interest in the workings of the unconscious mind. His use of rich and evocative imagery invites readers to engage with his work on a deeply emotional and intuitive level. In "Illuminations," Rimbaud's prose poems are filled with dreamlike visions and hallucinatory landscapes that evoke the fluid and elusive nature of perception. The modernist fascination with the unconscious is evident in Rimbaud's exploration of altered states of consciousness. His poetry frequently delves into themes of intoxication, madness, and visionary experience, suggesting a desire to transcend the limitations of ordinary perception and access deeper layers of the mind. This exploration of the unconscious reflects the modernist belief in the power of art to reveal hidden truths and to illuminate the mysteries of the human psyche. -/- 3. Symbolism and Imagery -/- Rimbaud's use of rich, often surreal symbolism and imagery is a defining feature of his modernist sensibility. His poems are filled with metaphors and symbols that invite multiple interpretations and resonate on an emotional level. The imagery in "The Drunken Boat" is particularly striking, as Rimbaud conjures a kaleidoscopic vision of the natural world that transcends ordinary perception. This reliance on symbolism reflects the modernist belief in the power of art to evoke profound, often ineffable experiences. -/- Innovative Use of Imagery -/- Rimbaud's poetry is renowned for its striking and unconventional imagery, which often challenges readers to see the world in new and unexpected ways. In "The Drunken Boat" ("Le Bateau Ivre"), Rimbaud presents a series of vivid and hallucinatory images that evoke the disorienting experience of a boat adrift on the sea. The poem's imagery is rich and evocative, capturing the tumultuous and ever-changing nature of the protagonist's journey. For example, Rimbaud writes: > "I have seen the low-hanging sun spotted with mystic horrors, > Lighting up long violet coagulations > Like performers in very ancient dramas! > Waves rolling back the horizons and breaking forth in light." Through this kaleidoscopic vision, Rimbaud creates a sense of both wonder and disorientation, reflecting the fluid and unstable nature of reality. The imagery in "The Drunken Boat" serves to transport readers into a world of heightened perception, where ordinary experiences are transformed into extraordinary and often surreal visions. -/- Symbolism and Emotional Resonance -/- Rimbaud's use of symbolism is central to his poetic vision, allowing him to convey deep emotional and psychological truths through metaphor and allegory. In "A Season in Hell" ("Une Saison en Enfer"), Rimbaud employs a range of symbols to explore themes of suffering, redemption, and self-discovery. The poem's title itself is symbolic, suggesting a period of intense inner turmoil and transformation. -/- Throughout "A Season in Hell," Rimbaud uses symbolic imagery to represent his emotional state and spiritual journey. For example, the recurring motif of fire serves as a symbol of both destruction and purification. Rimbaud writes: > "I firmly intend to possess the truth and to behold the justice of victory! That will, is a ray of light! – Pride is the flame that devours me." Here, fire symbolizes the intense passion and inner conflict that drive the poet's quest for truth and self-understanding. The symbolic imagery in Rimbaud's poetry resonates on an emotional level, inviting readers to connect with the poet's inner experience and to reflect on their own journey of self-discovery. -/- . (shrink)

Credences are beliefs about evidential probabilities. We give the view an assessment-sensitive formulation, show how it evades the standard objections, and give several arguments in support.

A study of the contribution semantics makes to the syntactic patterns of English: an intepretive theory of grammar.

Propositions are the things we believe, intend, desire, and so on, but discussions are often less precise than they could be and an important driver of this deficiency has been a focus on the objects but a neglect of the attitudinal relations we bear to them. In what follows, we will offer some thoughts on what it means for a proposition to be the object of an attitude and we will argue that an important part of the story lies with (...) the attitude relations rather than the propositions. As we will see there are infinitely many relations we might bear to a proposition, but the propositional attitude relations are special amongst them. Accounting for what makes them special will be an important component in the discussion that follows. We will argue that once one appreciates certain facts about propositional attitude relations, various claims that metaphysicians often make regarding propositions themselves begin to look undermotivated. In fact, many views on the metaphysical nature of propositions come to look like plausible candidates for being that to which our propositional attitudes relate us. As will emerge, we will see that the principle role of propositions in the theory of mind is simply to keep track of how our attitudinal states represent things as being. But, we argue, in order to do this work, very few constraints must be placed on the nature of propositions themselves. In particular, contra much of the recent work on the metaphysics of propositions, they need not represent nor must they be structured. In light of these observations, we conclude by sketching our own favored minimalist view of propositions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Whisper Before You GoJohn K PettyDavid came with a bang.1A momentary prelude from a dysphonic chorus of pagers announce “Level 1 Pediatric Trauma—MVC ejected” before the abrupt crescendo of the trauma bay doors opening. He is maybe two. Maybe three–years–old. It is hard to tell when a child is strapped in, strapped down, nonverbal, intubated, and alone.The flight team speaks for him, “Four–year–old boy improperly restrained in a single–vehicle (...) crash into a ditch. He was partially ejected. He was unresponsive and pulseless at the scene. He got CPR and code drugs, and they got a pulse back. Emergency medical service (EMS) took him to the nearest hospital where they needled his chest, called for air transport, and scanned him up. He has been shocky for us since we picked him up. Glasgow Coma Scale (GCS) has been three the whole time. They said his head scan showed subarachnoid hemorrhage.”With the words of the flight team as background narrative, we get about doing our thing—hopefully more method and less madness. Bang, bang, bang! Check the tube. Vital signs. IV fluids. Place a chest tube. Hang the blood. Quick X–ray. Neuro exam—nothing. Get him off the board. Warm him up. Place the orogastric (OG) tube. Bang, bang, bang!The neurosurgery resident opens the CT scans from the other hospital. The brain and cervical spine scans show a disaster: some swelling and bleeding in the higher brain, but the worst damage is in the lower brain, brainstem, and top of the spinal cord. I have heard a neurosurgeon describe this pattern before as “internal decapitation.” Such language never makes it into the patient’s chart. For David the last two words of the neurosurgery consult note will eventually read, “Prognosis grim.”He remains unstable in the trauma bay. Inaction is death. We ultrasound his heart, abdomen, and pelvis. He has fluid that shouldn’t be around his heart. He is dying of the neuro injury we cannot control, but the pericardial fluid might be giving him shock, and we can control that. We can’t ignore the fluid. Shouldn’t ignore it. At least, wouldn’t ignore it. So, we bang up to the operating room. Squeezing blood. Spiking fluid. Oxygen tank and crash cart. Up we go.In the operating room, we do much and we do well. We release the fluid around the heart and find it was CPR, not heart injury that put it there. In the pericardial flash we get a view of the cardiac athlete, pounding like the 26th mile of the marathon. We explore the abdomen and find it swollen but innocent of an injury that would take his life. We place our lines and tubes as the neurosurgeons place theirs. If nothing else, we will be able to measure what lies ahead.“Good work, team,” and we bump the door on the way to the pediatric intensive care unit (PICU).The care in the PICU is more Apache brave than Gaelic knight—more bottles, fewer scissors. The curtains and carpets mute the tones. Our efforts continue, but I get a word that David’s father has arrived. He is sitting in a small, private waiting room off of the main PICU waiting room. The PICU staff colloquially refer to this as “the bad news room.” I take a seat next to a solitary man who is having the worst day of his life. His worst day so far.“I am Dr. Petty, and I am one of the doctors who is taking care of your son. I am very sorry about what has happened. Maybe you can tell me a little bit about what you understand is going on, and I’ll tell you what I know.” [End Page 17]He tells me that his wife was driving David back from her sister’s house, just the two of them. He doesn’t know what happened, but he got a call from the other hospital about the crash. His wife was badly hurt. He heard that David had died, but they got him back. Both were transferred up to the... (shrink)

Describes the move from modern, mechanistic science to a post-modern, organismic science.

Evolutionary scepticism holds that the evolutionary account of the origins of the human cognitive apparatus has sceptical implications for at least some of our beliefs. A common target of evolutionary scepticism is moral realism. Scientific realism, on the other hand, is much less frequently targeted, though the idea that evolutionary theory should make us distrustful of science is by no means absent from the literature. This line of thought has received unduly little attention. I propose to remedy this by advancing (...) what I will call an evolutionary sceptical challenge to scientific realism. I argue that, given standard evolutionary theory, our possession of sound innate metaphysical intuitions would have taken an epistemically problematic ‘lucky accident’. This, as I will show, entails that scientific realism is a self-undermining position. I discuss objections to my argument’s two premises, including ones that appeal to the success of the sciences and to the possibility that sound innate metaphysical intuitions evolved as an evolutionary ‘by-product’. I then draw out an advantage of my argument over a similar one recently put forward by Graber and Golemon. I finish by submitting that scientific realism, given the soundness of my argument, is faced with a new ‘Darwinian Dilemma’, and briefly address the significance of this for the debate between realists and anti-realists in the philosophy of science. (shrink)

This case is about a study of burn patients that included a request to the IRB for a waiver of consent for perianal specimen collection–a request which ultimately was not approved by a reviewing IR...

Where much contemporary philosophy seeks to stave off the "threat" of nihilism by safeguarding the experience of meaning--characterized as the defining feature of human existence--from the Enlightenment logic of disenchantment, this book attempts to push nihilism to its ultimate conclusion by forging a link between revisionary naturalism in Anglo-American philosophy and anti-phenomenological realism in recent French philosophy. Contrary to an emerging "post-analytic" consensus which would bridge the analytic-continental divide by uniting Heidegger and Wittgenstein against the twin perils of scientism and (...) skepticism, this book short-circuits both traditions by plugging eliminative materialism directly into speculative realism. (shrink)

_Threshold Concepts on the Edge_ explores new directions in threshold concept research and practice and is of relevance to teachers, learners, educational researchers and academic developers.

Discusses the scientific potential represented by intelligent machines and their social implications.

In lieu of an abstract, here is a brief excerpt of the content:Back to the Nineteenth Century Is ProgressJeffrey L. Geller (bio)Keywordshistory, monomania, impulse control disorders, DSMJohn Sadler Eloquently Makes the case that the phenomena of criminality, wrongful conduct, and mental illness are befuddled in current diagnostic manuals, for example, the Diagnostic and Statistical Manual (DSM)-IV-TR. The lack of clarity in the “vice–mental disorder relationship” reflects centuries old struggles to create clear demarcations between “mad” and “bad.” Sadler points out that (...) the DSMs have been and are both the products of historical, cultural, and social forces and the purveyors of defining boundaries that shape contemporary psychiatric and judicial practices. Sadler does American psychiatry a great service by resurrecting a discussion that was quite rich in the nineteenth century, but generally dormant in the twentieth. I thought I could best use this commentary by bringing to the attention the readers of Philosophy, Psychiatry & Psychology the scope of the debate amongst Sadler’s nineteenth-century predecessors.Sadler’s PredecessorsPhilippe Pinel, who presented the first clear modern description of the form of mental illness subsequently named moral insanity appeared well aware, in the early years of the nineteenth century, of the difficulties there would be accepting the concept of a limited or partial moral mania:There are certain rare examples of a peculiar turbulent and embittered character, who otherwise show no evidence of disturbed reason. Ought they to be included under the heading of “mania without delirium?” At any rate the authorities have preferred to have them admitted to asylums rather than let them mix with delinquents in houses of correction.(As cited by Walk 1954, 821)James Cowles Prichard, a British physician, is credited with “inventing” the term moral insanity, which he defined as “a morbid perversion of the feelings, affections, and active powers, without any illusion or erroneous conviction impressed upon the understanding” (Prichard 1837, 20; 1842). Prichard warned against the failure to recognize this form of insanity, illustrating his point with what we might now refer to as pyromania:Many lunatics, whose disorder was merely a destructive propensity, have set fire to houses or public buildings, and it is not to be doubted that men have been occasionally executed as criminals for such actions, who, if they had been kept in confinement, would have proved to be insane. Until the existence of moral insanity is distinctly recognized, there will always be a danger of this event ensuing in the trials of mischievous lunatics.(Prichard 1837, 287)Prichard referred to such acts as “instinctive madness” (Prichard 1842). [End Page 19]Isaac Ray, the first American to specifically address these matters (in the first edition of his Treatise on The Medical Jurisprudence of Insanity (1838), defined “partial moral mania,” indicating that, “In this form of insanity, the derangement is confined to one or a few of the affective faculties, the rest of the moral and intellectual constitution preserving its ordinary integrity” (p. 186). Ray highlighted those partial moral mania he considered to “have the most important legal relations” (p. 187): “an irresistible propensity to steal,” “an inordinate propensity to lying,” “erotic mania,” “a morbid propensity to incendiarism,” and “homicidal insanity” or “homicidal monomania” (pp. 187–234). Ray cogently described what we would categorize today as an impulse disorder: “Amid the rapid and tumultuous succession of feelings that rush into his mind, the reflective powers are paralyzed, and his movements are solely the result of a blind, automatic impulse with which the reason has as little to do, as with the movements of a newborn infant” (p. 261). Ray believed these monomanias “completely annulled... all moral responsibility for acts committed under their influence,” and consequently “the laws can rightfully inflict no punishment on their unfortunate subjects” (p. 276).Ray, like his European predecessors, was not insensitive to the conundrum these partial moral manias would likely produce:True, cases of a disputable character sometimes occur—cases in which we may well doubt whether the active principle is depravity or disease. I have no wish to conceal any difficulty which this subject may present(Ray 1861, 120).The English translation of Esquirol’s treatise in 1854 supported Ray’s views. In a lengthy chapter on the different forms of... (shrink)

Animals can be used in many ways in science and scientific research. Given that society values sentient animals and that basic research is not goal oriented, the question is raised.

The goal of this study is to reintegrate the theory of generative grammar into the cognitive sciences. Generative grammar was right to focus on the child's acquisition of language as its central problem, leading to the hypothesis of an innate Universal Grammar. However, generative grammar was mistaken in assuming that the syntactic component is the sole course of combinatoriality, and that everything else is “interpretive.” The proper approach is a parallel architecture, in which phonology, syntax, and semantics are autonomous generative (...) systems linked by interface components. The parallel architecture leads to an integration within linguistics, and to a far better integration with the rest of cognitive neuroscience. It fits naturally into the larger architecture of the mind/brain and permits a properly mentalistic theory of semantics. It results in a view of linguistic performance in which the rules of grammar are directly involved in processing. Finally, it leads to a natural account of the incremental evolution of the language capacity. Key Words: evolution of language; generative grammar; parallel architecture; semantics; syntax. (shrink)

(2013). Conversational implicature, communicative intentions, and content. Canadian Journal of Philosophy: Vol. 43, Essays on the Nature of Propositions, pp. 720-740.

Empirical studies show that though there is more room for improvement, much progress has been made toward gender equality since the second wave of feminism. Evidence also suggests that women’s advancements have been more dramatic in the public sphere of work and politics than in the private sphere of family life. We argue that this lopsided gender progress may be traced to uneven changes in gender attitudes. Using data from more than 27,000 respondents who participated in the General Social Survey (...) from 1977 through 2016, we show that gender attitudes have more than one underlying dimension and that these dimensions have changed at different rates over time. Using latent class analysis, we find that the distribution of respondents’ attitudes toward gender equality has changed over the past 40 years. There has been an increase in the number of egalitarians who support equality in public and private spheres, while the traditionals who historically opposed equality in both domains have been replaced by ambivalents who feel differently about gender equality in the public and private spheres. Meanwhile, successive birth cohorts are becoming more egalitarian, with Generation-Xers and Millennials being the most likely to hold strong egalitarian views. The feminist revolution has succeeded in promoting egalitarian views and decreasing the influence of gender traditionalism, but has yet to convince a substantial minority that gender equality should extend to both public and private spheres of social life. (shrink)

This paper concerns a key point of decision in Donald Davidson's early work in philosophy of language — a fateful decision that set him and the discourse in the area on the path of truth-theoretic semantics. The decision of moment is the one Davidson makes when, in the face of a certain barrier, he gives up on the idea of constructing an explicit meaning theory that would parallel Tarski's recursive way with truth theory. For Davidson there was little choice: he (...) tells us he does not see how to deal with the difficulty except in the radical way he proposes. But there is a way to give such a meaning theory — a meaning theory proper which, using classical logic only, meets a meaning-theoretic analogue of Convention T, satisfies Davidson’s three key desiderata for a theory of meaning, reflects linguistic competence, and avoids quantifying over meanings. The meaning theory sketched here uses Tarskian strategies, as Davidson proposed, but differs from Davidson's approach in not going by way of a truth theory for the target language. (shrink)

Since the late 2000s trans pregnancy has received increasing public and academic attention, and stories of the ‘pregnant man’ have become a media staple. Existing research has critiqued such spectacularization and the supposed tension between maleness, masculinity, and pregnancy that underpins it. Extending that work, this article draws on interview data from an international study of trans reproductive practices and analyzes participants' experiences of being, and expecting themselves to be, perceived in public space not as spectacularly ‘pregnant men’, but as (...) fat men. As a starting point we take the experience of one participant whose heavily pregnant participation in a five-kilometer race prompted the question: ‘Why is the chubby guy running?’ Using Judith Butler's concept of the cultural intelligibility of gender, we ask why the question asked was not: ‘Why is the pregnant guy running?’ We further consider the degree to which pregnant trans people manage their unintelligibility within the matrix of pregnancy, fatness, and trans/gender and how this reveals the limits of gender intelligibility itself. (shrink)

The opening chapters of Anselm's Monologion contain a ‘proof’ of a perfect being, which has received far less attention than the more famous Proslogion proof, and the ontological arguments derived from it. I wish to rectify this by developing an argument in defence of a crucial premise of the Monologion proof. This premise states that ‘the Good’, i.e. that in virtue of which numerically distinct things may all be good, must itself be a supremely good thing. I motivate the argument (...) before considering objections to both premises, as well as putative ‘parodies’ of my argument. Part of the motivation of my argument will involve the claim that the Good, if it is good at all, must be a paradigm good thing. I conclude that theists have a second kind of ontological argument at their disposal. (shrink)

Generating energy by renewable sources like wind, sun or water has led to the emergence of “clean” energy that is generally available at low cost to the environment and is generated from seemingly unbounded resources. Many countries have implemented schemes to support the diffusion of renewable energies. The diffusion of micro-generation technologies like roof-top photovoltaics is one of the success stories within the energy transition and has been significantly driven—at least in countries such as Germany—by households. As these households usually (...) not only generate energy but also consume it they are often called “prosumers.” How does it influence the energy behavior of households if they become prosumers? Are these behavioral changes in line with further goals of the energy transition, e.g., reducing demand? What shapes individual behaviors of prosumers? The paper introduces a conceptual framework based on the existing literature on rebound and spillover effects. It systematizes possible behavioral consequences as well as mechanisms behind them. This framework is then used to code and analyze data from 48 in-depth interviews with prosumer households. These interviews reveal a broad variety of behavioral responses which have their roots in economic conditions and their evaluation by the prosumers, psychological mechanisms like central guiding principles and a clear conscience as well as sociotechnical context and legislative frameworks. (shrink)

In recent years, collaboration between medical educators and art museum educators has emerged as an important trend. The museum environment can support a kind of professional reflection and conversation that is difficult to develop in a medical setting. Skills such as close looking, empathic communication, resilience, and cultural awareness may also be developed in the art museum when plans for the visit are developed with attention to their relevance to health professions. Working across disciplines requires identifying and cultivating a strong (...) partner as well as clear communication about goals and possibilities. The following tips were developed by museum educators based on their extensive experience working with medical students, interns, residents and faculty at Harvard Medical School and the University of Texas at Austin’s Dell Medical School over the past twelve years. (shrink)

The problem of negative existentials is one of the classic problems in philosophy of language. Latter-day developments in semantics resolved this problem without our help, but due to accidents of history no one noticed.