Learn about astronauts and space exploration.

The standard approach to model how human beings understand natural languages is the symbolic, compositional approach according to which the meaning of a complex expression is a function of the meanings of its constituents. In other words, meaning plays a fundamental role in the model. In this work, because of the polysemous, flexible, dynamic, and contextual structure of natural languages, this approach is rejected. Instead, a connectionist model which eliminates the concept of meaning is proposed.

The topic of population is treated only lightly in the major modern biographies of John Maynard Keynes, yet Keynes himself had strong - if varying - views on the subject. For many years he maintained a neo-Malthusian view of population, based on a postulated link between population growth and deteriorating terms of trade. This led him to take up a militant stance towards 'overpopulated' countries, notably India, China, and Egypt. Keynes on Population publishes two of John Maynard Keynes's manuscripts not (...) published in the Collected Writings: his Cambridge lectures on population and 1914 Oxford lecture on 'Population'. It provides a detailed commentary on the text of 'Population' and discusses the extent of Keynes's engagement with the Social Darwinist doctrine of the 'rapid multiplication of the unfit' and with eugenics. It then traces the subsequent vicissitudes of his views on population and his interventions in the contemporary politics of population. These include his part in the 1920s campaign for birth control, the reversal of his neo-Malthusianism, and his eventual support for family allowances. (shrink)

John Ayrton Paris, writer and physician, became a member of the Linnean Society in 1810, and served as president of the Royal College of Physicians from 1844 until his death. Intended for children and originally composed for the author's family, this three-volume work about science was first published in 1827. Dedicated to the writer Maria Edgeworth and with illustrations by George Cruikshank, it aims 'to blend amusement with instruction', since youth, as Paris writes, 'is naturally addicted to amusement'. Topics covered (...) in Volume 1 include momentum, geometry, elasticity and rotatory motion; the science behind these is demonstrated using a yo-yo, a jack-in-the-box and a slingshot, among various other toys and games. A fascinating and popular text in the history of science education, the engaging narrative seeks to prove 'how profitably, and agreeably, the machinery of fiction may be worked for the dissemination of truth'. (shrink)

Here is an example using a picture book story: A New House, in Grasshopper on the Road: by Arnold Lobel Grasshopper sees an apple on top of a hill and decides, yum! lunch, as he takes a big bite out of the apple. This, however, causes the apple to start rolling down the hill. Grasshopper hears a voice inside the apple, telling him to keep his house from being destroyed as it is rolling down the hill. My bathtub is in (...) the living room; my bed is in the kitchen. Grasshopper is trying to catch the apple, as it is rolling faster and faster down the hill. In the end it crashes into a tree at the bottom of the hill and is smashed into a hundred pieces. Luckily, it is an apple tree, and Worm has decided to find a new house to live in, one without a big bite in it, either. The question is, should Worm be angry at Grasshopper? The children often agree that he shouldn’t be angry. Grasshopper didn’t mean to hurt Worm and destroy his home. The aporia question is, isn’t Worm justified in being angry at Grasshopper for destroying his home, even though it was an accident? Should I be angry with someone who hurt me, even if it is not done on purpose? I am hurt; so can’t I be angry because I have been hurt? The children often feel that when it was not done on purpose, you can’t really be angry. Another aporia question is, can you punish someone when what they have done wasn’t done on purpose? Is it OK for your parents to punish you when you have done something wrong, even though you didn’t do it on purpose? Another aporia question is then whether we are justified in punishing someone who is innocent? Does it make sense to punish your baby brother for breaking your toy? Or are the police ever justified in shooting an unarmed Black man? (shrink)

What begins with an unlikely collection of unrelated phenomena--mechanical dolls, weather, atoms, lyric poetry--blossoms in the course of _Toy Medium_ into a subtle and persuasive meditation on one of Western philosophy's biggest puzzles: the relation of mind and matter. What is the role of the imagination in defining material substance? In a dazzling study of the poetics of materialist philosophy and of the materialism of lyric poetry, Daniel Tiffany traces the historical conjunction of matter and metaphor through a remarkable range (...) of topics: automata in classical antiquity and the eighteenth century; Kepler's treatise on snowflakes; animal magnetism; fireworks and cloud-chamber photographs; the origins of the microscope as a philosophical toy and its bearing on the figure of the virtuoso. At critical junctures in modern Western culture, Tiffany finds uncanny parallels between the metaphorics of science and visions of material substance rooted in popular culture and lyric poetry. _Los Angeles Times Best Nonfiction Book of 2000_. (shrink)

This article proposes that Deleuze’s psychoanalytically inspired theory of humour and irony provides an underappreciated way to theorize acts of resistance that adopt a structurally perverse position towards a law or authority. In his books Coldness and Cruelty and Difference and Repetition, Deleuze explains that the law is susceptible to two kinds of subversive procedure. The first, which he calls irony and which he aligns with sadism, reveals a gap between the law and its principles. The second, which he (...) calls humour and which he aligns with masochism, exposes a gap between the law’s interdictions and their consequences. For Deleuze, humour and irony harbour the potential to overturn or overthrow the law. Drawing on Lacanian psychoanalytic theory and contemporary examples – alt-right ‘free speech’ demonstrations in the United States and protests surrounding Russia’ s 2012 parliamentary elections – the article argues that Deleuze overstates the transformative potential of perversion. Nevertheless, his account remains useful for showing the circuitous routes that some subjects take to enjoy their position within the law. Given the global rise in right-wing authoritarianism in recent years, this may prove to be an important insight. (shrink)

The turbulent social conflict over what counts as good-enough mothering and the greedy institution of work leaves many women trapped in what Joan Williams called the gender system of domesticity. Like self-help books, advertisements can lead mothers toward a culturally sanctioned compromise. This article looks at the “cultural deals” being offered for mothers by toy catalogs. The author examined the marketing of more than 3,500 toys in 11 catalogs fromthe 2000-2001holiday season. She found that the catalogs presented toys as (...) solutions that would allow mothers to be good mothers without having to physically be there, even as the advertising copy evoked images of companionship and togetherness. Catalogs also emphasized skill building over fun, defined only certain skills as skills in the first place, and dismissed nurturing as feelings at best worth of expression and not of practice. The author argues that the toys promise to perpetuate for the children the same contradictions the catalogs purport to solve for their mothers. (shrink)

Cambre and Hawkes offer a framework for thinking about technology as it impacts teaching and learning today. We look at technology through a trifocal lense: technology as teaching aid, technology as threat, and technology as progress. We trace the evolution of school technology briefly, leading up to the computer as the point convergence. From the toys they play with to the tools they learn with, we see that students are bombarded with things technological. This mushrooming of technology and how it (...) is to be integrated into the classroom presents challenges that must be confronted so that, indeed, no child is left behind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethos in Steig’s and Sendak’s Picture Books: The Connected and the Lonely ChildEllen Handler SpitzThere was the child, listening to everything...—Yasunari Kawabata1IntroductionPicture-book characters spring to life in both verbal and visual registers. Moving about the page before our eyes as well as speaking and acting in their respective stories, they often make a long-lasting impact on children. Pictures and words, moreover, may overlap but are never commensurate; like (...) the words and notes of a song, they mean and evoke differently even while being experienced together. This brief essay considers a small selection of works by two distinguished twentieth-century American authors-artists: William Steig (1907–2003) and Maurice Sendak (b. 1928). It argues that, with their artful words and pictures, Steig and Sendak construct very different—even contrasting—visions of childhood. By “ethos” in this context I mean to suggest a vision of what a child is, a sense of what it means both to be a child and to address one. Such visions differ not only through the ages and from one culture and locale to another but also from one author-artist of the same period and locale to another. Invited to speak on Sendak’s and Steig’s respective works at meetings scheduled just a week apart in New York City during the winter of 2007, I found in these paired invitations a fortuitous opportunity to juxtapose several of their works and thereby discover some arresting contrasts and formulate the following readings.2First, a word on the topic of methodology. Nearly one hundred years have elapsed since Freud published his celebrated-cum-notorious foray into psychobiography with Leonardo da Vinci and a Memory of His Childhood,3 wherein shards of circumstantial biographical evidence were laid out in seductive mosaic patterns secured with a grout of ingenious speculation. Despite subsequent decades of critical reflection, Freud’s method soldiers on nonetheless as a modus operandi in the psychological interpretation of art and literature.4 By bracketing a small selection of Steig’s and Sendak’s works here and limiting myself to extracting a tentative underlying ethos from them, I am [End Page 64] taking the position that to write psychologically one need not mention or exploit a creator’s personal life. This essay points gently toward psychological approaches that ask what we can see when we look carefully at the pages of works. What can we find when we share children’s books with children? Why, for example, has Sendak’s Where the Wild Things Are sold over seventeen million copies (and its Amazon rank last time I checked was around 145, which means that only 144 other books in the United States were selling more copies at that particular moment), whereas his later work Outside Over There—a book that apparently figures prominently in his personal life—comes nowhere close?5 While market figures do not correlate flawlessly with children’s actual preferences (adults, not children, are the buyers), I would aver that, in this case, they do reflect the success and beloved status of Where the Wild Things Are, since the figures tally with additional facts: the book continues to appeal in its fifth decade post publication; it is known and has been translated worldwide, dramatized, and set to music6; and its characters have been fashioned into ubiquitous stuffed toys. On the other hand, in my (limited) experience, young children seem to find Outside Over There unsettling, unintelligible, even “creepy” and often have trouble sitting still through a full rendition. Some adults, on the other hand, praise that book as poetic and admire its more complex art. Such discrepancies in reception deserve our attention; they hint at fallow fertile fields lying over the rainbow, far beyond the much-plowed tracts of authorial psychobiography. This essay gestures casually toward those fields.The Connected Child“My dear Deborah,” said Doctor De Soto, “you must have been reading my mind.7Let’s begin with William Steig, who is best known for his New Yorker cartoons. His work for children extends back to 1968,8 however, when he was already a man in his sixties. Setting aside the... (shrink)

Comparative research in the area of property law is gaining importance. Against the background of the current discussion of developing model rules, aimed at facilitating European private law harmonisation, and of ongoing law reform projects in a number of EU Member States, this volume addresses key issues in the field of the transfer of corporeal movable property.

This is the first volume of a series of national reports on basic issues concerning the acquisition and loss of ownership of movable assets. The series plans to cover 27 European legal systems, distributed over six volumes, as a product of the research activities of the working group "Transfer of Movables" within the "Study Group on a European Civil Code." Volume 1 examines Austria, Estonia, Italy and Slovenia. Starting with general property law issues â?? like the concepts of ownership (...) and possession employed in the respective legal systems, and the related means of protection â?? the reports primarily deal with the "derivative" transfer of ownership, but extend to good faith acquisition from a non-owner, acquisitive prescription, processing and commingling, and further related issues. The reports provide the reader with detailed information about the respective rules, case law, and legal literature prepared by national property law experts. These reports are a starting point for further comparative research in property law and also a tool for practitioners searching for information on foreign legal systems. Where available and as far as reasonable, the reports include translations of the most important statutory provisions either in the text or in an annex. All reports include a table of literature and a table of abbreviations, which shall facilitate carrying out further research. (shrink)

The room was a shables. Toys and clothes were everywhere and an open book was lying abandoned on the ground. On the table there was something to drink. It seemed as if no one cared, at least not about the mess.

Review of Olsson, Erik J. and Enqvist, Sebastian , Belief Revision meets Philosophy of Science.

At once a contribution to the history of science, the history of philosophy, the history of classical Greece, and transhistorical, good, clean, reading enjoyment, this book is obviously designed for the library that hitherto had everything. From coin-operated holy water, vending-machines, Athenian electioneering gadgets for "automating honesty," and wine-splashing games of kottabos to the steam-powered toys and automated theatres of the second century A. D. Alexandrian gadgeteer, Heron, Brumbaugh has provided a fascinating catalogue of and commentary on the neglected artifactual (...) and technological genius of the ancient world. The book includes reproductions of many of Heron's "blueprints" as well as plates showing some of the items that have been excavated on the site of the ancient Agora. The illustrations and plates should have been numbered for easier reference but this is a minor defect in a wholly delightful book. The extensive, annotated bibliography is a pleasant bonus.—E. A. R. (shrink)

"What one cannot compute, one must poetize." So concludes this remarkable sequence of propositions on the centrality of poetry for what we call cognition. Developed through brief, lucid, and eloquent logical elaborations that are punctuated by incisive readings of a range of poems--Western and non-Western, low culture and high--Poetry and Mind offers to theorists and practitioners of literature, together with logicians and cognitive scientists, a more sophisticated account of the extraordinary regimes of human mental experience. Poetry grants us the ability (...) to move "beyond the limits of thought" and to explore the beyond of cognition. It teaches us to think differently. An elliptic response to Wittgenstein's point of arrival in the Tractatus Logico-Philosophicus, this book is first and foremost an interdisciplinary study of poetry, drawing on literary, philosophical, and scientific traditions. The work conducted on minds and brains over the last decades in psychology, artificial intelligence, and neuroscience cannot be ignored if, as humanists, we are interested in the way we think. Dubreuil thus calls for a constant dialogue with the positive examination of cognition to better situate the normal regimes of thought, as well as to underline the other mental possibilities that literature opens up. Poetry and Mind shows that poetry--a widespread and perhaps universal phenomenon among humans--arises through syntactic structures, cognitive binding, and mental regulations, but that, in going through them, it also exceeds them. The best poems, then, are not only thought experiments but actual thinking experiments for the unthinkable. They expand the usual semantics of natural languages, and singularly deploy the rhetorical armature of speech. Made of iterations and linguistic reorganizations, they exceed their own algorithms and, often, they become reflexive, strange, and cognitively dissonant. They provide detachable, movable, and livable significations to our selves. The literary scope of this book is more than "global": it is uniquely broad and comparative, encompassing dozens of different traditions, oral or written, from all continents, from Ancient times to the contemporary era, with some thirty specific readings of texts, ranging from Sophocles to Gertrude Stein, from Wang Wei to Aimé Césaire, and from cuneiform tablet to rap music. Together, Dubreuil's readings and elaborations offer a major reappraisal of the relations between creation, language and our embodied brains."--Publisher's website. (shrink)

Taxation, Corruption and Reform; John Toye and Mick Moore.

The book explores how images register the relation between societies and theirs and others' health epistemic ecosystems. The author focuses on presumably trivial objects, such as vlogs, a toy, or a facial cream, to show how nature is presumed and represented as part of the care and cure of the body.

The Qurʾān was taught in the letter method for many years. After the names of the letters in the Arabic alphabet are memorized in this method, the teaching of origins and signs begins. The syllabic method was developed over time as an alternative to this method, and the letters were taught directly with their superior vowel signs without memorizing their names. Unlike these two methods, the sound-based alif ba method has begun to be used in recent years. This method coincides (...) with the primary literacy teaching method based on the sounds thatwere adopted in Turkish teaching since 2005. Basic principles such as teaching the letters one-by-one, following the sound learning stages in teaching each sound, conducting the lessons in class, reading the syllables and words formed with the learned letters from the first day are adopted in both teaching methods. The purpose of the present study was to find out how the Qurʾān can be taught by applying the sound-based alif ba method and to draw attention to the original aspects of this method for learning the Qurʾān with the right sounds. Since the correct teaching of the Qurʾān is closely related to the teacher’s content knowledge and teaching skills, the alif ba that will be used and the method to be applied are important in reaching the target more systematically and faster. The case study design was used in the study in which the qualitative method was employed. The primary data of the study were Sound-Based Alif ba, for which I was the project assistant of, and the book with the title A New Approach in Teaching the Qurʾān: Sound based Alif baand Tajwīd Method, which was an editorial book of which I was one of the authors, and the thirty-episode series We Are Children and We Are Reading the Qurʾān, published on Diyanet TV, for which I was the production coordinator. Also, to see the applicability of the method, interviews were conducted with eight instructors who used Sound-Based Alif ba in their lessons. The study received ethical approval from Ankara Social Sciences University Rectorate Social and Human Sciences Research and Scientific Publication Ethics Committee on 8 July 2021 with the decision no 12450. The main thing in the sound-based alif ba method is the correct vocalization of the Qurʾān. The letters in alif ba are arranged differently from the classical alphabet order and are divided into six groups considering the frequency of occurrence in the Qurʾān and the degree of difficulty of origins. Each letter is taught in a separate lesson with the support of the ḥarakas and the sukūn (such as اَلْ, اِلْ, اُلْ). During the teaching, attention is paid to the sound learning steps, and the student is expected to feel the sound of the letter to be learned, distinguish it from other letter sounds, and then pronounce it from the correct origin as much as possible. In the sound-based alif ba method, the teaching of the shape of the letter is done after the sound of the letter is pronounced. During the teaching of the shapes of the letters, the part of the letter that does not change when written within a word is emphasized, and the writing is used so that the shape of the letter can be placed in the mind of the student. In the sound-based alif ba teaching, reading from the Qurʾān is done in every lesson, starting from the teaching of the first letter. During the teaching of alif ba, educational games, question-answer, and narration methods are used, primarily with the taʿlīm method. In this way, the teaching of Sound-Based Alif ba is spread over a period of 40 lessons. The study findings showed that the sound-based alif ba method has similar characteristics with the sound-based primary literacy teaching method; however, Arabic has its own unique aspects with its language structure. Among these originalities, which is adopted in the teaching of letters, firstly teaching the letter with the sukūn and with the support of movable ا and then showing the shape of the letter is carried out. As a matter of fact, the teachers have the opinion that this vocalization method, which is adopted, facilitates the learning of the correct sounds, and that teaching the letters in line with the sound learning steps increases the efficiency of the lesson. Although most of the instructors pointed out to the positive aspects of teaching tajwīd sounds in alif ba, one of the instructors did not find it necessary. The opinions of the teachers showed that the sound-based alif ba method can be applied efficiently in online lessons, but the teacher-student relation is affected negatively when compared to the classroom setting. All of the instructors said that the materials used in the lessons and demonstration and educational game methods increased the quality of the course, and that the We Are Children We Are Reading the Qurʾān program is an important resource for them. (shrink)

In a fluent, clear, and lively style this translation by two of Maslov's junior colleagues brings the work of the late Soviet scientist S. Yu. Maslov to a wider audience. Maslov was considered by his peers to be a man of genius who was making fundamental contributions in the fields of automatic theorem proving and computational logic. He published little, and those few papers were regarded as notoriously difficult. This book, however, was written for a broad audience of readers and (...) describes elegant examples of applications in such fields as computer science, artificial intelligence, operations research, economic modeling, and biological modeling, among others. The book also brings to light the work by the American mathematician E. L. Post, which inspired Maslov's own work in the development of a general theory and which has been long neglected by mathematicial logicians and systems theorists in the United States. The book's first chapter introduces the Rules of the Game. Part I, Mathematics of Calculi, covers E. L. Post's canonical systems, deductive systems and algorithms, and probabilistic calculi and deductive information. Part II, Horizonal Modeling, takes up a "toy" economy, the calculi of technological possibilities, and the development of rules. Part III, Vertical Modeling, deals with the topics of "to fight and to search" and the consequences of the asymmetry of cognitive mechanisms. Vladimir Lifschitz is affiliated with the Department of Computer Science at Stanford University, and Michael Gelfond with the Department of Electrical Engineering and Computer Science at the University of Texas, El Paso. Theory of Deductive Systems and Its Applicationsis included in the Foundation of Computing Series, edited by Michael Garey. (shrink)

What is art's relationship to play? Those interested in this question tend to look to modern philosophy for answers, but, as this book shows, the question was already debated in antiquity by luminaries like Plato and Aristotle. Over the course of eight chapters, this book contextualizes those debates, and demonstrates their significance for theoretical problems today. Topics include the ancient child psychology at the root of the ancient Greek word for 'play', the numerous toys that have survived from antiquity, and (...) the meaning of play's conceptual opposite, the 'serious'. What emerges is a concept of play markedly different from the one we have inherited from modernity. Play is not a certain set of activities which unleashes a certain feeling of pleasure; it is rather a certain feeling of pleasure that unleashes the activities we think of as 'play'. As such, it offers a new set of theoretical challenges. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Participation and Immersion in Walton and CalvinoM. Carleton SimpsonThe novel begins in a railway station, a locomotive huffs, steam from a piston covers the opening of the chapter, a cloud of smoke hides part of the first paragraph... The pages of the book are clouded like the windows of an old train, the cloud of smoke rests on the sentences.1Part of Kendall Walton's theory of psychological participation, explicated in (...) Mimesis as Make-Believe, is that representations that display or draw attention to their fictionality discourage participation; part of our enjoyment of representational art is our psychological participation with the representation. The activity of participating comprises the game world, while the material representation comprises the work world. We play games of make-believe with representations, much as children play games with toys or other props. For Walton, the fullest psychological participation arises from the fullest immersion in the game world. Immersion means ignoring or being unaware of the materiality of the work world, attending only to the fictional reality of the work world. It is to "look past" the painted surface, or to become engrossed in the novel's narrative.To the extent that we consider the material of the work, we are distracted from participating in the game prescribed by the work: we do either the one or the other. So, Walton claims "One obvious way in which works sometimes discourage participation is by prominently declaring or displaying their fictionality, betraying their own pretense" (p. 275).2 For example, "The conspicuous brush strokes of Van Gogh's Starry Night call attention to themselves and to their record of the process by which paint was applied to the canvas, possibly intruding on the viewer's participation in his game... One can ignore the brush [End Page 321] strokes enough to lose oneself in the fictional world" (p. 277). In response to prodding by Patrick Maynard, Walton tempers this position: "Prominent brush strokes, as in many of Vincent van Gogh's paintings, can have an inhibiting effect, especially if the observer isn't used to such. Then they not only constitute a plain indication that what one is seeing is a mere painted canvas, but force this fact on the viewer's attention" (italics added).3Ernst Gombrich endorsed this position in Art and Illusion, attributing it to Kenneth Clark.4 Gombrich tells of Clark attempting to see both the brush strokes and the representation, and his failure to "observe what went on when the brush strokes and dabs of pigment on the canvas transformed themselves into a vision of transfigured reality as he stepped back" (p. 6). Walton intends his theory of psychological participation to be widely applicable to the representational arts; he argues that what holds for visual representations holds also for verbal representations. When reading a novel our ability to participate in the story is diminished to the extent the novel draws attention to its fictionality. We either immerse ourselves in the fictional world of the novel or attend to the historical production or materiality of the novel.Attending is contained in Walton's notion of appreciation. Appreciation without participation results when some representations "positively discourage participation, especially the psychological participation that would constitute the experience of being caught up in the story" (p. 274). Works like these employ a variety of strategies, "deliberately 'distancing' the appreciator from the fictional world... For if one does not imagine a proposition, it is unlikely to be fictional that one knows or believes it; and if one imagines it with minimal vivacity, one is unlikely to have the experience of fictionally being concerned or upset or relieved or frightened or overjoyed by the fact that it is true" (p. 274). Just as children imagine themselves to be participants in games of make-believe, more mature imaginings require us to imagine we are participants, not simply observers. Reflexive imagining is central to Walton's theory, and is a point he extensively develops.I argue against this disjunction of activities. My thesis is that participation need not arise from immersion at the expense of awareness. I am also critical of Walton's distinction between appreciation and participation—they are... (shrink)

Underwear is the most intimate form of dress, and the type of underwear known as ‘lingerie’ is particularly invested with meanings of femininity, sexuality and pleasure. This article focuses on mass-market lingerie and is based on an ethnographic study of Ann Summers home shopping parties at which lingerie, sex toys and other ‘personal’ products are sold to women in the UK. The analysis draws on the work of Bourdieu and Skeggs to argue that the apparently ‘private’ world of lingerie is (...) simultaneously part of the ‘public’ world of class distinction. The class connotations of mass-market lingerie are not simply aspirational, but are also used by working- and lower-middle-class women to distinguish themselves from ‘posh’ women who are thereby defined as pretentious, boring, snobbish or tasteless. The article concludes that the processes of choosing and buying lingerie involve identifications and dis-identifications of class, gender and sexuality, even though the garments themselves are rarely if ever worn in public. (shrink)

In this issue we include contributions from the individuals presiding at the panel All in a Jurnal's Work: A BABEL Wayzgoose, convened at the second Biennial Meeting of the BABEL Working Group. Sadly, the contributions of Daniel Remein, chief rogue at the Organism for Poetic Research as well as editor at Whiskey & Fox , were not able to appear in this version of the proceedings. From the program : 2ND BIENNUAL MEETING OF THE BABEL WORKING GROUP CONFERENCE “CRUISING IN (...) THE RUINS: THE QUESTION OF DISCIPLINARITY IN THE POST/MEDIEVAL UNIVERSITY” SEPTEMBER 21ST, 2012: SESSION 13 MCLEOD C.322, CURRY STUDENT CENTER NORTHEASTERN UNIVERSITY, BOSTON, MA. Traditionally, a wayzgoose was a celebration at the end of a printer’s year, a night off in the late fall before the work began of printing by candlelight. According to the OED, the Master Printer would make for the journeymen “a good Feast, and not only entertains them at his own House, but besides, gives them Money to spend at the Ale-house or Tavern at Night.” Following in this line, continent. proposes in its publication(s) a night out and a good Feast, away from the noxious fumes of the Academy and into a night of revelry which begins, but does not end, at the alehouse or Tavern. continent. proposes that the thinking of the Academy be freed to be thought elsewhere, in the alleys and doorways of the village and cities, encountered not in the strictly defined spaces of the classroom and blackboard (now white) but anticipated and found where thinking occurs. Historically, academic journals have served a different purpose than the Academy itself. Journals (from the Anglo-Fr. jurnal , "a day," from O.Fr. jornel , "day, time; day's work," hence the journalist as writer of the news of the day ) have served as privileged sites for the articulation and concretization of specific modes of knowledge and control (insemination of those ideas has been formalized in the classroom, in seminar). In contrast, the academic journal is post-partum and has been an old-boys club, an insider trading network in which truths are (re)circulated against themselves, forming a Maginot Line against whatever is new, or the distinctly challenging. All in a Jurnal’s Work will discuss (in part) the ramifications of cheap start-up publications that are challenging the traditional ensconced-in-ivory academic journals and their supporting infrastructures. The panel will be seeking a questioning (as a challenging) towards the discipline of knowledge production/fabrication (of truth[s]) and the event of the Academy (and its publications) as it has evolved and continues to (d)evolve. Issues to be discussed will revolve around the power of academic publishing and its origins, hierarchical versus horizontal academic modules (is there a place for the General Assembly in academia?) and the evolving idea of the Multiversity as a site(s) of a (BABELing) multivocality in the wake of the University of Disaster. STAGE NOTES AND/AS/OR TRACK CHANGES: INTRODUCTORY REMARKS AND MAGICAL THINKING ON PRINTING: AN ELECTION AND A PROVOCATION Isaac Linder “Of course most people don’t think of editing/publishing as theatre but as something boring or parasitical (vis-à-vis a ‘source’ text), a textual backwater populated by people with glasses. But I think publishing a book today is theatre, socially networked theatre…. Facebook and Flickr are our era’s administered and generic version of sixties happenings!” — Tan Lin 1 ELECTING A MASCOT: THE BARNACLE GOOSE After pitching the idea for this panel with the editorial help of my continental cohorts I became fascinated with the image of the goose—dead and roasted as it may be—and its relationship to the space of the printing press. For a long while after proposing this gathering I was seriously under the sway of delusions of grandeur, imagining that we might roast a goose (or goosefu) and, preparing a meal as one prepares a text for publication, feast in something approaching a warm and well-nourished revelry. I should note, by way of introduction, that a substantial part of my undergraduate experience involved learning to typeset and work as a devil, as typesetters mischievously call it, in a letterpress studio. This accounts in part for my fascination and helps to explain the fact that, when I began to leaf around in medieval beastiaries in lieu of being able to procure a goose, I was almost immediately struck by a fantastic monster that I hereby elect to be the mascot for our so-called para-academic practice(s) the relatively famed, but no less fabulous for it, barnacle goose. The barnacle goose is a creature that first makes its way into 12th century manuscripts with Giraldus Cambrensis in 1186. Phenomenologically speaking the monster is a tree, a tree which, when approached closer is seen to be birthing geese budding from the buds that hang like ripe fruit from its branches. As the story goes these trees were found over water; the fledgling geese, once wrested from their pods would take off in flight or fall to their watery death, where they would be transformed into driftwood. In retrospect we presume the barnacle goose was posited as a consequence of the fact that geese born in more northern regions, migrating to Ireland and western Europe at large, were never seen to give birth. And I should note that this is far from the only other animal posited to be born from trees at around this time, my other favorite being medieval accounts of Moroccan tree-climbing goats. 2 In particular I’ve thrown up the mascot of the barnacle goose and singled it out from the quires of its beatiaries because its thoroughly hybrid origins lead us to name two very real creatures we can find point to in abundance; discrete materialities of the world cobbled together in textual fancy: on the one hand, the modern day barnacle goose , a common species of goose and, on the other, goose barnacles , a particular type of crustacean with incredible feathery tendrils and—I can't help but mention—one of the largest body mass to penis size ratios of all of the animals in the kingdom. Why is this bit of genital trivia relevant? Because they’re all hermaphroditic and in rare cases have been found to reproduce just with themselves—to inseminate themselves and give birth to their kin. So I think it must be stressed, as a symbol for what we’re really here to talk about, it's not a boy’s club thing so much as a very queer thing and, I contend, para - in every perfect sense of the word... Alongside the natural world, a monstrous imaginary concatenation; Alongside the hulls of so many institutional structures, funding sources and resources, Serresian parasites in all manner of mutualist, symbiotic, or properly parasitic positions; migratory and adrift; The tree, center stage in the 21st century adaptation of Waiting for Godot that is unraveling in ateliers across the world, is a barnacle goose birthing a flurry of miscegenous texts beyond medium and genre. PROVOCATION 1: CHAOSMOSIS “Genre is obsolete.” — Ray Brassier 3 And so, here I was getting carried away in daydreams about this generative and genealogical symbol under which to think all of the diverse projects we are all involved in as architects of the dressed word, (well dressed, bespoke, mansy, butch, careless, or roguishly punk attired as those words may be), when it also dawned on me, mid-flight here from Denver, that we are, even in lieu of being able to roast geese together, very much so literalizing what was never just the metaphor of the wayzgoose—a tradition, as you know, celebrated to mark the crepuscular turn into fall—as we are poised here, tomorrow being the first official day of fall on our calendars in the US marking the seasonal change from at which point it will no longer be possible to print without the aid of candlelight. A beautiful thought, that tipped into magical thinking on account of a little quick math I was able to do to come to the conclusion that we can all be delighted to know that as we proceed into the autumn with our printing projects always ahead of us and still to be set, we will tonight be bathed not only by the artificial candlelight of our screens, but also in part by photons raining down on us at 186,282 miles per second—photons from an aspect of 9 cyg, a stereoscopic binary deep within Cygnus, the swan but not-so-distant-relative of the goose, with a distance of 572 Light years away; photons that are raining down on us, will rain down on us all winter, have been raining down on us all year, and which had their origin in the combustion cores at a center of 9 cyg 572 years ago, in 1440, the year which we point to today as the common year in which, as we all know, Gutenberg is said to have brought the movable type to the western world, inaugurating an era that stretches farther into the past and future than McLuhan could justify; the proliferation of so much ambient text; insurrectionary coups on (and re-crystallizations of) genre—perceived amidst so much ambient light—enveloping this campus, just now. So, with that thought, and perhaps a new mascot, Nico Jenkins... NOTES “ Writing as Metadata Container, An Interview with Tan Lin ,” Chris Alexander, Kristen Gallagher, Danny Snelson, Gordon Tapper, Tan Lin, Jacket 2. January 20, 2012. To explore Lin’s notion of ambient textuality, plagiarism, and parallel, cross­platform publication in the 21st century, also see Lin’s sampled novel, “ The Patio and the Index ,” Triple Canopy 14, October 24, 2011, as well as the Edit event, organized at the Kelly Writers House at the University of Pennsylvania, April, 2010 . For a fascinating and fecund exploration of medieval plant­animal hybrids in relation to media ecology, see Whitney Trettien, “ Becoming Plant: Magnifying a Microhistory of Media Circuits in Nehemiah Grew’s Anatomy of Plants (1682) .” postmedieval 3.1 (2012):97. See also the crowd­review version of the essay. “ Genre Is Obsolete .” Compléments de Multitudes . 28 (2007). (shrink)

Castalia Communications' posters have been putting answers up on the walls for generations of musicians. The original Guitar poster is still the most complete guide to the guitar ever made. It contains a wealth of information for all guitar players, no matter what styles they play or their levels of musical accomplishment. Poster includes: Movable Chord & Scale Forms * Chord & Scale Table * Table of Keys * Notes of the Neck * Basic Chords * Open Tunings * (...) Circle of Fifths * Great Staff * and more! (shrink)

In _Animacies_, Mel Y. Chen draws on recent debates about sexuality, race, and affect to examine how matter that is considered insensate, immobile, or deathly animates cultural lives. Toward that end, Chen investigates the blurry division between the living and the dead, or that which is beyond the human or animal. Within the field of linguistics, animacy has been described variously as a quality of agency, awareness, mobility, sentience, or liveness. Chen turns to cognitive linguistics to stress how language habitually (...) differentiates the animate and the inanimate. Expanding this construct, Chen argues that animacy undergirds much that is pressing and indeed volatile in contemporary culture, from animal rights debates to biosecurity concerns. Chen's book is the first to bring the concept of animacy together with queer of color scholarship, critical animal studies, and disability theory. Through analyses of dehumanizing insults, the meanings of queerness, animal protagonists in recent Asian/American art and film, the lead in toys panic in 2007, and the social lives of environmental illness, _Animacies_ illuminates a hierarchical politics infused by race, sexuality, and ability. In this groundbreaking book, Chen rethinks the criteria governing agency and receptivity, health and toxicity, productivity and stillness—and demonstrates how attention to the affective charge of matter challenges commonsense orderings of the world. (shrink)

What do consumers do with their used clothing, books, and children’s toys? In this research, we introduce metaphoric “fresh start” messaging as an effective tactic to encourage consumers to engage in environmentally sustainable actions of donating used products for remanufacture or reuse. Drawing on conceptual metaphor theory and construal theory, we contrast metaphoric “fresh start” messaging with dominant “reduce waste” and “recycle” non-metaphoric environmental messages. Across six experimental studies, metaphoric “fresh start” messaging is more effective in increasing environmentally sustainable (...) actions, including used product donations and donation intentions. The effectiveness of metaphoric “fresh start” messaging is grounded in its activation of abstract thinking as “rebirth associations,” thoughts around new beginnings, renewal, and new life. We examine the effectiveness of metaphoric “fresh start” (vs. non-metaphoric environmental) messaging with the use of “fresh start” temporal landmarks (New Year’s Day and Earth Day) and find that metaphoric “fresh start” messaging, with or without these temporal landmarks, is more effective in triggering abstract thinking as “rebirth associations.” Our work substantiates the power of metaphoric “fresh start” messaging in encouraging consumers’ environmentally sustainable actions and has significant implications for the use of conceptual metaphors in marketing messages. (shrink)

This book is an expanded catalogue of an exhibit of mid‐fifteenth‐ through seventeenth‐century drawings, woodcuts, engravings, and etchings emphasizing hands as objects of study, as teaching tools, and as reflections of the human being. In addition, it contains an extended introduction by the curator of the exhibit, Claire Richter Sherman, and four essays by other contributors on pertinent topics: the hand as an instrument of the intellect, manual reckoning, music, and chiromancy . These essays, which precede the catalogue itself, are (...) only loosely connected to the exhibit, but each deals with its subject clearly and crisply.In his composition on the hand as a means of expression, Martin Kemp traces the legacy of ancient thought as reflected in the various anatomical drawings from Leonardo through the detailed Bidloo prints. Kemp concludes that the hand remains “a prime mechanism for personal expression—for the manifestation of individual character and identity.” In the following essay Sachiko Kusukawa provides a succinct sketch of finger numeration, noting that a system alluded to by ancient authors was fully described by the Venerable Bede in the eighth century. Bede also wrote of a method of using the hand as a mnemonic aid in determining the proper date for Easter and other movable feasts. Finger counting remained popular throughout the Middle Ages but gradually fell into disuse in the West by the sixteenth century and was merely quaint by the eighteenth. Kusukawa does not, unfortunately, suggest a reason for the decline, but the spread of computation with Arabic numerals was surely a major factor.Next, Susan Forscher Weiss discusses the use of the hand in teaching music theory and scales. Although there are some indications of this practice in antiquity, variations on a system developed in the eleventh century by Guido of Arezzo were used to teach music through the sixteenth century. Finally, Brain P. Copenhaver discusses the history of the pseudoscience chiromancy . Already in existence in antiquity, palmistry, and other forms of divination, flourished despite the prohibitions of the church. Copenhaver concludes with a witty discussion of the hard times on which palmistry has fallen recently in California.As for the catalogue, it consists of eighty‐three monochrome illustrations, each with an extensive commentary about the artist, the subject, and the reason the item was included in the exhibit. These descriptions are frequently fascinating short essays in themselves, enticing the reader to investigate further. The organization is thematic rather than chronological, with six divisions : “Reading the Writing on Hands,” “Handiwork of the Creator,” “Messengers of the World,” “Knowledge on Hand,” “Whole World in the Hand,” and “Guiding Hands.” The faults are minor. Although the themes of the divisions themselves are clearly described in Sherman's introduction, several of the illustrations seem to have only a general association with the stated theme. A few are filled with details too small to be legible in the necessary reduction of plates to fit the book. Most of the illustrations, however, are excellent examples of the main subject of the exhibit and are fascinating studies in their own right.Generally, this volume is a valuable work for anyone interested in the history of the hand in science and the arts. The four prefatory essays are particularly instructive, and the prints are reproduced clearly, with elaborate descriptions of their historical context and their meaning. Accordingly, this book is much more than merely a catalogue; it is an important work in its own right. Throughout, the substantial references to other works indicate directions for further study. One only regrets that the exhibit itself was shown in only two venues. (shrink)

This article explores the relationship between Churchill’s view of Britain as the home of freedom and his broader conception of Western/European civilization. It considers: first, his attitude to Classical learning and culture; second, his experiences of European travel; and third, his attitude to the Bolsheviks (as much as the Nazis) as the barbaric antithesis of civilization. It is argued that his vision of the European future was linked both to his own experiences of free and civilized travel in the Nineteenth (...) Century and a growing scepticism about the speedier and more globalized locomotion of the Twentieth. Moreover, Churchill’s late-life commitment to the virtues of Classical learning, about which he had previously been sceptical, was connected to his post-WWII enthusiasm for European unity. He believed that a united Europe could act as a vehicle for spiritual and cultural values passed down from the ancient world which themselves had become a part of the continent’s Christian heritage. Although it has rightly been pointed out that Churchill was not a conventional religious believer, he still conceived ‘Christendom’ as a significant geopolitical space (with flexible boundaries) and he saw it as the spiritual inheritor of Greece and Rome. (shrink)

In the summer of 1985 my children, Laura and Aurélien, then seven and five, knelt before a Barbie doll standing at the foot of a Ken doll on an imaginary cross. I remember vividly the scene because I took a picture of it. We were vacationing in Ticino and visiting the local churches, so I assumed that this play imitated the iconography to which they were being exposed. After reading Moshenska's Iconoclasm as Child's Play, however—whose cover shows “Josh McBig,” a (...) bearded version of Ken with outstretched arms and severed legs, photographed by the Jackson sisters as part of their “Doll Games” project—I have to wonder: was there not in this play an element of parody or blasphemy, of iconoclasm even, prompted perhaps by my working at the time on contemporary “vandalism”? Or, on the contrary, was there an element of devotion, of faith produced by mimicking the ritual? I am now faced with the conundrum of “the adult's imagination of the child's imagination,” to borrow a phrase (from Michael Taussig) that resonates through Moshenska's strange and fascinating book.Sometime in the 1530s, in Redcliffe Cross in Bristol, in the west of England, a preacher named Roger Edgeworth denounced what he regarded as a current upsurge of impiety and singled out as evidence that “many Images” taken from the dissolved monasteries “haue bene caryed abrod, and gyuen to children to playe wyth all,” so that when their parents ask them what it is that they are playing with, they make them laugh by answering: “I haue here myne ydoll.” “Ydoll” is a portmanteau word—as Lewis Carroll would have said—combining “doll” and “idol,” and Moshenska finds “scattered but definite evidence... that holy things were made into playthings with sufficient frequency for it to be considered an established and recognized part of iconoclastic practice in the early modern period.” He analyzes a few other examples, but Edgeworth's sermon supplies him with the primal scene of his book: he admits to “having been seduced by this passage..., caught up in its folds, brought back to it time and again,” so that Iconoclasm as Child's Play bears some structural resemblance to Henry James's novella The Turn of the Screw. Consistently—and at times obtrusively—self-reflective, it also wonders whether its approach can be regarded as “a kind of iconoclasm” or is intended “as a form of play”—lusus serius, naturally.Iconoclasm as Child's Play explores with great ingenuity the complex relationships between the Christian rite, iconoclasm, and child's play: a Byzantine empress enables her icons to survive the Quarrel of Images by calling them her “dolls”; Protestants trivialize the Roman Catholic ritual by comparing it to “trifles” and the “mere playing of children”; in The Praise of Folly, Erasmus embraces the “foolishness” of Christianity, centered on the figure of a broken body that renders attacks against its images and iconoclastic theory itself—as Bruno Latour has shown—deeply equivocal. A further turn of the screw takes place in the missionary and mercantile context of Malacca, where the Dutch settlers impute childishness both to the Portuguese Jesuits who preceded them and to the local religions. The notions of “fetish” and “fetishism,” as Moshenska shows, charge their targets with a misattribution to objects of agency, responsibility, and desires.The object of Moshenska's inquiry, which he claims less convincingly to include “art-things,” is “polysemic and polychronic,” and a leitmotif of the interpretations he proposes is the instability of the status and meaning of what is interpreted, be it a thing, an action, or a word. Among the many epistemic virtues he attributes to iconoclasm as child's play is the questioning of “the sharp... divisions between modern and premodern” implied by historical narratives such as Max Weber's account of the Reformation as the “expulsion of play” and “disenchantment” of the world. A long meditation on the temporality of play concludes by pointing out the “toy potential of all things” and referring to James Gibson's notion of “affordance.” Indeed, child's play, whatever adults want to do with it, often consists in multiplying and inventing affordances, and it is capable of turning not only “idols” into “dolls,” but also “dolls” into “idols.”. (shrink)

The quest -- Data -- Magic -- The sea as beloved -- Childhood -- Infinity -- Beaches -- The history of sea love -- The sea as koan -- Orenda -- The joy of ignorance -- Water -- Seeing the sea with the third eye -- The sea as miracle -- Music -- Water in love -- Aliveness -- The dark side -- The sea as toy -- The sea as healer -- Time and power.

This work examines the importance of distinguishing different levels of psychological explanation and the primacy of the computational level over implementational levels. The framework of levels allows us to recognize the role of formal theories as tools for specifying reasoning tasks at the computational level. It is shown that formal specifications of reasoning tasks allow us to analyze the complexity of the specified tasks and also serve to define reasoning competence and performance errors. Complexity analysis helps us identify tractable, practically (...) significant, subclasses of inference. The identification of these subclasses provides useful ante hoc and post hoc specifications for AI programming projects and psychological modeling. Formalization and complexity analysis also enable us to examine tradeoffs between tractability and range of applicability of implementations of a reasoning task. It is undesirable to obtain tractability at the expense of limiting the applicability of a cognitive mechanism to an unreal situation or a toy domain. It is argued that this undesirable result can be avoided if we examine the structure of the environment in which a mechanism is supposed to work and the environmental assumptions that make the computation tractable. Finally, it is demonstrated that many problems the human mind needs to solve in normal environments are indeed tractable and that the mind is equipped with adaptive mechanisms to solve them efficiently. This demonstration undermines a skeptical challenge to human rationality based on claims that many problems are intractable and that the capacity of the human mind is limited. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Global Justice, Christology and Christian Ethics by Lisa Sowle CahillKeith SokoGlobal Justice, Christology and Christian Ethics Lisa Sowle Cahill NEW YORK: CAMBRIDGE UNIVERSITY PRESS, 2013. 328 pp. £62.00 / £20.99Given this book's title and its cover photo of Catholic Relief Services workers in Kenya, I was expecting an examination of global issues with case studies. But chapter titles such as "Creation and Evil," "Kingdom of God," "Christ," "Spirit," (...) and "Cross" tipped me off that my original expectations were incorrect.Perhaps this is Cahill's summa, an attempt to bring together current understandings of major themes in Christian systematic theology and to show how those are tied to Christian ethics. As the series editor, Robin Gill, notes, as opposed to specific moral issues, Cahill's "aim now is to supply a sustained theological basis for global justice" (xi). Cahill herself explains that she hopes "to give biblical and theological reasons for Christian commitment to justice, to show why just action is necessarily a criterion of authentic Christian theology, and to give grounds for Christian hope that change in violent structures is really possible" (1). This is a bold attempt that I feel works on some levels. Cahill draws from key historical and current theologians, including feminist thinkers and marginalized groups.As an ethicist, much of this was a fascinating read in current systematic theology, while some seemed like an overview. I found the chapter on creation and evil somewhat of a plodding summary, yet the chapters on the Kingdom of God, Christ, and the Cross are interesting reads on current discussions in Christology. I would recommend this book for academics and graduate students. Selected sections might work well for undergrads. Sections such as "Historical Research on Jesus" could be great current summaries for undergraduates. [End Page 190]The chapter on the Spirit was interesting but problematic because Cahill's overall approach could err too strongly on the presence of the Spirit primarily in the church itself rather than the world. The chapter on the Cross illustrates interesting historical and current discussion on the necessity of Jesus' death. At this point (246), I feel we primarily have a summary of Christian systematic theology. She acknowledges this as well: "The chapters thus far have been primarily biblical and theological in orientation, but ethical ideals and standards have played a key part in readings of scripture, doctrines, and theologies" (247).Then the book seems to abruptly shift to traditional ethics. With the chapter title of "Nature," I was expecting an examination of environmental ethics but instead got a helpful read on the natural law and virtue ethics approach of Thomas Aquinas. This chapter includes examples of "War as a Test Case" and "Ecology." The final chapter, "Hope," speaks of the need for hope in working toward just and peaceful societies. It includes the longest and only real case study in the book, describing how "Liberian peace activist Leymah Gbowee won the Nobel Prize for spearheading a grassroots women's movement against the civil war" there (295). This is a fascinating account of women using their power and perseverance to overcome an unjust regime, noting that "women had become the 'toy of war'" (298). Finally, observing that "peacebuilding practices reflect the vision of Christian politics that has shaped the previous chapters of this project" (302), she offers seven key points that tie previous chapter topics to current Christian ethics. It seems like an abrupt ending, finishing on point seven and not offering an overall reflection on the book itself.Given this structure, I wish that it had been written as a text for undergrads because the systematic topics covered, and their tie to and conclusion on Christian ethics, would be a nice format for an introductory course. But Cahill's work has always been current, progressive, and concerned with global ethics and the common good. This book is no different, and it is a welcome part of the New Studies in Christian Ethics series.Keith SokoSaint Ambrose UniversityCopyright © 2018 Society of Christian Ethics... (shrink)

Toys to overcome time, distance, and gravity -- To fly like a bird, not float like a cloud -- Finding a place in the world -- A new continent -- A new age-old problem to solve -- The physics of miniature worlds -- Models of wings and models of the world -- A world made of facts.

In this article, I argue that Donna Haraway's figure of the cyborg needs to be reassessed and extricated from the many misunderstandings that surround it. First, I suggest that we consider her cyborg as an ethical concept. I propose that her cyborg can be productively placed within the ethical framework developed by Luce Irigaray, especially in relationship to her concept of the “interval between.” Second, I consider how Haraway's “cyborg writing” can be understood as embodied ethical writing, that is, as (...) a contemporary écriture feminine. I believe that this cyborgian “writing the body” offers us a way of both creating and understanding texts that think through ethics, bodies, aesthetics, and politics together as part of a vital and relevant contemporary feminist ethics of embodiment. I employ the term “poethics” as a useful way to describe such a practice. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Hypothesis on the Origin of TradeThe Exchange of Lives for Sacrifice and SexPablo Díaz-Morlán (bio)introductionThe primary objective of this study is to propose a hypothesis regarding the origin of trade that will help to solve the enigma of why human groups, normally each other's enemies, stopped exchanging blows in order to exchange things. The complexity of this crucial step forward in the relationships between hostile primitive groups can (...) be summarized as follows. In order for an exchange to take place, both parties must take part in it voluntarily because they see a mutual benefit in doing so. In turn, both parties should be aware that in order to obtain what interests them, which is closely guarded by the other party, in return, they must hand over what the other party is interested in. The perception of the interest of the other plays a crucial role in trade, both today and in its origins. The next step to be taken after a successful initial exchange was its consolidation, after it had been proved that it mutually benefited groups who had, until then, been enemies. Once established, this pacific exchange would have diversified considerably and its complexity would have increased significantly. An added [End Page 165] advantage, which was unexpected but real, was that its subsequent usefulness in curbing violence contributed to its growing expansion. The emergence of a comparative advantage in the groups that adopted trade would have guaranteed their future progress with respect to those that continued to systematically adopt violent conduct toward their neighbors.1Throughout this study, we will come across the old idea that the market prevents war. Without a doubt, trade and war between individuals and groups are closely connected, but the boundaries between them are fuzzy and their demarcation has proven elusive to researchers. Albert Hirschman studied the intellectual climate in the seventeenth and eighteenth centuries in favor of trade and the express declaration of Montesquieu that "peace is the natural effect of trade."2 Since then, this idea has gained ground among researchers of economics and other fields of knowledge. In L'enfer des choses and subsequent works, Jean-Pierre Dupuy and Paul Dumouchel defend that the economy (the market) is a substitute for the sacred, containing violence through violent means. The market contains violence in the two senses of the term contain: It holds it and curbs it; it is both the poison and the remedy. The consumer society makes all objects available to everyone and in this way deactivates mimetic rivalry, deferring violent conflicts. But it is only a temporary remedy. In the words of Girard, "It is always necessary to find new toys."3Following the path initiated by Dumouchel and Dupuy, with their criticism of the free market economy and their proposal for a new notion of scarcity, in his text The Empire of Value, André Orléan claims that money is at the origin of the market. My analysis alludes to a moment prior to that established by Orléan. He maintains that he does not contemplate the historical origin of money but instead uses the expression "the conceptual origin of money." In fact, when he defends the essential monetary base of the market, he refers to an already developed market system, that is, an economic system for which the operation is structured around the institution of the market.4 Mark R. Anspach also criticized the market system in his book À Charge de Revanche. This author proposes the transcending of the perverse logic of vengeance that defines both war and the market that transforms it into a positive reciprocity based on the gift. This constitutes a type of shift away from looking at the past (settling old accounts) to looking toward the future, embracing gratitude, which gives rise to the initial gesture of giving.5 This study analyzes a time prior to that examined by Orléan and Anspach. It was the moment of hominization, that is, mimicry, the subsequent violence that threatened the survival of human groups and, as we will seek to explain, the market as an institution that has accompanied humankind since its conformation as a species... (shrink)

Business Ethics, the Environment &Responsibility, Volume 34, Issue 1, Page 32-42, January 2025.

In his development of an ontology for mathematics in line with Fregean abstractionism, Øystein Linnebo proposes criteria of identity as a mechanism for reference. This proposed mechanism appears to conflict with Saul Kripke's historical theory of names. However, Linnebo, distinguishing between semantic and metasemantic domains, asserts that no real conflict exists; while Kripke's theory is semantic, his is metasemantic. This paper posits a counter-argument, contending that Linnebo's account, contrary to his claim, indeed conflicts with Kripke's historical theory of names. The (...) paper underscores that, in Kripke's framework, the reference relation transcends the individual, inhabiting a social domain. (shrink)

In contemporary artificial intelligence, the challenge is making intricate connectionist systems—comprising millions of parameters—more comprehensible, defensible, and rationally grounded. Two prevailing methodologies address this complexity. The inaugural approach amalgamates symbolic methodologies with connectionist paradigms, culminating in a hybrid system. This strategy systematizes extensive parameters within a limited framework of formal, symbolic rules. Conversely, the latter strategy remains staunchly connectionist, eschewing hybridity. Instead of internal transparency, it fabricates an external, transparent proxy system. This ancillary system’s mandate is elucidating the principal system’s (...) decisions, essentially approximating its outcomes. Leveraging natural language processing as our analytical lens, this paper elucidates both methodologies: the hybrid method is underscored by the compositional vector semantics, whereas the purely connectionist method evolves as a derivative of neural semantic parsers. This discourse extols the merits of the purely connectionist approach for its inherent flexibility and for a pivotal delineation: segregating the explanatory apparatus from the operational core, thereby rendering artificial intelligence systems reminiscent of human cognition. (shrink)