This paper develops a detailed reading of Deleuze's philosophical study of Bacon's triptychs in Francis Bacon: The Logic of Sensation. It examines his claims regarding their apparent non-narrative status, and explores the capacity of the triptychs to embody and express a spiritual sensation of the eternity of time.

At Timaeus 48e2–52d4 Timaeus sets out to establish that there are three principles or kinds underlying the creation of the cosmos, not just the two he acknowledged earlier. The way he does so is not simply by adding an account of the third kind to the accounts of being and becoming that he has already given. Rather he does so by showing how each of the three differs from the others. It has not been noticed how this procedure structures the (...) receptacle passage. The passage divides up into three parts, each punctuated by a list of the three kinds in a significant order. If we take X, Y and Z to stand for ‘becoming’, ‘being’ and ‘receptacle’ ’ respectively, the structure is X≠Z, X≠Y, Y≠Z. By showing the distinctness of each pair, Timaeus demonstrates that all the kinds are distinct and that they are indeed three in number. (shrink)

Reply by the current authors to the comments made by Jaak Panksepps , James.A. Russell and Louise Sundararajan on the original article by Peter Zachar . I consider the utility of the concept of natural kind, and explore difficulties in applying it reliably. I examine categorical and dimensional approaches to affect with respect to both scientific realism and nominalist approaches to classification. I agree that eliminativist analogies are beneficial but argue that they cannot fully account for the relationship between folk (...) and scientific psychology. I also claim that neither Panksepp's nor Russell's models are incommensurable with Sundararajn's deeper approach to affective science. I suggest that Panksepp's conclusions about the structure of primary affect may be incompatible with the dimensional model, which illustrates the limits of translational work. 2012 APA, all rights reserved). (shrink)

Influenced by James Bernat’s approach, the US President’s 1981 Commission for the Study of Ethical Problems in Medicine and Biomedical and Behavioural Research concluded that human death is an instant that separates the dying process from the cadaveric state. Death, as Bernat and the President’s Commission argue, cannot be a process. Because organisms cannot be both alive and dead, Bernat claims, the transition from one state to the other must be sudden and instantaneous. Since then, few have argued the opposite (...) notion that death is a process, and that the transition between living and perishing is not a discrete event. In this article we argue that human death is a process that comprises three distinct phases: dying (when the physiological responses against the shutdown of vital organs and systems are in an imminence of breaking down), decease (when events such as respiratory and cardiac arrest indicate the critical failure of vital organs or systems), and decay (the irreversible and accelerated systemic biological process of cellular death that eventually takes over the whole body). We also argue that human death differs from the ‘time of death’ indicated by death certificates, which is pointed out only to clinically and legally establish the irreversibility of the entire process. (shrink)

Namera ovog teksta je da prikaze tri medjusobno povezane projekcije savremene globalne krize postmodernog kapitalizma: diskurzivnu, sociolosku i kulturolosko-politicku. Diskurzivna projekcija promislja krizu postmodernog kapitalizma kroz perspektivu prestrukturacije paradigme diskursa, socioloska projekcija podaje interpretaciju paradigme postmodernih drustvenih ekonomija, dok kulturolosko-politicka promislja postmodernu formu?ideologije? svakodnevnog zivota, postavljajuci pitanje: da li imamo adekvatnu alternativu?

Introducing this issue’s triptych on algorithms and culture, this article argues that prevailing modes of analysis that focus on the prospects for algorithms “taking over” are no longer useful. It advocates the need for a new conceptual vocabulary, which recognizes that algorithmic and cultural reasoning processes are already enmeshed with each other. The introduction suggests a need for an enterprise of algorithmic epistemology attuned to the fine structure of the ways in which culture and code have interacted in the (...) past and continue to interact today. (shrink)

Analyzing Montaigne's triptych painting, “Of the Education of Children,” reveals a series of ever-morphing, Dorian Gray–like canvases that depict metaphor mutations through which Montaigne defined education by distinguishing between schooling a child into a learned man and educating him into an able, active, and gentle person. Montaigne used metaphor and metaphor clusters to image key points in his educational philosophy, advanced his argument by intertwining, transmuting, and inverting metaphors, and thereby drew and vividly painted his philosophy of how to (...) educate a person from cradle to coffin. Because the etymology and pronunciation of “essay” (from the French essai) support Montaigne's imaging and exploiting of this genre's creative potential, Virginia Worley begins by considering the term's etymology before positioning her analysis of Montaigne's work within metaphor research. She then examines the metaphors Montaigne used to paint the triptych word painting that embodies his philosophy of education: the meaning and value of educating in and for the art of living well. (shrink)

Amid the unrest, dislocation, and uncertainty of seventeenth-century Europe, readers seeking consolation and assurance turned to philosophical and scientific books that offered ways of conquering fears and training the mind—guidance for living a good life. _The Good Life in the Scientific Revolution_ presents a triptych showing how three key early modern scientists, René Descartes, Blaise Pascal, and Gottfried Leibniz, envisioned their new work as useful for cultivating virtue and for pursuing a good life. Their scientific and philosophical innovations stemmed (...) in part from their understanding of mathematics and science as cognitive and spiritual exercises that could create a truer mental and spiritual nobility. In portraying the rich contexts surrounding Descartes’ geometry, Pascal’s arithmetical triangle, and Leibniz’s calculus, Matthew L. Jones argues that this drive for moral therapeutics guided important developments of early modern philosophy and the Scientific Revolution. (shrink)

This book is the first academic work on the philosophy of engineering in China that reflects two decades of research. It puts forward a new thesis, namely that the core maxim in the philosophy of engineering is “I create, therefore I am,” which is radically different from the Cartesian maxim: “I think, therefore I am.” In addition, the book offers the first detailed portrait of the roots and evolution of the philosophy of engineering in China. The book begins by discussing (...) the triptych thesis of science, technology and engineering, which argues that there are a number of important distinctions between the three, e.g. scientific activities are chiefly based on discovery, while technological activities center on invention, and engineering activities focus on creation. Considering the latest developments in the philosophy of engineering, the author also analyzes engineering communities, engineering practice and a micro–meso–macro framework. In subsequent chapters, the author separately analyzes the three stages of engineering activities: planning, operating and using artifacts. In the closing chapter, two views on the philosophy of engineering are briefly explained. (shrink)

This essay introduces the second of three installments of an “elegiac symposium” in Common Knowledge on figures and concepts devalued in what Thomas Kuhn refers to as “paradigm shifts.” The essay suggests that Kuhn’s idea is provincial, in three specified senses, and then goes on to show how differently Japanese culture regards and manages major change. The author of this introduction, who is also the journal’s editor, begins by evaluating a triptych of 1895 by Toshikata as a response to (...) the seemingly revolutionary changes brought by the Meiji Restoration a generation before. He then goes on to discuss, as exemplary of Japanese attitudes toward change, the Shinto ritual during which the sacred shrines of Ise Jingū are torn down and rebuilt every twenty years. The essay concludes by explaining how the impetus for this ritual is also involved in less-exalted aspects of Japanese culture; for example, in the peculiarities of the market for ukiyo-e woodblock prints. Overall, this essay shows that Japanese ways of regarding concepts such as “old” and “new,” “continuity” and “change,” differ so radically from those presupposed in the West that the latter should be regarded as provincial rather than as universally valid. (shrink)

This volume juxtaposes philosophical and psychoanalytic speculation with literary and artistic commentary in order to approach a set of questions concerning the human relation to language. The multifold writing of the volume takes the form of a 'triptych' (following the model of works by Francis Bacon) rather than that of a thesis. The central section of the volume contains an extended dialogue on two textual passages from works by Maurice Blanchot and Jacques Lacan. The first part of the volume's (...) triptych focuses on the work of Francis Bacon, taking the motif of crucifixion as a path toward understanding his violent realism. The third part, which juxtaposes a dialogue with a critical essay, concerns the work of Salvatore Puglia. Through Bacon and Puglia, the author seeks another approach to a figural imperative at the limits of language. (shrink)

In 1956, as a young art critic, the Mexican philosopher Juliana González first encountered the paintings of the Spanish surrealist Remedios Varo at the artist’s breakthrough solo exhibition in Mexico City’s Galería Diana. González, greatly impressed, soon befriended the much older Varo and became a regular visitor to her studio, where they talked about her paintings and their shared intellectual interests in literature, psychoanalysis, and philosophy, a conversation that ended with Varo’s untimely death in 1963 at age 54. A few (...) years later, González contributed this essay-homage to the 1966 catalog Remedios Varo. She opens with an evocation of Varo’s masterpiece, the triptych To the Tower, Embroidering the Earth’s Mantle and The Escape —a magnet for viewers at the recent “Surrealism Beyond Borders” exhibition in New York and London—and finds in it keys to the artist’s life and to her attempts through art “to flee this inexorable order toward another reality.” González’s close examination of the contradictions and ambiguities in Varo’s artistry, of “her wise, poetic humor,” and of her quest “to comprehend the universe” remains an essential read almost 60 years later. The catalog in which it first appeared is long out of print, and, to the best of my knowledge, González’s essay has never been republished in Spanish, making the text that follows as much an act of recovery as it is a translation. (shrink)

An interview with the professor and philosopher Emmanuel Falque, in the context of his passage through the University of Coimbra, in the context of the Journée Internationale d’études philosophiques, which will take place on 26 May 2022, at the Faculty of Letters, entitled: «L’im‑pensable : Aux confins de la phénoménalité». In this interview, In this interview, our author coming to his entire philosophical project, from its origins to his most recent scientific production. The philosopher tells us about the provenance of (...) his thought through his main philosophical works and his existential interpretation and phenomenological reading of patristic and medieval philosophy as well as his debates with phenomenology and contemporary philosophy, particularly French philosophy. Here the epistemological and metaphysical question between philosophy and theology, literature and aesthetics, psychoanalysis and phenomenology is also addressed; the concept of «corps épandu», the corporeality or the embodiment as the cardinal point of human finitude and its incessant search to think our «humanity in common». Emmanuel Falque also presents us in this interview the genesis and the fundamental idea of Hors phénomène, as the central axis of his global philosophical project, but also as the revelation of a certain «turning point», inflexion or even of «radicalization» of his démarche, as well as its possible consequences to rethink aesthetics, ethics, politics and theology. The French thinker also talks to us here about the future of philosophy and the new horizons of his reflection (the new triptych...), about the authors and figures in the history of thought (philosophers or others) who have influenced and impacted his own philosophical‑existential path. Thus, the work of a thinker-philosopher is always an ex-position of himself to others, permanently thinking the world of life, the embodiment of reason in the folds of history. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ImagesSelected work, 2004–2017Goldschmied and Chiari Click for larger view View full resolutionIMAGE: Goldschmied & Chiari NYMPHEAS #37, 2011 Lambda print, 120 cm (diam.) Click for larger view View full resolutionIMAGE: Goldschmied & Chiari UNTITLED VIEW, 2017 Digital print on glass and glass mirror, 115 × 70 cm[End Page 49] Click for larger view View full resolutionGoldschmied & Chiari DUMP QUEEN #1 (triptych panels B and C), 2008 Diasec (...) print, 180 × 180 cm each[End Page 50] Click for larger view View full resolution[End Page 51] Click for larger view View full resolution[End Page 52] Click for larger view View full resolutionGoldschmied & Chiari GENEALOGY OF DAMNATIO MEMORIAE 1965–1981, 2009 Two carved living trees, 450 cm (height)Installation view (left); detail (right) Collection of MACRO (Museo d'Arte Contemporanea di Roma) Photo: Altrospazio[End Page 53] Click for larger view View full resolutionGoldschmied & Chiari NYMPHEAS #12, 2007 Lambda print, 125 × 333 cm Collection of Michele and Philippe Levy[End Page 55] Click for larger view View full resolutionIMAGE: Goldschmied & Chiari WELCOME, 2004 Sheetrock, plaster, cement, paint, 10 × 1.5 × 2.35 mt Collection Ugolini Photo: Gabriele Basilico[End Page 57]Sara Goldschmied and Eleonora Chiari are an artist duo from Italy, working with varied media: photography, video, performance, and installation. They work and live in Milan.Girls Just wanna have fun: Goldschmied & Chiari's Irreverent HumorHumor is not a trait for women, even less so for women artists in the Italian art world, where women's creativity has historically focused either on intimacy or on abstraction. In order to be taken into consideration by a male-dominated art scene, women artists working in the Italian peninsula have, since the '70s, consistently been obliged to be extremely serious about their work and its content. This trait can be traced all the way to the present with few exceptions, making Goldschmied & Chiari's (Sara Goldschmied and Eleonora Chiari) artistic practice exceptional in its constant employment of a peculiar, irreverent form of humor that functions as subliminal social critique.Humor used as a strategy to reconsider historical events in a post-ideological form of feminism develops in their work in witty installations that articulate a lucid critique of contemporary society and its relationship to history. Radically distancing themselves from the stereotype of authoritative and earnest feminism, Goldschmied & Chiari turn laughter into a metaphor for transformation. Their images trigger subtle political disruptions, allowing them to delve into the complex history of post-Cold War narratives, offering the public a new understanding of the relationships between the symbolic and the social.My first encounter with Goldschmied & Chiari's work (goldiechiari at the time) dates back to 2002 when I was working on a large survey show of emerging Italian art, exIT: Nuove geografie della creatività italiana, curated by Francesco Bonami. I was surprised by their work Senza titolo #17 that portrayed in a full-color photograph two girls dressed as if they were in boarding school, in plaid skirts and colored stockings, with long braids, sitting on the floor helping an elderly "grandmother" knitting in her armchair by making a hank of yarn. Looking closer, one sees that the girls were actually adolescents trapped in a parody that the artists further highlighted by installing in front of the photo what looked like a gigantic ball of yarn but was actually a sphere made of 1,500 cm of barbed wire (Sfera, 2002). The "tableau vivant" quality of the image made it both funny and critical, as visitors could relate as much to the stereotyped enactment of women's domestic roles as to the artists' rebellious desire. Instead of relegating their creativity to the domestic sphere, these "mischievous little girls" had wound a menacing barbed-wire ball that evoked Italy's recent past of social unrest and urban guerrillas. The assumption of ironic activist alter egos in one way referenced feminist practices of the '70s, yet at the same time seemed to mock the violence associated with protest and its success. [End Page 116]This type of atmosphere linked to city barricades and acts of protest is the inspiration for a large... (shrink)

Palace of the End is a dense triptych of monologues exploring alternative narratives - albeit based in real facts - behind the events and the headlines surrounding the war in Iraq. Borrowing its title from the former royal palace where Saddam Hussein’s torture chamber was located, Thompson’s docudrama is structured as a chain of monologues telling three real-life stories set in the context of the war in Iraq. The play conveys three unconventional interpretations of the realities of war: that (...) of a young American soldier convicted for her misconduct at Abu Ghraib, the prison that stands as one of the most controversial symbols of the American-led Iraq invasion; a British scientist and weapons inspector who denounces what he understands as the false arguments given by his country’s leaders for engaging in a distant war; and an Iraqi mother whose life was shattered firstly by Saddam Hussein’s authoritarian regime, and later by the American first Gulf War. Each story is an enthralling and gut-wrenching reflection of one of the contemporary world’s most studied and controversial conflicts. The play gives voice to three different kinds of war victims, insofar as their political subjectivities and their moral conundrums are concerned. (shrink)

Joyce's review of _Humanism, Philosophical Essays: A Collection of Essays on Pragmatism_, by Ferdinand Canning Scott Schiller, was written at a critical moment in the development of Joyce's fiction (before "The Sisters", before the essay "A Portrait of the Artist," and during Joyce's writing of his aesthetic theory. The review was published in the _Dublin Express_ on November 12, 1903. The diary entries at the end of _A Portrait of the Artist as a Young Man_ hint at the fallibilism and (...) reality of experience at the bedrock of Peircean semiotics and the revolutionary style of Joyce. Unfortunately the mocking style of Joyce's review may be why it has not received attention and perhaps why the review has not been included in a recent collection of Joyce's non-fiction writings. Joyce mocks Schiller’s style and thought, which is "prone to stylistic violations such as: vulgarity ... excessively ornate language ... pomposity ... exaggeration ... and avoiding the issue" as Joseph Porrovecchio states in a dissertation on Schiller's rhetoric. Schiller not only provoked Joyce to mock him, he also provoked Charles Peirce, the founder of pragmatism, to rename his philosophy "pragmaticism" adding an "ic" to it to differentiate it from Schiller’s use of the word. This essay shows Joyce knew about Charles Peirce, whose influence was extensive, continuing through Finnegans Wake, as discussed in Roy Benjamin’s The Triptych Vision: Joyce and Peirce. (shrink)

Kant’s theory of citizenship replaces the French revolutionary triptych of liberty, equality and fraternity with freedom (Freiheit), equality (Gleichheit) and civil self-sufficiency (Selbständigkeit). The interpretative question is what the third attribute adds to the first two: what does self-sufficiency add to free consent by juridical equals? This article argues that Selbständigkeit adds the idea of interdependent independence: the independent possession and use of citizens’ interdependent rightful powers. Kant thinks of the modern state as an organism whose members are agents (...) possessed of rightful (productive) powers, whose interdependent mode of exercise independently of unilateral permission matters for right. The empirical form of that ideal, according to Kant, is a republic of independent commodity producers. I will show that this reading of Selbständigkeit can consistently explain Kant’s disenfranchisement of women, wage labourers and landless farmers; that it offers a robust alternative to influential republican, libertarian and proprietarian interpretations of the Kantian state; and that it can buttress an original account of community as productive interdependence. (shrink)

The 1963 publication in English of Leo Strauss's study of Xenophon's dialogue, Hiero, or Tyrannicus, also contained a critical review of Strauss's interpretation by the French philosopher and civil servant, Alexandre Kojève, and a "Restatement" of his position by Strauss. This odd triptych, with a complex statement of the classical position on tyranny in the middle, Strauss's defense of classical philosophy on one side, and Kojève's defense of a radically historicist, revolutionary Hegel on the other, has now been re-edited (...) and re-published. Victor Gourevitch and Michael Roth have added all the extant letters between Strauss and Kojève written between 1932 and 1965, many of which continue and deepen the exchanges on Xenophon first published in French in 1954. The editors have also reviewed and corrected the translation of Xenophon, and re-translated Kojève's review.The Strauss-Kojève exchange raises several fundamental questions: the relationship between political philosophy and underlying assumptions about time and history ; the nature of our independence from, and dependence on, others in any satisfaction of desire; and the right way to understand the distinctive character of modern, as opposed to classical, political life and thought. I attempt to asses their respective positions on these and other issues, and argue that the nature of the debate between them is seriously and problematically constrained by the way Kojève's reading of Hegel frames much of the discussion. (shrink)

This essay analyzes the work of Paolo Prodi (1932–2016), which is characterised by a constant reflection on secularisation. As a democratic Catholic, he explored the relationship between the Roman Church and the modern world starting from the Council of Trent and from the dual figure of the pope as a temporal ruler and spiritual guide. His original contribution concerned the conflict between law and conscience: a problem that led him to design a triptych of books on the foundations of (...) the western world. He was influenced not only by Verfassungsgeschichte (German constitutional history), but also by Harold Berman. If for Weber the modern world was born from the Reformation, for Berman it was the ‘Gregorian revolution’ that changed the fate of Latin Europe. For Prodi, too, the medieval conflict between canon and civil law introduced a peculiar structure in Europe that would last until the triumph of the nation states and the so-called ‘political religions’. In his three books (the first dedicated to the oath, the second to justice, the last to economics), Prodi placed at the centre of his analysis the notion of forum; the history of moral theology and casuistry and the relationship between penitence and justice. (shrink)

I’ve just discovered that the Abstract painting has similarities not only with the micro-cosmos (as it is stated in the book “Man and His Symbol” by dr. CG Jung) but also, which is very astonishing, with the macro-Cosmos. Shortly, Hilma af Klint painted in her “The Ten Largest” symbols that are amazingly similar with modern astro-physics pictures that were made, many decades later, by the Hubble Telescope (and were not available for human eyes on the af Klint times). The research (...) aim is to prove that the human mind capacity for producing symbols with connection to the future science (see the known example of chemist August Kekule and the benzene formula) is bigger than it was thought. The research method is based on personal specific skills that are focused on deciphering scientifical and cultural symbols. Based on my technique that I developed in a couple of years, I managed to publish articles like “Fibonacci Numbers in Cucuteni Culture” on the “History Files” portal or “Mathematical equation, hidden in Brâncusi’s Triptych from Târgu-Jiu”. But my discovery about Hilma af Klint is the greatest. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Establishment Hypothesis:Toward a More Integrated Theology of Holy OrdersDominic CerratoPreliminary ConsiderationsUnderstanding the ProblemThough the Sacrament of Holy Orders is a single sacrament consisting of three degrees, throughout its theological development, much of the focus has been on that of the priesthood. By priesthood I mean the two degrees that are sacerdotal in nature, the episcopate and the presbyterate. Given the growing understanding of the Eucharist in the Tradition, (...) and its intrinsic connection to the priesthood as its exclusive agent, this sacerdotal emphasis was a natural and organic development.1 Nonetheless, while revealing much, this sacerdocentrism, along with the adoption of the cursus honorum,2 had the unintended effect of obscuring the third level of the hierarchy, the diaconate.3 While the diaconate as an ancient order (Acts 6:1–6) would eventually be numbered among the major orders, being ordained non ad sacerdotium sed ad ministerium episcopi4 meant that deacons were not, in the same sense, related to the Eucharist as were priests. Consequently, much of [End Page 1275] what passed for diaconal theology is its liturgical role and charitable work among the poor. As observed by the Benedictine theologian Dom Augustinus Kerkvoorde just prior to the restoration of the diaconate, "there is, as far as we know, no independent theology of the diaconate. The number of authors and works should not delude us. None of them deals with the diaconate exclusively, say, to help deacons correctly understand and exercise their function in the Church."5 He goes on to characterize diaconal theology as fragments strewn throughout the various writings on orders in general, the priesthood, and the sacraments.6As later noted by the 2002 International Theological Commission on the Diaconate, this lack can be clearly observed in both the conciliar and post-conciliar documents on the diaconate. Of these, the commission wrote, "with reference to the pastoral priorities and in what concerns objective doctrinal difficulties, the Council texts show diversity of theological nuances which it is quite hard to harmonize."7 In a similar manner, with regard to the 1983 revision of the Code of Canon Law, the American canonist James Provost commented that there is:still no coherent treatment of the permanent deacons as a "proper and permanent rank in the hierarchy" comparable to the treatment given presbyters and bishops in the code; rather they are treated as exceptions to the norms for presbyters.8As a result, both before and after the Second Vatican Council, theological consideration of Holy Orders focused almost exclusively on the episcopate and presbyterate.9The recognition of a deficient theological development in the diaconate does not mean that there has been no progress over the centuries. There are, as Kerkvoorde observes, fragments throughout the Tradition up to and beyond the Vatican II. Moreover, there are some who have proposed new [End Page 1276] ways of envisioning the diaconate grounded in these very same fragments.10 While these have advanced our understanding of the diaconate as an order, missing is precisely how the three degrees relate to one another and how this unity is grounded.As the Catechism of the Catholic Church (CCC) points out, Holy Orders is a single sacrament consisting of three degrees. If one degree, say the diaconate, is theologically impoverished, then the unity of Holy Orders suffers from this same deficiency. Put another way, the triune nature of this sacrament means that its unity is dependent upon the three degrees and their relationship to one another. Commenting on this dependency, the English Dominican scholar Aidan Nichols observes: "The priesthood cannot be approached in isolation from the episcopate and the diaconate."11 To better illustrate the relationship of the three degrees to the intelligibility of Holy Orders, he goes on to observe:To the ordinary Catholic Christian, the priesthood is the order with which he or she is most familiar, and understandably so.... In this sense, it is the central image of the triptych: yet the central panel cannot be appreciated without those which flank it. We need the whole picture. 12The image of the triptych to describe the unity and diversity of Holy Orders is quite useful. As a work... (shrink)

In the summer and autumn of 2015, I met with activists in Athens and Thessaloniki, with the aim of collaboratively producing a conceptual mapping of LGBTQ social movement discourses. My point of entry was the use and signification of “racism” in LGBTQ discourses (and more generally in common parlance in Greek) as a superordinate or “umbrella” concept that includes “homophobic” and “transphobic” but also “misogynist,” “ageist,” “ableist,” and class- or status-based prejudice, discrimination, and oppression, in addition to that, of course, (...) based on “race” or “ethnicity.” As a political theorist whose work over the past decade has focused on the concept of intersectionality, its origins in US Black feminist thought, and its transnational travel beyond the Anglo-American context in which it originated, I wanted to examine how this use of “racism” relates to the concept of “intersectionality” which is now emergent in the Greek social movement context, in particular in LGBTQ and feminist discourses, yet which has not been engaged by academics, neither in the nascent and struggling field of gender studies, nor in legal theory. How do LGBTQ activists define the referential scope and semantic contents of these concepts, based on what knowledges grounded in lived experiences, and on what kinds of social movement strategies? How do these concepts and their theoretical underpinnings reflect or direct activists’ political resistance to the widespread violence that they identify within and on the borders of Greek society? Do they enable coalition-building with other minoritised groups targeted by institutional and interpersonal “racism”? In approaching these questions, I wanted to trace the ways in which my interlocutors produce theories, through which social conditions of racial and heteropatriarchal power are made visible, are explained, and are contested—conditions that they identify with the institutions—“nation, religion, and family”—that make up what they termed the “triptych” or the “syntax of power.” What emerged in my conversations with activists were vivid accounts of the atmospheric violence facing LGBTQ people in Greece, its institutional and interpersonal manifestations, both banal and extreme. Indeed, many activists defined violence as the quintessence of oppression as such, and as what links various systems or forms of oppression—or, “racisms”—to one another. In what follows, I draw on these conversations not to answer the questions with which I set out, but, primarily, those that my interlocutors generated, which concern, ultimately, the unlivability of queer and trans lives—the violence LGBTQ people face and resist, particularly at the intersections of youth, poverty, disability, rurality, racialisation, criminalisation, and patriarchy. (shrink)

The critical concept of commodity fetishism and its developed forms of money and capital fetishism ground the contemporary shape of social life under the rule of capital. This chapter offers a novel interpretation based on Marx’s Capital, elucidating the oft-overlooked interconnection of the fetishism triptych that accounts for domination, as well as the normalisation of exploitation as experienced in capitalist life. In commodity fetishism, a market-based pseudo-social ‘thing-hood’ preponderates over commodity owners and producers, concealing the double inversion that constitutes (...) the ‘world of commodities’. Money’s fetish form makes it appear as the ‘sovereign’ of the commodity world, possessing the exclusive social power to establish the value hierarchy of all persons and objects relativised in regard to it. The universal condition of monetisation of the life process in bourgeois society necessitates the adoption of the competition principle, leading to the generalised formation of a commodity self, shaped by competitive individualism. The social separation of the great mass of commodity producers from the means of production and the consequent need to sell themselves as commodities in the form of wage labour constitutes the social basis of capital fetishism, through which the process of capital ‘valorisation’ is enfolded within the process of use value production, disappearing into its socio-material character and thus naturalised. Capital fetishism dissimulates the production of surplus value by social labour and constructs the harmonised appearance of an equitable contribution of ‘factors of production’ in the sharing of the surplus product, thereby obscuring distributional struggles over it. Such antagonisms over surplus undergird the logic of neoliberal capitalism’s two-pronged strategy, pursuing ‘deregulation of labour relations’ on the one hand and dismantling the welfare state on the other. (shrink)

Palace of the End is a dense triptych of monologues exploring alternative narratives - albeit based in real facts - behind the events and the headlines surrounding the war in Iraq. Borrowing its title from the former royal palace where Saddam Hussein’s torture chamber was located, Thompson’s docudrama is structured as a chain of monologues telling three real-life stories set in the context of the war in Iraq. The play conveys three unconventional interpretations of the realities of war: that (...) of a young American soldier convicted for her misconduct at Abu Ghraib, the prison that stands as one of the most controversial symbols of the American-led Iraq invasion; a British scientist and weapons inspector who denounces what he understands as the false arguments given by his country’s leaders for engaging in a distant war; and an Iraqi mother whose life was shattered firstly by Saddam Hussein’s authoritarian regime, and later by the American first Gulf War. Each story is an enthralling and gut-wrenching reflection of one of the contemporary world’s most studied and controversial conflicts. The play gives voice to three different kinds of war victims, insofar as their political subjectivities and their moral conundrums are concerned. (shrink)

In the second part of the Triptych, Mystique non-philosophique à l'usage des contemporains, François Laruelle puts to the test of "non-philosophy" the field of phenomena that are termed as "religious" whether Christian, Judaic or Gnostic. Non-philosophical mystique is born in the spirit of heresy rather than sanctity. It springs from the effort to join Man with himself rather than with God founding the radical cause of the new Logos in the One-in-One. Man is emptied from his identity, becomes a (...) Christ-subject who comes to fight for the World. Future mystique ends as the amorous knowledge, an erotic a priori constitutive of the mystical subject: it is not an illusory transformation of Man or a revision of his relation to God or the World. The final aim – as I will try to show – is to transfigure the heretical experience, mystical as well as erotic of the human such as it becomes capable of a form of unison with itself as unique Other. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The English Polydaedali:How Gabriel Harvey Read Late Tudor LondonNicholas PopperHarvey and GauricoIn 1590 Gabriel Harvey read his copy of Luca Gaurico's 1552 Tractatus Astrologicus, a collection of genitures and commentaries for cities and individuals.1 Harvey had spent the previous twenty-five years at Oxford and Cambridge, mastering Greek and Latin, earning renown as a rhetorician, and promoting English letters. He was a well-known partisan of the French Calvinist Peter Ramus, (...) whose works on curriculum reform had sparked vicious [End Page 351] controversies in the English universities. But Harvey read Gaurico far removed from the schools where he had acquired fame and notoriety as an orator and poet. He had recently relocated to London, where he daily faced a dense, active city unlike his native Saffron Walden and the university towns. Nevertheless he read as he always had, carefully recording his reactions in the margins of the printed text, filling blank spaces with his own commentaries on the subjects presented by Gaurico. The notes disclose an experience of reading that intervened in contemporary debates regarding technology, astrology and utility.2 They also place Harvey among a group of scholars in London in the 1590s, such as Francis Bacon and Hugh Plat, who were examining the benefits local artisans might offer the commonwealth and reconsidering the intellectual status of craft knowledge.Harvey read and annotated Gaurico on several occasions, but the particular strain of notes that I will follow, united by a common ink and hand, engages the learning and erudition of Gaurico's subjects.3 Concentrated almost [End Page 352] exclusively in Book Four, which discussed learned men, these annotations evaluate the poets, philosophers, philologists, and others whom Gaurico had canonized as especially learned.There are only spare annotations prior to Book Four. On the title page of Book Two, devoted to churchmen, Harvey observes the quality of the individuals Gaurico presented and details his own method of evaluation:The most excellent Exemplars of this century [are] in Gaurico, and Cardano: Giovio, and Guiccardini. There are as many of the wisest men as of the greatest actors. Still others live, whether inferior, equal, or superior. And it is of interest to every skillful artificer, to know those most outstanding in their class, and the most celebrated professors of all. Certainly it is very profitable to observe exquisitely the most perfect artificers either of the world or of neighboring nations, or at least of your own people, and to consider with most cunning reason what it is, where it comes from, and what is most excellent. But seriously, and solidly, and always to the point, seeing that singular things are efficacious and are useful to polytechnoscopy. It is judicious to avoid all trivial detail, and to consider only the most pregnant theorists and practitioners of operating.4The notion of a sophisticated form of active knowledge labeled "polytechnoscopy" is the most striking element of this passage. This term seems to have been Harvey's own invention, with no direct precedents; nor was it adopted or used by others after him.Harvey repeatedly referred to polytechnoscopy in his notes. A carefully designed triptych annotation on the title page of Book Four clarifies it as a category uniting practice and knowledge. To the left Harvey wrote, "it is my task to observe the most excellent examples of this age which are useful for polytechnoscopy." On the right, "a polytechnic, polymechanic, polydaedalic, and almost panepistemic book; and likewise sufficiently polychristian. For philologists should be skimmed through; while polytechnics should be examined closely; as I did not only in the Lives of Giovio, but also in those of [End Page 353] Laertius, Eunapius, Philostratus, and others."5 The related Greek descriptors "polymechanic" and "polydaedalic" shed further light on polytechnoscopy. This constellation of terms refers to a method of garnering information by deploying technical knowledge. While not a systematic discipline, its practices—active applicability, craft expertise, observation of experience—constitute a significant realm of learning.In the central panel of the triptych, Harvey notes:[I] compared [this] to Giovio's Elegies of Learned Men. Give me the best man outdoors, and his image at home. For even true life is... (shrink)

Computation and Simulation have always played a role in economics – whether it be pure economic theory or any variant of applied, especially policy-oriented, macro- and microeconomics or what has increasingly come to be called empirical or experimental economics. Computations and simulations are also intrinsically dynamic. This triptych – computation, simulation and dynamic – is given natural foundations, mainly as a result of developments in the mathematics underpinnings in the potentials of computing, using digital technology. A running theme in (...) this essay is the recognition that, increasingly, the development of economic theory seems to go hand in hand with advances in the theory and practice of computing, which is, in turn, a catalyst for the move away from too much reliance on any kind of mathematics for the formalisation of economic entities that is inconsistent with the mathematical, methodological and epistemological foundations of the theory of computation. (shrink)

Volume 20 of _The Annual of Psychoanalysis_ ably traverses the analytic canvas with sections on "Theoretical Studies," "Clinical Studies," "Applied Psychoanalysis," and "Psychoanalysis and Philosophy." The first section begins with Arnold Modell's probing consideration of the paradoxical nature of the self, provocatively discussed with John Gedo. Modell focuses on the fact that the self is simultaneously public and private, dependent and autonomous. Alice Rosen Soref next explores innate motivation and self-protective regulatory processes from the standpoint of recent infancy research; her (...) notion of a lifelong two-track model of self and relatedness helps establish a normative baseline that can anchor psychoanalytic theory. George Mahl makes an interesting contribution to Freud studies in the form of a new chronology of Freud's works and the number of pages they contain in the _Standard Edition_. The section ends with Robert Galatzer-Levy and Mayer Gruber's "quasi-experiment about disgust." They test and disconfirm the hypothesis that disgust is an affective response to an abstract sense of disorder rather than a transformation of a concrete, bodily experience by systematically exploring references to concepts of disgust in the Old Testament. Section II, on "Clinical Studies," opens with Henry Smith's fascinating elaboration of Freud's notion of "screen memories" into a theory of screening that denotes the general process by which mental content is organized. He illustrates his thesis by invoking the "screen language" employed by a patient throughout her analysis. Ernest Wolf next explores the tension between being a "scientist" and a "healer" in Freud and his followers to illuminate struggles within the psychoanalytic movement and to help account for current attitudes toward abstinence, neutrality, and gratification. Kenneth Newman focuses on this same triptych of technical precepts. He argues, in the spirit of Winnicott and Kohut, that analysts can only alter the hostile internal environments of their patients by becoming "usable" objects and cultivating an optimally responsive analytic environment. A particularly rich collection of applied analytic studies forms Section III of the volume. Individual chapters focus on the childhood of Vincent van Gogh ; the psychological healing process depicted in George Eliot's _Silas Marner_ ; the self-psychological meaning of "blood brotherhood" in D. H. Lawrence's _Women in Love_ ; ecstatic mysticism in the 19th-century Indian saint Sri Ramakrishna ; the disintegration of the Tyrone family in Eugene O'Neill's _Long Day's Journey into Night_ ; and the nature and analytic significance of Freud's aesthetic response to Michelangelo's _Moses_. Finally, in Section IV, George Brook examines the commonsense psychological knowledge of everyday life, that is, the nonpsychoanalytic knowledge on which much of clinical psychoanalysis ultimately depends. Taken together, the four sections of Volume 20 of _The Annual_ offer an exciting overview of contemporary psychoanalysis. Section I highlights recent trends in psychoanalytic theorizing and the testing of psychoanalytic propositions; Section II explores the relevance of new theoretical perspectives to clinical work; Section III demonstrates the applicability of these new perspectives to psychobiographical and literary analysis; and Section IV provocatively explores the points of connection between everyday ideas and attitudes and the tenets of psychoanalytic practice. (shrink)

Some of the challenges in Sanders et al. (this issue) can be aptly illustrated by means of charity nudges, that is, nudges designed to increase charitable donations. These nudges raise many ethical questions. First, Oxfam’s triptychs with suggested donations are designed to increase giving. If successful, do our actions match ex ante or ex post preferences? Does this make a difference to the autonomy of the donor? Second, the Behavioural Insights Team conducted experiments using social networks to nudge people to (...) give more. Do these appeals steer clear of exploiting power relations? Do they respect boundaries of privacy? Third, in an online campaign by Kiva, donors are asked to contribute directly to personalized initiatives. In many cases, the initiative has already been funded and donor money is funnelled to a new cause. Is such a “pre-disbursal” arrangement truthful and true to purpose as a social business model? (shrink)

The article deals with several issues related to the concept of happiness that emerge from Plato’s triptych: the Gorgias, the Republic and the Laws. The focus is on (1) the question of the alleged overcoming of the eudaimonistic imperative, i.e., natural human pursuit of happiness, in the didactic message of the Republic; (2) the question of to what extent the path of cognition ending in the contemplation of the perfect being is at the same time a strive for the (...) supreme happiness; (3) the dilemma of choosing between a reductive and a cumulative model of complete satisfaction in human life; and finally (4) the problem of affiliative condi­tions of full life satisfaction. (shrink)

In the context of a French school in crisis, the article defends a strong idea: the professional exercise, as degraded and dented as it may be, can only « hold » if there is a link between the teacher and his job that goes far beyond the contingencies of daily work. It is this link, which remains despite everything, that we will identify as the « happiness of the profession » of the primary school teacher. The problematization mobilizes the reflections (...) of Kant and Osty to circumscribe the object by positioning happiness on the side of the profession (and not on the side of the work done). It is extended by a theorization of the « happiness of the profession », which relies on Freire and Jullien to define it as a potentiality, an inaccessible promise. It is then operationalized by the research on similar notions in the case of teachers, which is translated into the methodological choice of a questionnaire. The questionnaire was administered by the networks and included a quantitative component (an assessment of the potential of 45 concrete situations for « job happiness ») and a qualitative component (an open and spontaneous definition written by the respondents). The results of the survey develop the 10 components of « job happiness » (quantitative approach) (quantitative approach) and the triptych of the definition of this happiness (qualitative approach). (shrink)

Joas revisits certain moments in the reception of his work, specifies the overall project to which The Power of the Sacred belongs - conceived as the first part of a triptych - and regrets that the live discussion could not take place due to the pandemic. He agrees with the overall perspective and the content of what Tétaz puts forward in the introduction to the dossier. He expresses his interest in Gonzalez's text, while stressing that what Gonzalez points out (...) is not, for him, a central issue. At the same time, he specifies that his field of work is historical sociology - or a historiography of religions informed by sociology - which is also, as such, an empirical research, and returns to the Royce and Durkheim comparison to mark some inflections to what Gonzalez writes. Joas then turns to Gisel's contribution, underlining the part of misunderstandings, but also the part of real differences, while reaffirming his objective: to put forward a history of moral universalism. Joas goes on to comment on Scholl's text, regretting that the author treats “disenchantment” and “secularization” in the same way, which are, for him, two clearly distinct fields of phenomena. As for Scholl's thesis - that secularisation has also been implemented by religious actors - Joas approves of it, especially as he has defended it elsewhere. Finally, Joas addresses Ullern's text, while emphasizing what the author called "not reading", which, in turn, makes a confrontation on the substance fail. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Séduire, C'est ToutFrancis Bacon, Lucian Freud, and the Struggle of InfluencePaul Sharma (bio)One of the painter Francis Bacon's favorite bon mots was "séduire, c'est tout."1 With such a worldview, it is unsurprising that Bacon's work and life can be understood using René Girard's insights regarding the desire to influence or be influenced by the envied model, be it a person, a crowd, or even a country, resulting in mimetic (...) forces that unleash violence.This piece looks at Bacon's life and how the mimetic forces he experienced and intuitively understood are displayed in his painting. It examines the social and personal forces at play in four key works: Three Studies for Figures at the Base of a Crucifixion (1944), Head VI (1949), Two Figures (1953), and Three Studies of Lucian Freud (1969), beginning with the work that put Bacon on the artistic map at the end of World War II, to the triptych that foretold the breakup of the long friendship between Bacon and Lucian Freud. [End Page 205]1943: THE BLITZ ENDSBy the summer of 1943, the dust caused by the Luftwaffe bombing raid was mostly gone from the air in London, allowing the asthmatic Francis Bacon to return to South Kensington. The same summer, Ralph Vaughan Williams's Fifth Symphony, one of the last great pieces of English neo-romanticism and arguably his greatest work, premiered at the nearby Royal Albert Hall.It is strange to think that at the same time Vaughan Williams's Fifth was being played, down the road in Cromwell Place, the preparatory ground was being laid by Francis Bacon for Three Studies for Figures at the Base of a Crucifixion, a work that went well beyond any idea of English nostalgia and of which John Russell wrote, "There was English art before the Three Studies and there was English art after."2Before looking at the work in more detail, it is worth examining its inception, as it follows a pattern outlined by René Girard, that of a conversion in which there is a profound change in beliefs and values. In the same way that diamonds are formed out of coal if there is high enough pressure, Girard notes that "an experience of demystification, if radical enough, is very close to an experience of conversion."3Bacon's conversion occurred at the latter end of 1940 to 1942, a period he never discussed. He retreated to the country sixty miles outside London, to recover from his asthma and very likely from some form of breakdown, following a period as an air raid warden in London.The formula for each conversion is unique, and for Bacon, the catalyst bringing his experiences of art, the Blitz, his view of society, and his personal history together into a single style was the recently issued W. B. Stanford's Aeschylus in His Style: A Study in Language and Personality. A clue to Stanford's importance is Bacon later recalling that "some of the images are so startlingly beautiful in there and so exciting I go on reading it over and over again."4Stanford's insight into the use of a combination of a highly expressive and at the same time formal style in Aeschylus enabled Bacon to gather his influences and preoccupations of the previous decade to create his vision and, arguably, his first fully impactful works. (It could be said that the first work of real originality was the 1933 painting Crucifixion (Figure 1), a protype of the 1944 triptych, being of sufficient force to be included in Herbert Read's Art Now review of the same year).Stanford argued that the Greek playwright's "style was not of the unobtrusive, subtly modulated kind that escapes criticism," adding, "One is reminded of the strained, almost grotesque figures of a painting by El Greco … and the [End Page 206] Click for larger view View full resolutionFigure 1.Francis Bacon, Crucifixion, 1933. © The Estate of Francis Bacon. All rights reserved, DACS/Artimage 2023. Photo: Prudence Cuming Associates Ltd.reason for both of these Greeks' extraordinary style is similar—the tension between an original and... (shrink)

Polanyi analyzes the historical deployment of a “formal” economic science starting from the “market-scarcity-instrumental rationality triptych.” This triptych, and the knowledge associated with it, is shown to be more than merely a “substantial” economic science’s interest in the triptych “need-nature-institution.” While we must agree with Polanyi that economism is ill-suited to the first triptych, we hesitate to accept his suggested alternative, a heterogeneous mixture of naturalism and institutionalism, essentialism and historicism.

In lieu of an abstract, here is a brief excerpt of the content:564 BOOK REVIEWS illuminating re-examination of the category of inwardness in Kierkegaard 's writings. The majority of the essays in the hook are similarly suggestive and will prove rewarding and interesting reading-they echo the aim and gift, share by Wittgenstein and Kierkegaard, of "making their readers thinkers" (xvi). University of Virginia Charlottesville, Virginia M. JAMIE FERREIRA Let the Future Come. By WILFRED DESAN. Washington, D.C.: Georgetown University Press, 1987. (...) Pp. 152. $9.95 (paper). Toward a lust Social Order. By DEREK L. PHILLIPS. Princeton: Princeton University Press, 1986. Pp. 434. $12.50. After several decades of doldrum thinking, social ethics, i.e., personal and political ethics done on the same canvas, is undergoing a welcome renewal. Perhaps spurred by the growing awareness of the massive problems of our tiny planet, thinkers from diverse areas are beginning to offer what the social sciences call "grand theory." Both Desan and Phillips make valuable contributions to this project and represent the best levels of refleotion from the teleological and deontological perspectives respectively. Desan's essay is the final volume of three, hut may be read independently of the earlier studies, discussed by this reviewer in 1973 in The Thomist (Vol. 37, pp. 249-255). If Desan has a core concept for his thinking it is planetary peace and the human individual as gardener and guardian of this admittedly future state of affairs. Phillips, critically inheriting the Anglo-American rights tradition, focuses on the person, not the planet, on the distinctiveness of the part, not on Desan's projeotion of a whole humanum composed of parts (each a member of the human community yet only a member). The metaphysical background here, then, is the whole-of-parts versus parts·of-awhole dialectic. Read together the two works would truly stimulate a graduate ethics seminar, for we see the renewal of ethical,thinking against some classical ontological themes. For Desan, the person is homo custos, self-aware becoming otheraware ; for Phillips, the person is the source and enactor of rights. He offers heavy criticism of the virtue/community school's orientation towards the common good of society, with subsidiary private rights located within that context. This is the weakest part of his massive survey of recent ethics. Phillips simply cannot see the reality of human community, which is exactly what Desan is determined to project as BOOK REVIEWS 565 our only possible future. Desan's combination of Thomism and Hegel stands to the far side of Phillips's Lockean stress on private rights as the base criterion for any future just public order. We will look first at Desan's final effort to summarize a notion of " planetary " existence that will be valid both individually and communally and then turn to Phillips's detailed, Rawls-like approach. Desan's argument against the primacy of the individual over the world community was carefully nuanced in his two earlier volumes; he has no intention of denigrating the person in order to celebrate the planet, and he is no partisan of the " deep ecology " effort to elevate nature above the sub-category human nature. His planet is social and political, a cosmic existent dependent upon specifically human activitynot individual activity at either the personal or national levels but activity at the level of the total earth population. He is not so much detailing yet another agenda for a New World Order as he is striving to raise modern individualized consciousness to a height where the reality of interdependency is rationally undeniable. Desan's appreciative critique of Husserl's individualized consciousness in his first volume, A Noetic Prelude to a United World, displayed the plight of personalized consciousness as against planetary awareness. In this final panel of his triptych, he synthesizes that critique: "Where the individual Observer is the magister, there are as many worlds as there are magistri." This privatized existence is not to be denied but rather seen for what it is: a limit instead of a secure startpoint for either ethical or epistemological theory. His second volume stressed that our very awareness of this limitation gives rise, perhaps in a Hegelian dialectic, to potential for participation in global existence. To resist this cooperative... (shrink)