Drawing on my experiences at a teaching-focused university, I show how locating the health humanities in first-year or introductory composition courses improves learning and offers an economical, flexible, and far-reaching approach to bringing a health humanities education to all baccalaureate-level learners, regardless of whether they aspire to careers in the health professions. In terms of improving learning, health humanities composition courses support the disciplinary aims of both fields. Accessible, relevant issues in the health humanities, such as interventions in health debates (...) or representations of illness and healthcare settings, nourish the cognitive and social conditions needed to develop college-level writing skills. The health humanities’ emphases on interdisciplinarity and suspending judgment also inform students’ writing abilities. Composition trains students to write rhetorically by considering purpose, context, genre, mode, and other factors when addressing an audience. This approach to writing helps pre-health humanists communicate intentionally and compassionately about health topics as well as the larger issues they call into question. Because students enroll in health humanities composition courses at an early, formative moment in their studies, they are poised to carry or “transfer” their knowledge to other courses, including those that might prepare them for the workforce. (shrink)

Ben Segal, our fiction curator, presents interviews with Maggie Nelson and Evan Lavender-Smith as well as "outtakes" from their books Bluets and From Old Notebooks. The authors discuss working with fragments, taxonomy, and narratology.

Time has multiple aspects and is difficult to define as one unique entity, which therefore led to multiple interpretations in physics and philosophy. However, if the perception of time is considered as a composite time concept, it can be decomposed into basic invariable components for the perception of progressive and support-fixed time and into secondary components with possible association to unit-defined time or tense. Progressive time corresponds to Bergson’s definition of duration without boundaries, which cannot be divided for measurements. (...) Time periods are already lying in the past and fixed on different kinds of support. The human memory is the first automatic support, but any other support suitable for time registration can also be considered. The true reproduction of original time from any support requires conditions identical to the initial conditions, if not time reproduction becomes artificially modified as can be seen with a film. Time reproduction can be artificially accelerated, slowed down, extended or diminished, and also inverted from the present to the past, which only depends on the manipulation of the support, to which time is firmly linked. Tense associated to progressive and support fixed time is a psychological property directly dependent on an observer, who judges his present as immediate, his past as finished and his future as uncertain. Events can be secondarily associated to the tenses of an observer. Unit-defined time is essential for physics and normal live and is obtained by comparison of support-fixed time to systems with regular motions, like clocks. The association of time perception to time units can also be broken. Einstein’s time units became relative, in quantum mechanics, some physicist eliminated time units, others maintained them. Nevertheless, even the complete elimination of time units is not identical to timelessness, since the psychological perception of progressive and support-fixed time still remains and cannot be ignored. It is not seizable by physical methods, but experienced by everybody in everyday life. Contemporary physics can only abandon the association of time units or tenses to the basic components in perceived time. (shrink)

Rudolf Pfeiffer believed that, as a young man, Callimachus wrote four books of Aetia. To these the poet added in his old age a Reply to his Critics , and a slightly revised version of his recent occasional elegy, the Lock of Berenice ; this revised Coma became the last poem in Aetia book 4, to be followed by an Epilogue which may mark a transition to the Iambi. Pfeiffer's theory generally held the field until the brilliant article of P. (...) J. Parsons, in ZPE 25 , 1–50. With the help of newly recovered papyrus fragments Parsons showed that a previously unplaced elegy celebrating a Nemean victory was connected to the story of Molorchus , who entertained Heracles before that hero killed the Nemean lion and instituted the Nemean Games; thus the poem belonged to Aetia book 3. Furthermore, various pieces of evidence converge to make it probable, if not wholly certain, that this substantial poem stood first in its book. So it appears that, at least in the final form of the Aetia, books 3–4 were framed by two poems honouring the wife of Ptolemy III Euergetes, namely Victoria Berenices and Coma Berenices. Soon afterwards a further important advance was made by E. Livrea , who perceived, on grounds of subject-matter as well as papyrology, that the poor man who sets a mousetrap in fr. 177 Pf. must be none other than Molorchus; note particularly the probable mention of Cleonae in fr. 177.37 Pf. = Supplementum Hellenisticum 259.37. Thus a new fragment of 38 lines accrued to the poem. These discoveries have some implications for the composition of the Aetia. Addition of a Coma Berenices to a pre-existent Aetia book 4 could be countenanced easily enough, but, as Parsons says , it would have required a much more radical, and therefore less plausible, revision for Callimachus to have added Victoria Berenices to a pre-existent Aetia book 3. Accordingly Parsons suggested that the original Aetia contained only books 1–2, united by the conversation with the Muses; then in his old age Callimachus compiled two more books, partly at least from poems already composed, and gave them a frame of two poems honouring Queen Berenice. Parsons' view has, I think, been widely accepted; Professor Lloyd-Jones wrote in SIFC 77 , 56 ‘No-one has yet argued against the simple modification of Pfeiffer's theory of the two editions of the Aetia which Mr. Parsons based on this discovery. The first edition comprised two books only.’. (shrink)

The increased popularity of desktop documentary making among both teachers and students in history classrooms warrants an examination of its integrationinto classroom instruction. This multiple case study focused on two secondary students in an AP European History course during a unit that featured desktopdocumentary making. Employing Cultural Historical Activity Theory (CHAT) as a theoretical framework, this study revealed that the students constructedhistorical narratives with multiple web-based encounters that affected their composition over a span of time. Whenever students experienced tensions (...) in their narrative process, the students made historical judgments that furthered the narrative process. These judgments were, at times, based on evidence, and atother times devoid of evidence. These findings suggest that students may form baseless historical conclusions when given creative freedom in a desktopdocumentary making assignment. The challenge for history teachers and teacher educators who seek to integrate desktop documentary making into theirinstructional repertoire is to balance the need to provide students with creative freedom while creating an instructional setting that effectively and efficientlyaddresses students' historical understanding. (shrink)

Descartes argues that the mind and body are really distinct substances. He also insists that minds and bodies compose human beings. But how are mind and body united to compose a human? This question is crucial to understanding the place of human beings in Descartes’s ontology. Many scholars argue that Descartes has no solution to the unity problem, and they call into question the ontological status of mind- body composites. On some views, Cartesian humans are mere aggregates, like stacks of (...) pancakes; on other views, Descartes is not entitled to the view that humans exist at all. I argue that Descartes has a solution to the unity problem, and that he appropriates this solution from contemporaneous Jesuit discussions of soul- body unity—discussions that remain mostly unknown to contemporary scholars. The upshot is that Descartes has the metaphysical machinery to account for mind-body unity, and doesn’t have to say that a human being is like a stack of pancakes. (shrink)

Scale (gross domestic product), composition (goods and services), and technology (impacts per unit of goods and services) in combination are the proximate determinants in an economy of the resources used, wastes generated, and land transformed. In this article, we examine relationships among these determinants to understand better the contribution that changes in each have made in the past, and might in the future, to reduce the burden placed on the environment by the economy. Using the IPAT equation we assess (...) quantitatively historical changes in scale, composition, and technology in Canada and their respective contributions to changes in environmental impact. The Kaya equation provides a similar framework for a more in-depth consideration of the changes in scale, composition, and technology required to achieve a substantial reduction in global emissions of carbon dioxide. We conclude that it is essential to address scale as part of the solution. (shrink)

In considering the question as to the order of composition of different portions of Aristotle's works it is necessary to start with some idea as to his method of composition. On looking at the surviving works one sees at a glance that at some date and by some hand they have been carefully arranged as a continuous series. Internal references forward and backward are frequent. The author refrains as carefully as Euclid does from anticipating ‘earlier’ discussion the answer to a (...) question which will arise ‘later.’ The forward references are merely promises that a question will be discussed. These multitudinous cross-references are so interwoven with the thought and the argument that there is little doubt that in the main they are due to Aristotle himself. On the other hand, the short transitional statements with which the ‘books’ as we have them close must always be accepted with some reservations. The book is a device of the ancient bookseller, not the unit of composition. Of course, where they could, the editors have made the ends of books correspond with important breaks in the argument; but wholly artificial book-endings do occur. There is, e.g., the end of N.E. θ, which corresponds to no important stage in the thought; and here the editor or bookseller has merely emphasized the artificiality of the division by inserting the wholly inappropriate clause, περ μν ον τοτων π τοσοῨτον ερσθω. (shrink)

De la composition musicale au design sonore" réunit différents textes pour la plupart déjà publiés, soit dans des revues, soit comme chapitres d'ouvrage ou actes de colloque sur le thème de la musique, progressivement repensée comme le design de sons. Rassemblés à l'occasion d'une Habilitation à Diriger les Recherches (2018), ces textes concernent la création musicale, sa relation à l'image et l'écriture des sons à un moment charnière - la révolution digitale de la fin du siècle dernier - qui posent (...) de nouveaux défis, tant du côté de la création, que de celui de la recherche et de leurs enseignements réciproques. D'une réflexion musicologique déjà orientée vers la question de la perception, ses travaux ont peu à peu porté sur les relations entre la musique et la technologie puis, via celle de la musique au cinéma et à l'accompagnement de l'image, l'auteur en est arrivé à la question du design sonore. Aux confins de la philosophie et des sciences de l'art, il s'interroge finalement sur les perspectives de formation des futurs acteurs de cette interdisciplinarité épistémologique. Peut-on être assurément chercheur simultanément non seulement dans sa pratique mais aussi sur sa pratique? Cette double posture est-elle épistémologiquement tenable et si oui à quelle condition? A supposer qu'elle le soit au plan existentiel, n'implique-t-elle pas une position de juge et partie, et donc un risque de biais cognitif, à tout le moins méthodologique? (shrink)

In this paper we investigate composition models of incarnation, according to which Christ is a compound of qualitatively and numerically different constituents. We focus on three-part models, according to which Christ is composed of a divine mind, a human mind, and a human body. We consider four possible relational structures that the three components could form. We argue that a ’hierarchy of natures’ model, in which the human mind and body are united to each other in the normal way, and (...) in which they are jointly related to the divine mind by the relation of coaction, is the most metaphysically plausible model. Finally, we consider the problem of how Christ can be a single person even when his components may be considered persons. We argue that an Aristotelian metaphysics, according to which identity is a matter of function, offers a plausible solution: Christ’s components may acquire a radically new identity through being parts of the whole, which enables them to be reidentified as p. (shrink)

Region R Question: How many objects — entities, things — are contained in R? Ignore the empty space. Our question might better be put, 'How many material objects does R contain?' Let's stipulate that A, B and C are metaphysical atoms: absolutely simple entities with no parts whatsoever besides themselves. So you don't have to worry about counting a particle's top half and bottom half as different objects. Perhaps they are 'point-particles', with no length, width or breadth. Perhaps they are (...) extended in space without possessing spatial parts (if that is possible). Never mind. We stipulate that A, B and C are perfectly simple. We also stipulate that they are connected as follows. A and B are stuck together in such a way that when a force is applied to one of them, they move together 'as a unit'. Moreover, the two of them together exhibit behavior that neither would exhibit on its own — Perhaps they emit a certain sound, or glow in the dark — whereas C is.. (shrink)

A growing body of work suggests that the presence of women and of independent directors on boards of directors is associated with higher corporate environmental performance. However, the mechanisms linking board composition to corporate environmental performance are not well understood. This study proposes and empirically tests the mediating role of sustainability-themed alliances in the relationship between board composition and corporate environmental performance. Using the population of public oil and gas firms in the United States as the sample, the study relies (...) on renewable energy alliances to measure sustainability-themed alliances and longitudinally analyzes lagged data for independent and control variables. The study found that the higher the representation of women on a firm’s board, the more likely the firm is to form sustainability-themed alliances, and the higher the representation of independent directors on a firm’s board, the more likely the firm is to form sustainability-themed alliances. Such alliances, in turn, positively contribute to corporate environmental performance. This paper discusses the study’s contributions to the board composition-social performance literature. (shrink)

The present investigation challenges the traditional distinction between cohesion and coherence; i.e., the distinction between the syntactical rules governing the composition of lexical units within the scope of the clause and the semantic-pragmatic rules guiding the composition of text units beyond the scope of the clause. To this end it exposes two major principles of semantic combination that are active through all levels of linguistic composition: viz. frame-schematic structure and narrative structure. These principles are considered as being components of a (...) semantic combinatorial system to be determined in terms of dependency relations. (shrink)

Sayyid Sadr al-din Mohammad Dashtaki Shirazi is the inventor of the division of composition into unified composition and composition by join. With this division, Dashtaki has expressed a new theory about the composition of the material object from first matter and form, as well as the composition of man from soul and body, and considers these compositions as an alliance and unification, not simply the parts joining to each other. In this paper, we will present Dashtaki’s arguments on the theory (...) of unified composition. We will also examine three objections to this theory and responses to them. Finally, we will examine the background of this theory in Bahmanyar's phrases. Dashtaki believes that when the components in the compound have a real plurality, i.e. each one exists separately from the other, a composition by join is created, such as the composition of a house from numerous clays. But if the components in the compound are united and none of them are separate from the others and exists actually, the resulting composition will be an alliance and union. He believes that in the unified composition, every component is identical to any other component and is identical to the whole. Accordingly, Reza is a unique being, both human and writer. In order to achieve a composition, a plurality is needed and in order to form a single composition, there must be plural components related to each other. An important question is that, principally how is a composition possible, if unified composition comes to existence only when the components are made united with each other and with the whole? In other words, unified composition is not possible, because the first condition of the acquisition of the composition, i.e., the plurality of the constituent components, is not satisfied. Dashtaki strives to express a difference between the components in the union compound. He believes that the conditions of the realization and the survival of the components are different, and that is enough for them to be different. In Dashtaki's point of view, in the unified composition the components are analytical, not being separate and plural, in reality. In other words, the components do not have actual and "in-the-world" plurality, which means that it is our intellect that separates them and looks at them as independent objects. Therefore, unity and identity are in-the-world and plurality and discernibility are analytical and in the mind. Dashtaki's first argument for his theory in general is as follows: the three major material objects (solid, plant and animal) are undoubtedly real compounds. But in these compositions, components exist potentially, and in a unified composition, components do not exist actually. Therefore, these objects are unified compounds. The second argument is that the accuracy of predication implies unity. In the unified composition, the components are identical with the whole, and therefore, the components can be predicated to the composition. In Dashtaki's view, if A is predicated to B, then it could be concluded that they are identical and unified. The first objection to this theory is that the unity is incompatible with causality. From the perspective of the Peripatetics, form is the cause of the matter, and this is incompatible with the union of the two. Dashtaki states that in case of causality, there is no need for cause and effect to be two different and discernible entities, but a single entity may be from one aspect the cause and, from another, the effect. In other words, the foresaid causality is analytical causality. When mind analyses something, and then finds analytical components, it can see between those analytical and intellectual components, causality, and find some of them as the cause of the others. The second objection is the incorrectness of the unity in compounds with components not being similar. only in the compounds having similar parts, one can accept the unity of matter and form. For example, in compounds such as horses, it is not possible to accept the union of matter and form, because in horses, there are components with different natures, such as bones, flesh and nerves. Unity of These parts with each other and with the whole is not plausible. Dashtaki’s respond is that the horse is also a natural unit and has no actual plurality. Components having similar or different natures does not make any difference. According to the theory of unified composition, the horse's components are united with the horse's form and have only analytical plurality. Horse’s components are just analytical components, not actual, independent ones. The third objection is the incompatibility of the actual existence of components with their unity. But Dashtaki maintains that a unique actual personal entity cannot have actual plural components. He states that compounds such as horses exist objectively, but objective and real existing is divided into two kinds: dependent existence, and independent existence as a single real thing. Therefore, the two characteristics of "being a component" and "being independent" are incompatible and do not come together in a real being. Dashtaki has also quoted phrases from Bahmanyar to confirm his point of view. Bahmanyar says that the properties of an animal belong to the whole and compound, not to each component. For example, it is a horse that feels, not its bone or brain, as the eye is also a compound, but seeing is the work of the eye, not the work of any of its components. Therefore, the animal, which is something compound, has characteristics that none of its components have. So the animal is something over and above its components. Bahmanyar thinks the components in the animal are potential. Then he states a general rule: any compound in which unity is real, its components do potentially exist. Therefore, Bahmanyar considers the body parts of the living organism as a potential being and generally believes that the components of any compound that have true unity are potential. The potentiality of the components in a real compound does not that mean that the components are destroyed and a new thing is produced. The components are also available, but they do not have the effects they had separately before the composition comes into existence. In other words, the components have found a unique identity together and therefore have a new effect.. It seems that Bahmanyar has expressed the same idea that Dashtaki is looking for in the theory of unified composition. Therefore, it can be said that before Dashtaki, Bahmanyar has come up with the thought of a unity. Of course, Bahmanyar has not explained much about this, and Dashtaki is the first who has organized and completed this idea as a philosophical theory. (shrink)

BackgroundThe underrepresentation of scholarly works from low- and middle-income countries (LMICs) in academic literature is a documented concern, attributed partly to editorial biases. This trend, prevalent across various disciplines, has been less explored in the context of medical ethics journals. This study aimed to examine the composition of editorial board members (EBM) in high-impact medical ethics journals and to evaluate the extent of international diversity within these editorial teams.MethodsThis study incorporated an analysis of 16 high-impact medical ethics journals. Information regarding (...) the EBM of these journals was systematically gathered and categorized based on the World Bank’s country income classifications. An in-depth examination of the editorial board compositions was then conducted.ResultsThe study identified 669 EBM across the selected journals. A predominant 89.84% (601) of these members were from high-income countries (HICs), with upper-middle-income countries contributing 7.47% (50) and lower-middle-income countries 2.69% (18). No EBM were associated with low-income countries. A regional breakdown indicated that North America was the most represented area, accounting for 48.88% (327), followed by Europe & Central Asia (27.50%, 184), East Asia & Pacific (13.45%, 90), Latin America & Caribbean (4.63%, 31), Sub-Saharan Africa (4.19%, 28), Middle East & North Africa (0.75%, 5), and South Asia (0.60%, 4). In total, these EBMs hailed from 46 different countries, with the United States representing the largest proportion (43.80%, 293), followed by the United Kingdom (13.15%, 88), Australia (7.92%, 53), Germany (6.73%, 45), and Canada (5.08%, 34).ConclusionsThere is a significant lack of international representation within the EBM of high-impact medical ethics journals. The majority of editors in this field are affiliated with HICs, leading to a severe underrepresentation of LMICs within the editorial boards. (shrink)

The chapter starts with an exploration of what the family is in order then to move on to look at its parts. The family has been defined in terms of its form (e.g. a mother, a father, and their biological offspring) or its function (e.g. adults taking and/or sharing custodial responsibility for children). In both of these cases, children are a necessary ingredient for a unit to be called a family – but the chapter also briefly reviews proposals to (...) extend the accolade of “family” to beyond child-rearing. From a perspective concerned primarily with family form, biological and more specifically genetic parents have been seen as those to whom children should be born, and by whom they should be raised. From a perspective concerned with family function, this is not necessarily the case. Lastly, the chapter looks at the relation between parents and the requirements that co-parenting may generate in this regard. (shrink)

John Duns Scotus recognizes complexity in God both at the level of God’s being and at the level of God’s attributes. Using the formal distinction and the notion of “unitive containment,” he argues for real plurality in God, but in a way that permits him to affirm the doctrine of divine simplicity. We argue that his allegiance to the doctrine of divine simplicity is purely verbal, that he flatly denies traditional aspects of the doctrine as he had received it from (...) Augustine, Anselm, and Aquinas, and that his denial of the doctrine allows him to escape certain counterintuitive consequences of the doctrine without falling afoul of the worries that motivated the doctrine in the first place. We note also an important consequence of Scotus’s approach to simplicity for the correct interpretation of his view of the foundation of morality. (shrink)

The blogosphere’s heterogeneity has significantly increased in recent years. Thus, the blog-as-diary approach has shown its limitations. Viewing blogs as a genre is also misleading, as it confuses medium and genre. Considering that the studies of blog genres still need further theoretical and empirical investigations, we propose a method to assess blog posts, understood as utterances, the minimal unit of a blog. We then conduct an analysis of two large datasets from 100 Brazilian blogs. Three reviewers read and judged (...) 5218 posts from 50 A-list blogs and 1527 posts from 50 non-A-list blogs, captured in a 30-day period. Posts’ compositional form, theme and style were cross-analyzed in and between datasets. Our findings lead to the conclusion that blogs in the A-list group tend to post more and stick to themes that attract audiences. Non-A-list blogs post less and focus on themes of interest to bloggers themselves, not necessarily hype topics. (shrink)

Volume 1 -- Unit 1: Tragedy as an independent art of musical drama. Chapter 1: Plato's well-educated men, the dancers: Harmonia kai rhuthmos as "music and dance" -- Chapter 2: Tragedy as a necessarily performed "musical" art in the Poetics -- Chapter 3: The irreducibility of tragedy to literature -- Chapter 4: Harmonia kai rhuthmos as "music and dance" in Politics VIII.

During the 1970s and 1980s, legal precedent, governmental recommendations, and professional society guidelines drove the formation of hospital ethics committees (HECs). The Joint Commission on Accreditation of Health Care Organization’s requirements in the early 1990s solidified the role of HECs as the primary mechanism to address ethical issues in patient care. Because external factors drove the rapid growth of HECs on an institution-byinstitution basis, however, no initial consensus formed around the structure and function of these committees. There are now almost (...) 40 years of empirical studies on the composition, administration, and activities of HECs in the United States. We conducted a systematic review of the available empirical literature on HECs to describe their evolution. As HECs changed over time, they increased their total number of members and percentage of members from nursing and the community. Although physicians increasingly chaired these committees, their presence as a percentage of overall members declined. The percentage of administrative members remained steady, although committees became increasingly likely to have at least one administrative member. HECs were also increasingly likely to report to an administrative body or to the board of trustees or directors rather than to the medical staff. Finally, consultation volume increased steadily over time. There has not, however, been a national survey of the composition of ethics committees, their administration, or volume of consultation in more than 10 years, despite increasing calls for professional standards and quality improvement assessments among HECs. (shrink)

I Am not proposing in this essay to treat at length and in detail of the metric of other lyric poets. In most cases questions of metre are intimately involved with questions of text, into which so many other considerations enter that in dealing with them proportion would be lost, while metrical analysis of such material would still remain largely speculative. What follows is therefore little more than a general account of the principles of composition which these poets appear to (...) me to follow; I have, however, indicated a few passages where emendations made purely on metrical grounds and widely accepted seem to me, in the absence of responsion, based on too ready a desire to reduce all poems to the best-known formulas of versification. (shrink)

This essay extends the recent trend toward greater emphasis on writing-related pedagogical practices in introductory philosophy courses to upper-division courses, providing a holistic model for course design that centers on certain techniques and practices that have been developed in the context of the new wave of multidisciplinary writing programs in the United States. I argue that instructors can more effectively teach philosophy and encourage philosophical thinking by incorporating the methods of writing instruction into their courses in systematic ways and offer (...) practical guidance on how to do so. (shrink)

Immigration changed the ethnic composition of Western European societies. The new populations brought a series of culturally determined practices that challenged the liberal framework of values of the receiving states. Despite the existence of important variations between the official discourses and the actual policies finally implemented, the responses to those challenges varied with the models of integration defined by each country to deal with ethnic diversity. In this article, we study the policies designed and implemented by the United Kingdom and (...) France against “female genital mutilation” practices, analyzing how both British and French policies affected these types of practices. (shrink)

The publication ‘Governance arrangements for NHS Research Ethics Committees’ is clear in its recommendations about the composition of National Health Service research ethics committees in the United Kingdom. It highlights the need for a sufficiently broad range of experience and expertise, balanced age and gender distribution and every effort to be made to recruit members from black and ethnic minority backgrounds, as well as people with disabilities. It was considered that this composition would make it possible for the scientific, clinical (...) and methodological aspects of a research proposal to be reconciled with the welfare of research participants, and with broader ethical implications. Black and other ethnic minorities constitute 7.9 per cent of the UK population. Ideally, in any research ethics committee with a maximum of 18 members, at least one would be a member of the black or other ethnic minority groups. However, this does not appear to be the case; some committees having more than one, while most do not have any. This paper looks at the present position and suggests ways of improving recruitment and retention of members of these groups. (shrink)

Instead of relying on the usual price elasticity technique, this book combines economic and engineering analysis to study economic growth and energy demands to the year 2000. It asserts that future energy demand will be determined by two basic factors--the gross national product and the efficiency with which energy is used to produce this output in the household, commercial, industrial, and transport sectors of the economy.Labor hours multiplied by a productivity factor results in the GNP. This study predicts that, in (...) the long run, productivity in the United States will recover most of the sharp losses registered in the past five years. The study points out the decelerating population growth, the higher number of women in the labor force, and new investments as having an influence on this situation.After projecting the size and composition of each of the four energy consuming sectors that account for the total GNP. Energy and Economic Growth estimates efficiency improvements for each. It shows, for example, that higher levels of thermal insulation will reduce sharply energy needs for household heating and cooling. Similarly, the study notes that improvements in energy consumption per dollar of output can be made for each of the energy intensive manufacturing industries, nothing that although the savings in energy are significant, none is a consequence of pushing improvements to known technological limits. Finally, the book establishes the price elasticities that are inherent in the calculated energy requirements and checks these against elasticity estimates made by other researchers. (shrink)

The object of this research is the wordless novel – a genre at the confluence of literature and fine art that appeared in Europe in the late 1910s. Most of the time, the author of the narrative in wordless novel is the artist himself, and the compositions has no verbally foundation. Verbal function is performed by a visual component. The visual component is illustrative, but independent and performs verbal functions. Frans Masereel – the founder of the genre and originator of (...) the term, and Lynd Ward – the artist who contributed to proliferation of the genre in the United States, are two most prominent figures with in the genre of wordless novel. For other artists it was more of an experiment, therefore namely the works of Masereel and Ward were selected for this analysis. The main conclusions are associated with the peculiarities of literary language of wordless novels, the specificity of which is substantiated by the need to solve the tasks of the opposite in its essence verbal language, without having any suitable tools. Images in the wordless novels are narrative, and exist to the fullest only within the framework of the series. Moreover, these images are processed through experience of the text. Although the very idea of the genre consists in carrying out narrative without using words, it does not distort the verbal component. It is rather being transformed, shifting to inner layers of the image, and acquiring an implicit character. The article analyzes the key visual tools used by the artists in creation of wordless novels. (shrink)

Objective. Conceptualization of the definition of space as a semantic unit of language consciousness. -/- Materials & Methods. A structural-ontological approach is used in the work, the methodology of which has been tested and applied in order to analyze the subject matter area of psychology, psycholinguistics and other social sciences, as well as in interdisciplinary studies of complex systems. Mathematical representations of space as a set of parallel series of events (Alexandrov) were used as the initial theoretical basis of (...) the structural-ontological analysis. In this case, understanding of an event was considered in the context of the definition adopted in computer science – a change in the object properties registered by the observer. -/- Results. The negative nature of space realizes itself in the subject-object structure, the components interaction of which is characterized by a change – a key property of the system under study. Observer’s registration of changes is accompanied by spatial focusing (situational concretization of the field of changes) and relating of its results with the field of potentially distinguishable changes (subjective knowledge about «changing world»). The indicated correlation performs the function of space identification in terms of recognizing its properties and their subjective significance, depending on the features of the observer`s motivational sphere. As a result, the correction of the actual affective dynamics of the observer is carried out, which structures the current perception of space according to principle of the semantic fractal. Fractalization is a formation of such a subjective perception of space, which supposes the establishment of semantic accordance between the situational field of changes, on the one hand, and the worldview, as well as the motivational characteristics of the observer, on the other. -/- Conclusions. Performed structural-ontological analysis of the system formed by the interaction of the perceptual function of the psyche and the semantic field of the language made it possible to conceptualize the space as a field of changes potentially distinguishable by the observer, structurally organized according to the principle of the semantic fractal. The compositional features of the fractalization process consist in fact that the semantic fractal of space is relevant to the product of the difference between the situational field of changes and the field of potentially distinguishable changes, adjusted by the current configuration of the observer`s value-needs hierarchy and reduced by his actual affective dynamics. (shrink)

Developing a definition of group selection, and applying that definition to the dispute in the social sciences between methodological holists and methodological individualists, are the two goals of this paper. The definition proposed distinguishes between changes in groups that are due to group selection and changes in groups that are artefacts of selection processes occurring at lower levels of organization. It also explains why the existence of group selection is not implied by the mere fact that fitness values of organisms (...) are sensitive to the composition of groups. And, lastly, the definition explains why group selection need not involve selection for altruism. Group selection is thereby seen as an evolutionary force which is objectively distinct from other evolutionary forces. Applying the distinction between group and individual selection to the holism/individualism dispute has the desirable result that the dispute is not decidable a priori. This way of looking at the dispute yields a conception of individualism which is untainted by atomism and a conception of holism which is unspoiled by hypostatis. (shrink)

According to a standard interpretation of Aristotle, a material substance, like a dog, is a hylomorphic composite of matter and form, its “essential” parts. Is such a composite some thing in addition to its essential parts as united? The moderate reductionist says “no,” whereas the anti-reductionist says “yes.” In this paper, I will clarify and defend Durand of St.-Pourçain’s surprisingly influential version of moderate reductionism, according to which hylomorphic composites are nothing over and above their essential parts and the union (...) of those parts, where this union is explained by the presence of two modes: a mode of inherence on the side of form and a mode of substanding on the side of matter. (shrink)

Researchers in psychology have focused a great deal of attention on the potential greater predisposition to achievement among first-born children relative to their siblings. Focusing on the United States as an example, a time series of the first birth ratio is used to show how the changing prevalence of first births relative to higher order births has altered the composition of birth cohorts, and the ratio is decomposed into four factors. Results show that the ratio increased significantly in the 1960s (...) and early 1970s, but changed only slightly in the following decades. While more recent birth cohorts are composed of larger proportions of first-born children, the majority of children are still born as siblings. Contrary to expectations, the primary source of change was the proportion childless rather than decreasing higher order birth rates. (shrink)

In this pioneering book Kasia Jaszczolt lays down the foundations of an original theory of meaning in discourse, reveals the cognitive foundations of discourse interpretation, and puts forward a new basis for the analysis of discourse processing. She provides a step-by-step introduction to the theory and its application, and explains new terms and formalisms as required. Dr Jaszczolt unites the precision of truth-conditional, dynamic approaches with insights from neo-Gricean pragmatics into the role of speaker's intentions in communication. She shows that (...) the compositionality of meaning may be understood as merger representations combining information from various sources including word meaning and sentence structure, various kinds of default interpretations, and conscious pragmatic inference. Among the applications the author discusses are constructions that pose problems in semantic analysis such as referring expressions, propositional attitude constructions, presupposition, modality, numerals, and sentential connectives. She proposes solutions to cutting edge problems in the semantics/pragmatics interface - for example, how many levels of meaning should be distinguished; the status of underspecification; how much contextual information should be placed in the representation of the speaker's meaning; whether there are default interpretations; the stage of utterance interpretation at which pragmatic inference begins; and whether compositionality is a necessary feature of the theory of meaning and if so how it is to be defined.The book is for students and researchers in semantics, pragmatics, computational linguistics, and philosophy of language at advanced undergraduate level and above. (shrink)

In this study, we explore the dimensions of local gender norms across U.S. commuting zones. Applying hierarchical cluster analysis with four established indicators of gender norms, we find that these local cultural environments are best conceptualized with a multilevel framework. Commuting zones can be differentiated between those that are egalitarian and those that are traditional. Within these general categories, however, exist more complex dimensions. Gender-traditional areas may be distinguished between traditional-breadwinning and traditional-essentialist, while egalitarian areas are separated into those that (...) are liberal-egalitarian and egalitarian-essentialist. Examining the factors sustaining this spatial variation, we test the role of compositional and contextual effects. We find limited support for compositional effects because commuting zone demographic makeup explains little variation in gender norm indicators. Instead, we find evidence that local gender norms are sustained through contextual effects where the experience of living in a particular environment shapes residents’ attitudes and behaviors. Contextual effects are exceptionally strong in areas with traditional gender norms, where residents who would otherwise hold gender-egalitarian perspectives have more traditional outlooks than those who share the same characteristics but reside in places with egalitarian gender norms. (shrink)

Between 1920 and 1940, increasing proportions of urban Italian and Jewish women gave birth under the supervision of doctors in clinics and hospitals and limited the number of children they bore. We examine the role of women's informal conversation in accounting for the differences between Jewish and Italian women in the timing of these social changes. Women in both groups drew on relatives, friends, and neighbors for information and social support, but differences in the composition of Italian and Jewish networks (...) were relevant for the timing of change in these reproductive behaviors. (shrink)

We address the issue of UK firms relatively poor record of corporate community contributions (CCCs) by subjecting them to formal comparison with those of US firms. To this end, we employ data on the top 100 UK, and top 100 US, contributors in 2001. Cross-country differences are described and discussed with reference to a stakeholder perspective on corporate social responsibility, and CCCs in particular. In this connection, we evaluate the role played by the sectoral composition of activities, as well as (...) national, cultural and institutional factors. Our findings highlight a number of significant cross-country differences in the pattern of CCCs and suggest that UK and US firms operate within significantly different stakeholder environments. (shrink)

After the horrendous events of September 2001, photographer Peter Elliott loaded his cameras and some clothes into his car and began a cross-country journey, looking for the flag. He found it everywhere: painted on a retaining wall in Tacoma, flying over a trailer in Bozeman, carried billowing by a lone man walking a sandbar in Florida, made of plastic cups stuck in a fence in Mississippi, draped over a fake horse in Salinas, immaculately hanging from a Beverly Hills mansion's window. (...) Home Front is both a tribute to the profound emotions of the country and a testament to Elliott's eye. His genius in these eighty-seven arresting images is to wed these serendipitous meetings with the flag to a language of light and composition that draws as much from classic landscape photography as it does from urban visual idioms. Elliott manages to convey here America's stirring and complex national character, one in which those who have not benefited from the nation's prosperity nonetheless feel the same sense of pride as those who have. With its inspiring introduction by Julia Reed, Home Front is the record—both somber and joyous—of Elliott's encounters with spontaneous patriotism. (shrink)

This work has been selected by scholars as being culturally important, and is part of the knowledge base of civilization as we know it. This work was reproduced from the original artifact, and remains as true to the original work as possible. Therefore, you will see the original copyright references, library stamps (as most of these works have been housed in our most important libraries around the world), and other notations in the work.This work is in the public domain in (...) the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work.As a reproduction of a historical artifact, this work may contain missing or blurred pages, poor pictures, errant marks, etc. Scholars believe, and we concur, that this work is important enough to be preserved, reproduced, and made generally available to the public. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

This paper shows that the problem of treating people as equals in a world marked by deep-seated and, often, recalcitrant inequalities has implications for the way we approach the provision of security and justice. On the one hand, it means that racial profiling will generally be unjustified even when it might promote collective interests in security, on the other, it means that we should strive to create racially mixed juries, even in cases where defendant and alleged-victim are of the same (...) race. The paper examines a recent report on race and jury trials in the United Kingdom and concludes that, despite the author's claims that all-white juries are fair, the data shows the complex ways in which racial differences are translated into unjustified and arbitrary inequalities. Hence, it concludes, racially mixed juries are desirable, and sometimes necessary for justice, though probably not sufficient. (shrink)

This paper introduces a new reading of the “Shi fu”, a chapter in the Yi Zhou shu that is commonly read as an early record of the conquest of China’s first historically attested dynasty of Shang by King Wu of Zhou in the middle of the eleventh century BCE. I argue that this conventional reading does not give justice to the structural complexities of the “Shi fu” and disregards the fact that certain compositional units of the text are unrelated (...) to the conquest event. I propose to analyze the “Shi fu” against a better studied corpus of the Near Eastern royal inscriptions where there are surprisingly similar examples of compositionally heterogeneous texts that constitute a textual celebration of successful universal kingship based on military valor. Notably, such a notion of universal kingship is largely alien to the later Chinese tradition where an emphasis is put on the kings’ reign by virtue. While there are no reasons to consider seriously the possibility of the “Shi fu” being immediately influenced by the Near Eastern inscriptions, this parallel can be explained by the structural similarity of the societies that produced them, in particular, the similarity of how royal power was understood, legitimized, and celebrated. (shrink)

The first brief description is given of a project aimed at searching for the neural correlates of consciousness through computer simulation. The underlying model is based on the known circuitry of the mammalian nervous system, the neuronal groups of which are approximated as binary composite units. The simulated nervous system includes just two senses - hearing and touch - and it History..

The first brief description is given of a project aimed at searching for the neural correlates of consciousness through computer simulation. The underlying model is based on the known circuitry of the mammalian nervous system, the neuronal groups of which are approximated as binary composite units. The simulated nervous system includes just two senses - hearing and touch - and it drives a set of muscles that serve vocalisation, feeding and bladder control. These functions were chosen because of their relevance (...) to the earliest stages of human life, and the simulation has been given the name CyberChild. The system's pain receptors respond to a sufficiently low milk level in the stomach, if there is simultaneously a low level of blood sugar, and also to a full bladder and an unchanged diaper. It is believed that it may be possible to infer the presence of consciousness in the simulation through observations of CyberChild's behaviour, and from the monitoring of its ability to ontogenetically acquire novel reflexes. The author has suggested that this ability is the crucial evolutionary advantage of possessing consciousness. The project is still in its very early stages, and although no suggestion of consciousness has yet emerged, there appears to be no fundamental reason why consciousness could not ultimately develop and be observed. (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the stores (...) seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Comment penser les nouvelles technologies? Après avoir enquêté dans plusieurs entreprises, Bernadette Bensaude-Vincent met à jour une vérité paradoxale : le meilleur moyen d'élaborer la philosophie des matériaux nouveaux est de reprendre les interrogations fondatrices de la pensée antique et, notamment, la notion de mixte qui permettait de comprendre ensemble, l'unité et la variété, le même et l'autre. En effet, les nouveaux matériaux (composites à fibres de carbone, kevlar, etc.) requièrent des techniques de conception et de fabrication inédites qui mélangent (...) des éléments hétérogènes sur le modèle du monde vivant. Cette originale confrontation entre le monde industriel d'aujourd'hui et la philosophie ancienne invite le lecteur à repenser la nature et l'artifice, à reconsidérer le mixte, au-delà d'une pensée pauvre de l'identique et du différent. (shrink)

This paper solves the special composition question for solid objects and discusses the properties of wholes in relation to the properties of their parts, including emergent properties. By considering the causal properties of solid objects, this paper argues that it is possible for objects that are undoubtedly ontological units (called atoms) to combine to form a whole that is also an ontological unit of the same standing. It begins by considering the various different kinds of property that a whole (...) object could possess and the ways in which those properties could be related to the properties of its atoms, where some of the properties of the whole could be called emergent properties. There are properties of the whole that are determinate relative to the properties of the atoms, where the atoms’ possessing certain properties, being arranged spatially in a certain way, and with certain forces connecting them determine the instantiation of a specific property of the whole. There are also properties of the whole that are merely determinate as to kind, where the properties of the atoms merely determine that some property belonging to a certain kind will be instantiated. Further distinctions are made between properties of the whole that cannot be possessed by the atoms and properties of the whole that can. These distinctions are illustrated by a few physical examples. A number of different arguments are then given to show that a whole object composed of atoms possesses monadic properties of its own that are causally significant. Next a “real boundary condition for solid objects” is proposed, where the appropriate sort of boundary is both a spatial and an energetic boundary, one having to do with energy states. The paper concludes with a simple example of a solid object that is used to show that the description of the action and motion of the whole cannot be reduced to the descriptions of the actions and motions of its atoms. (shrink)

Classifying is a fundamental operation in the acquisition of knowledge. Taxonomic theory can help students of cognition, evolutionary psychology, ethology, anatomy, and sociobiology to avoid serious mistakes, both practical and theoretical. More positively, it helps in generating hypotheses useful to a wide range of disciplines. Composite wholes, such as species and societies, are “individuals” in the logical sense, and should not be treated as if they were classes. A group of analogous features is a natural kind, but a group of (...) homologous features is not. Imposing hypotheses justified only on the basis of nominalist, realist, phenomenalist, or conceptualist metaphysics upon the neurophysiology of organisms or upon the causes of behavior exemplifies the “psychologist's fallacy” of William James. Levels should be distinguished from their members and from classes of levels, and the ontological status of entities ranked at levels should be made clear. It is important not to confuse such categories as substance and process with one another. Several genetical terms, such as “gene” and chromosome,” are even more equivocal than has been realized. Discussions about units of selection, behavior, and thinking suffer from the ambiguity of a “unit of” an entity. An important source of misunderstanding about natural selection is the habit of treating it as an “agent”: in an important sense, natural selection does not “act” at all. (shrink)

Take any putative ordinary object which is divisible into a finite number of small units and tolerant to the loss of one of them. We can remove these units one at a time, and since our object definitely doesn’t exist when there are zero units, and since we cannot pinpoint which removal brings about this destruction, the Sorites Puzzle threatens common sense. We can rescue ordinary objects from its grip, but since independently motivated linguistic explanations of vagueness depend on there (...) being multiple candidate contents of vague terms, these efforts succeed only if there are multiple candidates that can be meant by ordinary object terms. Thus, many more objects than common sense accepts have to exist. The 'arguments from vagueness' also offer soritical reasons for object proliferation. Problematising the categories composite object and persisting thing (rather than specific object concepts), these show that either there are none of these (except simples) or every candidate for making up one, does. The latter, less revisionary alternative is plenitudinism. I defend Modally Full Plenitude, because it is three-dimensionalist and non-reductivist about de re modality – a distinct persisting object in any region, and for every modal profile satisfied by the matter in that region. (shrink)