A model \ of ZF is said to be condensable if \\prec _{\mathbb {L}_{{\mathcal {M}}}} {\mathcal {M}}\) for some “ordinal” \, where \:=,\in )^{{\mathcal {M}}}\) and \ is the set of formulae of the infinitary logic \ that appear in the well-founded part of \. The work of Barwise and Schlipf in the 1970s revealed the fact that every countable recursively saturated model of ZF is cofinally condensable \prec _{\mathbb {L}_{{\mathcal {M}}}}{\mathcal {M}}\) for an unbounded collection of \). Moreover, it (...) can be readily shown that any \-nonstandard condensable model of \ is recursively saturated. These considerations provide the context for the following result that answers a question posed to the author by Paul Kindvall Gorbow.Theorem A. Assuming a modest set-theoretic hypothesis, there is a countable model \ of ZFC that is both definably well-founded is in the well-founded part of \}\) and cofinally condensable. We also provide various equivalents of the notion of condensability, including the result below.Theorem B. The following are equivalent for a countable model \ of \: \ is condensable. \ is cofinally condensable. \ is nonstandard and \\prec _{\mathbb {L}_{{\mathcal {M}}}}{\mathcal {M}}\) for an unbounded collection of \. (shrink)

The Axiom of Strong Condensation, first introduced by Woodin in [14], is an abstract version of the Condensation Lemma ofL. In this paper, we construct a set-sized forcing to obtain Strong Condensation forH. As an application, we show that “ZFC + Axiom of Strong Condensation +”is consistent, which answers a question in [14]. As another application, we give a partial answer to a question of Jech by proving that “ZFC + there is a supercompact cardinal + any ideal onω1which is (...) definable overH is not precipitous” is consistent under sufficient large cardinal assumptions. (shrink)

The complexity of aII 4 set of natural numbers is encoded into a linear order to show that the finite condensation of a recursive linear order can beII 2–II 1. A priority argument establishes the same result, and is extended to a complete classification of finite condensations iterated finitely many times.

Condensed mathematics, developed by Clausen and Scholze over the last few years, proposes a generalization of topology with better categorical properties. It replaces the concept of a topological space by that of a condensed set, which can be defined as a sheaf for the coherent topology on a certain category of compact Hausdorff spaces. In this case, the sheaf condition has a fairly simple explicit description, which arises from studying the relationship between the coherent, regular, and extensive topologies. (...) In this paper, we establish this relationship under minimal assumptions on the category, going beyond the case of compact Hausdorff spaces. Along the way, we also provide a characterization of sheaves and covering sieves for these categories. All results in this paper have been fully formalized in the Lean proof assistant. (shrink)

We generalize ∇(A), which was introduced in [Sch∞], to larger cardinals. For a regular cardinal κ>ℵ0 we denote by ∇ κ (A) the statement that and for all regular θ>κ, is stationary in It was shown in [Sch∞] that can hold in a set-generic extension of L. We here prove that can hold in a set-generic extension of L as well. In both cases we in fact get equiconsistency theorems. This strengthens results of [Rä00] and [Rä01]. is equivalent with the (...) existence of 0#. (shrink)

In the first part of this paper we indicate how Meredith's condensed detachment may be used to give a new proof of Belnap's theorem that if every axiom x of a calculus S has the two-property that every variable which occurs in x occurs exactly twice in x, then every theorem of S is a substitution instance of a theorem of S which has the two-property. In the remainder of the paper we discuss the use of mechanical theorem-provers, based (...) either on condensed detachment or on the resolution rule of J. A. Robinson, to investigate various calculi whose axioms all have the two-property. Particular attention is given to D-groupoids, i.e. sets of formulae which are closed under condensed detachment. (shrink)

We show that transverse phonons in a set of trapped ions under the action of lasers are described by an interacting boson model whose parameters can be externally adjusted. If the radial trapping frequency is large enough, the system is described by a Bose–Hubbard model, in which hopping of the phonons between different ions is provided by the Coulomb interaction. On the other hand, the non-linear terms in the interaction of the ions with a standing-wave provide us with the phonon–phonon (...) interaction. We investigate the possibility of observing several quantum many—body phenomena, including (quasi)Bose–Einstein Condensation as well as a superfluid-Mott insulator quantum phase transition. (shrink)

Let X be an infinite internal set in an ω1-saturated nonstandard universe. Then for any coloring of [X] k , such that the equivalence E of having the same color is countably determined and there is no infinite internal subset of [X] k with all its elements of different colors (i.e., E is condensating on X), there exists an infinite internal set Z⊆X such that all the sets in [Z] k have the same color. This Ramsey-type result is obtained (...) as a consequence of a more general one, asserting the existence of infinite internal Q-homogeneous sets for certain Q ⊆ [[X] k ] m , with arbitrary standard k≥ 1, m≥ 2. In the course of the proof certain minimal condensating countably determined sets will be described. (shrink)

The Three Papers comprising this series, together with my earlier [34] also published in this journal, constitute an attempt to set out the major issues in the theoretical domain of reduction and to develop a general theory of theory reduction. The fourth paper, [34], though published separately from this trio, is integral to the presentation and should be read in conjunction with these papers. Even so, the presentation is limited in scope – roughly, to intertheoretic reduction among empirical theories – (...) and informal in presentation – not least because a satisfying formal account of theories has yet to be offered. And despite the length, the treatment is still condensed; often corroborating and/or intuitively helpful detail has had to be consigned to footnotes or omitted. I approach the problem from within my own naturalistic realist philosophy of science and formal analysis of abstract hierarchy in theory. The sources for the former are [25], [29], [31], and [32] and those for the latter essentially [27] and [30]. Hierarchical notions played a significant role in the already published [34]. (shrink)

Analogue Gravity Phenomenology is a collection of contributions that cover a vast range of areas in physics, ranging from surface wave propagation in fluids to nonlinear optics. The underlying common aspect of all these topics, and hence the main focus and perspective from which they are explained here, is the attempt to develop analogue models for gravitational systems. The original and main motivation of the field is the verification and study of Hawking radiation from a horizon: the enabling feature is (...) the possibility to generate horizons in the laboratory with a wide range of physical systems that involve a flow of one kind or another. The years around 2010 and onwards witnessed a sudden surge of experimental activity in this expanding field of research. However, building an expertise in analogue gravity requires the researcher to be equipped with a rather broad range of knowledge and interests. The aim of this book is to bring the reader up to date with the latest developments and provide the basic background required in order to appreciate the goals, difficulties and success stories in the field of analogue gravity. Each chapter of the book treats a different topic explained in detail by the major experts for each specific discipline. The first chapters give an overview of black hole spacetimes and Hawking radiation before moving on to describe the large variety of analogue spacetimes that have been proposed and are currently under investigation. This introductory part is then followed by an in-depth description of what are currently the three most promising analogue spacetime settings, namely surface waves in flowing fluids, acoustic oscillations in Bose-Einstein condensates and electromagnetic waves in nonlinear optics. Both theory and experimental endeavours are explained in detail. The final chapters refer to other aspects of analogue gravity beyond the study of Hawking radiation, such as Lorentz invariance violations and Brownian motion in curved spacetimes, before concluding with a return to the origins of the field and a description of the available observational evidence for horizons in astrophysical black holes. (shrink)

An equation proposed by Levy, Perdew and Sahni (Phys. Rev. A 30:2745, 1984) is an orbital-free formulation of density functional theory. However, this equation describes a bosonic system. Here, we analyze on a very fundamental level, how this equation could be extended to yield a formulation for a general fermionic distribution of charge and spin. This analysis starts at the level of single electrons and with the question, how spin actually comes into a charge distribution in a non-relativistic model. To (...) this end we present a space-time model of extended electrons, which is formulated in terms of geometric algebra. Wave properties of the electron are referred to mass density oscillations. We provide a comprehensive and non-statistical interpretation of wavefunctions, referring them to mass density components and internal field components. It is shown that these wavefunctions comply with the Schrödinger equation, for the free electron as well as for the electron in electrostatic and vector potentials. Spin-properties of the electron are referred to intrinsic field components and it is established that a measurement of spin in an external field yields exactly two possible results. However, it is also established that the spin of free electrons is isotropic, and that spin-dynamics of single electrons can be described by a modified Landau-Lifshitz equation. The model agrees with the results of standard theory concerning the hydrogen atom. Finally, we analyze many-electron systems and derive a set of coupled equations suitable to characterize the system without any reference to single electron states. The model is expected to have the greatest impact in condensed matter theory, where it allows to describe an N-electron system by a many-electron wavefunction Ψ of four, instead of 3N variables. The many-body aspect of a system is in this case encoded in a bivector potential. (shrink)

Condensing the key message conveyed by a long document into an informative summary is particularly helpful to lawyers and legal experts. State-of-the-art approaches to legal document summarization rely on Language Models (LMs) and are mostly trained on English documents. More limited research efforts have been devoted to summarizing legal documents in languages other than English. In this work, we investigate the applicability of Large Language Models (LLMs) to summarize Italian legal news documents. We benchmark state-of-the-art abstractive summarization techniques based on (...) Language Models, Large and not, for headline and abstract generation from legal news documents. We run an extensive set of experiments on a proprietary legal dataset, evaluating the resulting summaries according to both quantitative metrics and human evaluation. As expected, latest LLMs outperform classical models such as BART, T5, particularly in terms of grammaticality and informativeness of the summary content. Fine-tuned LLMs also show a significant increase in performance, variable across law areas, compared to their zero-shot setting. Importantly, the level of specialization of the fine-tuned version already reaches a steady state after feeding the model with few hundreds of training data. (shrink)

(1)In this necessarily condensed account there have been presented the personality systems of James, Freud, and McDougall, the first and the last of these exhibiting certain common factors, with certain extensions peculiar to each system. With the Freudian system these factors vaguely appear, but their form is badlydefined and their delineation incomplete. The criticism of the three systems may be summarised as follows:—that of James is lacking in content, i.e. of the sentiments, while that of McDougall is more in (...) line with a simple self concept than that of a complete personality system and hence is lacking in organisation. That of Freud, while possessing some features in common with that of McDougall appears naive and undeveloped. By combining the systems of the first-mentioned pair, a final system may be obtained, whichmore completely explains personality than any one of them. (2)According to this final system the main features of personality consist of:— (a)A basic system of instincts which tends to operate independently as personality phases; among these first fear, and later, submission and self assertion act as regulative factors. The former of this pair is inhibitive in its general effect on conduct, the latter accentuating it. (b)From a combination of instinctive tendencies focussed upon mental objects the sentiments develop. Like sentiments are grouped into a more or less defined entity styled a social self,this self being a product primarily of a particular environment. More than one social self tends to exist side by side in the same personality, each self retaining a specific set of moral sanctions of its own. Social selves may be independent and contradictory in their “mores” if there exist no overlap of common factors in apperception systems, sentiments and will attitudes. (c)At adolescence a rational process begins. Abstract sentiments and ideal personalities develope, and in place of social authority there is substituted the approbation or disfavour of anideal community existent in the mind of the subject; this forms the background of the promptings of conscience. An ethical code finally emerges whichis more or less universal in its applications. This development may be designated a rational, spiritual, or ethical self, and it acts as a unifying influence upon the social selves by legislating for opposed sanctions, and thus affording a final court of appeal in the case of conflict. Hence it becomes the crowning development of a unified personality. A clarification of the terms “self” and “personality” is thus afforded, whereby the term “self” is regarded as a phase of the latter. (shrink)

In this paper, I explore links between the phenomenology-inspired philosophy of emotion, especially discussions of affective intentionality and situated affectivity, and those strands of work in the field of cultural affect studies that take their inspiration fromSpinoza and Deleuze. As bridges between these fields, I propose the concepts ‘disclosive posture’ and ‘affective arrangement’. ‘Disclosive posture’ condenses insights from phenomenological work on affectivity, especially those pertaining to what Heidegger calls Befindlichkeit. ‘Affective arrangement’ is a descendant of Deleuze and Guattari’s term agencement. (...) It refers to heterogeneous ensembles of elements coalescing into a sphere of heightened affective intensity in a local setting. I develop this notion into a tool for analyzing situated affectivity. As it does not yet figure prominently within debates in the philosophy of emotion, I will outline what is meant by ‘affective arrangement’ in some detail. Throughout, I discuss a productive tension between these two conceptual strands. (shrink)

Looking at one site, the Israeli checkpoints in the occupied Palestinian territory, this article seeks to understand the mechanisms by which violence can present itself as justifiable (or justified), even when it materializes within frames presumably set to annul it. We look at the checkpoints as a condensed microcosmos operating within two such frames. One is the prolonged Israeli-Palestinian ‘peace process’ (the checkpoints became a primary technology of control in the period following the beginning of the peace process), and (...) the other is regulatory power (disciplinary and biopower), which in the Foucauldian framework presumably sidelines the violent form which sovereign power takes. We argue that the checkpoints, which dissect the Palestinian occupied territories into dozens of enclaves and which are one of the most effective and destructive means of control within the current stage of occupation, can be seen as more than obstacles in the way of Palestinian movement; we suggest that they also function as corrective technologies that are meant to fail. It is with this failure that violence can appear as justified. In order to show the operation of this embedded failure, we examine one mechanism operating within the checkpoints: ‘the imaginary line’. The imaginary line is both a component within, and an emblem of a mode of control that constantly undoes itself in order to summon violence. Since it is never visibly marked in the physical space, the imaginary line is bound to be unintentionally crossed, thereby randomly rendering Palestinians as ‘transgressors’ of the rule and thus facilitating eruptions of violence by the soldiers stationed at the checkpoints. This article proposes an analysis of this hidden demarcation of space in order to question the different relations between subjects and power which it both assumes and constitutes. (shrink)

The book offers condensed summaries of twenty-three major models of skill acquisition and expertise development presented by leading researchers during the last half a century of classic and new research. This book presents new researchers in learning, training, cognitive sciences or education disciplines with a big picture starting point for their literature review journey. The book presents an easy to understand taxonomy of twenty-three models which can give new researchers a good bird’s eye view of existing models and theories, (...) based on which they can decide which direction to dig further. The reviews in this book are complemented with over 200 authentic sources which a researcher read for detailed and deeper dive and set the direction for further exploration. This book would also act as an essential reference for training & learning professionals and instructional designers to design research-based training curriculum to develop skills of their staff. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Looking at Love an Ethics of VisionMieke Bal (bio)Kaja Silverman. The Threshold Of The Visible World. New York: Routledge, 1996.“The eye can confer the active gift of love upon bodies which have long been accustomed to neglect and disdain,” writes Kaja Silverman in her most recent book, The Threshold of the Visible World. The sentence neatly summarizes her project. “The active gift of love” is the central concept of (...) this book and indicative of the utopian dimension of the theory of love she develops.With Lacan as her primary interlocutor, she sets out to answer a question of one of her students: “does psychoanalysis have a theory of love?” Strange as it might seem, psychoanalysis, so often associated with an excessive interest in sexuality, has not seemed to believe in love. Within the rigorous framework of a discipline that has no use for love and theorizes a bleak view of human nature, Silverman sets out to think through the questions that every parent is at a loss, yet needs, to address: what is love, how can choices in love be culturally encouraged, reoriented, or discouraged? Lacan’s texts on the imaginary order and the visual field, and the imaginary’s stubborn presence within the symbolic order, remain a key resource for those who, like Silverman, wish to understand and analyze, critique and refocus contemporary culture with an eye open to contradictions and complexities. 1The ground for love, the ability to love, is idealization, Silverman claims. Without idealization life would be unbearable, but idealizing is influenced by cultural norms and values that we internalize from early childhood on. Silverman’s project—”to articulate the psychic and aesthetic conditions under which we might be carried away from both ideality and the self, and situated in an identificatory relation to [culturally] despised bodies” [2]—is an attempt to put pressure on two elements of this interaction, “idealization” and “self,” but as she does so she acknowledges the force of the transhistorical, heavy, thick structure of the psyche that is hard, if not impossible, to change.This project, the development of an “ethics of vision,” forms a key part within the larger framework of Silverman’s work. In her first book, The Subject of Semiotics, she argues for and explains the semiotic status of psychoanalysis and the indispensable contribution of psychoanalysis to semiotics. The book remains a valuable handbook for an understanding of the importance of such divergent theorists as De Saussure and Benveniste, Kristeva and Peirce, Freud and Lacan, and the theorists of suture for a coherent and comprehensive theory of culture. One example that will speak to many a cultural analyst is the way Silverman disentangles, and then connects again, the often conflated conceptual pairs of metaphor and metonymy, condensation and displacement, and paradigm and syntagma, showing that the first pair is situated on the level of interactions between the signifier and [End Page 59] the signified, the second on the level of the signified, and the third on the level of the structuration of the signifier. 2With this book, then, Silverman lays the foundation for a psychoanalytical semiotic that is nevertheless radically cultural in orientation: no conflation or confusion of psyche and culture, no flattening of the one through the other, but an integration that demonstrates convincingly that what happens within a psyche is irrevocably cultural and that every cultural expression entertains a relationship with one or more psyches. The structural similarities and interactions between the two then seem self-evident. But how these interactions work is explained in a manner that renders them analyzable.Silverman is in the habit of raising questions that remain unanswered, and devoting her next book to them. The Subject devoted much attention and analytical energy to filmic images, notably through suture theory, in which the technique of “shot-reverse shot” is central. This technique consists of successive images: first of a character looking at something, and then of what that character presumably sees. This would be the cinematic equivalent of what narratology calls transitions of focalization, likewise a technique used to “suture” image to diegetic character in order to stimulate identification. As in narratology, the question then arises: what exactly... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Wittgensteinian Approach to Discerning the Meaning of Works of Art in the Practice of Critical and Contextual Studies in Secondary Art EducationLeslie Cunliffe (bio)In order to get clear about aesthetic words you have to describe ways of living.Wittgenstein, Lectures and Conversations on Aesthetics, Psychology and Religious Belief1Language is a labyrinth of paths. You approach from one side and know your way about; you approach the same place from (...) another side and no longer know your way about.Wittgenstein, Philosophical Investigations2IntroductionThis article explores a Wittgensteinian approach for dealing with the meaning of works of art in the practice of critical and contextual studies in art education. The article is aimed at developing a methodology for eleven to nineteen year olds, known in the UK as the secondary phase of education, but the approach could be generalized to other educational phases.Henry Finch3 interprets four references to meaning found in Ludwig Wittgenstein's philosophy of language as a quadrant that combines the horizontal axis of meaning as physiognomies (the experiential and visual) and meaning as constructions (concepts, uses, science, and mathematics), with a vertical axis of meaning as imperatives (rule following, obligations, and law) and meaning as custom (ceremonies, myths, and ritual).4 The quadrant represents Finch's understanding of Wittgenstein's views about how language serves a different but complementary role in the way human beings engage [End Page 65] with meaning in the world and their place in it.5 Such meanings are embedded in social practices, including first-person responses to a physiognomy, although these start off as biologically primed reactions.Michael Luntley argues that Wittgenstein's philosophy of language and the related remarks on perception should be understood as setting conditions for the possibilities of judgment in "seeing the world aright, in taking the right attitude to the world"6 rather than simply mapping the possibilities of meaning, as the former underscores the role of will7 in the way meaning is actively witnessed and ethically processed by an agent. Having the right view is still only a view, but for Wittgenstein this amounted to an immense ethical and philosophical project to see things accurately and in correct relationship to each other. Such perspectival stances result from an agent's capacity to selectively engage with meaning, with a more unitary understanding resulting from criss-crossing the same territory from different points of view. Wittgenstein's four references to meaning can be thought of as forming four different points on a compass that direct the "self-as-will engaged with that which is independent of will "8 in a quest to see things aright. By extension, such an approach could be used in art education to enable students to develop the dispositions to see works of art aright.Marcia Eaton describes the tension between epistemic and interpretative approaches to the meaning of works of art in this way: "In which direction should one go? In other words, how can judgments which seem so personal (relative, subjective, etc.) also play a role in interpersonal (absolute, objective, etc.) language games?"9 Michael Podro gives a similar description of the apparent tension between a context-bound analysis of works of art and their irreducible and autonomous qualities as like "constantly treading a tightrope."10 Ralph Smith highlights the difference "between having knowledge about art and personally experiencing its presence and power."11Ben Tilghman12 advocates a Wittgensteinian way of going beyond these twofold approaches for understanding and interpreting art by focusing on the role that ponderable and imponderable evidence play in achieving the right stance when attempting to condense the meaning of works of art. Following Wittgenstein, Tilghman argues that a judgment based on imponderable evidence can often be supported by ponderable evidence, a process that is always linked to the relative experience, knowledge, and wisdom of the person making the judgment. Wittgenstein's four references to meaning could be thought of as points on a compass for directing the will in fittingness when endeavoring to understand the role and relationship of ponderable and imponderable evidence in any attempt to see works of art aright. But before these ideas can be... (shrink)

The article problematizes in aphoristic condensation the heterogeneous concepts of creativity in philosophy, psychology and sociology and outlines their paradoxes. Creativity in these concepts is tied to the human potential to bring into being something new and to the capacity of drawing differences. In its contingency, creativity is ambivalent to a high degree—at one and the same time a desirable resource and a threatening potential. So on the one hand, creativity is meant to be mobilized and set free; on the (...) other hand, it is meant to be controlled and reined in. The imperative of being creative is nowadays connected to the mobilization of the entrepreneurial self. Entrepreneurial action demands permanent innovation—and consequently ceaseless creative exertion. Everybody not only has to be simply creative, but more creative than the others. (shrink)

Quantum gravity is understood as a theory that, in some sense, unifies general relativity (GR) and quantum theory, and is supposed to replace GR at extremely small distances (high-energies). It may be that quantum gravity represents the breakdown of spacetime geometry described by GR. The relationship between quantum gravity and spacetime has been deemed ``emergence'', and the aim of this thesis is to investigate and explicate this relation. After finding traditional philosophical accounts of emergence to be inappropriate, I develop a (...) new conception of emergence by considering physical case studies including condensed matter physics, hydrodynamics, critical phenomena and quantum field theory understood as effective field theory. This new conception of emergence is unconcerned with the ideas of reduction and derivation (i.e. it holds that we may have emergence with reduction or without it). Instead, a low-energy theory (or model) is understood as emergent from a high-energy theory if it is novel and autonomous compared to the high-energy theory, and the low-energy physics is dependent in a particular, minimal sense on the high-energy physics (this dependence is revealed by the techniques of effective field theory and the renormalisation group). While novelty is construed in a broad sense, the autonomy comes essentially from the underdetermination of the high-energy theory by the low-energy theory, which reflects the minimal way in which the emergent, low-energy theory depends on the high-energy one. It results from the scaling behaviour of the theories and the limiting relations between them, and is demonstrated by the renormalisation group and effective field theory techniques, the idea of universality, and the phenomenon of symmetry-breaking. These ideas are important in exploring the relationship between quantum gravity and GR, where GR is understood as an effective, low-energy theory of quantum gravity. Without experimental data or a theory of quantum gravity, we rely on principles and techniques from other areas of physics to guide the way. As well as considering the idea of emergence appropriate to treating GR as an effective field theory, I investigate the emergence of spacetime (and other aspects of GR) in several concrete approaches to quantum gravity, including examples of the condensed matter approaches, the ``discrete approaches'' (causal set theory, causal dynamical triangulations, quantum causal histories and quantum graphity) and loop quantum gravity. (shrink)

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

Global sourcing largely occurs from so-called emerging markets and developing economies. In these contexts, substantial leverage effects for sustainability in supply chains can be expected by reducing adverse impacts on society and minimising related risks. For this ethical end, an adequate understanding of the respective sourcing contexts is fundamental. This case study of South Africa’s mining sector uses institutional theory and the notion of institutional uncertainty to empirically analyse the challenges associated with establishing social sustainability. The case study research is (...) informed by 39 semi-structured interviews with top management representatives and various state and non-state decision makers in SA. Our findings suggest that sustainability in the institutional field is mainly shaped by the Social and Labour Plan institution, induced by state actors and mining companies’ practices. However, four weakening factors were identified that adversely affect this regulative institution, drive institutional uncertainty and allow for mining companies’ gradual decoupling. Contrastingly, complementing pressures of non-state actors limit institutional uncertainty and push toward mainstreaming the stipulations of the institution. This study contributes to the business ethics literature by providing an in-depth exploration of institutional uncertainty’s drivers and barriers within an upstream SC setting and shedding light on multiple actors’ interplay and relevance in sector-wide sustainability. The findings are condensed into three main propositions as well as an analytical framework as a basis for follow-up research. This case study helps practitioners understand and manage complexity that results from actor plurality and institutional uncertainty in EMDEs. (shrink)

With regard to current debates on the ethical implementation of AI, especially two demands are linked: the call for explainability and for ultimate human responsibility. In the medical field, both are condensed into the role of one person: It is the physician to whom AI output should be explainable and who should thus bear ultimate responsibility for diagnostic or treatment decisions that are based on such AI output. In this article, we argue that a black box AI indeed creates (...) a rationally irresolvable epistemic situation for the physician involved. Specifically, strange errors that are occasionally made by AI sometimes detach its output from human reasoning. Within this article it is further argued that such an epistemic situation is problematic in the context of ultimate human responsibility. Since said strange errors limit the promises of explainability and the concept of explainability frequently appears irrelevant or insignificant when applied to a diverse set of medical applications, we deem it worthwhile to reconsider the call for ultimate human responsibility. (shrink)

Backgrounds Most countries are facing increased pressure on healthcare resources. A better understanding of how healthcare providers respond to new demands is relevant for future pandemics and other crises. Objectives This study aimed to explore what nurses and doctors in Norway reported as their main ethical challenges during two periods of the COVID-19 pandemic: February 2021 and February 2022. Research design A longitudinal repeated cross-sectional study was conducted in the Western health region of Norway. The survey included an open-ended question (...) about ethical challenges among doctors and nurses in hospital departments. Free-text comments were analysed using Systematic Text Condensation and also presented in a frequency table. Ethical considerations Ethical approval was granted by the Regional Research Ethics Committee in Western Norway (131,421). All participants provided consent when participating in the study. Results In 2021, 249 and in 2022, 163 healthcare professionals responded to the open-ended question. Nurses and doctors reported three main categories of ethical challenges related to the COVID-19 pandemic: (1) barriers that hindered them in acting as they ethically would have wanted to do; (2) priority-setting dilemmas linked to overtreatment, transfer of resources and ranking patient needs; and (3) workload expansion threatening work–life balance and employees’ health. Category one comprised of resource barriers, regulatory barriers, system barriers, and personal barriers. Regulatory barriers, especially visitor restrictions for next-of-kin, were the most frequently reported in 2021. Resource barriers, related to the increased scarcity of qualified staff, were most frequently reported in 2022. Clinicians stretched themselves thin to avoid compromising on care, diagnostics, or treatment. Conclusions Developing clinicians’ ability to handle and cope with limited healthcare resources is necessary. To foster resilience and sustainability, healthcare leaders, in collaboration with their staff, should ensure fair priority-setting and initiate reflections among doctors and nurses on what it implies to provide ‘good enough’ care. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 596-597 [Access article in PDF] Karl Ameriks, editor. The Cambridge Companion to German Idealism. New York: Cambridge University Press, 2000. Pp. xiii + 306. Cloth, $54.95. Paper, $19.95. This recently published volume is a welcome and timely addition to the Cambridge Companion series. The past two decades have witnessed a renewed and now burgeoning interest in post-Kantian German philosophy, notably among (...) philosophers working in the continental and analytic traditions. Contributors to the volume reflect this diversity (actually, most work within the analytic tradition), and all are familiar and veteran scholars of Kant and German Idealism. The essays, as expected, are compact, but are tightly presented and clearly argued. The decision to devote a Cambridge Companion volume to a philosophical movement—a major exception, as most are aware, for the series—seems quite justified given the heretofore unacknowledged importance of the period and the global (at least among Anglo-American philosophers) misunderstanding from which it has suffered until recently. On both scores, this volume is a successful corrective. A short review precludes individual evaluation, however brief, of the essays in this fine collection, so I will limit my comments to a few general points.The essays are organized so as to provide the reader with a thorough introduction to the history of German Idealism construed broadly to include Kant, Hamann, Herder, Jacobi, Maimon, Reinhold, Fichte, Schelling, Hegel, the Romantics, and at least the trajectory of post-Hegelianism. The Romantics, particularly Novalis, Schiller, and Hölderlin, receive overdue and careful treatment—Charles Larmore's essay on Hölderlin and Novalis being, in this reviewer's judgment, one of the better contributions to the collection. Some authors retrace themes developed in their earlier scholarly work (especially Pinkard, Wood, Pippin, Beiser, and Bowie); however each essay almost without exception attempts to advance the scholarly discussion of the problems it explores. Paul Guyer's essay, for instance, fits this description: he offers a robust defense of Kantian dualism (e.g., intuition and concept, representation and thing in itself) against Hegelian objections which includes a fine analysis of the genesis of Kant's arguments. On the other hand, Guyer's essay, along with the contributions of Wood, Pippin, Pinkard, Larmore, and Bowie, might be more fruitful for readers more interested in philosophical problems engaged by the Idealists (e.g., moral and political autonomy, rational normativity). The collection begins with Frederick Beiser's skillfully condensed and informative essay on the unresolved tensions within Enlightenment philosophy (and the way in which those tensions, highlighted rather than resolved by the Pantheism controversy, helped set the agenda for what became the tasks of German Idealism) and ends with Karl Ameriks's fine essay on the complex legacy of Idealism in the works of Feuerbach, Marx, and Kierkegaard.One of the problems which occupied everyone in this period was rational authority, [End Page 596] namely, what would ground our normative theoretical and practical judgments and to what extent reason would provide either the foundation itself or access to this foundation. Most of the essays address this issue either directly or implicitly and accurately capture the diverse responses to this basic question and its implications for political philosophy—another central theme for the Idealist tradition. The problem of rational authority had been inherited from Rousseau, yet the Idealists explored the issue with an unparalleled thoroughness and urgency in the shadow of the French Revolution. Larmore does an exceptional job of articulating Hölderlin's and Novalis's critique of Fichtean self-consciousness, namely, that judgment itself must presuppose and draw upon a more basic unity (Absolute Being for Hölderlin and the Being of the I antecedent to self-awareness for Novalis) than the self-positing I, a unity which, as Larmore notes, underlies every cognitive attitude. Contributing to this general critique was the aesthetic holism of Hamann, Schiller, and Herder ably sketched by Daniel Dahlstromm. Central to the problem of rational authority is the contribution of Hegel, who took to heart Hölderlin's insistence on a more basic primordial unity... (shrink)

Reconstruction of the basilica that preceded the present abbey church at Conques lends itself to exploring the notion of “sacred space”. Like its successor, the original basilica, probably built around 900, was dedicated to St Foy and held her remains. Textual evidence, augmented with (albeit scarce) archeological data, enables a reconstruction of what emerges as an unusual building containing a “physical” sacred space clearly conceived as a place into which the whole cult of St Foy could be “condensed”. At (...) the same time, textual evidence, mainly in the Liber miraculorum sanctae Fidis, hints at the existence of a “mental” sacred space in which specific movements performed in venerating the saint, as well as the comings and goings of pilgrims and other worshippers, formed a sacred space that was more fluid but no less central to understanding Conques as a place of devotion. Going farther, the analysis here suggests a notion of “sacred space” that includes the terrain surrounding a place of devotion: once worshippers’ senses of hearing, sight, and touch were activated, the natural setting itself became a place of holiness and protection. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Change of Perspective in Ovid, Metamorphoses 12.11-23Margaret Worsham MusgroveIn the first of the trojan stories which dominate Metamorphoses books 12 and 13, Ovid recounts a well-known Homeric episode, the omen of the snake at Aulis; a snake climbs into a tree and eats a nestful of eight baby birds plus their mother. According to Calchas' interpretation, this omen symbolized the nine years the Greeks would besiege Troy before taking (...) it in the tenth, and is recalled for the despairing Greek army by Odysseus at Iliad 2.299-329. Ovid's version follows the Homeric story closely, with several verbal parallels. But readers of the Metamorphoses may also see another intertext, the second book of Vergil's Aeneid, Aeneas' account of the fall of Troy, the same event to which the omen looks forward.1 By playing on his readers' knowledge of the Aeneid, Ovid introduces a competing voice into his version, while ostensibly retaining the familiar Homeric story. The present paper will discuss how this intertext is activated to influence our reading of Ovid's "Iliad."2That Ovid's readers might hear Vergilian echoes in a reference to the fall of Troy should not be unexpected. In Vergil's Aeneid, the Trojan War and its aftermath had been transformed into a Trojan experience, seen through Trojan eyes. In the Iliadic section of Ovid's post-Vergilian epic, Ovid must balance his Greek-centered stories, told in greatly condensed form, with the expectations of his Roman readers. By alluding to [End Page 267] the other side of the war, Ovid is able to restore some of the layers of complexity which his brevity has removed from his Greek models, and to remind his readers of the problematic nature of victory and conquest, as Vergil had done. In the process, Ovid shows himself to be an extremely close reader of both Homer and Vergil; his use of the two of them together in this episode can even help elucidate the relationship between his two great epic predecessors.Ovid and HomerOvid's account of the omen nearly parallels Odysseus' speech in Homer; Ovid is more compact, but agrees with Homer in many respects. The visual perspective of both passages is emphatically Greek. In Homer, the story is told by an eyewitness, Odysseus, who reminds the Greek army that they had all observed the omen:(Iliad 2.301-2)Ovid, although telling the story in his own, or "first-level," narrative voice, notes that "the Greeks saw" the omen: Danai videre (Met. 12.13). In both scenes, the snake appears suddenly at a sacrifice and creeps into a plane-tree near the altar.(Iliad 2.305-10)hic patrio de more Iovi cum sacra parassent, ut vetus accensis incanduit ignibus ara, serpere caeruleum Danai videre draconem in platanum, coeptis quae stabat proxima sacris.(Met. 12.11-14)Ovid's specification that the sacrifice was being made to Jupiter illustrates an efficient technique of condensation. Although Homer says the sacrifice was generally "to the immortals" (athanatoisi, Iliad 2.306), the snake was sent by Zeus, who is also credited with its metamorphosis [End Page 268] (Iliad 2.309, 318). The presence of Zeus is necessary for the prophetic function of the snake, in Kirk's words (1985, ad Iliad 2.307-18), "since only he could determine or recognize in advance the outcome of the war." Ovid allows time for only one mention of a divinity in this scene, but includes the one deity crucial to the Homeric episode.3 When Ovid introduces the birds, every element of his sentence can be paralleled in Homer's lines:(Iliad 2.311-13)nidus erat volucrum bis quattuor arbore summa(Met. 12.15)Both Homer and Ovid place the verb "be" near the beginning of the line, followed by words for the birds themselves; both note the birds' location (the top of the tree) and number (eight, for the moment). Thus Ovid sets the stage for the portent.4But we should also consider the Homeric details which Ovid omits. First, he omits Homer's pathetic details of the birds and of their mother.(Iliad 2.314-17)Homer's... (shrink)

In his recent article, ``Self-Consciousness'’, George Bealer has set outa novel and interesting argument against functionalism in the philosophyof mind. I shall attempt to show, however, that Bealer's argument cannotbe sustained.In arguing for this conclusion, I shall be defending three main theses.The first is connected with the problem of defining theoreticalpredicates that occur in theories where the following two features arepresent: first, the theoretical predicate in question occurswithin both extensional and non-extensional contexts; secondly, thetheory in question asserts that the relevant (...) theoretical states enterinto causal relations. What I shall argue is that a Ramsey-styleapproach to the definition of such theoretical terms requires twodistinct quantifiers: one which ranges over concepts, and theother which ranges over properties in the world.My second thesis is a corollary: since the theories on whichBealer is focusing have both of the features just mentioned, and sincethe method that he employs to define theoretical terms in his argumentagainst functionalism does not involve both quantifiers that range overproperties and quantifiers that range over concepts, that method isunsound.My final thesis is that when a sound method is used, Bealer's argumentagainst functionalism no longer goes through.The structure of my discussion is as follows. I begin by setting out twoarguments – the one, a condensed version of Bealer's argument, andthe other, an argument that parallels Bealer's argument very closely.The parallel argument leads to a conclusion, however, that, rather thanbeing merely somewhat surprising, seems very implausible indeed. Forwhat the second argument establishes, if sound, is that there can betheoretical terms that apply to objects by virtue of their first-orderphysical properties, but whose meaning cannot be defined via aRamsey-style approach.Having set out the two parallel arguments, I then go on to focus uponthe second, to determine what is wrong with it. My diagnosis will bethat the problem with the argument arises from the fact that it involvesdefining a theoretical term that occurs both inside and outside ofopaque contexts, for the method employed fails to take into account thefact that the types of entities that are involved in the relevanttruthmakers are different when a sentence occurs within an extensionalcontext from those involved when a sentence occurs within anon-extensional context.I then go on to discuss how one should define a theoretical term thatoccurs within such theories, and I argue that in such a case one needstwo quantifiers, ranging over different types of entities – on theone hand, over properties and relations, and the other, over concepts. Ithen show that, when such an approach is followed, the argument inquestion collapses.I then turn to Bealer's argument against functionalism, and I show,first, that precisely the same method of defining theoretical terms canbe applied there, and, secondly, that, when this is done, it turns outthat that argument is also unsound.Next, I consider two responses that Bealer might make to my argument,and I argue that those responses would not succeed.Finally, I conclude by asking exactly where the problem lies in the caseof Bealer's argument. My answer will be that it is not simply the factthat one is dealing with a theoretical term that occurs in bothextensional and non-extensional contexts. It is rather the combinationof that feature together with the fact that the theory in questionasserts that the relevant type of theoretical state enters into causalrelations. For the first of these features means that the Ramseysentence for the theory must involve quantification over concepts, whilethe presence of the second feature means that the Ramsey sentence mustinvolve quantification over properties in the world, and so no attemptto offer a Ramsey-style account of the meaning of the relevanttheoretical term can succeed unless one employs both quantification overconcepts and quantification over properties. Bealer, however, in hisargument against functionalism, uses a method of defining theoreticalterms that does not involve both types of quantification, and it isprecisely because of this that his argument does not in the end succeed. (shrink)

Vignette research is a phenomenological approach that attempts to access the experiential basis of knowledge by examining lifeworlds in educational or social contexts, going ‘to the things themselves’ (Husserl). The vignette methodology enables researchers to capture their own experiences with the experiences of others as they occur in the field by adopting a stance of ‘co-experiential experience’. The vignette aims to provide a depiction of pedagogical events as close as possible to lived experience. The focus is on experiential circumstances that (...) affect researchers in the field. A vignette, as a linguistically condensed text, presents a short, concise narrative in which something surprising, special, or peculiar emerges. The final vignette is subjected to phenomenological analysis, a process known as ‘vignette reading’, wherein processes of categorisation or operationalisation are set aside, and the vignette is approached by the reader without drawing conclusions from the experience. (shrink)

Environmental, physiological, and pathological stimuli induce the misfolding of proteins, which results in the formation of aggregates and amyloid fibrils. To cope with proteotoxic stress, cells are equipped with adaptive mechanisms that are accompanied by changes in gene expression. The evolutionarily conserved mechanism called the heat shock response is characterized by the induction of a set of heat shock proteins (HSPs), and is mainly regulated by heat shock transcription factor 1 (HSF1) in mammals. We herein introduce the mechanisms by which (...) HSF1 tightly controls the transcription of HSP genes via the regulation of pre‐initiation complex recruitment in their promoters under proteotoxic stress. These mechanisms involve the stress‐induced regulation of HSF1‐transcription complex formation with a number of coactivators, changes in chromatin states, and the formation of phase‐separated condensates through post‐translational modifications. (shrink)

Following the experimental discovery of the Higgs boson, physicists explained the discovery to the public by appealing to analogies with condensed matter physics. The historical root of these analogies is the analogies to models of superconductivity that inspired the introduction of spontaneous symmetry breaking into particle physics in the early 1960s. We offer a historical and philosophical analysis of the analogies between the Higgs model of the electroweak interaction and the Ginsburg-Landau and Bardeen-Cooper-Schrieffer models of superconductivity, respectively. The conclusion (...) of our analysis is that both sets of analogies are purely formal in virtue of the fact that they are accompanied by substantial physical disanalogies. In particular, the formal analogies do not map the temporal, causal, or modal structures of SSB in superconductivity to temporal, causal, or modal structures in the Higgs model. These substantial physical disanalogies mean that analogies to models of superconductivity cannot supply the basis for the physical interpretation of EW SSB; however, an appreciation of the contrast between the physical interpretations of SSB in superconductivity and the Higgs model does help to clarify some foundational issues. Unlike SSB in superconductivity, SSB in the Higgs sector of the Standard Model is neither a temporal nor a causal process. We discuss the implications for the `eating' metaphor for mass gain in the Higgs model. Furthermore, the distinction between the phenomenological GL model and the dynamical BCS model does not carry over to EW models, which clarifies the desiderata for so-called `dynamical' models of EW SSB. Finally, the development of the Higgs model is an illuminating case study for philosophers of science because it illustrates how purely formal analogies can play a fruitful heuristic role in physics. (shrink)

It is now well-known that Newton–Cartan theory is the correct geometrical setting for modelling the quantum Hall effect. In addition, in recent years edge modes for the Newton–Cartan quantum Hall effect have been derived. However, the existence of these edge modes has, as of yet, been derived using only orthodox methodologies involving the breaking of gauge-invariance; it would be preferable to derive the existence of such edge modes in a gauge-invariant manner. In this article, we employ recent work by Donnelly (...) and Freidel in order to accomplish exactly this task. Our results agree with known physics, but afford greater conceptual insight into the existence of these edge modes: in particular, they connect them to subtle aspects of Newton–Cartan geometry and pave the way for further applications of Newton–Cartan theory in condensed matter physics. (shrink)

_Purpose._ The article aims to analyse the consciousness of masses in the communication system of the 20th century projecting the individual level onto the social one. _Theoretical basis._ In the fields of philosophy and other humanities since the middle of the last century there has dominated an opinion that the category of mass and its communication are second-rate and non-elitist phenomena. Condensing the experience of human history (especially – the nineteenth century – the time of the bourgeois revolutions and the (...) two world wars), such parameters were set by the creators of social psychology Gustave Le Bon and Sigmund Freud in their basic research "The Crowd: A Study of the Popular Mind", "Group Psychology and the Analysis of the Ego". Since ancient times the masses have really resembled immoral emotional neoformations, which minimized the individual qualities of the components of the whole and showed the features of a predominantly animal nature. It is no coincidence that those masses were called emotional, or just a crowd, regardless of the topos of existence: streets and squares, or the infospace of the first mass media (newspapers, radio, cinema, television). However, analysing the crowd, the scientists noted that this is only an extreme modification of the mass, and, in addition to it, there may be others – quite the opposite in their nature. With the advent of the World Wide Web, the situation has changed: scientists and futurists have been talking about the mass of intellectuals, which seems to be formed and combined in the field of information technology. And it surpasses the traditional elite in many respects. _Originality._ Having analysed the works of classic and modern researchers, we came to the conclusion that in fact the masses, like individuals (according to C. G. Jung), are divided into four types. Correspondingly, each of them has its own behaviour, psychology, philosophy etc. This article focuses on beliefs and ideological positions as the basis for the functioning of emotional, sensory, intuitive and rational masses in the context of 20th century philosophy. The object of our analysis was the philosophical schools of neo-positivism, hermeneutics, psychoanalysis, existentialism, pragmatism, anthropology, phenomenology, and others. _Conclusions._ According to our assumption, regardless of the type of mass and direction of modern philosophy as a field of its implementation, rationalism comes to the fore everywhere (as a primary source and theoretical basis or motivation). Thus, it can be concluded that the rational mass now dominates, not emotional (which was thoroughly described by Le Bon and Freud). And this is quite natural in the age of digital technology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.4 (2001) 54-82 [Access article in PDF] Seeing With The Body The Digital Image In Postphotography Mark B. N. Hansen In a well-known scene from the 1982 Ridley Scott film Bladerunner, Rick Deckard scans a photograph into a 3-D rendering machine and directs the machine to explore the space condensed in the two-dimensional photograph as if it were three-dimensional [see fig. 1]. Following Deckard's commands to zoom (...) in and to pan right and left within the image space, the machine unpacks the "real" three-dimensional world represented by the two-dimensional photograph [see figs. 2-3]. After catching a glimpse of his target—a fugitive replicant—reflected from a mirror within the space, Deckard instructs the machine to move around behind the object obstructing the two-dimensional photographic view of the replicant and to frame what it sees [see figs. 4-5]. Responding to the print command issued by Deckard, the machine dispenses a photograph of the replicant which is, quite literally, a close-up of an invisible—indeed nonexistent—part of the two-dimensional original [see fig. 6]. And yet, following the fantasy of this scene, this impossible photograph is—or would be—simply the image of one particular data point within the data set comprising this three-dimensional data space. As fascinating as it is puzzling, this scene of an impossible rendering—a rendering of two-dimensional data as a three-dimensional space—can be related to the crisis brought to photography by digitization in two ways. On the one hand, in line with the film's thematic questioning of photography as a reliable index of memory, this scene foregrounds the technical capacity of digital processing to manipulate photographs. In this way, it thematizes the threat posed by digital technologies to traditional indexical notions of photographic realism. On the other hand, in what has turned out to be a far more prophetic vein, the scene presents a radically new understanding of the photographic image as a three-dimensional "virtual" space. Such an understanding presupposes a vastly different material existence of the photographic image: instead of a physical inscription of light on sensitive paper, the photograph has become a data set that can be rendered in various ways and thus viewed from various perspectives.The first position corresponds to the arguments made by William Mitchell in his now classic book, The Reconfigured Eye. In a comprehensive analysis of the techniques and possibilities of digital imaging, Mitchell concentrates on demarcating the traditional photographic image from its digital doppelgänger. While the specter of manipulation has always haunted the photographic image, it remains the exception rather than the rule: "There is no doubt that extensive reworking of photographic images to produce seamless transformations and combinations is technically difficult, time-consuming, and outside the mainstream of photographic practice. When we look at photographs we presume, unless we have some clear indications to the contrary, that they have not been reworked" [Mitchell 7]. To buttress this claim, Mitchell sketches three criteria for evaluating traditional photographic images: (1) does the image follow the conventions of photography and seem internally coherent? (2) does the visual evidence it presents [End Page 54]Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click for larger viewFigure 1Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="32" />Click for larger viewFigure 2Still from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space.Stills from Blade Runner (Ridley Scott, 1982), courtesy of Warner Brothers Home Video. Rick Deckard navigates a two-dimensional image as a three-dimensional space." width="72" height="33" />Click... (shrink)

Background Despite news reports of morally distressing situations resulting from complex and demanding community-care delivery in Canada, there has been little research on the topic of ethical conflicts experienced by community-based health care professionals. Research aim To identify ethical conflicts experienced by community nurses. Research design Data were collected using semi-structured interviews and then relevant text was extracted and condensed using qualitative content analysis. This research was part of a larger grounded theory project examining how community nurses manage ethical (...) conflict. Research context and participants Community nurses, including 13 public health nurses and 11 home care nurses from two Canadian provinces, were interviewed. Ethical considerations Study approval was granted by the Health Research Ethics Authority of Newfoundland and Labrador and by provincial health authorities. Findings Seven ethical conflicts were identified and assigned to one of two groups. In the grouping categorized as challenges with obligations or risks, the ethical conflicts were: (1) screening for child developmental issues knowing there is a lack of timely early intervention services; (2) encountering inequities in the health care system; (3) not fulfilling principles, goals, and initiatives of primary and secondary prevention; and (4) feeling powerless to advocate for clients. The remaining ethical conflicts were categorized as challenges with process, risks, and consequences, and were: (5) jeopardizing therapeutic relationships while reporting signs of a child at risk; (6) managing confidentiality when neighbors are clients; and (7) supporting client autonomy and decision-making but uncertain of the consequences. Conclusions Research investigation will continue to be important to raise awareness and mobilize ethics supports as health care services are steadily shifted from institutional to community settings. Moreover, with heightened potential for communicable disease outbreaks across international borders from global warming, community nurses around the world will continue to be required to address ethically-difficult care situations with competence and compassion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS 535 eluded. Have Straussians proved that there is no higher human knowledge than philosophy? One hopes that they will meet their critics, because Stmussians are deeply serious men and women, and we can all learn from their mentor. Hillsdale, College Hillsdale, Michigan D. T. ASSELIN Philosophical Problems of Classical Film Theory. By NOEL CARROLL. Princeton, N.J.: Princeton University Press, 1988. Pp. 268. This book is a provocative, (...) clearly written, and carefully argued presentation of a philosophical critique of traditional film criticism. If film is taken as a serious art form, one which can stand alongside of music, painting, theatre, and literature, then Carroll's book is a good example of the type of philosophical study that is needed. Assistant professor of philosophy at Wesleyan University, Carroll knows the world of film well and attacks with vigor what he takes to be erroneous in traditional film criticism. His three targets are the film theories of Rudolf Arnheim, Andre Bazin, and V. F. Perkins. It would be difficult to overemphasize the influence of Arnheim and Bazin on the history of the aesthetics of film: each man is a giant in the history of theorizing about film. Though much less influential, Perkins does present an mteresting view of film. Philosophical Problems of Classical Film Theory consists of an introduction, three central chapters, and a conclusion. Each of the three chapters is devoted to one of the film theorists, and each chapter begins with an explanation of the theory being discussed. In trying to present the theory in its strongest form, Carroll includes a detailed discussion of its historical setting, and this makes its contextual importance clear. But most of each chapter is devoted to criticism of the theory iii question. Thinking of film theories as a series of answers to abstract questions, Carroll suggests that Arnheim, Bazin, and Perkins address the same central questions and expect the answers to these questions to be related logically in the same way. Carroll lists three questions that he thinks suggest a similar structure in the three theories he is studying: " What is the determinant or special feature of film? What is the value or role of cinema? What are the processes of articulation in film in relation to the previous two answers? " Concerning the answers to these questions Carroll writes 586 BOOK REVIEWS Most classical film theories-including those of Amheim, Bazin, and Perkins-relate answers to the three basic questions in the following way: the determinant characteristic stands to the role of cinema as a means to an end, while the articulatory processes are assessed as instances of the determinant characteristic of cinema (pp. 14-15). Arnheim represents an early type of film theorizing which Carroll names the silent-film paradigm. Those who embrace this approach, and Carroll would include the Soviet montagists of the twenties such as Sergei Eisenstein, insist that film is not merely a record of reality but rather manipulates reality expressively. Though Arnheim wrote after sound had entered film, he disdained talkies and looked back to silent film to discover the paradigm of film. Carroll's treatment of Arnheim relies on the latter's 1957 Film As Art, which is a condensed version of his 1933 book Film. The 1957 condensation can he considered the authoritative articulation of Arnheim's position. The prejudice against cinema in its early days derived from the fact that a major constituent of film was photography. Many felt that photography could not be an art form because it was merely a copying process. Arnheim's theory can be called creationist because he successfully showed how cinema could be creative in capturing and re-presenting reality. Arnheim showed that film transcends the simple viewpoint that simple recording implies. Carroll summarizes Arnheim's view: In summary, Arnheim holds that one role of filmmaking-the one that concerns him-is art. He also contends that the determinant characteristics of the medium-those relevant to the purpose of art makingare the various ways that the medium diverges from the mechanical duplication of reality, and finally, Arnheim spends the bulk of Film As Art on lengthy examinations of the various modes of cinematic articulalation, in order to demonstrate... (shrink)

We present here an approach to the fine structure of L based solely on elementary model theoretic ideas, and illustrate its use in a proof of Global Square in L. We thereby avoid the Lévy hierarchy of formulas and the subtleties of master codes and projecta, introduced by Jensen [3] in the original form of the theory. Our theory could appropriately be called ”Hyperfine Structure Theory”, as we make use of a hierarchy of structures and hull operations which refines the (...) traditional Lα -or Jα-sequences with their Σn-hull operations.§1. Introduction. In 1938, K. Gödel defined the model L of set theory to show the relative consistency of Cantor's Continuum Hypothesis. L is defined as a unionof initial segments which satisfy: L0 = ∅, Lλ = ∪α<λLα for limit ordinals λ, and, crucially, Lα + 1 = the collection of 1st order definable subsets of Lα. Since every transitive model of set theory must be closed under 1st order definability, L turns out to be the smallest inner model of set theory. Thus it occupies the central place in the set theoretic spectrum of models.The proof of the continuum hypothesis in L is based on the very uniform hierarchical definition of the L-hierarchy. The Condensation Lemma states that if π : M → Lα is an elementary embedding, M transitive, then some ; the lemma can be proved by induction on α. If a real, i.e., a subset of ω, is definable over some Lα,then by a Löwenheim-Skolem argument it is definable over some countable M as above, and hence over some, < ω1. This allows one to list the reals in L in length ω1 and therefore proves the Continuum Hypothesis in L. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Simone Weil for the Twenty-First Century by Eric O. SpringstedLissa McCulloughSPRINGSTED, Eric O. Simone Weil for the Twenty-First Century. Notre Dame, Ind.: University of Notre Dame Press, 2021. xxi + 264 pp. Cloth, $100.00; paper, $35.00This book proposes taking French philosopher Simone Weil as a polestar to inspire and orient thought in the twenty-first century. It collects revised versions of eleven articles and essays published between 1994 and (...) the present, now organized into a whole with three new framing chapters (1, 3, and 14). Not intended as an introduction to Weil's life and work, nor as a study primarily directed to Weil scholars, the book seeks a broader readership that need not be well versed in her thought. Weil is recommended as a model for leading a thoughtful life of action exemplifying integrity, discipline, and the exercise of attention: "[W]ith Weil it is important to understand not only what she thought but how she thought," as in her own intellectual transformations she "moved from a strict disciplining of the mind to a regime of attentiveness." [End Page 160]A condensed three-page biography is provided for orientation to Weil's life before the reader is launched into the book's two parts, the first focused on philosophical and theological themes, the second on social and societal concerns. Springsted notes that these themes profoundly converge in Weil's later work, describing her political thought as a "retheologization of the space in which we dwell... an attempt to think about the natural life of humankind in supernatural terms while keeping in mind that this relation is often mediated and veiled." Theology concerns itself with "the sense that God communicates Himself and His Holiness," and the appropriate response is an opening up of oneself in order to listen further: "This is what mystery is about; it is not something to be solved, it is not a set of facts, but something that keeps giving itself.... This is not only the biblical worldview; ancient Greeks such as Plato had it too." Even as Weil's thinking on good, beauty, and truth is profoundly inspired by Plato's, dating back more than two millennia, her bold originality and gift for synthesis manages to pull this thinking into our late modern, post-Christian, and indeed anti-Platonic world of novel perplexities, demonstrating how powerfully this handful of essential words (God, truth, justice, love, good) can speak in our day. This is the key value that Weil offers: "Unless human thought finds some way of connecting itself to something bigger than itself, something that gives a sense of value (and this is what the world's beauty does), human thought will lose depth and dimensionality."Speaking in his own voice, the author affirms that "how we look at our problems can be very different if we understand that we have eternal obligations and that humans have an eternal destiny." This quest for ultimate value and sacramental order puts Springsted on the path of "searching for a new Saint Benedict," the formation of moral communities that bring thoughtful attention and practical work together in a communal life oriented to the good—though he admits that such value-community formation is difficult in increasingly pluralistic and divided societies. Partly because Weil tended to accent individualism, there is no easy or short route to apply Weil's insights on a communal level, even as she clearly sought to do so in her final book-length essay, The Need for Roots, written in 1943 just before her death at age thirty-four.To read Weil's final essay is to be struck by her prescience concerning the dominant intellectual-spiritual conundrums we face today, almost a century later, which are keenly analyzed by her far-seeing attention: the quandaries of post-colonial oppression and uprootedness, us-versus-them nationalisms, money-value as erosive force, mendacity and propaganda in politics, cultural vacuity and soullessness even in the nominally religious domain. To take Weil as one's polestar is indeed to be guided by a sharply critical, rarely lucid thinker whose rigorous criticism of social, political, and religious domains challenge the spectrum... (shrink)

An assessment is offered of the progress that the major approaches to quantum gravity have made towards the goal of constructing a complete and satisfactory theory. The emphasis is on loop quantum gravity and string theory, although other approaches are discussed, including dynamical triangulation models (euclidean and lorentzian) regge calculus models, causal sets, twistor theory, non-commutative geometry and models based on analogies to condensed matter systems. We proceed by listing the questions the theories are expected to be able (...) to answer. We then compile two lists: the first details the actual results so far achieved in each theory, while the second lists conjectures which remain open. By comparing them we can evaluate how far each theory has progressed, and what must still be done before each theory can be considered a satisfactory quantum theory of gravity. We find there has been impressive recent progress on several fronts. At the same time, important issues about loop quantum gravity are so far unresolved, as are key conjectures of string theory. However, there is a reasonable expectation that experimental tests of lorentz invariance at Planck scales may in the near future make it possible to rule out one or more candidate quantum theories of gravity. (shrink)

This essay presents the early days of human cytogenetics, from the late 1950s until the mid 1970s, as a historical series of images. I propose a chronology moving from photographs of bodies to chromosome sets, to be joined by ultrasound images, which provided a return to bodies, by then focused on the unborn. Images carried ontological significance and, as I will argue, are principal characters in the history of human cytogenetics. Inspired by the historiography of heredity and genetics, studies (...) on visual cultures, the conceptualization of circulation, and the sociology of pregnancy, I suggest that cytogenetics, through its focus on pregnancy, pregnant women, and their offspring, found strategic living materials that stabilized human chromosome studies as a biomedical, post-eugenics practice. The historicity of each path displays a wide circulation of objects, tools, and methods that condensed on images that shared in the centuries-old visual expertise that medicine and botany had manufactured. (shrink)

The article considers the problem of images and the role they play in our reflection turning to evidence provided by two seemingly very distant theories of mind together with two sorts of corresponding visions: dreams as analyzed by Freud who claimed that they are pictures of our thoughts, and their mechanical counterparts produced by neural networks designed for object recognition and classification. Freud’s theory of dreams has largely been ignored by philosophers interested in cognition, most of whom focused solely on (...) the linguistic incarnation of thoughts, but even though commonly neglected by respectable theories of thinking, dream images may prove to be the key to the black box of thought. As argued in this article, when seen from the right perspective and approached with the right set of questions, oneiric visions yield groundbreaking insights into the mechanism of how concepts and judgments are formed. Support for this conclusion comes from a tradition seemingly remote, if not opposed to psychoanalysis: the mechanical model of the mind conceived by information sciences and embodied in the form of artificial neural nets which mirror the activity of human visual cortex producing visions strikingly similar to those created by the sleeping mind. These purely mechanical, artificial ‘dreams’ constitute byproducts of algorithms designed for object recognition and classification, which, as I shall argue, reveals the true purpose of our own oneiric visual formations. Just like their mechanical counterparts produced by neural networks, condensations and displacements encountered in dreams are in fact visual universals. (shrink)

With his usual conciseness and lucidity, Körner attempts to show what philosophy is by looking at what it does, i.e., by investigating its problems, its branches and its history. Körner begins by setting out classic problems ranging from the problem of class-existence to the problem of freedom, and follows this by an investigation of various methodologies. After this introductory material the bulk of the book ranges over the central problems of most branches of philosophy and concludes with a brief sketch (...) of the history of philosophy. Of special note is Körner's treatment of metaphysics to which he gives an entire section of almost seventy pages. Those familiar with Körner's other work will find it a concise summary of his notion of metaphysics as exhibition and/or replacement-analysis of categorial frameworks. Also of note is his refreshing treatment of philosophy of mind. He sees the problem of intentionality as the chief consideration for that branch of philosophy. Although he makes mention of the linguistic approach to philosophy of mind his main thrust is to set the problems in Brentano's terms and show how the mind-body problem and theories of truth are handled from that framework. There are some drawbacks in the book. First: given the length of his treatment of metaphysics one could wish that somewhere Körner in his explication of metaphysics had given some recognition to the realistic alternatives to his transcendental metaphysics. Second: one must wonder to whom the book is addressed. The conciseness of Körner's style allows him to range over an unbelievably large area, but in such a pithy manner that it seems almost unimaginable that the educated layman will be able to follow the presentations and arguments, particularly those interspersed with logical notation. For example, how much value is there in condensing the logic of truth-functions, quantification and axiomatization into less than ten pages? For those in the field it is repetitive, for those not, it must be nearly unintelligible. One feels Körner really wanted to write a defense of metaphysics. This may have been a more efficacious project eliminating the need to write first for one audience then for another. The book is concise, lucid, and illuminating.--R. F. D. (shrink)

''As a text in developmental psychology the book is excellent, and this lower-priced paperback version will be snapped up by psychology students.'' -European NeurologyOne of the most dramatic areas of development in early human life is that of vision. Whereas vision plays a relatively minor role in the world of the newborn infant, by 6 months it has assumed the position as a dominant sense and forms the basis of later perceptual, cognitive, and social development. From a world leader in (...) the study of visual development in human infants comes a major new work, condensing a lifetime of work in this area - The developing visual brain. Drawing on over 20 years of cutting edge research in the Visual Develoment Units in Cambridge and University College London, the book provides the definitive account of what we know about the developing visual system, and the problems that can occur during development. The book reviews, evaluates, and sets in context the exciting progress being made in this area, and additionally suggests new areas for research. Written to be accessible for advanced undergraduates, graduate students, and researchers in psychology, the neurosciences, optometry, and visual science, The developing visual brain represents an important new addition to the literature on vision. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 38.2 (2004) 80-87 [Access article in PDF] The Beauty of Henri Matisse David Carrier Because beauty has for a long time now been politically incorrect (at least among certain influential critics and academic historians) the art of Henri Matisse has recently suffered from a kind of benign neglect. His goals were luxury, calm, and voluptuousness, not social critique. He painted female nudes, and was (...) preoccupied with artistic tradition. Celebrated in his own lifetime, he died a rich man. Matisse's famous identification of the work of art with a good armchair is another provocation. His paintings, after all, are very expensive armchairs. Liberated from any vital connection with everyday life, they often seem merely escapist. In her recent book, On Beauty and Being Just, Elaine Scarry remarks, "Matisse never hoped to save lives. But he repeatedly said that he wanted to make paintings so serenely beautiful that when one came upon them, suddenly all problems would subside."1 That some of Matisse's paintings succeed in being serenely beautiful seems self-evident to Scarry, to me, and to a great many other art lovers. What is perhaps worth exploring at greater length, however, is precisely how Matisse's paintings succeed in achieving their unfashionable goal. What is it that makes the work of Matisse so serenely beautiful?To start, consider The Painter and His Model (1918-1921), made just after his move from Paris to Nice. Like other works from this period of his career, this picture raises special problems, even for many commentators who admire his earlier experimentation. At the left, we see the painter working on a canvas of a nude. "Expression, for me," Matisse wrote, "does not reside in passions glowing in a human face."2 Like most of his models, this one appears expressionless. She poses at the center of the picture, beneath a window that admits the light filling the room. A flowering palm, a symbol of fertility, is the only object visible from the world outside the studio.Leaving behind his family and the luxury of his Paris home, Matisse lived and worked in a small room like this one. The entire picture is filled [End Page 80] with patterns — a red tablecloth on the left, orange wallpaper on the right, blue stripes on the painter's shirt, a red grid on the floor. A dark painting hangs above flowers on the table. The Painter and His Model shows the artist hard at work, but the composition appears effortlessly spontaneous. Matisse, who lived only to paint during his time in Nice, concealed the endless effort required to make his beautiful pictures. A man from North France, he discovered the power of light. There is nothing special about this room, but under the spell of his model Matisse makes it appear ravishing. Intense Mediterranean sunlight transforms ordinary patterns into a world of visual luxury.We know that The Painter and His Model is beautiful because we get great pleasure seeing the model in the golden room. Her skin is close in tone to, or in harmony with the colors of the walls; her curves harmonize with the two vases, and play against the spreading linear grids. As we move our eyes easily from the model to the entire picture, we experience a kind of sublimated erotic pleasure. In "Notes of a Painter," Matisse gave an apt description of his approach in The Painter and His Model. Suppose I want to paint a woman's body: first of all I imbue it with grace and charm, but I know that I must give something more. I will condense the meaning of this body by seeking its essential lines. The charm will be less apparent at first glance, but it must eventually emerge from the new image which will have a broader meaning, one more fully human. (MA, 36) He does not use the word "beauty," but speaks instead about expression and harmony. When he published this manifesto, Matisse was painting very different sorts of pictures — portraits, scenes of nudes in utopian settings, and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.4 (2001) 596-597 [Access article in PDF] Karl Ameriks, editor. The Cambridge Companion to German Idealism. New York: Cambridge University Press, 2000. Pp. xiii + 306. Cloth, $54.95. Paper, $19.95. This recently published volume is a welcome and timely addition to the Cambridge Companion series. The past two decades have witnessed a renewed and now burgeoning interest in post-Kantian German philosophy, notably among (...) philosophers working in the continental and analytic traditions. Contributors to the volume reflect this diversity (actually, most work within the analytic tradition), and all are familiar and veteran scholars of Kant and German Idealism. The essays, as expected, are compact, but are tightly presented and clearly argued. The decision to devote a Cambridge Companion volume to a philosophical movement—a major exception, as most are aware, for the series—seems quite justified given the heretofore unacknowledged importance of the period and the global (at least among Anglo-American philosophers) misunderstanding from which it has suffered until recently. On both scores, this volume is a successful corrective. A short review precludes individual evaluation, however brief, of the essays in this fine collection, so I will limit my comments to a few general points.The essays are organized so as to provide the reader with a thorough introduction to the history of German Idealism construed broadly to include Kant, Hamann, Herder, Jacobi, Maimon, Reinhold, Fichte, Schelling, Hegel, the Romantics, and at least the trajectory of post-Hegelianism. The Romantics, particularly Novalis, Schiller, and Hölderlin, receive overdue and careful treatment—Charles Larmore's essay on Hölderlin and Novalis being, in this reviewer's judgment, one of the better contributions to the collection. Some authors retrace themes developed in their earlier scholarly work (especially Pinkard, Wood, Pippin, Beiser, and Bowie); however each essay almost without exception attempts to advance the scholarly discussion of the problems it explores. Paul Guyer's essay, for instance, fits this description: he offers a robust defense of Kantian dualism (e.g., intuition and concept, representation and thing in itself) against Hegelian objections which includes a fine analysis of the genesis of Kant's arguments. On the other hand, Guyer's essay, along with the contributions of Wood, Pippin, Pinkard, Larmore, and Bowie, might be more fruitful for readers more interested in philosophical problems engaged by the Idealists (e.g., moral and political autonomy, rational normativity). The collection begins with Frederick Beiser's skillfully condensed and informative essay on the unresolved tensions within Enlightenment philosophy (and the way in which those tensions, highlighted rather than resolved by the Pantheism controversy, helped set the agenda for what became the tasks of German Idealism) and ends with Karl Ameriks's fine essay on the complex legacy of Idealism in the works of Feuerbach, Marx, and Kierkegaard.One of the problems which occupied everyone in this period was rational authority, [End Page 596] namely, what would ground our normative theoretical and practical judgments and to what extent reason would provide either the foundation itself or access to this foundation. Most of the essays address this issue either directly or implicitly and accurately capture the diverse responses to this basic question and its implications for political philosophy—another central theme for the Idealist tradition. The problem of rational authority had been inherited from Rousseau, yet the Idealists explored the issue with an unparalleled thoroughness and urgency in the shadow of the French Revolution. Larmore does an exceptional job of articulating Hölderlin's and Novalis's critique of Fichtean self-consciousness, namely, that judgment itself must presuppose and draw upon a more basic unity (Absolute Being for Hölderlin and the Being of the I antecedent to self-awareness for Novalis) than the self-positing I, a unity which, as Larmore notes, underlies every cognitive attitude. Contributing to this general critique was the aesthetic holism of Hamann, Schiller, and Herder ably sketched by Daniel Dahlstromm. Central to the problem of rational authority is the contribution of Hegel, who took to heart Hölderlin's insistence on a more basic primordial unity... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Slavoj Žižek’s Hegelian ReformationGiving a Hearing to The Parallax ViewAdrian Johnston (bio)Slavoj Žižek. THE PARALLAX VIEW. Cambridge: MIT P, 2006. [PV]Near the end of a two-hour presentation at Calvin College in Grand Rapids, Michigan, on November 10, 2006, Slavoj Žižek confesses that, in terms of the intellectual ambitions nearest to his heart, “my secret dream is to be Hegel’s Luther” [“Why Only an Atheist Can Believe”]. This confession comes (...) just months after the publication of his latest major work, The Parallax View, a book described as a new magnum opus. There are ample justifications within this text to license retroactively rereading it through the lens of Žižek’s subsequent public admission that he is now preoccupied with rescuing Hegel from the numerous misinterpretations to which this giant of German idealism (who casts such a long shadow over the Continental European philosophical tradition) has been repeatedly subjected over the past two hundred years. The Parallax View, at certain points explicitly and in other places implicitly, can be seen as centered on an effort to confront aggressively the various received versions of Hegel widely accepted as official and orthodox exegetical renditions. The motif of the “parallax gap,” elaborated in a plethora of guises throughout this 2006 tome, condenses and reflects the axiomatic theses of what could be called Žižek’s Hegelian reformation.The critical assessment of The Parallax View offered here seeks to go straight to its theoretical heart by highlighting a single line of argumentation running through the full span of this text’s different moments and phases. Žižek’s own Hegelian-style conceptions of truth (as fiercely partisan rather than calmly neutral) and universality (as immanently concrete rather than transcendently abstract) validate such an interpretive approach—“universal Truth is accessible only from a partial engaged subjective position” [PV 35]. Deliberately extracting particular conceptual constellations and forcing them to link up with each other according to the plan of a certain directed philosophical agenda promises to be much more revealing of the essential features of Žižekian thought than a comprehensive survey of this latest of his major works.The specific argumentative thread to be isolated here is the new extended engagement with the terrain covered by cognitive science and the neurosciences. Apart from the task of denouncing falsifying popular pictures of Hegel, one of Žižek’s other driving ambitions in this book is the desire to formulate a fundamental ontology appropriate to the theory of subjectivity mapped out over the course of his entire intellectual itinerary (a theory informed by Kant and post-Kantian German idealism combined with Lacanian psychoanalytic metapsychology). And, herein, the articulation of such an ontology appropriately gets entangled, via reflections on the nature of the brain, with the latest instantiations of the perennial philosophical problem of the relationship between mind and [End Page 3] body. Žižek grants that the central nervous system is, in at least several undeniable and important senses, the material, corporeal ground of the subject, the bodily being without which there cannot be the parlêtre (speaking being). But, in the spirit of Schelling and Hegel (especially their philosophies of “productive” nature), the fashions in which Žižek attempts to tie together systematically a materialist ontology with an account of more-than-material, transontological subjectivity illuminate a normally obscured and ignored set of implied consequences flowing from the gesture of dissolving hard-and-fast dualist distinctions between body and mind, nature and spirit.The past few decades of philosophical engagement with the neurosciences, an engagement almost completely monopolized by the Anglo-American Analytic philosophical tradition and neglected by the Continental European philosophical tradition to an equal degree, has emphasized (to put this in the vernacular of German idealism) the naturalization of spirit resulting from the collapse of any strict nature-spirit dichotomy. The materialisms promoted by those Analytic philosophers amenable to grounding the mental on the neuronal simply assume that the outcome of folding mind and matter into each other is a becoming-material of the mind, namely, a naturalization of the spirit (that is, the mind comes to resemble the brain conceived of as just another part... (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)

A Hilbert-style version of an implicational logic can be represented by a set of axiom schemes and modus ponens or by the corresponding axioms, modus ponens and substitution. Certain logics, for example the intuitionistic implicational logic, can also be represented by axioms and the rule of condensed detachment, which combines modus ponens with a minimal form of substitution. Such logics, for example intuitionistic implicational logic, are said to be D-complete. For certain weaker logics, the version based on condensed (...) detachment and axioms (the condensed version of the logic) is weaker than the original. In this paper we prove that the relevant logic T→, and any logic of which this is a sublogic, is D-complete. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Boundaries: Writing and DrawingTom ConleyBoundaries: Writing and Drawing, edited by Martine Reid; Yale French Studies, iv & 268 pp. New Haven: Yale University Press, 1994, $15.95 paper.The fifteen articles of this issue of Yale French Studies discern the limits of meaning and legibility wherever writing and drawing become coextensive. In pondering the origins of writing Henry-Jean Martin (in Le pouvoir et l’histoire de l’écrit) has recently asked if (...) script and print have evolved from pictographic or hieroglyphic writing. If so, he implies, to what degree does visual force animate all writing? How does meaning, otherwise conveyed through writing, get complicated or subverted by the shape or motion of its form? When does the writer engage the illegible to call into question communication in general? Citing Michel Foucault, for whom calligraphy and drawing offer a glimpse of an “immense and unavowable teratology” (p. 12), the editor argues that the visible matter of discourse becomes its repressed or irrecuperable—hence supremely literary—worth.She organizes the contributions under three rubrics. Part one studies the history of the relation of writing to drawing through emphasis on psychogenesis. For Serge Tisseron an “inscriptive gesture” (p. 29), a memory of a manual pleasure, is relayed through the artist’s or writer’s labors. The written trace recalls originary separation, the page becoming a “metaphoric container of one’s own body and the mother’s body” (p. 41). Georges Roque shows how postcartesian ideology associates line with philosophy and relegates color to a lower order of sensation. In a Derridean turn he notes, “color is to drawing as [End Page 410] writing is to speech” (p. 57). Jean-Gérard Lapacherie argues that we are taught to exclude reading from the act of looking at a text, and that contemporary literature forcibly erodes that division.Part two is devoted to close analysis of writers who draw. Jacques Leenhardt brilliantly analyzes visual and aural displacements, even condensations, what he calls “monograms of sensation,” in the sketches and notes in Stendhal’s Journal de Paris. Alain Buisine traces the appeal that drawings of Rimbaud’s face had for the poet’s milieu. Claude Gandelman studies Proust’s manuscript drawings in light of the broader process of dreamwork in A la recherche du temps perdu. Looking at the Cahiers, 1894–1914, Serge Bourjea contends that for Paul Valéry the labors of intellection and writing are a “matter of sketching” (p. 137), or of perpetually “rough” drafting. Jacques Derrida’s “Maddening the Subjectile,” Mary Ann Caws’s limpid translation of an essay on Artaud’s textual drawings (“Forcener le subjectile”), defines a pictogram as what moves ceaselessly and inseparably between painting, drawing, and verbal expression.Part three moves toward artists who write. Bernard Vouilloux rehearses Derrida’s arguments about the “supplement” and the pictogram to themes of painting and painters in Rousseau’s early and later works. Michel Thévoz gives a dazzling reading of Jean Dubuffet’s art brut dans l’écriture, the explosive sketching of discourse that fractures the icons of elegance and control that project the myth of clear and classical French. Jan Baetens calls “latent violence” the marvelous areas where image, geometrical form, typography, and enunciation abut each other in M. C. Escher’s drawings, Régis Franc’s comic strips, and Martin Vaughn-James’s La Cage. Renée Riese Hubert sums up the volume with a study of the double binds that Derrida and Adami project in their collaborations of drawing and writing.This issue of Yale French Studies holds to the theme of writing as drawing. Martine Reid’s introduction and her two interviews with Michel Butor and Yves Bonnefoy map out an overall itinerary of vicious circularity. Literature is a continuing regression, fraught with pleasure and risk, that takes place when language, writing, and drawing are conflated. All of the essays are of high quality. Tisseron, Leenhardt, Derrida, and Thévoz set a standard to which the others conform. All adepts of art and literature will welcome this fabulous volume.Tom ConleyHarvard UniversityCopyright © 1995 The Johns Hopkins University Press... (shrink)