In this essay, the resistant potential of curiosity will be first framed by theories of political curiosity writ large (drawn from Friedrich Nietzsche, Michel Foucault, and Jacques Derrida) and then explicated through three case studies: the Civil Rights Movement in the 1960’s, prison resistance networks in the 1970’s, and a more recent initiative for accessible restrooms. From these archives, an anatomy of politically resistant curiosity will be drawn.

As an outgrowth of experiential and critical pedagogies, and in response to growing rates of student anxiety and depression, educators in recent years have made increasing efforts to facilitate curiosity and mindfulness in the classroom. In Section I, we describe the rationale and function of these initiatives, focusing on the Right Question Institute and mindfulness curricula. Although we admire much about these programs, here we explore ways to complicate and deepen them through a more socially grounded and ethically informed (...) theoretical framework. In Section II, we provide that framework by sketching a sociopolitical account of curiosity and of mindfulness. We propose a curiosity mindful of social location and a mindfulness curious about political structures and historical contexts. In Section III, we then offer concrete suggestions for modifying the curricula of the Right Question Institute and various mindfulness programs. We show how a more nuanced understanding of curiosity and mindfulness strengthens these program offerings. Ultimately, facilitating mindful curiosity and curious mindfulness, we argue, helps educators a) provide more robust learning environments, b) address growing mental health challenges, and c) support global citizenship in the classroom and beyond. (shrink)

A trailblazing exploration of the political stakes of curiosity. Perry Zurn explores the political philosophy of curiosity—the heartbeat of political resistance and a critical factor in social justice. Drawing on philosophy and political theory as well as feminist theory, race theory, disability studies, and trans studies, he tracks curiosity in the structures of political marginalization and resistance.

The paper starts from the wonderment-reverence distinction introduced by Dipesh Chakrabarty in his book The Climate of History in a Planetary Age. While Chakrabarty’s concept of the planetary as the framework for the Anthropocene is accepted, his skepticism about the political relevance of wonder(ment) in the Anthropocene is challenged. Pace Chakrabarty, the link between wonder(ment) and curiosity is severed, and wonder is instead defined through the connections to the faculties of listening and reflective judgment. As such, wonder can be (...) relevant to politics in the Anthropocene when engaging with the planetary. (shrink)

From science and technology to business and education, curiosity is often taken for granted as an unquestioned good. And yet, few people can define curiosity. Curiosity Studies marshals scholars from more than a dozen fields not only to define curiosity but also to grapple with its ethics as well as its role in technological advancement and global citizenship. While intriguing research on curiosity has occurred in numerous disciplines for decades, no rigorously cross-disciplinary study has existed—until (...) now. -/- Curiosity Studies stages an interdisciplinary conversation about what curiosity is and what resources it holds for human and ecological flourishing. These engaging essays are integrated into four clusters: scientific inquiry, educational practice, social relations, and transformative power. By exploring curiosity through the practice of scientific inquiry, the contours of human learning, the stakes of social difference, and the potential of radical imagination, these clusters focus and reinvigorate the study of this universal but slippery phenomenon: the desire to know. -/- Against the assumption that curiosity is neutral, this volume insists that curiosity has a history and a political import and requires precision to define and operationalize. As various fields deepen its analysis, a new ecosystem for knowledge production can flourish, driven by real-world problems and a commitment to solve them in collaboration. By paying particular attention to pedagogy throughout, Curiosity Studies equips us to live critically and creatively in what might be called our new Age of Curiosity. (shrink)

Curiosity’s connection with democracy remains neglected and unexplored. Various disciplines have mostly treated curiosity as an epistemic trait of the individual. Beyond epistemology, curiosity is studied as a moral virtue or vice of the self. Beyond epistemic and moral frameworks, curiosity is examined politically and decolonially. However, all frameworks remain focused on the individual and rarely imply a relevance of curiosity to democracy. The present article departs from such explorative frameworks philosophically to expand the research (...) scope on curiosity in the direction of democratic theory. It highlights the complex politics of curiosity as a collective, rather than merely individual, desire for knowledge. I argue that curiosity should become a key analytical category for studying democracy as a political attitude and as a way of life. Investigations of the multifaceted curiosity of the demos may enhance the visibility of ethico-political issues that often escape the curious eye of citizens and researchers. (shrink)

Curiously, philosophy has not studied curiosity extensively as a proper, self-standing and major topic of inquiry. At most, it has sporadically engaged with curiosity as an epistemic matter or as a...

This essay theorizes the concept of curiosity from a queer perspective. Examining the intersections between philosophical understandings of curiosity as a passion for knowledge and more everyday understandings of it as a euphemism for incipient homoerotic desire, it argues that queer curiosity emerges at the point where nonnormative sexual and gender practices meet and complicate particular forms of knowledge about the self. To support this line of argument, the article first examines the intellectual history of curiosity, (...) as curiosity has, in different historical moments, been both celebrated as an epistemic virtue and denigrated as an antisocial vice. After examining this history, it analyzes the figure of the queerly curious subject in several gay short stories from the Nifty archive (an online collection of self-published queer erotica founded in 1992) and the Wachowski sisters’ 1996 lesbian (and arguably trans) neo-noir film, Bound. Ultimately, the essay suggests that curiosity’s characteristic openness—its appetite for novelty and experimentation, its refusal to be contained by existing categories of knowledge about gender and sexuality—makes it a useful tool for thinking through the limitations of modern queer identity and the homonormalizing tendencies of gay and lesbian identity politics. (shrink)

Curiosity is not prominent in investigations on democratic development. Nor is curiosity discussed in democratic education discourses. However, this article contributes to the present Special Issue the idea that the connection of curiosity and democracy should not be ignored. First, I show that curiosity’s connection with democracy has, regrettably, been largely bypassed in fields related to democratic theory and pedagogy. Then, I elaborate on how the emerging scholarship on curiosity’s intricacies makes it easier to perceive (...) how fruitful the study of curiosity’s role in democratic theory and education would be. In light of this recent rethinking of curiosity, I claim that studying a complex and ambiguous notion of curiosity (along with an equally complex and ambiguous epistemic restraint) is important for studying and advancing democracy and for enriching democratic citizenship education. (shrink)

In what follows, we intervene in the long history of the study of curiosity to propose curiosity studies proper. Such a field, we argue, traverses the many disciplinary and experiential contexts in which curiosity appears, in order to generate theories, analytics, and practices of curiosity that are as complex and ubiquitous as the phenomenon of curiosity itself. Assuming an ecology of knowledge framework, which expressly resists academic silos and intellectual monocultures, we envision curiosity studies (...) as an unbounded inquiry built on three simple principles: (1) Curiosity is multiple; its markers shift across history, geography, species, social identities, institutions, contexts, and circumstances; therefore it requires immensely flexible analytic attention; (2) Curiosity is praxiological; far from something that is simply felt, curiosity is something that is done, expressed in behaviors, habits, architectures, and movements across physical, conceptual, and social space; and (3) Curiosity is political; its manifestations within sociocultural worlds are marked by inherited hierarchies of value among scientific methodologies, people groups, and ideologies. And yet, precisely because it is multiple, praxiological, and political, curiosity bears a keen subversive potential. It has the capacity to upend what we know, how we learn, how we relate, and what we can change. Curiosity has the capacity to become radical, to get at the root of things. We therefore propose curiosity studies not only as a field of scholarship but as a way of reimagining the world, both within the classroom and far beyond it. (shrink)

In this essay, we offer a preliminary account of why and how to consciously cultivate curiosity in contemporary learning environments. First, we begin by discussing some of the educational theory upon which curiosity-centric classrooms might be built: experiential learning pedagogy, feminist pedagogy, critical pedagogy, and abolitionist pedagogy. Second, recognizing that our social, cultural, political, and economic processes all shape who can be curious, about what, and when, we then formulate what we call a critically curious pedagogy. Critically curious (...) pedagogy aims to stay accountable to the complex sociopolitical processes in and against which curiosity is either cultivated or suppressed. Such pedagogy relies on the affective practices of reflexivity, mindfulness, empathy, uncertainty, and transformative questioning. Third, we identify several key elements of curiosity-based assignments by which teacher–learners from all disciplinary backgrounds—whether they be mathematicians, engineers, anthropologists, psychologists, or philosophers—can facilitate the growth of critical curiosity in their students. These elements include student leadership, a research mindset, collaborative environments, multimodal outputs, real-life applications, and community engagement. Finally, we reflect on future directions in the theory and praxis of curiosity-centric learning environments. It is our hope that this chapter provides a framework for members of teacher–learner communities of all sorts to become aware of and cultivate their own curiosity with one another. (shrink)

This paper makes a case for the centrality of the passion of curiosity to Hobbes’s account of human nature. Hobbes describes curiosity as one of only a few capacities differentiating human beings from animals, and I argue that it is in fact the fundamen- tal cause of humanity’s uniqueness, generating other important difference-makers such as language, science and politics. I qualify Philip Pettit’s (2008) claim that Hobbes believes language to be the essence of human difference, contending that (...) Pettit grants language too central a place in Hobbes’s psychology. Language is, for Hobbes, a tech- nology adopted on account of curiosity. Further, curiosity is necessary not only for linguistic but also for scientific activity. Only after what he calls original knowledge has been gathered are names employed to generate the conditional propositions that con- stitute science. Finally, curiosity can resolve another puzzle of Hobbesian psychology that Pettit leaves unanswered: our tendency towards strife. Hobbes believes that inso- far as human beings have an implacable hunger for knowledge of the future, we are unable to rest content with present gains and must always aspire to secure the best possible outcome for ourselves. (shrink)

In the 20th century, more than ever before, the world is being shaped by science. Science has an intrinsic value in trying to find out how the world ticks, and it has an enormous and increasingly social value too. The scientific enterprise of today provides the information for the society of tomorrow. Scientists have become leading actors in world history. The discipline of curiosity, as science may be called, is not just a discipline of form, it is also a (...) discipline of ends: political, moral, cultural and commercial ends. Science and technology have become features of daily life. In this book of interviews, fifteen opinion leaders (prominent figures from international politics, business, communication and science) give their vision on the changing role of science in society. They all agree that scientific information is essential, not just for the scientist. For with the recognition of its crucial importance comes the understanding that the scientific enterprise is, or should be, a concern to everybody. The scientist is a central figure and has to communicate with politicians, entrepreneurs and the public at large. (shrink)

Scholarly curiosity about political friendship (the relationship of mutual care among political fellows) is increasing as liberal democracies around the world face radical polarization. Yet one worry persists: can political friendship really exist in contemporary democracies? The objective of this paper is to answer this question in the affirmative. To this end, I investigate whether members of modern polities have reasons to form friendly bonds with one another. The paper has four parts. The first establishes a fundamental desideratum that (...) any consideration must satisfy to count as a reason for political fellows to partake in political friendship. The second evaluates and rejects a line of argument that presents bonds of mutual identification and belonging among political fellows as reasons for political friendship. The third evaluates and rejects a line of argument due to Paul Ludwig that presents the shared utility of political community as a reason for political fellows to engage in friendly practices with one another. Finally, I introduce my own novel argument—the “argument from membership”—for why political fellows have a reason to care for one another. I argue that membership in a functioning political community is indispensably valuable for any individual in virtue of playing a constitutive role in the individual’s attainment of their final ends. I hold that, as constituent parts of the same political community, political fellows have a reason to value one another and, accordingly, to care for one another’s well-being. (shrink)

Throughout history, many scholars have offered up definitions of curiosity. These definitions range far and wide. Some attempt to amass all the elements of curiosity, systematize them, and propose a unified theory. Some characterize curiosity as a conceptual unit with two primary dimensions (e.g. epistemic and perceptual), as two distinct kinds of things (e.g. bona et mala curiositas), or as one side of a binary (e.g. curiosity vs. care). What is curiosity? Which characterization is most (...) apt to curiosity itself and which best illuminates its ethical and political stakes? In this essay, I argue that curiosity is best characterized modally. That is, it is best described through its modes rather than defined by its essence. To support this argument, I canvas the history of philosophy and identify three models of curiosity, which I name by their correlative literary figures: the busybody, the hunter, and the dancer. The curious person is repeatedly described as drawn to gossip, hunting down secrets and discoveries, and taking leaps of creative imagination. I develop an account of the unique kinesthetic signatures of each mode. I then close with ethical considerations, interrogating issues of responsibility relevant to each. In doing so, this chapter reimagines both curiosity itself and its role in our political ecology today. (shrink)

Both the commonsensical and the philosophical understanding of curiosity as the desire to know display similar ambiguities. In philosophy, such ambiguities have further repercussions, inasmuch as inquiries into curiosity, in addition to being a field of philosophical research in itself, also have meta-theoretical implications concerning the idea of philosophy one embraces. This holds true for Edmund Husserl’s discussion of curiosity: his phenomenological analysis of curiosity as an object of inquiry is crucially connected with a specific meta-theoretical (...) understanding of philosophy as an exploratory endeavor. This article analyses the relevance of the phenomenological analyses of curiosity against the background of the discussion of a polarization in the appreciation of the role of curiosity for philosophy and of the tasks Husserl assigns to philosophy. It focuses on how Husserl’s appraisal of curiosity in philosophy is tied to his concrete analyses of the intentional structure of ordinary curiosity. Crucial for this appraisal and for its meta-theoretical implications is the analysis of the relation between curiosity and the basic structure of intentionality as tendency. (shrink)

The author identifies four possible attitudes of tolerance toward groups with different ways of life: resignation, indifference, curiosity and enthusiasm. He explores the potential for these attitudes and concludes by discussing the role of boundaries within communities in modernism and postmodernism. The author is not going to focus on toleration of eccentric or dissident individuals in civil society; he is interested in individual rights primarily when they are exercised in common—in the course of voluntary association or religious worship or (...) cultural elaboration—or when they are claimed by groups on behalf of their members. (shrink)

The essay analyses the hermeneutics of civilizational dialogue and identifies four basic principles, or requirements: recognition of the equality of the “lifeworlds;” awareness of the “dialectics” of cultural self-comprehension; acknowledgement of formal “metanorms” such as the principle of mutuality; and transcending the circle of “civilizational self-affirmation.” On the basis of these criteria, the essay investigates how politics will have to be reshaped – domestically, regionally and globally – to enable a genuine dialogue of cultures and civilizations that can also (...) serve as a cornerstone of peaceful coexistence among states. Addressing today’s multicultural reality and its impact on the traditional nation-state, the essay underlines the importance of intercultural openness and “civilizational curiosity” – instead of “civilizational nostalgia” – and suggests a redefinition of “co-existence” in the sense of active mutual engagement. The paper further undertakes a critical assessment of the role of “dialogue” as a fashionable decorum of international politics and questions the instrumentalization of the civilizational paradigm in the context of international politics. (shrink)

I expose facets of Nancy's notion of being singular plural. Nancy's political ontology overcomes the metaphysical dualism of theory and practice by thinking the space of the between as primary. Nancy's treatment of the event of creation and the presence of the divine rethink meta-physical notions of origin and God in a way that emphasizes the parting of unity and the plurality of the world. Nancy thinks the everyday and the existential together by affirming the importance of curiosity and (...) wonder in the face of what is. Nancy offers an ontology of space (being-with) that uncovers what it means to be in touch as a way of being. (shrink)

How important is Jiang Qing, whose extraordinary proposals for political change make up the core of the new book A Confucian Constitutional Order: How China’s Ancient Past Can Shape Its Political Future? In his Introduction to the volume, co-editor Daniel Bell maintains that Jiang’s views are “intensely controversial” and that conversations about political reform in China rarely fail to turn to Jiang’s proposals. At least in my experience, this is something of an exaggeration. Chinese political thinking today is highly pluralistic, (...) and for many participants Jiang is simply a curiosity—if indeed they are aware of him. Still, for three reasons Jiang is very much worth our attention. First, there is a vibrant and .. (shrink)

Lisa Sideris's Consecrating Science: Wonder, Knowledge, and the Natural World (2017) proposes that the call by some science advocates for a new moral framework based on scientific wonder is flawed. Sideris develops a typology of “wonder” with two separate affective axes: “true wonder” that is the prerogative of a sort of dwelling with the overwhelming mystery of life, and “curiosity” that presses to resolve puzzles and break through into a space of total clarity. The former, Sideris writes, is an (...) ethical resource that, by placing the human self against the backdrop of the unknowable cosmic expanse, prompts humility and genuine admiration for nature. The latter is the theater of “mere science.” This essay follows suit with Sideris's line of questioning, but also pushes back on the correlation of wonder with ethical attentiveness and proposes ways that science in its puzzle‐solving mode can be brought back into the ethical conversation. (shrink)

With the renaissance of political realism has come an insistence that the study of politics be historically located. While many political realists trace their conception of historical inquiry to Thucydides, this article shows how Herodotus can offer a more realist approach to political phenomena. Herodotus crafts a self-conscious form of historical inquiry that foregrounds the actual activity of the historian as intersubjective, reflective, and particular. Herodotus thus models a historical investigation that shows its own limits while demanding the evaluation (...) of its readers, offering a way to address criticisms of political realism’s singular and unacknowledged historical narratives. Moreover, Herodotus’s Histories exemplify a disposition toward open inquiry among others—what Herodotus calls wonder—that can invigorate responsive curiosity as part of the project of historical understanding essential to both political realism and contemporary democracies. (shrink)

The present special issue of Sophia on ‘feminist philosophy of religion’ is dedicated to Gillian O. Howie who died in 2013. This essay is a short obituary touching on Howie’s philosophical and personal legacy. The intention is to give a brief overview of Howie as a courageous woman with boundless intellectual curiosity and passionate commitments to feminist activities; these include writing and living her philosophical vision for creating a just society with collective political action. Howie inspired both women and (...) men in philosophy—especially, but not only, feminist philosophers of religion—with her work on the critical role of sexual difference in life today. (shrink)

Wonder is commonly perceived as akin to curiosity, as stimulating inquiry, and as something that enhances pleasure in learning, but there are many experiences of wonder that have a less obvious place in education. In Wonder and Education, Anders Schinkel theorises a kind of wonder which he calls 'contemplative wonder'. Contemplative wonder opens up space for the consideration of (radical) alternatives wherever it occurs, and in many cases is linked with deep experiences of value; therefore, it is not just (...) important for education in general, but also, more specifically, for moral and political education. (shrink)

Azarya Polikarov was born in Sofia on October 9, 1921. Through the many stages of politics, economy, and culture in Bulgaria, he maintained his rational humanity and scientific curiosity. He has been a splendid teacher and an accomplished critical philosopher exploring the conceptual and historical vicis situdes of physics in modern times and also the science policies that favor or threaten human life in these decades. Equally and easily at home both within the Eastern and Central European countries (...) and within the Western world. Polikarov is known as a collaborating genial colleague, a working scholar. not at all a visiting academic tourist. He understands the philosophy of science from within, in all its developments, from the classical beginnings through the great ages of Galilean, Newtonian. Maxwellian science. to the times of the stunning discoveries and imaginative theories of his beloved Einstein and Bohr of the twentieth century. Moreover, his understanding has come along with a deep knowledge of the scientific topics in themselves. Looking at our Appendix listing his principal publications, we see that Polikarov's public research career, after years of science teaching and popular science writing, began in the fifties in Bulgarian, Russian and German journals. (shrink)

This is a critical introduction to modern French philosophy, commissioned from one of the liveliest contemporary practitioners and intended for an English-speaking readership. The dominant 'Anglo-Saxon' reaction to philosophical development in France has for some decades been one of suspicion, occasionally tempered by curiosity but more often hardening into dismissive rejection. But there are signs now of a more sympathetic interest and an increasing readiness to admit and explore shared concerns, even if these are still expressed in a very (...) different idiom and intellectual context. Vincent Descombes offers here a personal guide to the main movements and figures of the last forty-five years. He traces over this period the evolution of thought from a generation preoccupied with the 'three H's' - Hegel, Husserl and Heidegger, to a generation influenced since about 1960 by the 'three masters of suspicion' - Marx, Nietzsche and Freud. In this framework he deals in turn with the thought of Sartre, Merleau-Ponty, the early structuralists, Foucault, Althusser, Serres, Derrida, and finally Deleuze and Lyotard. The 'internal' intellectual history of the period is related to its institutional setting and the wider cultural and political context which has given French philosophy so much of its distinctive character. (shrink)

When I first became acquainted with the thought of the American philoso pher Josiah Royce, two factors particularly intrigued me. The first was Royce's claim that the notion of community was his main metaphysical tenet; the second was his close association with the two American pragmatists, Charles Sanders Peirce and William James. Regarding the first factor, I was struck by the fact that a philosopher who died in 1916 should emphasize a topic of such contemporary significance not only in philosophy (...) but in so many other vital fields as well (sociology, psychology, politics, theology - to name only a few). Regarding the second, I was curious as to whether the pragmatism of Peirce and James might have influenced Royce during the course of their professional and personal contacts. Similarly, I wondered whether the idealism of Royce might have affected the thought of Peirce and James. To have appeased my curiosity in regard to all three thinkers, however, would have required (at least) three books. As a start I have now appeased it in regard to one. In researching the writings of Royce I found my way to the Houghton Library and to the Archives of Harvard University at Cambridge, Massa chusetts, where the unpublished manuscripts of Royce are preserved. (No editing job has yet been done on this bulk of material, though such would certainly be a welcome contribution to American philosophy. (shrink)

This article discusses why the theme of exile, marginality and the role of outsiders occupied Judith N. Shklar and how it impacted on her teaching and writing. More specifically it draws on Shklar’s last Harvard lectures and essays in which she reflects systematically on the questions of obligation and exile. It maintains that the relatively late turn towards exile is neither accident nor retrospective construction. Throughout her adult life Judith Shklar argued from a position of ‘optimal marginality’ – what has (...) been called ‘exile from exile’ − that allowed her to situate and present herself simultaneously as an outsider and to present her political theory as a kind of pedagogic and maieutic discourse. This was a way of turning traumatic personal experiences into a creative academic performance marked by true intellectual curiosity. (shrink)

Management and organization studies (MOS) scholarship is at a crossroads. The grand challenges (such as the climate emergency) humankind must face today require an improved contribution from all knowledge fields. The number of academics who criticize the lack of influence and social impact of MOS has recently grown. The scientific field structure of MOS is based on its members’ accumulation of symbolic capital. This structure hinders speaking truth to the elite dominating neoliberal society. Our literature review suggested that a deeper (...) interaction between MOS and philosophy could aid in improving the social impact of MOS. Specifically, an attitude by MOS scholars based on parrhesia (παρρησíα, to speak truth to power) could revitalize the field through heterodox approaches and, consequently, allow them to utter sound criticisms of the capitalist system. Parrhesia would lead MOS scholars towards a convergence of ethics and politics. We investigate whether daring to speak inconvenient truths to the powerful (some peers in the field and some individuals and corporations in society) can be a straightforward tool for revitalizing MOS. Boosting a candid philosophy-MOS interaction requires the fulfilment of three objectives: practical dialogue between these fields, reconsideration of the fields’ structures based on symbolic capital, and a post-disciplinary approach to philosophy. That fulfilment implies the delimitation of the MOS-philosophy interaction, a respectful mutual framework, mutual curiosity, and moving from prescriptive theoretical reflection towards more socially useful MOS. Ethical betterment through parrhesia could be the key to surpassing MOS stagnation. (shrink)

Contemporary accounts of individual self-formation struggle to articulate a mode of subjectivity not determined by relations of power. In response to this dilemma, Foucault's late lectures on the ancient ethical practices of "fearless speech" (parrhesia) offer a model of ethical self-governance that educates individuals to ethical and political engagement. Rooted in the psychological capacities of curiosity and resolve, such self-governance equips individuals with a "disposition to steadiness" that orients individuals in the face of uncertainty. The practices of parrhesia accomplish (...) this task without fabricating a distinction between internal soul and external body; by creating not a "body of knowledge" but a "body of practices"; and without reference to an external order such as nature, custom, tradition, or religion. The result is an "expressive subject" defined through expressive practices sustained by a simultaneous relationship to herself and to others. Individuals develop themselves not through their ability to "dare to know" but as those who "dare to act.". (shrink)

_A provocative reassessment of the concept of an American golden age of European-born reason and intellectual curiosity in the years following the Revolutionary War_ The accepted myth of the “American Enlightenment” suggests that the rejection of monarchy and establishment of a new republic in the United States in the eighteenth century was the realization of utopian philosophies born in the intellectual salons of Europe and radiating outward to the New World. In this revelatory work, Stanford historian Caroline Winterer argues (...) that a national mythology of a unitary, patriotic era of enlightenment in America was created during the Cold War to act as a shield against the threat of totalitarianism, and that Americans followed many paths toward political, religious, scientific, and artistic enlightenment in the 1700s that were influenced by European models in more complex ways than commonly thought. Winterer’s book strips away our modern inventions of the American national past, exploring which of our ideas and ideals are truly rooted in the eighteenth century and which are inventions and mystifications of more recent times. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Against Ethical CriticismRichard A. PosnerOscar Wilde famously remarked that “there is no such thing as a moral or an immoral book. Books are well written, or badly written. That is all.” He was echoed by Auden, who said in his poem in memory of William Butler Yeats that poetry makes nothing happen (though the poem as a whole qualifies this overstatement), by Croce, and by formalist critics such as (...) Cleanth Brooks, a doyen of the New Critics, who insisted that edification was the function of religion but not of poetry. 1 George Orwell, though himself a didactic novelist, was of this view as well, 2 and it is one that most critics adopt when the issue is censorship. I accept Wilde’s thesis—the creed of aestheticism, of art for art’s sake—if understood to mean that the moral content and consequences of a work of literature are irrelevant to its value as literature; or as the critic Helen Vendler has put it, that “treating fictions as moral pep-pills or moral emetics is repugnant to anyone who realizes the complex psychological and moral motives of a work of art.” 3 This is not to deny that reading can have consequences, including moral and political ones. Information affects people’s outlook and behavior, and reading is a source of information. Imaginative literature conveys ideas, opinions, and information, often with great power. Think of the role that novels by Turgenev (Fathers and Sons), Dostoevsky (The Possessed), Conrad (The Secret Agent, Under Western Eyes), Koestler (Darkness at Noon), Orwell (Animal Farm, Nineteen Eighty-Four), and, of course, Solzhenitsyn played in exposing the horrors of anarchism and communism. Of A Passage to India it has been said that “as an account of the social conditions of British India it was powerful enough to have influenced events.” 4 Upton Sinclair’s novel The Jungle is thought to have incited federal regulation of food processing; and few doubt the effect of Uncle Tom’s Cabin (1852) on the abolitionist cause. [End Page 1]At the core of the aesthetic tradition, which I shall be defending in this essay particularly against its opponents in the “law and literature” movement, are three theses. First, immersion in literature does not make us better citizens or better people. One might be able to pick out some works of literature that would have such an effect because of the information they convey or the emotional state they induce, but they would constitute a skewed sample of literary works. Second, we should not be put off by morally offensive views encountered in literature even when the author appears to share them. A work of literature is not to be considered maimed or even marred by expressing unacceptable moral views; by the same token, a mediocre work of literature is not redeemed by expressing moral views of which we approve. The proper criteria for evaluating literature are aesthetic rather than ethical. Third, authors’ moral qualities or opinions should not affect our valuations of their works.The insistence, in short, is on the separation of the moral from the aesthetic—but with two qualifications. Some literature has little interest or value apart from the didactic and for it the proper criticism is didactic. And the separation of moral from aesthetic values is not a rejection of the former. The aesthetic outlook is a moral outlook, one that stresses the values of openness, detachment, hedonism, curiosity, tolerance, the cultivation of the self, and the preservation of a private sphere—in short, the values of liberal individualism.The counter tradition in literary criticism to the aesthetic originates with Plato and insists upon the importance, in some versions to the near or even total exclusion of anything else, of the ethical or political content and effects of works of literature, and less commonly of the author’s own morality. Martha Nussbaum, for example, deems Greek tragedies and Anglo-American realistic novels a part of moral philosophy. 5 Reading novels, she argues, “develops moral capacities without which citizens will not succeed in making reality out of the normative conclusions of any moral or political theory, however excellent.” 6 Wayne Booth, disagreeing with his illustrious... (shrink)

continent. 1.2 (2011): 129-135. Introduction Vincent W.J. van Gerven Oei Successions of words are so agreeable. It is about this. —Gertrude Stein Nachoem Wijnberg (1961) is a Dutch poet and novelist. He also a professor of cultural entrepreneurship and management at the Business School of the University of Amsterdam. Since 1989, he has published thirteen volumes of poetry and four novels, which, in my opinion mark a high point in Dutch contemporary literature. His novels even more than his poetry are (...) criticized for being inaccessible, which I generally take to be a compliment. It would be like saying that Fernando Pessoa is inaccessible, which he is not. Neither is Wijnberg. When we think of the combination economist-poet we are immediately reminded of the American poet Wallace Stevens, who, as the story goes, had two stacks of paper on his desk, one for contracts, one for poems. We also know that Stevens wrote on the economy and that questions of economy and insurance surface at multiple points in his poems. The following text is a very preliminary attempt to point at the intersections between poems, novels, business, and poetry in Wijnberg’s work. On the back cover of his novel De opvolging ( The Succession , 2005), Wijnberg states the following: “[This is] a novel for whomever is interested in the workings of a company as much as in the workings of a poem.” Wijnberg thus claims that the way in which a company “works” may be similar to the way in which a poem “works.” The question is the obvious one, what does this similarity consist in? De opvolging tells the story of company in which bosses and company doctors, secretaries, children, clowns, and beggars have tons of meetings, recite poems, perform plays, tell jokes, and succeed each other, climbing up and down in the company’s hierarchy. De opvolging is a novel in which the career of people follows the career of words. It resonates with Gertrude Stein's sentences, "Grammar. What is it. Who was it" (1975, 50). The words in Wijnberg's poems are like he characters in his novel. And if we keep in mind this allegorical reading of De opvolging , which is obviously only one of the possible readings, we may be able to understand some aspects of Wijnberg’s poetry. A repetition is already a pun. Look, that word is trying it again, as if it is afraid that by not doing it it would give up the hope that it will ever be able to do something. A pun is the opposite of the first word coming to the mind of someone who shouts it when he suddenly discovers something. (104) The repetition, the succession of the same word, is already a pun, a joke. The succession of the father by the son after the revolution is a joke. "Look he's trying it again!" The essence of a joke is a repetition. Archimedes’ “Eureka!” is its opposite. Poems can easily become jokes, depending on the way the words follow and repeat each other. In De opvolging , the careers of the bosses, good and bad secretaries, and company doctors easily become jokes, as they are “afraid that by not doing it [they] would give up the hope that [they] will ever be able to do something.” Not only the repetition, but also the distance and difference between the words in a poem, their cause and effect relations can be read as company relations. This becomes clear when we, for example, read the first lines of the poem “Cause, sign” from Het leven van ( The Life Of , 2009). A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate some- thing only because it’s different for me. If I didn’t have to write this myself, but would have secretaries to whom I could dictate it, I would be able to say more about it. (49) Upon reading the first two lines we can already conclude that any word may be cause or sign or both. If a sign is also a cause there is no reason to discriminate it, yet to the poet they are still different. This difference only becomes expressible the moment he would have a secretary. Just like in De opvolging , the secretary introduces a distance; not in a company but in a poem. Hence the difference between “good” and “bad” secretaries in a company, where the good secretary of one boss may be the bad secretary of another one. The more we can say about the bosses of the company, or signifiers of the poem, the greater the distance we introduce between them and us. We should take serious the relation between Wijnberg’s novels and poems. Although they operate on different scales, they explain and converse with each other. Another example may be the novel Politiek en liefde ( Politics and Love , 2002), which deals with the relation, precisely, between politics and love. In the novel, Nicolai, a lieutenant in the Dutch army, is sent to Africa on a military mission. Upon leaving a receives a letter from his father. Dear son, Don’t do anything stupid before your father has advised you to do so. Your mother asked me to write a wise letter. I have been looking for wisdom for half a day and haven’t found much. If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave. What I want to say is that you have to return from Africa in good health, and before you know it the world will be your slave [....] Signed with a kiss from your father. (88) The line, “If you borrow a small amount from a bank you become the bank’s slave, but if you borrow a couple of millions and spend them as quickly as possible the bank becomes your slave,” returns as the title of poem in Het leven van: “If I borrow enough money the bank becomes my slave” (12-3), which elaborates this theme. So both in the way that these poems are structured and in their subject matter, they refer to the structures of our economy, to the ever-continuing line of CEOs succeeding each other like words, to the distance between them introduced by bureaucracy, and giving and receiving as economical and poetical acts. Poem and economy map onto each other, as in another episode from De opvolging : Edward reads two of the beggar’s poems about presents. Of a holiday nothing remains, except for memories, and if some of them are bad I’d rather forget them all; if I get a present I’d rather get something that’s useful to me for a long time. If I may choose, I choose what I can use longest, long enough to partially forget that this was the present, because it feels bad when nothing is left of it. […] Giving away becomes destruction in the stock destruction economy [ voorraadvernie -tigings-economie ], that is a gift economy [ geschenkeneconomie ], encountering for the first time an economy in which there’s selling and buying on markets. Instead of destroying supplies someone can also quickly say that they aren’t worth anything anymore; if someone wants to take them I’d gladly give him something extra. In a stock destruction economy he is someone who each day wants to work more hours than his colleagues. If around a company there is a gift economy in which someone’s rank is determined and made visible by the gifts someone can give someone else, a company will be more often character- ized by an invisible or unclear system of ranks. (152) Two poems about gifts present two different economical models, described by Wijnberg with the terms “stock destruction economy” and “gift economy.” Here we immediately recall the opposition introduced by George Bataille’s work on the concept of expenditure in The Accursed Share , where a “general economy” would surpass the stock destruction economy based on scarcity (capitalism) and become a gift economy (potlatch) and an egalitarian (communist) society. These claims are made both on the level of the poems and in their discursive explanation. They follow each other and on each other. I would like to finish this introduction to Wijnberg’s writing with a translation from his novel De joden ( The Jews , 1999), which develops the story of Hitler abdicating as chancellor of the Third Reich, appointing philosopher Martin Heidegger as his successor. In a conversation with two Russian actor-spies, sent by Stalin to figure out the situation, philosopher Walter Benjamin describes the abdication scene. Maimon: You were there when Hitler resigned? Benjamin: In the room we’re right now. The desk and the chairs are new. After his resignation Hitler would like to take his furniture to his new house. Martin naturally agrees. It is a sunny day. Martin is very nervous and complains about the heat. Martin is wearing his best dark blue suit, not his professor’s robe. Hitler is wearing his uniform. We enter the room and Hitler gets up and embraces Martin. Martin is not very good at embracing. Hitler shakes his hand. Hitler’s cap is on the desk. The cap has a metal lining. Hitler has strong neck muscles. Hitler says: A man is unclean. He takes a bath. Does he make the bath water unclean? I say: a man is unclean. He steps into a river. A little further a man steps into the river; does he become unclean? Hitler nods. I say: a man is standing in music. Another man hears the music but also sees the first man moving on the beat of the music in a way that he is certain that the music would excite different feelings in him if he wouldn’t to see the first man. Hitler says: a man is clean, listens to music, is suddenly touched and he doesn’t know by what. The conversation ends in the way you know it ends. Hitler picks up his cap from the desk and puts it on Martin’s head. (73-4) Aware of the never ending debate on the question of Heidegger’s involvement in the Nazi regime, Wijnberg has the audacity to present the arguments of complicity in the religious terminology of cleanliness and uncleanliness, while at the same time recalling overtones of Hitler’s supposed love for Wagner, suggesting a relation between Benjamin and Hitler, and so on. The space of this introduction is to small to treat a novel like De joden , a reading of which together with passages from Philippe Lacoue-Labarthe's Heidegger, Art, and Politics: The Fiction of the Political , Jacques Derrida's Of Spirit , Christopher Fynsk's Heidegger: Thought and Historicity , and Avital Ronell's The Telephone Book would be extremely elucidating and potentially open new avenues in thinking Heidegger's emphasis on poetry after the fall of the Nazi empire. But at this point we will have to curb our curiosity and follow the poet himself. The themes of the relation between business and poetry, but also Chinese landscape painting, love, Indian and Japanese poetry, and Western philosophy are analyzed and assimilated in Wijnberg’s work without ever losing the clarity of expression. It may be that, according to Alain Badiou, the “Age of the Poets” is over, but its end (Paul Celan) has exactly brought a new balance between philosophy and poetry, and it is this playful, but nonetheless serious balance that makes one hope that one day Wijnberg’s complete oeuvre might become available to readers across the planet. Tiranë, Albania February 15, 2011 English translations (all of them translated by David Colmer, who is preparing an English collection of Wijnberg’s poems entitled Advanced Payment ): Poetry International Words Without Borders Green Integer Review from Het leven van ( The Life of ) THE LIFE OF KANT, OF HEGEL As if every day he takes a decision that is as good as when he’d been able to think about it all his life. The life of Kant, of Hegel, the days of the life of, select three or four of them. Tell what he has discovered during those days as if he were the last one who knew so little. Give me something that I can cancel against then I can prepare myself for it. The reward is that I may continue with what I’m doing, it doesn’t matter how long it takes. This has nothing to do with everything remaining the same if I say that I no longer want anything else. I wouldn’t be able to say in which one and the other occur in a way that I if I knew something to cancel that one against it wouldn’t be possible now. The stars above my head and being able to say what belongs to what if I’ve let them in. FOLLOWING MY HEART WITHOUT BREAKING THE RULES Observing the rules without observing the rules by going where the rules no longer apply. I could also observe the rules there by applying them to what at great distance may resemble what the rules are about. But why would I do that, not to confuse someone who is seeing me from a great distance? Behind this morning the morning prepares itself when the rules are everything I have. IF I BORROW ENOUGH MONEY THE BANK BECOMES MY SLAVE A bank lends me money, if I don’t pay it back they tell my boss that he has to pay them my salary. But they have to leave me enough to eat and sleep and an umbrella when it’s raining. They can also empty my house, the furniture isn’t worth a lot, but every little helps. Each morning I leave for work, if I don’t start early they’ll soon get someone else, no bank will lend me money when the sun is shining. My boss has given me a cat to raise as a dog. Of course I know that it won’t work out, but I’ve asked for a week—maybe the cat gets lucky, maybe I get lucky. My hands around a cup of coffee, before I leave for work, warm-empty, cold-empty, as if hidden in the mist over a lawn. What I make when there’s no work left for me, I’m ashamed to say how little it is. Once I’m outside I check it, if they watch out of the window they can see me doing it. Suppose it is so much that I’d stay counting for hours, it’s getting dark and I’m still there. They stay watching for a while once they’ve finished their work, but have to go home, I get that, sure, I could also go home and continue counting there. If it’s too little running back immediately won’t help, because nobody’s there anymore, and if I come back tomorrow I may have spent what’s missing tonight. Going somewhere where it’s warm enough to walk around without clothes during daytime, it helps me to know that something’s more there than here. For someone like me there’s work anywhere, it shouldn’t take a week to find work for me there. Three times work and a home close to work, I may choose one and try for a week whether I want to stay there. If at the end of the week I don’t want to stay I’m back on the next day, then it was a week’s holiday. RULES If that’s against a rule, it’s yet another one that I cannot observe, or only so briefly that I cannot re- member it later. Anyways the rules are only there to help me remember what I need in order to do better what I do. In that respect there’s no difference between the rules that I find in a book and the rules that I think of early in the morning. I know that because I’ve made a rule just now nothing has yet to observe it. CAUSE, SIGN A sign lets know what is going to happen, a cause lets it happen. If the sign also lets happen there is no reason to isolate it, because then I would isolate something only because it’s different for me. If I didn’t have to write this down myself, but would have secretaries to whom I could dictate it, I could to say more about it. If something is taken away from me I consider how it would be if the opposite had been taken from me. That is what causes or signifies what is farthest away from what is caused or signified by what has been taken away from me. note: For the translations of “The life of Kant, of Hegel” and “If I borrow enough money the bank becomes my slave” I was able to consult David Colmer’s wonderful translations. (shrink)

We employ the Social Signaling Model and life history of a Western Dani big-man, Tibenuk, to analyze a neglected curiosity in the career of the big-man type. The big-man is renowned as an economic entrepreneur, the master of material displays. In New Guinea, however, big-men had invariably first gained fame and some influence as eminent warriors. The SSM accounts for this two-part career path by proposing that small-scale social organization rests on honest, competitive signaling of individual and collective fighting (...) strength, with leaders being those who excel in these contests. The performances for which big-men are already known, conspicuous ceremonial displays, broadcast this strength indirectly. Explicitly conceptualized as symbolic fighting, they constituted indexical proxies for their sponsors’ individual and collective willingness and ability to fight. Success on the battlefield, though, signaled fighting strength more directly. Men therefore had to demonstrate strength on both the battlefield and the ceremonial ground if they were to become big-men. This was Tibenuk’s achievement. When he was young and at his physical peak, he demonstrated outstanding capability in war. War is a young man’s game, however, and as his physical capacities waned, he shifted to politics, an older man’s game, honing his political talents and developing extensive political networks that allowed him to sponsor massive pig feasts, the principal form of conspicuous ceremonial display. Tibenuk’s career also reveals synergies between warrior and political talents that hitherto have been overlooked in big-man analysis. (shrink)

I propose in this paper that Foucault’s interest in parrhesia as a “technique of the self,” particularly in his reading of Cynic parrhesia, can be fruitfully taken as an exemplar for new political thought on leadership. I make my case by comparing parrhesia with Weber’s charisma, which is the only force Weber allows for inserting new valuations into traditional and rational-legal legitimate dominations. I propose that charisma and parrhesia not only share several key characteristics, but express an overabundance of identities. (...) Although it is rarely acknowledged, I propose that this should hardly be surprising given Foucault’s longstanding interest in Weber’s work. Foucault’s governmentality can be productively set next to Weber’s psycho-sociology of modern man, Menschentum, to reveal the parallel courses taken by these two thinkers on the modern predicament. Both share a critical curiosity – one that revolves around Kant’s presentation in “What is Enlightenment?” – about life, and about seeing how we have come to be how we are as a philosophical problem. Yet, even with all of their parallels, particularly on the subject of leadership, the staggering difference between Foucault and Weber is that while Weber approached charisma as a possible therapy to the problem of the Menschentum being unable to derive new valuations from his rational-legal calculations, Foucault approached parrhesia by looking for techniques for confronting disciplined and biopolitical subjects within society with dangerous truths. Whereas conventional wisdom may presume that it is at such points as Weber’s charismatic leadership that Weber and Foucault would part ways, careful study shows that leadership is a point of connection between these two thinkers. (shrink)

Latin America - its people, its politics, its economy - has burst upon the world scene with powerful images that have captured the curiosity of many English-speaking North Americans. The strategic importance of this vast region to the stability of the Wes.

China, which has made a major economic breakthrough, has become one of the most important actors in international politics by increasing its military power in recent years. China's increasing power and influence in the international arena arouses increasing curiosity about the country's foreign policy. With Xi Jinping becoming president, China began to display a more assertive attitude or behavior on many issues. This study basically seeks an answer to the question of what differences Xi Jinping brought to Chinese (...) foreign policy. What kind of changes do these differences lead to in Chinese foreign policy? In this study, the general tendencies and directions of Chinese foreign policy during the Xi Jinping period are discussed. The assertive foreign policy approach that Xi Jinping is trying to implement is analyzed. In this context, the visions of "Chinese dream", "new type of great power relations", "new type of international relations", “Belt and Road Initiative" and "a community with a common future for humanity", which reflect Xi's assertive foreign policy approach, are examined. At the same time, challenges to the assertive foreign policy implemented under Xi Jinping are discussed. The study mainly questions the extent to which Xi Jinping's assertive foreign policy approach is successful. The study concludes that Xi Jinping's active foreign policy approach has not increased China's sphere of influence in the international arena to the extent expected. As China becomes more visible in the international arena, the country's foreign policy challenges seem to be increasing. (shrink)

We have never come face to face with ‘Philosophy’, that goddess who was courted, scorned, hated, and betrayed throughout history by those who claimed to represent her - we only come into contact with her officers: philosophers, that is, human beings who exist in an economic context, have religious ideas, support political opinions, find a way through their emotional history, are paid by institutions, fanstasize about a vision of hope, have appetites, can fight, are mad keen to be noticed and (...) recognized and above all frequently make certain types of statements that have claims to validity. So philosophers are not only creatures in history but also historical creatures who interrogate the meaning of the world and particularly their own work. However, one of the tricks of instrumental rationality - if we follow Marx's analysis - is to focus first on the product rather than the producer. This is the basic reason for the fact that a passion for the exegesis of philosophical texts often conceals philosophers’ practices. And this is why - where African philosophers are concerned, and they are not the only ones - people focus first, with benign curiosity, on their books, the theories that they expound and that may provide matter for heated discussion, but questions are hardly ever asked about the stance of African philosophers, in other words, the actual conditions in which their position is created, the particular abilities of African philosophers to achieve their emergence as ‘philosophers’, and their recognition in the international arena. The rhetoric about the acceptance of multi-culturalism argued on the basis of the complexity of present-day societies often hides practices and processes of legitimation that are revealed by their relationship to those two phenomena, economics and the state. The love of little abstractions that philosophy resists in the name of its historical position, the haste with which African philosophers, among others, clamour for recognition from their peers in other cultures are partly intended secretly to conceal their true relationship to money. Not that ‘disinterested’ philosophers ‘in love’ with knowledge do not exist, but we need to recognize that they often fail to say, as Adorno does in Dialectique négative, that ‘philosophy's freedom is simply the ability to allow its non-freedom to be expressed’. The purpose of this article is less to question philosophers’ capacity for knowledge than to urge them to have the courage to proclaim and challenge their non-freedom. (shrink)

Forbidden areas, i.e. areas (sites, cities, countries) that are inaccessible for topographical reasons or especially because of decisions based on political, religious, or other motivations are usually surrounded by an aura of mystery and almost necessarily arouse curiosity. The dream of generations of explorers was to reach Lhasa. An area can be closed not only to outsiders but also to “insiders:” nobody is allowed to leave for the “outside.” The isolation imposed on Japan by the Tokugawa regime was such (...) a two-way seclusion aided, of course, by geographical conditions and hence easily enforceable. It has been suggested, perhaps not quite seriously, that the famous Chinese wall was meant not only to keep out barbarian invaders, but also to prevent Chinese from leaving. That there was some kind of border control is also suggested by the leger, according to which Lao-tse, before disappearing into the west, committed his teaching, the Tao-te-kinq, to writing at the request of the “gatekeeper.” One may well wonder whether there exists another equally influential text written at the behest of a border policeman! (shrink)

Strategy frames the contemporary epistemological space of urbanism: major cities across the globe such as New York, London and Sydney invest time, energy and resources to craft urban strategies. Extensive empirical research projects have proposed a shift towards a strategic framework to manage cities. This theoretical curiosity is reflected in the rising interest in urban strategy from practice. For instance, the World Bank regularly organizes an Urban Strategy Speaker Series, while the powerful network CEOs for Cities lobbies for a (...) strategic approach to urban development. Critical scholars such as Zukin diagnose not a shift in but a shift to strategic thinking in the contemporary city. This article poses the question: what makes strategy such an attractive ‘thought style’ in relation to imagining and managing cities? How can we understand the practice of urban strategy? And what are its intended and unintended consequences? The objective of this article is to analyse strategy as a socio-political practice that shapes cities, and by extension, society at large. (shrink)

In fact, only one book on or around Marxism has been received for survey during the year that is past, though there are perhaps few British philosophers who would see anything for surprise or regret in that. Among the books not received, however, are two of very considerable interest and intelligence, which it would be wrong not to mention for the sake of anyone who may be unaware of their existence; Merleau Ponty's Les aventures de la dialectique and Raymond Aron's (...) L’opium des intellectuels . Both books appeared at roughly the same time as a British critic was rash enough publicly to lament that political philosophy was dead in France. Quite apart from anything else, this seems an odd complaint of a country in which Marxism, be it for better or for worse, is very much a live intellectual influence. Classical Marxism may indeed be what Professor Acton calls “a philosophical farrago,” but it would be a bad mistake to treat it as no more than a dead doctrinal body, to be dissected and preserved, if at all, as simply an historical curiosity. What the intellectuals of the world’s next generation or two will be saying may be anybody's guess; but that a very large proportion of them will be saying it in Marxist or Marxist–derived terminology seems a safe prediction. When for any reason a certain vocabulary is placed beyond the bounds of critical questioning, all development must take the form of interpretation and application. But to say this is very different from saying that all development is brought to a halt. (shrink)

continent. 1.2 (2011): 125-128. What is the nature of sound? What is the nature of volume? William James, in attempting to address these simple questions wrote, “ The voluminousness of the feeling seems to bear very little relation to the size of the ocean that yields it . The ear and eye are comparatively minute organs, yet they give us feelings of great volume” (203-­4, itals. original). This subtle extensivity of sensation finds its peer in the subtle yet significant influence (...) of habituated action upon our lives. This expansive quality of habit­making is what Craig Dongoski's bodies of work enable us to appreciate. Nearly ten years ago Dongoski had a habit of turning on his audio recorder every day at three o'clock for three minutes. No matter what the setting, what the activity, Dongoski recorded the ambient sounds in his environment at that moment. As it happened, one day he was teaching a drawing class and he recorded the sounds of their pencils scratching across their respective surfaces. This was a critical moment for him. Later he would place a contact mic onto a drawing surface and record the sound of his signature. Signatures change over time, they respond to the conditions in which they are performed. Signatures speak volumes about the author, but a practice of attunement is required for the volume to be audible. To hear all that a signature can tell about its author, the listener must tune into the frequency at which this information is being broadcast. Dongoski's drawings and video works draw­out the peculiar artifact that habit makes of living: habits establish a tempo of living and it seems that one's habitus is the signature of habitual living. I sat down with Craig in an attempt to sound­out some of the depths of thought in his practice. What follows is selected from our conversation. Paul Boshears (PB): Clearly your work is dealing with time: from the painstaking action of rendering the drawing to the free­form approach of launching a microphone into a body of water and waiting to see what's recorded. Craig Dongoski (CD): Are we talking about the films or the drawings? PB: Well, it's a bit of both in my mind. I know the drawings on first glance seem to be these flows of lines without concern but I realize that there is this painstaking action involved. CD: I'm interested in time because I'm interested in forms outside of control, outside of politics, and outside of economics. I think that art, when it's alive, does go beyond those. I'm interested in duality and paradox—a stream of contradiction, I suppose. For instance, scale and size. There is a tendency to think that these are the same thing. But really you can have something small that has a lot of scale—look at Goya's drawings, Los Caprichos , they're very small but they have a lot of scale. Likewise things that are spontaneous don't necessarily mean that they take only two or three seconds to do. This latter distinction is what I'm most interested in. Having that appearance of spontaneity. The image has rhythm, you can latch onto it; but the reality is that it took many hours—and many months in some cases—to arrive at. And this is in keeping with geological time. I like to insert this series of thoughts into my work sometimes as an attempt to make some of this stuff comprehensible. There are all these distractions inundating us throughout our days now. Time gets tweaked by all these technologies that we interact with daily. There's more than just digital time or the mechanical time of your watch. There's biological time, that time in which you're growing. PB: I'm reminded of McLuhan here: he made his career by making that strong claim that the humans of today are not the same humans of three generations ago because technology has fundamentally changed us. Are we not the same human beings as a hundred years ago? CD: I mean, I don't think we're the same human beings that we were when he was around! It's my understanding that before painting a flower, monks would meditate for hours on that flower and then they would complete the painting of that flower in less than a minute. That's what I want to point out about our world today, we have all this information, but how much of it are we metabolizing? PB: Is there a message you're looking for? Or that you're trying to share? CD: These drawings set­up the circumstances for me to continue them forever. I'm only about six years into it, but with more time, things can unfold. You know? If you take this cup of coffee and vow to restrict your work to only this material and medium for seven years—you'll make interesting work. The problem is that most people can't hold on to things or they give up or they get distracted. They don't trust that anything is possible; anything is potential material. Staying with this cup of coffee example, we can get enveloped in the history of the recycling logo, or the process for harvesting coffee and so on. The same is true for my work as it has lead me into places like graphical music scores. I had, of course, known about John Cage's notations and I'd always been interested in sound itself, but this drawing practice made it feasible to explore the intersections in a meaningful way. I think that if you trust your instincts and your curiosities and your abilities, then the bus drives itself. Look at Roman Opalka, he's kind of the patron saint of time painting. The claim is that no one can count to a billion in a lifetime so he's set­out to paint to seven sevens (7,777,777). He began with white numbers on a black field but over the years he has gradually reduced the black field to ever­lightening grays. His plan is to paint these seven sevens on what ostensibly will be white on white. PB: It occurs to me that I've never thought of the actual, literal, meaning of “microphone” in relation to “microscope.” The mic has made everything loud, the world's not allowed to be quiet anymore. Maybe we should call them “macrophones” since telephone's already taken... CD: Well, a microscope is a lens. What got me interested in sound was that a microphone acts like a lens. There are wide angle lenses, or a lens that gets your eye up close to something far away, or at a tiny level. The same is true of the microphone. You can use a parabolic mic to hear what the coach is saying on a sports field or a mic that picks­up the sound from the entire cathedral. There's this whole gamut... I'm kind of playing with the words here. I'm into the minuteness of the sound, but I'm interested in the minuteness of the mark itself. PB: I guess it's a Deluezean, generative, statement, then? It's not a metaphor, it's an actual thing with which we can work. CD : That's right. PB: While doing some background work on you I found myself at interesting places on the internet. For example, Konstantin Raudive and a brief jog into Electronic Voice Phenomena (EVP); perhaps this was just synchronicity. But, it's a happy coincidence nonetheless because the them of this issue of continent. is “the moraine” and one of the nuances of this term is “what remains.” Is there a metaphysical or epistemological problem that you're sorting­out here? CD: Think about fossils: fossils are the first recording device, you know? It's the first, natural, recording device. It's in this way that I think my works are fossilized time. Artifacts of that process. Van Gogh is a strong source for me in this regard: it's not what he's painting it's how. You're seeing his nervous system at work. The what is so incidental, the chairs, the flowers, etc. It's funny: when I first started doing this, before I started drawing voices, I was doing these things in cemeteries. I was doing automatic drawings. And when I took this experiment to its maximum I was taking hydrophones and burying them in abandoned graves. I was thinking about the mic rig as the south coordinate and I'd use a shortwave radio as the north coordinate. Usually it was just white noise, but on the east and west I'd station a writer and a drawer. So I'd have these things going on simultaneously and I'd be mixing them at the same time. PB: How'd it come out? CD: Well, just like you'd expect. It was a lot of white noise. But I think that Raudive was on to something. Burroughs used to say something similar when he'd talk about being in a foreign country where he didn't know the language and then he'd start to hear things. At the base, what I'm doing is pattern recognition. I do have a writing component to the drawings. I haven't exploited it in a while but... I use a vocoder, which was developed to encrypt spy signals during one of the World Wars. The mechanism takes two channels, one being the spy's signal combined with noise and then the other channel is a sine wave so that the intended recipient can pick out the words. So I did something like this with Beowulf. I tried combining the spoken word with other television and radio sources, but that didn't work because a book on tape is usually read in a very steady clip and the result was too garbled. So the second try, instead of drawing I was writing, trying to articulate the sounds that I could hear in this garbled transmission of Beowulf. You start to think you hear something, so you start to write what you think you're hearing. But what you're hearing is just being triggered by this articulating action. When the sound of the drawing lines up with the sound of the word you get something. But it's not ever what you're really hearing. You start writing and you're trying to keep up with what you think you're hearing and it is truly, in the most true sense of the phrase, automatic writing. You can contrive and go into a “spirit trance” or whatever, but... PB: It's uninteresting to you? CD: Well, it's unbelievable. It's just listening to sounds and following along. The magic is out there, there are no tricks or anything. You do this exercise with twenty people and you will get twenty totally different writings. But, you're creating the sound and you're creating the writing as an interpretation. That's the thing with EVP, it's homophonic translation. PB: Do you trust a straight line? I know you start with these meticulous lines at the beginning of the drawings but they do change over time. CD: I'm trying to show that there are these imperfections in structures and that over the reiterations of these structures these imperfections become amplified. But you can see them in tree formation as well. The rings alter their shape as the trees grow. PB: Is that your transmission then? You're not just receiving these sounds but you're broadcasting this message as well? CD: Things exist because of their opposites. These drawings are really about nothing. It's the first body of work I've had where people project so much of stuff onto the works. So there you go, things existing because of their opposites. It's kind of like with Mike Kelley: the work was about a critique of commodity culture and commodifying emotions. Using toys this was a critique of production. But then suddenly people were saying it was about abuse and the abuse that Mike Kelley had suffered. And it wasn't but he heard that and said, “I'll go with it,” and so he did. I think that's the nature of communication: I send this but you receive that instead and this makes me think about what I sent in a different way. (shrink)

The trans-Atlantic trade that brought slaves from the African continent to the New World has generated such interest and controversy that it has tended to obscure another significant African slave trade, that which saw individuals sent across the Sahara to be sold in North Africa and Western Asia. This trans-Saharan trade was both longer-lived and, in terms of numbers eventually enslaved, demographically similar to the better-known trans-Atlantic trade. This chapter summarizes current understandings of the trans-Saharan slave trade for the period (...) ad 750–1500 approximately, and assesses the prospects for its archaeological recognition. A second topic will be to suggest the merits of a comparative approach considering the impact of slave trading on social and political frameworks: the argument here is that a consideration of wider themes can bring us closer to understanding roots and causes, invalidating the convenient assumption that the Atlantic slave trade was a historical curiosity which can be safely consigned to the annals of the past. (shrink)

Jeremiah Alberg’s fascinating book explores a phenomenon almost every news reader has experienced: the curious tendency to skim over dispatches from war zones, political battlefields, and economic centers, only to be drawn in by headlines announcing a late-breaking scandal. Rationally we would agree that the former are of more significance and importance, but they do not pique our curiosity in quite the same way. The affective reaction to scandal is one both of interest and of embarrassment or anger at (...) the interest. The reader is at the same time attracted to and repulsed by it. _Beneath the Veil of the Strange Verses _describes the roots out of which this conflicted desire grows, and it explores how this desire mirrors the violence that undergirds the scandal itself. The book shows how readers seem to be confronted with a stark choice: either turn away from scandal completely or become enthralled and thus trapped by it. Using examples from philosophy, literature, and the Bible, Alberg leads the reader on a road out of this false dichotomy. By its nature, the author argues, scandal is the basis of our reading; it is the source of the obstacles that prevent us from understanding what we read, and of the bridges that lead to a deeper grasp of the truth. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Misquotations from RealityAnn Lauterbach (bio)In the girdle of Aphrodite, in the crown, in the body of Helen and her phantom, beauty is superimposed over necessity, cloaking it in deceit. The necessary has a certain splendor, and behind any splendor one senses a metallic coldness, as though of a weapon poised to strike. The real split in Greek consciousness, like all other irreversible steps it took, comes when Plato for (...) the first time affirms, ‘How very different is the nature of the necessary from the nature of the good.’ And he means an immense, an unbridgeable distance—the same distance that made atheists of ‘those who study astronomy and other sciences of the necessary, when they see that what is, is so out of necessity and not out of any plan conceived by some will to accomplish the good.’ The Beautiful, in this scenario, must either be quickly reabsorbed into the Good—as its agent, instrument, and pedagogue—or left up in the air, like a malignant spell (goeteuma) bewitching the mind only to subject it even more helplessly to the fiat of necessity.—Roberto Calasso, The Marriage of Cadmus and Harmonyl. The Stranger’s HandOnce at the circus, when I was young we were strolling around in a throng of clowns and cotton candy, bright sun, I looked up to find that the hand I was holding was that of a stranger.Just before dawn, ejected from sleep, I am unraveled into another condition.The place between these two conditions is complex and difficult, a peculiar suspension between two exclusive frames for which there is no dialogue box. The familiar crosses into the unfamiliar and back again.What separates works of art from the fallible empirical world is not their higher degree of perfection but their ability to actualize themselves in a brilliant and expressive appearance just like fireworks. 1Fireworks! Temporality construed as ephemeral vision.And so: In every work of art something appears that does not exist. 2And so: The question of the truth of art comes into view when a non-existent is seen to rise as if it were real. In terms of its form, art promises what is not real. Objectively, it raises the claim, however obliquely this may come out, that just because something appears, it [End Page 143] must be possible to imbue it with being. The unquenchable longing excited by the beautiful is the longing for the fulfillment of a promise. 3The promise of meaning.One of my students writes, “We deem beautiful that which offers meaning to our meaningless lives.”I failed to draw a map and you followed it perfectly because the word for ‘cannot’ inscribes itself here to define an atmosphere of absolute trust which both fastens and unfastens us. 4Day unblooms into insatiable prerogatives vetoedsustained in their august sudden ramifications as if saying soEvery frame is danger and security. Poems that interest me are poems that show me how to proceed, not where to go or what to look at. They assuage the panic of the Stranger’s Hand by awakening curiosity rather than fear. The poem attests to the mobility of the frame, not to the totality of the picture.Thus the grip of realism has found a picture chosen to cover the space occupied by another picture establishing a flexibility so we are not immobile like a car that spends its night outside a window, but mobile like a spirit. 5* * * but we were not, we are not shadows; as we walk, heel and sole leave our sandal-prints in the sand, though the wounded heel treads lightly and more lightly follow, the purple sandals. 6 [End Page 144]2. The Real ThingA poet too has constantly to ask himself: “but is what I am writing really true?”—and this does not necessarily mean: “Is this how it happens in reality?” 7I do not remember when or why I became interested in looking at the ways in which notions of the truth and notions of the real had become blurred. Perhaps in the slogans of advertising. Perhaps it was the political discourse around the Vietnam... (shrink)

The interactions between literature and science and between literature and psychoanalysis have been among the most thriving areas for interdisciplinary study in recent years. Work in these 'open fields' has taught us to recognize the interdependence of different cultures of knowledge and experience, revealing the multiple ways in which science, literature, and psychoanalysis have been mutually enabling and defining, as well as corrective and contestatory of each other. Inspired by Gillian Beer's path-breaking work on literature and science, this volume presents (...) fourteen new essays by leading American and British writers. They focus on the evolutionary sciences in the nineteeth-century; the early years of psychoanalysis, from Freud to Ella Freeman Sharpe; and the modern development of the physical sciences. Drawing on recent debates within the history of science, psychoanalytic literary criticism, intellectual history, and gender studies, the volume makes a major contribution to our understanding of the formation of knowledge. Among its recurrent themes are: curiosity and epistemology; 'growth', 'maturity', and 'coming of age' as structuring metaphors ; taxonomy; sleep and dreaming and elusive knowledge; the physiology of truth; and the gender politics of scientific theory and practice. The essays also reflect Beer's extensive influence as a literary critic, with close readings of works by Charlotte Brontë, Alfred Lord Tennyson, George Eliot, Thomas Hardy, Henry James, Oscar Wilde, H. G. Wells, Edith Ayrton Zangwill, Charlotte Haldane, Virginia Woolf, George Orwell, and Karin Boye. (shrink)

Today, the concept of democracy seems inextricably linked with that of universal suffrage. But is it true? To let that anyone with a given age has the right to vote is a very good democratic practice, or would prefer to question the criteria for access to this right, perhaps to develop new systems? The current crisis of democracy in the Western world is symptomatic of a detriment of the political consciousness of the people? And yet it is very likely to (...) be admissible and that only from the mass, the large numbers, rises the better choices? In this paper I try to answer these questions, drawing from personal opinions and thoughts, which I hope will inspire questions and curiosity in those who, like me, believes that any system is always perfectible, and that its aim should be to that perfection, without fear of asking uncomfortable questions. Personally, in fact, I can accept democracy as “the worst form of government except all the others that have been tried”, to quote a famous statement by Winston Churchill. But not for that I give up, and I try other ways. Ways that are more satisfying, more fair and keep us away from the horrors that only an angry mob can do. (shrink)

Studying Lacan's Seminar VII offers a contemporary, critically informed set of analyses of Lacan's ethics seminar and astute reflections about what Lacan's ethics offers to the field of psychoanalytic thought today. The volume interrogates the seminar with fresh voices and situated curiosities and perspectives, making for a compellingly exciting range of explorations of the crucial matters related to an ethics of psychoanalysis. The essays question and tease out the paradoxes Lacan draws attention to in his seminar of 1959-1960, and in (...) addition, offer radical engagements with the seminar in light of theories of racism, inequality, capitalism, education, and subjectivity. The key elements in Lacan's seminar are explained, debated, and reconsidered with Antigone, das Ding, and the inevitable "ne ceder pas sur son desir" duly unpacked, examined, and ruminated upon. Studying Lacan's Seminar VII will be of interest to psychoanalytic scholars and students of Lacanian psychoanalysis, as well as psychoanalytic therapists and analysts. It will also be of interest to scholars and students of politics, philosophy, and studies at the intersections of racism, film, feminism, sociology, gender and queer theory. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

This trilogy deals with an epistemology of economics, arguing for a radical overturning of conventional analysis and providing an alternative to political economy and social sciences, based not on positivism, but on a normative and programming paradigm. Volume II builds on the work presented in Volume I to explore oppositions to the traditional and conventional teaching of economics, and presents testimonies that are favourable to a trend towards a programming approach, thereby giving substance to the epistemological 'overturning' of conventional analysis. (...) Such oppositions studied include the work of Ludvig von Mises and his theory of praxeology; Ian Tinbergen and Wassily Leontif's preference for 'planning' over 'forecasting science'; Bruno de Finetti and Daniel Bell's support for the base of 'utopia' in economics; the trend from the 'theory of planning' towards the 'methodology of planning, by Andreas Faludi; neoclassic curiosity about the 'multi-purposes approach' and 'non-economic commodities' as investigated by Walter Isard, as well as theories expressed by Herbert Simon, Robert Lucas, George Soros and Mark Blaug. Volume III takes studies further and presents a concrete and practical example of how to build a Planning Accounting Framework, as associated with Frisch's 'plan-frame', to demonstrate the extent to which decisions and negotiations can be routed in the social sciences. (shrink)