In Belnap's useful 4-valued logic, the set 2 = {T, F} of classical truth values is generalized to the set 4 = ������(2) = {Ø, {T}, {F}, {T, F}}. In the present paper, we argue in favor of extending this process to the set 16 = ᵍ (4) (and beyond). It turns out that this generalization is well-motivated and leads from the bilattice FOUR₂ with an information and a truth-and-falsity ordering to another algebraic structure, namely the trilattice SIXTEEN₃ with an (...) information ordering together with a truth ordering and a (distinct) falsity ordering. Interestingly, the logics generated separately by the algebraic operations under the truth order and under the falsity order in SIXTEEN₃ coincide with the logic of FOUR₂, namely first degree entailment. This observation may be taken as a further indication of the significance of first degree entailment. In the present setting, however, it becomes rather natural to consider also logical systems in the language obtained by combining the vocabulary of the logic of the truth order and the falsity order. We semantically define the logics of the two orderings in the extended language and in both cases axiomatize a certain fragment comprising three unary operations: a negation, an involution, and their combination. We also suggest two other definitions of logics in the full language, including a bi-consequence system. In other words, in addition to presenting first degree entailment as a useful 16-valued logic, we define further useful 16-valued logics for reasoning about truth and (non-)falsity. We expect these logics to be an interesting and useful instrument in information processing, especially when we deal with a net of hierarchically interconnected computers. We also briefly discuss Arieli's and Avron's notion of a logical bilattice and state a number of open problems for future research. (shrink)

The educationally emaciated, suffering from intellectual and spiritual bilumia, binge on facts and linear thinking. The imprimatur of clarity and the infatuation with quantification are accoutrements of this affliction, often characterized by apathy. Chaos is introduced as the wrecking ball for the hierarchical skyscrapers that overcrowd the educational skyline. The type of chaos proposed can be explained by the neutron bomb analogy. Chaos destroys all that is inessential but leaves standing the essential and promotes holistic rather than compartmentalized (...) learning. The authors further contend that one insight is better than a myriad of facts; in being vigilant of serendipity; that the value-aspect of facts is as important as the facts themselves. Such beliefs form a foundation for educational holism. Our goal is to popularize philosophy in the same way science has become popular without a mass understanding. Empiricism is criticized for creating the theoretical basis for fragmentation (forming the basis for an island ideology) by excising essence. Founded on inessential empirical ideology, efforts to teach multiculturalism merely exacerbate difference, promote alienation, and discourage tolerance. Within the framework of value hierarchies we favor, tolerance is not understood as open-armed acceptance of just anything, but the forbearance of an evil for the promise of greater good. Essence cannot be removed: even in the idiosyncratic we can find the essential. In the absence of chaotic methodology, critical thinking remains an apolitical, amoral, and atemporal process displaced from social and political reality. We propose a critical thinking that is not legalistic, but is action-oriented. The pipe dream for education is a political, moral, temporal, and decompartmentalized critical thinking that disseminates philosophy across the curriculum. Those who risk becoming pariahs and nomads are essential to the rejuvenation of the educational system. (shrink)

Christianity is best understood not as a set of timeless doctrines, but as a historical movement capable of change and growth. In this respect, Christianity is like a science. Heretofore, most instances of Christianity have exhibited certain ways of thinking that, taken as a whole, have led to the subordination of women (and the Earth and animals as well) to men in power. This article describes these ways of thinking, then contrasts six ways of thinking and acting (...) that can inform postpatriarchal Christianity and science. (shrink)

Beyond the Centaur questions the accuracy and usefulness of the virtually unquestioned ancient consensus that persons are composed of unequally valued, hierarchically stacked antagonistic components, usually soul or mind and body. Part I explores the gradual historical development of this notion of person. Part II consists of a thought experiment, examining an understanding of persons, not as stacked components, but as intelligent bodies -- one entity. It explores how a new understanding of persons can affect in important and fruitful ways (...) how we live: how we move, feel, think, believe, and die. (shrink)

Implementing the “hierarchical diagnosis and treatment” system highlights the important role of general practitioners as “residents’ health gatekeepers.” Still, the low level of career growth always limits the realization of their service value. Inertial thinking uses a single factor to explain the complexity of career growth in previous studies; in fact, it isn’t easy to assess whether the factor is a sufficient and necessary condition for a high level of career growth. Herein, we have used a set (...) theory perspective to analyze the mechanism of influencing high-level career growth by combining psychological and organizational factors. This research aims to analyze causal complexity relationship between these conditions and results is analyzed in detail. We choose fuzzy-set qualitative comparative analysis with a sample of 407 GPs to test 5 antecedent conditional variables that can affect their career growth. The variables include professional identity, self-efficacy, achievement motivation, training mechanism, and incentive mechanism. To ensure the universality and diversity of data, the samples were selected from community medical institutions in different regions of China. The results show that three pathways can affect the high career growth of GPs, and the optimal pathway A2 is the linkage matching of high incentive mechanism, high professional identity, high achievement motivation, and high self-efficacy. At the same time, we find that professional identity plays an alternative role in the three pathways. When professional identity is at a high level, as long as achievement motivation and self-efficacy are superior, or achievement motivation, self-efficacy, and achievement motivation are superior, a high level of career growth can be achieved. We broke the shackles of previous studies that only focused on the impact of single factors on the career growth of GPs. From the perspective of set theory, we use configurational thinking to construct Influential pathways of high career growth of GPs by integrating antecedents. The results can provide effective support for improving GPs’ service ability and realizing their service value to protect residents’ health. (shrink)

Under the vision of music education philosophy, we construct a practical path that conforms to the philosophy of music education and effectively improves students’ music literacy, and comprehensively assess the actual effect of music education in promoting students’ aesthetic literacy enhancement and comprehensive personality development. When determining the weights of the evaluation indicators of education and cultivation, a judgement matrix is constructed using the hierarchical analysis method, and a nine-quartile relative importance ratio scale standard is used to compare the (...) importance of each indicator. A consistency test was conducted to ensure the reasonableness of the judgement matrix. The evaluation results show that the aesthetic critical thinking score of 91.7 reaches the excellent level, indicating that students are enough to think independently, analyse the advantages and disadvantages of musical works, and form their own aesthetic judgments. Music aesthetic perception, music history and culture understanding, and music performance skills mastery were in the good grade with scores of 85.3, 78.9 and 87.5 respectively. Musical aesthetic creativity 76.2 reflects that students have some room for upward movement in music creation. Moral Values and Sense of Responsibility 89.4, indicating that students have achieved remarkable results in the development of moral values and sense of responsibility. Intercultural Communication and Understanding, 67.5, is near the lower end of the pass mark and requires greater educational efforts in this area. The results of the data and the grades are used to formulate targeted music education strategies, including strengthening the cultivation of aesthetic critical thinking, enhancing the cultivation of emotion and mood management skills, and improving self-awareness and intercultural communication skills, in order to jointly promote the synergistic development of aesthetic education and personality cultivation. (shrink)

The historiography of race is usually framed by two discontinuities: the invention of race by European naturalists and anthropologists, marked by Carl Linnaeus’s Systema naturae and the demise of racial typologies after World War II in favor of population-based studies of human diversity. This framing serves a similar function as the quotation marks that almost invariably surround the term. “Race” is placed outside of rational discourse as a residue of outdated essentialist and hierarchical thinking. I will throw doubt (...) on this underlying assumption, not in order to re-legitimate race but in order to understand better why race has been, and continues to be, such a politically powerful and explosive concept. (shrink)

(1) This paper is about how to build an account of the normativity of logic around the claim that logic is constitutive of thinking. I take the claim that logic is constitutive of thinking to mean that representational activity must tend to conform to logic to count as thinking. (2) I develop a natural line of thought about how to develop the constitutive position into an account of logical normativity by drawing on constitutivism in metaethics. (3) I (...) argue that, while this line of thought provides some insights, it is importantly incomplete, as it is unable to explain why we should think. I consider two attempts at rescuing the line of thought. The first, unsuccessful response is that it is self-defeating to ask why we ought to think. The second response is that we need to think. But this response secures normativity only if thinking has some connection to human flourishing. (4) I argue that thinking is necessary for human flourishing. Logic is normative because it is constitutive of this good. (5) I show that the resulting account deals nicely with problems that vex other accounts of logical normativity. (shrink)

Per definition business sustainability demands the integration of environmental, social, and economic outcomes. Yet, managerial decision-making involving sustainability objectives is fraught with tension and the way managerial decision-makers frame sustainability issues in their mindset influences how sustainability tensions are managed at the organisational level. In the bid to better understand what types of managerial mindsets, or cognitive frames, foster integrative business sustainability practices that simultaneously advance environmental, social, and economic objectives, extant research has focussed on the underlying logics that drive (...) the acknowledgement of sustainability tensions. However, the existing logics-based constructs do not sufficiently explain this link, and it has been suggested that managers perceive and manage sustainability tensions based on the values that they hold. To clarify the roles of managerial values and logics as antecedents in business sustainability decision-making, we integrate Keeney’s value-focussed thinking approach with managerial and organisational cognition perspectives. Drawing on data from a survey with 169 senior procurement managers in Australia we found three types of cognitive frames which demonstrate that stronger sustainability values are associated with a more holistic perception of sustainability tensions and vice versa. We also found that managers’ cognitive framing of sustainability is strengthened by more holistic organisational cognitive frames and discuss according implications for managerial decision-making in theory and practice. (shrink)

In a couple of classical studies, Keeney proposed two sets of variables labelled as value focused thinking (VFT) and alternative-focused thinking (AFT). Value-focused thinking (VFT), he argued, is a creative method that centres on the different decision objectives and how as many alternatives as possible may be generated from them. Alternative-focused thinking (AFT), on the other hand, is a method in which the decision maker takes notice of all the available alternatives and then makes (...) a choice that seems to fit the problem best. The impact of these two methods on idea generation was measured using a sample of employees. The results revealed that employees in the value-focused thinking condition (VFT) produced fewer ideas. Thus, value-focused thinking (VFT) is not only able to facilitate ideation fluency but also to constrain it. Factors such as cognitive effort and motivation may play a part here. However, the quality of the ideas was judged to be higher in terms of creativity and innovativeness. Hence, value-focused thinking (VFT) seems to have a positive impact on the quality of ideas in terms of creativity and innovativeness regardless of ideation fluency. Implications for the design of idea management systems are discussed. (shrink)

In recent years, ethical questions related to the development of artificial intelligence are being increasingly discussed. However, there has not been enough corresponding increase in the research and development associated with AI technology that incorporates with ethical discussion. We therefore implemented an organic and dynamic tool for use with knowledge base of AI ethics for engineers to promote engineers’ practice of ethical AI design to realize further social values. Here, “organic” means that the tool deals with complex relationships among different (...) AI ethics. “Dynamic” means that the tool dynamically adopts new issues and helps engineers think in their own contexts. Data in the knowledge base of the tool is standardized based on the ethical design theory that consists of an extension of the hierarchical representation of artifacts to understand ethical considerations from the perspective of engineering, and a description method to express the design ideas. In addition, we apply the dynamic knowledge management model called knowledge liquidization and crystallization. To discuss the effects, we introduce three cases: a case for the clarification of differences in the structures among AI ethics and design ideas, a case for the presentation of semantic distance among them, and a case for the recommendation of the scenario paths that allow engineers to seamlessly use AI ethics in their own contexts. We discuss the effectiveness of the tool. We also show the probability that engineers can reconstruct AI ethics as a more practical one with professional ethicists. (shrink)

This thoughtful, learned, well-written, extensively illustrated, and heavily documented study deserves to be regarded as a landmark in art history. Traditional art history has dealt for the most part with the “fine arts” (chiefly painting, drawing, sculpture, and architecture), whereas other human creations that take physical form (such as furniture, ceramics, textiles, and metal and glass items), whether utilitarian or decorative (or both at once), are considered “craft” or “applied art” and are studied by folklorists, anthropologists, and archaeologists and often (...) displayed in different museums. Cooke wishes to break down this “hierarchical taxonomy,” this “fragmented, hierarchical field,” that emerged from Western Europe's “misunderstanding of art,” which valued “the cerebral over the manual.” His goal, in other words, is to outline “a more inclusive human history of art”— “a connected art history.” This phrase from his subtitle refers not simply to connecting “fine art” with “applied art” but also to crossing temporal and regional boundaries. Still another act of connecting is to examine all parts of an object's life history, and thus the three main divisions of the book deal with the making of objects, their circulation from one person and place to another (and “their ability to transmit ideas” in the process), and their meaning for the persons who possessed or encountered them.Over the years I have repeatedly said that all objects made by human beings are worthy of preservation and study because they bring us into direct contact with the past and, as part of our surroundings, affect our thoughts in the present. Every object, I have argued, including copies of a single printed edition of a book (so-called duplicates), is an independent witness to the past. I am particularly pleased, therefore, to welcome a major book that explores in detail, with a wealth of examples from many centuries and cultures, the place of objects in human history. Cooke's pursuit is “object-driven,” beginning with the nature of the materials and finally coming to “the inherent power of the object itself to influence human thought and action.” (Compare the subtitle of Sherry Turkle's 2007 anthology Evocative Objects: Things We Think With.) Cooke's refusal to separate “materials” from “people,” or “technologies” from “values,” reminds me of John Szarkowski's approach to photographs. In Photography until Now (1989), Szarkowski points out that histories of photography generally treat technical matters separately from artistic ones—a split between the “empirical” and the “intuitive” that he finds indefensible, for “these two ways of knowing meet in the process of making things.” He adds, “The meeting can be cordially symbiotic or aggressively competitive, but its resolution defines the character and meaning of the thing that is made.” This statement has been a favorite of mine as an elegant characterization of the nature of art, and it is one that Cooke would clearly agree with.Cooke does not discuss photography, but he makes clear that he is not attempting a “comprehensive history that charts the complete ebb and flow of objects over time.” Rather, his book is meant to be a “suggestive guide” to the “principles of material literacy,” a “kit of tools for future complex constructions of history.” Even so, I find some of the omissions puzzling. Why, for example, are glass objects not taken up, when he so thoroughly deals with other common materials? More serious, in my opinion, is the exclusion of the fine arts. (Of the 215 illustrations, five are of oil paintings and one is of a Japanese print, but they are present only as the sources for information drawn from their pictorial content; one Hogarth engraving is shown because its image was often reproduced on punch bowls; and there is a very brief passage on the “uneasy relationship” between sculpture and material culture, but no sculptures are illustrated or used as examples for discussion.) Presumably Cooke felt it was unnecessary for his book to encompass the fine arts after demonstrating that functional objects are just as sophisticated artistically and culturally as products of the fine arts are. Yet those products also belong to the universe of “entangled objects” (How could they not?), and it would have been illuminating to see them adduced among the examples Cooke cites. One could argue that by excluding them—and by referring to the makers of the objects he does discuss as “artisans” and “craftspeople”—he comes close to reinforcing the division he wishes to eliminate.Less easy to explain is Cooke's omission of books, for they have been one of the largest and most widely circulated classes of utilitarian objects. Most people never think about books as objects, treating them only as disposable receptacles for transmitting verbal texts in tangible form (which is why so many books are destroyed when their texts supposedly become available in another form). Such people do not realize that texts have connections with their physical embodiments. (For example, books, whether manuscript or printed, often contain clues revealing how their texts were affected by the production process; and readers’ attitudes toward texts can be influenced by their presentation.) Cooke, however, with his deep understanding of the way objects function and his impressive knowledge of the scholarship, cannot be one of these uninformed people. He would obviously be aware of the vast literature devoted to leather and cloth bookbindings and their decoration, as well as to the myriad styles of letters and the varieties of paper and parchment; he would also know how letterforms and binding designs reflect a complex interplay of social, political, and artistic forces. Bibliographers have long studied books as Cooke advocates studying other objects: “working from the inside out,” beginning with the evidence in books themselves for reconstructing the routines that were followed in their creation. And book historians are recognizing the necessity for an international approach like Cooke's, since many of the books circulating in one country originated in other countries. Books would have been a prolific additional source for illustrating Cooke's analyses.My admiration for Cooke's book is not altered by these few disappointments. Even without discussions of paintings, sculptures, and books, it is still exhilarating in its scope and depth. One hopes that art and material-culture historians will pay attention to it. But it ought to have a wider audience, for the daily lives of all of us would be enriched by a greater appreciation of the objects that make up a significant part of our environment. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Affective Foundation of Society in Nietzsche's PhilosophyJihun JeongIntroductionNietzsche believes that the different human types should be allowed to thrive and not be reduced into uniformity, as he says "nothing should be banished more than... the approximation and reconciliation" of the different types (KSA 12:10[59]).1 He sees the approximation as a reflection of democratic values and monolithic morality that he opposes. Instead, he believes that humans should be naturalized and (...) allowed to live in accordance with their own nature. To achieve this, Nietzsche proposed "the great politics," which "makes physiology into the ruler over all other questions" to "breed humanity as a whole" so that "one affirms what one is, one denies what one is not" (KSA 13:25[1]). In this way, Nietzsche thinks the different types should live in accordance with their respective nature.In The Antichrist, Nietzsche argues that "every healthy society" consists of different physiological types.2 He repeatedly says that "Nature, not Manu," separates these physiological types of the hierarchical order,3 which is "merely the sanction of a natural order, natural lawfulness of the first rank." While each type has "its own hygiene, its own realm of work, its own feelings of perfection and mastery" (A 57), this rank order is "the sanctioning of a natural distance between several physiological types," which are "determined and best developed for different activity," like "division of labor" (KSA 13:14[221]). Therefore, Nietzsche describes the physiological types divided in a healthy society as "differently gravitating" and "mutually conditioning" types (A 57). In order for a society to be healthy as a whole, individuals should be neither uniform nor scattered, but should be in an organized structure together. This structure is "opposed to an atomistic anarchy." A "human community is a unity [Einheit]," and "all unity is unity only as organization and co-operation." In [End Page 1] this way "a ruling structure," which does not exist as one, "means one [Eins]" (KSA 12:2[87]).However, what is it that produces this unity? Nietzsche's envisioned "naturalization of human beings" (KSA 9:11[211]) involves a society where different types live actively in accordance with their nature or respective physiological constitution. However, the existence of different types does not ensure the formation of society as a whole. Individuals of different types with different power will not automatically gather to form a society if they remain merely as individuals. In other words, if there is no social character in nature itself, a society could be seen to be formed "by accident," as Hobbes understands (42). What then is the basis that allows individuals to be incorporated into the social order? This article explores the social aspect of Nietzsche's understanding of nature, particularly with attention to his idea of affects, which will lead us to the idea of the affective foundation of society in his philosophy.4Nietzsche often describes nature as something chaotic that is elusive, uncertain, indifferent to human affairs, and without purpose and mercy. Thus, he writes, "how could you live according to this indifference? Living—is that not precisely wanting to be different than this nature? Is living not assessing, preferring, being unjust, being limited, wanting to be different?" (BGE 9) In this regard, the first point to note is that the "nature" of which Nietzsche speaks involves human nature strong enough to play with chaos and even to defy nature's indifference and brutality. As Conway points out, "the 'return to nature' that he envisions thus involves a return to human nature as the sole authority or justification for the nomothetic preferences required by the restricted economy of Life" (42–43). It is human nature to impose order on the natural world, transforming its amorphous state into a structured form of life, and to create a hierarchy of values in nature's indifference—this is perfectly natural and is the task of the philosophers. Therefore, rather than settling in "the infinite domain of Chaos" as Seung argues (292), Nietzsche reminds us of human nature: "We speak of nature and, in doing so, forget ourselves: we ourselves are nature" (WS 327). In this respect, the affirmation of nature... (shrink)

I present a theory of alienation that accounts for the cognitive processes involved with moral thinking and political behavior in modern societies. On my account, alienation can be understood as a particular kind of atrophy of moral concepts and moral thinking that affect the ways individuals cognize and legitimate the social world and their place within it. Central to my argument is the thesis that modern forms of social integration—shaped by highly institutionalized, rationalized and hierarchical forms of (...) social life—serve to constrain the moral- cognitive powers of subjects leading to a condition of alienation as moral atrophy. This state results from the withering of the subject's internal powers of moral reflection and an overriding predisposition to rely on external value schemas to make sense of moral and political problems. I then present an analysis of alienated moral consciousness and its implications for modern social theory. (shrink)

Viktor Frankl’s Logotherapy is based on Max Scheler’s theory of values and anthropology. Frankl builds his psychological thinking based on critical concepts of Schelerian thinking such as (i) value and goods, (ii) will and feelings, (iii) the hierarchy of values, and (iv) the idea of person. It is with them that he develops his original theses of (i) the spiritual motivation of human action, (ii) the search for meaning and (iii) the spiritual unconscious. In doing so, he (...) offered not only a psychotherapy of values, but also a new theory of positive human motivation, not conceived as a result of deficiency or need, but as a result of the free spirit toward objective values. The human search for meaning in life can only be successful by living and realizing superior values, in the hierarchical sense proposed by Scheler. (shrink)

Aristotle's claims that 'man is a political animal' and that political community 'exists for the sake of living well' have frequently been celebrated by thinkers of divergent political persuasions. The details of his political philosophy, however, have often been regarded as outmoded, contradictory, or pernicious. This book takes on the major problems that arise in attempting to understand how the central pieces of Aristotle's political thought fit together: can a conception of politics that seems fundamentally inclusive and egalitarian be reconciled (...) with a vision of justice that seems uncompromisingly hierarchical and authoritarian? Riesbeck argues that Aristotle's ideas about the distinctive nature and value of political community, political authority, and political participation are coherent and consistent with his aristocratic standards of justice. The result is a theory that, while not free of problems, remains a potentially fruitful resource for contemporary thinking about the persistent problems of political life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Historical Destiny and National Socialism in Heidegger's 'Being and Time.'Robert C. ScharffJohannes Fritsche, Historical Destiny and National Socialism in Heidegger's 'Being and Time.'Berkeley: University of California Press, 1999. Pp. 356 + xix. Cloth, $60.00.Focusing on the relatively neglected fifth chapter of Being and Time's Division Two (BT, Sections 72-77), Fritsche argues that BT is an essentially political work. Even Victor Farías, although he talks of "shared attitudes" and (...) "implicit direction," settles for the conclusion that "in no sense can we read National Socialism into Being and Time, but we can identify philosophical beliefs that foreshadow Heidegger's later conviction."(Victor Farías, Heidegger and Nazism, trans. Paul Burrell and Gabriel R. Ricci [Philadelphia: Temple University Press, 1989], 60.) Fritsche, however, evidently intends to out-Farías Farías. For him, BT just is "a brilliant summary of the politics of the revolutionary Right" (xii; cf., xv, 216).Following Tom Rockmore, Fritsche insists that by grounding ontological inquiry in a distinction between authentic and inauthentic existence, Heidegger is "committed" to "a political understanding of human being" that "culminates" in the analysis of authentic historicity in Section 74 (29). According to Fritsche, BT proceeds, "in conventional metaphysical fashion," to work out a "hierarchical" presentation of the structures and activities of our existence as a "drama in three acts." The first act is Heidegger's analysis of the conflicted, inauthentic, "downward plunging" condition of everyday life. In act two, there arises out of this condition a "crisis" (of conscience) that calls for a "dramatic solution." The third act "consists in authentic Dasein stepping out of the world in which it has been living as ordinary Dasein, turning back to this world, and canceling it... in order to rerealize the past" (x, 29-30).Fritsche plays BT off primarily against three sources, Richard Wolin's Politics of Being (1990), articles by Peg Birmingham (1991), and Charles Guignon (1992), in order to distance BT from "decisionist," "anarchist," and "politically neutral" interpretations, respectively. Like this selection of foils, Fritsche's comparison of texts often seems merely convenient. In general, if two people use the same term, they probably mean the same thing; and key concepts are typically assumed to have uniform definitions. Hence, if Scheler speaks of a hierarchy of values and Hitler, of a hierarchy of races, they must be employing "the same logic" (108-9). And because vorlaufen [anticipating/running ahead] was the term used by right wing German authors to mythologize the gallant but foolish young "heroes of Langemarck" who "stepped out of their trenches, into the open," and "ran toward" French lines, one should also employ this image a "methodological ideal type to interpret Heidegger's concept of resoluteness" (3, 196, 233). Finally, Fritsche makes no systematic distinction between what an author has once said and what either we or the author might later make of it. Hence, if Heidegger says in 1933 that he is drawing on BT for political purposes, he must have had these purposes in mind when writing it ten years earlier (216ff.). And obviously, choosing "Volksgemeinschaft" to talk of community in BT's Section 74 already unmistakably reveals "Heidegger's option for National Socialism" (217-18).One need carry no brief for an apolitical Heidegger to see that Fritsche's reading is problematic on several levels. Heidegger's own account of BT's purpose and method is ignored rather than challenged. Numerous Heideggerian notions are construed, without [End Page 455] argument, as "really" being just right-wing political or "conventional metaphysical" usage. Moreover, categories of Left and Right are sometimes handled so loosely that, for example, Scheler writing in 1913, Heidegger writing in 1921-24, and Hitler in Mein Kampf, all must "belong" to the revolutionary Right, because they all privilege traditional Gemeinschaft over modern Gesellschaft. By the same reasoning, Heidegger's concept of historicity is "identical" to Scheler's and Hitler's. This has to be right because "Heidegger's text is just too excellent a summary of the revolutionary rightist notion to be the result of a somnambulistic thinking" (136). Fritsche's handling of technical terminology, when not outright political, often seems poorly... (shrink)

In _Democracy and Education_, John Dewey devotes a chapter to geography and history. McBride reveals that, until recently, he had not thought much about this chapter; geography and history were compulsory topics to be taught to children. In recent years, having read Katherine McKittrick’s _Demonic Grounds: Black Women and the Cartographies of Struggle_, McBride has been compelled to think more about geographies of dominance; the ways place, terrain, and geography are imbued with racialized and gendered and hierarchal values, which conspire (...) to create boundaries and exclusions. According to Dewey, learning about the geographies of place and histories of groups of people can enrich our connections to this place and its ecology, make the goals of our people more meaningful, and it can boost our inefficaciousness in our immediate surroundings. Failing this, the knowledge we gain from our elders becomes increasingly detached and meaningless. McBride suggests that Dewey suffered from a form of this estrangement (regarding the tacit racially-white Eurodescended coloniality of North America). McBride suggests that the vast majority of our society can conceive of no future world that is not dominated by Eurodescended peoples and thoroughly infused with their techno-industrial norms and values. If our accounts of the social milieu skirt past the dispossession of the first peoples or the enslavement of Afrodescended peoples or the debilitating effects of heteropatriarchy, then it would appear that we are not terribly critical about our past or our connection to place. It would suggest that we are resigned to (or comfortable within) the Eurodescended norms of this place, unable to see any viable alternatives. In the end, McBride suggests that we accept the Deweyan insight but supplement it with the critical study of geographies of domination and cartographies of struggle. (shrink)

A rhizome may be broken, shattered at a given spot, but it will start up again on one of its old lines, or on new lines. You can never get rid of ants because they form an animal rhizome that can rebound time and again after most of it has been destroyed... There is a rupture in the rhizome whenever segmentary lines explode into a line of flight, but the line of flight is part of the rhizome. That is why (...) one can never posit a dualism or a dichotomy, even in the rudimentary form of the good and the bad. You may make a rupture, draw a line of flight, yet there still is a danger that you will stratify again everything, from Oedipal resurgences to fascist concretions. Groups and individuals contain microfascisms just waiting to crystallize. Yes, couch grass is also a rhizome.Edited by Sylvere Lotringer, On the Line was the first book published in the new "Foreign Agents" series in 1983. It gathers together two seminal texts that Deleuze and Guattari would later elaborate on in A Thousand Plateaus. First delivered in French by Deleuze at the "Schizo-Culture" conference organized by Semiotext at Columbia University in 1975, "Rhizome" introduced a new kind of thinking in philosophy, both non-dialectical and non-hierarchical. The two didn't expect this neo-anarchical blue-print would eventually offer an early template for the understanding of the internet. "Rhizome" substitutes pragmatic, "couch grass," free-floating logic to the binary, oppositional, and exclusive model of the tree.In "Politics," superceding the Marxist concept of class, Deleuze envisages the social macrocosm as a series of lines, and reinvent politics as a process of flux whose outcome will always be unpredictable. It is, he emphasizes, the end of the idea of revolution, but not of the "becoming revolutionary." Throughout, he keeps dispelling the notion of capitalism as a repressive machine only meant to extract surplus value from exploited workers and suggest that it could be opposed from within by redirecting the creativity and multiplicity of its flows.The multiple must be made, not always by adding another dimension, rather in the simplest way, by dint of sobriety... A rhizome as subterranean stem is absolutely different from roots and radices. Bulbs and tubers are rhizomes... Even some animals are, in their pack forms. Rats are rhizomes. Burrows are too, in all their function of shelter, supply, movement, evasion and breakout... The rhizome includes the best and the worst: potato and couch grass. (shrink)

Debates in Medieval Philosophy: Essential Readings and Contemporary Responses aims to de-mystify medieval works by offering an illuminating, engaging introduction to the problems that medieval philosophers from Augustine through Ockham wrestled with. Each of the volume’s 11 units presents a debate that will enable students to return to the primary texts prepared to think critically and imaginatively about them. Debates include: Does Anselm have a hierarchical or a flat conception of free will? Is Abelard’s ethics conceptually impoverished? Does Avicenna (...) teach that we acquire concepts through abstraction or emanation? What is Aquinas’s purpose in writing the Summa contra gentiles? How sound are Ockham’s criticisms of Scotus’s theory of universals and individuation? The 10 essays newly commissioned for this volume will advance scholarship in medieval metaphysics, ethics, epistemology, logic, and philosophical theology, and in particular they will showcase what is philosophically distinctive and original in medieval philosophy. Students without experience in the history of philosophy will benefit from each unit’s clear, sharply written introductions that supply the necessary background to approach the debates intelligently. In addition, the volume’s general introduction elucidates the value of studying the history of philosophy through debate, in particular the history of medieval philosophy. Students will find in these debates models that will train them to formulate their own critical evaluations of a wide range of philosophical texts by thinkers with diverse philosophical commitments. (shrink)

Feminist decolonial scholars have called for disengaging from the current system built on a hierarchical logic of race and gender central to modern, colonial thinking. They have looked to worlds outside the modern system to lead us out of current unjust practices harming both humans and the environment. Although policymaking may be seen as the stronghold of the current political agenda and of the structures that have led to the climate crisis, we argue that climate policies too, are (...) also crucial for rethinking and transforming societies. Our examination of climate adaptation policies in Sweden and the literature from Europe shows how policy documents ignore and unknow the oppressive intersections of gender and power despite the knowledge that exists on these issues in the public domain. Drawing on the tools of agnotology, we examine how this is achieved by strategies of ‘denial, dismissal, diversion and displacement.’ Building on feminist post and decolonial scholarship, we make explicit the gendered and racial hierarchies and dichotomies underpinning these policy documents. At the same time, we bring attention to the nuances in the policy documents we study and look for the openings that might be used to bring about transformation by making these hierarchies explicit and calling them into question. We argue that a transformation is possible through a feminist post and decolonial intervention, even in policymaking otherwise ignorant of culture, values and the colonial histories that have produced contemporary society. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Aspiration to the Condition of TouchChristopher Perricone"The Dance," written by William Carlos Williams in 1944 is one of my favorite poems: I return to it regularly. Williams gives us a feel for that life of the kermess (a carnival) in his poem through Breughel's picture, as it were three times removed from the event itself. Of course, unlike Plato, I would argue that the vitality of the kermess (...) is not lost in the poem; it is actually enhanced by a subtle sleight of hand. The poem isn't primarily about Breughel's picture. It is about dance, about the dancers who go round, their squeal, the crude music, its rollicking measures, the dancers kicking and rolling and swinging, their hips, bellies, and butts. Reading and re-reading this poem, I "see" those ordinary folk of Breughel's great picture. I "hear" their music. I "move" to their dance. The poem seems a condensation, a summary of the fine arts. Perhaps the poem is about poetry's power to reinvigorate imaginatively what we hear and see. Perhaps I think of festivities at which I have danced, how such festivities are essential to the human experience. Perhaps, William Carlos Williams in 1944, World War II coming to a close, was anticipating similar good times. As always, it's best to let the poem speak for itself:In Breughel's great picture, The Kermess,the dancers go round, they go round and around, the squeal and the blare and the tweedle of bagpipes, a bugle and fiddles tipping their bellies (round as the thick-sided glasses whose wash they impound) their hips and their bellies off balance to turn them. Kicking and rolling about the [End Page 229] Fair Grounds, swinging their butts, those shanks must be sound to bear up under such rollicking measures, prance as they dance In Breughel's great picture, The Kermess.The visual, musical, and literary arts do much to educate our senses, especially our senses of sight and hearing. The well-formed visual and auditory sensations we gain from the arts are, as it were, the melody of those experiences. They are the images we store away, the tunes we whistle. However, here, I want to draw attention to an overlooked, although not entirely disregarded, sense, i.e., touch. I want to argue that touch is the bass line to the melody of sight and hearing in the arts, i.e., that touch keeps the work of art coherent and grounded.This is an old idea. Bernhard Berenson had the idea when he was examining the painters of the Italian renaissance. Berenson argued that great painting stimulates touch, which inspires, our "tactile imagination," which produces our "tactile values." Here lay, according to Berenson the genius of Giotto. Tactile imagination and values enchance the "material significance" of a work; they act as a "test of reality." Berenson was on to something not only about painting but about the arts in general. However, in the late nineteenth and early twentieth centuries he lacked the scientific evidence about touch and its role in human relationships to develop his idea of tactile values to any great extent.1Although Berenson had keen intuitions, he didn't know about the biological/psychological nuts and bolts of touch. Thus, he never knew about the detailed nature and extent of our physical contact with other physical things in the world. He didn't know about Merkel's discs, Ruffini and Pacinian corpuscles. He didn't know about hierarchical and parallel levels of brain processing. Berenson didn't know that more brain space in the somatosensory cortex is given to the hand than to any other part of the body, that your fingers especially have a high density of touch receptors compared to other body areas. Today, all this information is standard textbook fare.2 Many neuroscientific details need to be worked. However, a general picture based on hard evidence has begun to emerge.This information adds significant substance to Berenson's ideas. Berenson's "third dimension" is essentially a sense of temperature, pressure, vibration, and texture. And chances are the tactile imagination is inspired most by what is touched by... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Capitalism as Religion and Religious Pluralism:An Approach from Liberation TheologyJung Mo Sungreligious pluralism and the struggle of the godsReligious pluralism as a social fact, namely, the coexistence of different religions within a social system, be it a country or an empire, is not anything new. The mere contact with other people and their various religions, for example, through commerce, still does not indicate religious pluralism. In this case, each (...) group of people has its religion and its gods, and recognizes that other groups of people exist with other religions and other gods. Religious pluralism occurs when, because of immigration or the conquest of one people over another, groups of people with different religions live together in the same social space.Whether by immigration or by conquest, the resulting religious pluralism does not occur in an egalitarian or harmonious manner. Immigrants are forced to live out their religion within their group as a marginal religion in society, or even in hiding when it is not accepted in the society where they went to seek a livelihood. In the case of conquest or expansion of empires, the conquering power imposes its cultural values and religion on the conquered peoples. The empire can try to extinguish the religions of conquered peoples and impose their own as if it is the only one acceptable, or tolerate them as long as these religions do not question the imperial order. This means that the coexistence of different religions within the empire takes place in a hierarchical relationship: The religion of the empire is the ultimate and the others are tolerated provided they accept their place as subordinate. The Roman Empire was an example of an empire that tolerated the religions of subject peoples as long as they didn’t question the absolute power of the empire, with its own empire religion and emperor worship.In this historical context, it is empirically impossible to live out a third way: recognizing the otherness of the other and respecting their religion as we respect our [End Page 155] own. That’s because the “encounter” between religions takes place in a situation of colonial conquest and domination. Expecting that there could be a relationship of respect and dialogue among equals would ignore the role of religion in premodern societies, especially in the processes of domination.In these societies, religion has the function of being the foundation of the world-view that legitimized the existing social order, as well as the process of external conquest. Religion fulfills the function of legitimizing and justifying the conquest and consequent exploitation and oppression of the conquered people. Therefore, religion performs a key task for systems of oppression, the reversal of evil into good: conquest as peace; exploitation as the path to salvation or integration into civilization. Furthermore, religion transcendentalizes the imperial system of oppression and presents it as eternal or as an expression of divine will. Therefore, how to classify religions and manage their coexistence is not just a problem for religious leaders, but also a matter of the state, a matter of interest for the king or emperor. The limits of religious tolerance are determined by the interests of the dominant social system, even when they are often discussed in religious or theological language.Of course, no religion, even those that perform the function of legitimizing an empire, is totally homogeneous. Within a religion, there is or can be a certain “theological pluralism.” The figure of Las Casas in the Spanish conquest of America is an example of the contradictions that are in all religions. But the defense of the Indians and their religion that was made by Las Casas had to be made in the court of the king of Spain. The means of evangelization and the ways of seeing the culture and religion of the Indians (i.e., the other) is a problem of the state, and not just the Church.Before thinking about the ideal of a religious pluralism that makes possible “a fraternal living together of religions as also a covenant of all those in favor of Peace and the Common Good of Humanity and the Planet,”1 we must also remember that the Bible... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Where Philosophy Has ArrivedRobert Cummings Neville (bio)The title here is ambiguous. It might mean where philosophy has arrived at this point. Or it might mean where philosophy has arrived and is passing through this point. I mean the second, where philosophy is passing through. The title is also ambiguous with regard to whose philosophy is under discussion. Wesley J. Wildman's is the topic I was invited to address, but (...) I would not take the time to write this if I were not to talk about my philosophy too. So, this philosophy is my philosophy addressing his philosophy, relative to a much larger whole.The first topic here is our general agreement that our feelings of the world are genuine feelings of the world in certain respects, not feelings of our consciousness, or anything like that. Wildman and I are pretty much in agreement here with the possible exception of his agreement, or disagreement, with my claim that value is exclusively laid on interpretations that come from the world. We share this ambiguity of agreement with regard to interpretation, which explains how we think that all lines of interpretation come from the world even when some lines of interpretation are in fact located with the body and brain we would adopt.Value is subject to my metaphysical theory in ways it is not for Wildman. I argue that value has a place in any determinate thing. It is part of the form of a determinate thing. This entails, of course, that every determinate things has value by virtue of having form. Values have hierarchical forms, with higher levels incorporating components through varieties of changes. The components of any determination are of two sorts, essential and conditional. The essential components give the determinate thing its own being, and the conditional components relate it to other determinate things. Thus every determinate thing is related to some other determinate things, and the whole of determinate things are all related directly or indirectly, with much difference constituted by time. Does Wildman have a metaphysical theory of time?Whether or not he does, we both have theories of how things are experienced by human beings. My theory says that distant things are experienced through lines of interpretation connecting those things with us where the connections end in the organs of human perception. Sights, sounds, touches, and kinesthetic senses are most prominent, although many other senses might be functional too below some level of consciousness. The distant thing might have many lines of [End Page 69] interpretation that do not enter our experience. The components of the distant thing hang together in its own harmony. The lines of interpretation that do enter of our experience come from an aspect of the distant thing, which is an experienceable thing, given the vast numbers of changes. This allows me to have my metaphysical values as well as the experience of only aspects of them. How does Wildman acknowledge this, if at all?The Ultimate is something on which Wildman and I agree at least 50 percent of the time. We agree that the Ultimate is infinite, that is, non-determinate. I say that the indeterminate Ultimate is empty in itself, and determinate only in what it creates. Wildman agrees with that half the time and the other half thinks the Ultimate is full, super-full, so that the determinate world is the overflow of the full Ultimate. I give the arguments for my account below. His argument is that my claim for the logic of my position supposes without warrant that there exists a logical floor. I agree that I appeal to a logical floor but think it is contingent on the existence of the Ultimate, which I claim is an ontological creative act. What would Wildman say to this?The last topic is how we respond to our conceptions of the Ultimate, which I call our "satisfaction." How are we satisfied in feeling the Ultimate? This question is very personal and so I leave it to Wildman to state what satisfaction he takes. My own satisfactions are two, an Ultimate satisfaction and a Pen-Ultimate one. I explain them below.I. FeelingsRomanticism's doctrine... (shrink)

PurposeThe purpose of this paper is to investigate how people communicate in organisations.Design/methodology/approachThe approach in doing this is based on two pillars. One being a philosophical phenomenological approach dealing mainly ethical questions concerning communication and interaction in designing and implementing electronic health records. The other is videoobservation of work procedures in hospitals because appropriate for unveiling tacit knowledge in an organisation.FindingsThe paper discusses the inappropriate design and implementation of actual EHR's in the Danish hospital system. Where the technology is based (...) on hierarchical and economic structured managerialist thinking and doing, that eliminates the everyday knowledge of nursing staff and the patient.Originality/valueThe value of this paper that it lays forward the inappropriate paradigmatic thinking of hospital systems concerning communication and interaction in designing and implementing EHRs. (shrink)

Jacques Derrida’s philosophy greatly disrupted traditional Western metaphysics by questioning our understanding of the relationship between language and reality. This paper examines how Derrida deconstructs logocentric and phonocentric perspectives that have influenced Western thought, focusing on his analyses of Plato’s Cratylus and Phaedrus, as well as Ferdinand de Saussure’s Course in General Linguistics. For Derrida, the meaning in language is always shifting, suggesting that absolute truths, as traditionally conceived in Platonic metaphysics, are inherently unstable. His concept of différance illustrates the (...) fluid nature of meaning and the limitations of language. In his critique of “Plato’s Pharmacy,” he explores the inclusive potential of writing, which contrasts with Plato’s preference for speech and dialectics. While Plato is concerned with texts reaching readers he deems “inappropriate” for not fully grasping their meaning, Derrida views access to texts as positive and equitable. He argues that writing removes hierarchical barriers of interpretation, empowering readers and promoting inclusivity and diverse voices. Through this approach, he not only reshapes Western philosophical thinking but also encourages continuous questioning of the truths we often take for granted, expanding philosophy’s relevance to social and political aspects of everyday life. Derrida believes that philosophy should be accessible to all and not limited to privileged academic circles. He critiques elitism and advocates for philosophy to adapt to new social demands, challenging outdated rhetorical models and institutional authority. Derrida’s deconstruction encourages us to consider perspectives beyond our own backgrounds and experiences. By breaking down barriers that limit which voices are acknowledged and valued, we support more open and equitable intellectual and social systems. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Valerie Trollinger, “A Reconception of Performance Study in the Philosophy of Music Education”Paul LouthAs an educator who is a former professional trombonist I can certainly appreciate the issues raised in this discussion. Because I am inclined to agree with the spirit (if not always the substance) of Trollinger's remarks, I would like to respond with some thoughts on the manner in which she tends to frame (...) this debate, because I believe that this has crucial implications and may explain the cause of some of the very problems she mentions.Charlene Morton writes that a "bias for procedural knowledge... unwittingly immerses school music in the polemic arising from the false hierarchical dichotomy between 'hard' and 'soft' forms of knowledge."1 By this she means that the Cartesian mind/body split, which has led to our conception of thinking and doing as exclusive matters, is not remedied by our discovery of the importance of purely procedural knowledge, because we merely reinforce this dichotomy through acknowledging the latter term as a separate category from theoretical knowledge. Trollinger is correct in asserting that the act of performance is often overlooked and is not treated as a serious concern in music education and I believe that this may be largely due to this dichotomy, which manifests itself in the way that we divorce performance from its original holistic context.In general, if we accept this argument, then debates about performance versus listening, theorizing, and so on are inherently problematic because the discourse itself reinforces an artificial dichotomy. If we fail to address the remnants of this "Cartesian anxiety," then in our attempts to address a lack of concern over performance, we may be left with a performance model that is purely utilitarian, in the sense that the body can only justifiably occupy a central place in the curriculum if there are direct, utilitarian outcomes that we can associate with it and so long as those outcomes are supported by the free market. In North America, progressive educators have been struggling for some time against the concept of school as a locus of training for the market place. This model becomes more difficult to resist, I would argue, as long as we continue to compartmentalize performance and other aspects of musicianship. Such practices reinforce an artificial distinction between procedural and theoretical forms of knowing (and, by extension, between mental and manual forms of labor) that Apple, Giroux, and other critical pedagogues would argue atomizes student knowledge in preparation for the marketplace; yet musicianship can serve many other valuable purposes.2 [End Page 231]Trollinger, in using the word "holistic," reminds us of the connection between body and mind that exists in performance. Further, she correctly states that until relatively recently, those who taught music were musicians. I would add that in Canada (where I teach), the idea that music should be taught by musicians has often been used to justify its exclusion from schools, which is indicative of our tendency to exclude those things that we deem corporeal from the life of the mind. In my home province of Ontario, recent emphasis on "the basics" has meant that music programs have vanished in great numbers, while music study is relegated to the conservatories which, with their widespread tendency to essentialize musical experience as performance in the most limited sense of the word, have contributed further to this dichotomy.My point is that all of us, including Trollinger, may wish to reconsider the nomenclature that we carry into this debate from the outset. Because the word "performance" has become strongly associated with this particular pole (it is no accident that we use this word to describe car engines and stock returns) I suggest we can best elevate our estimation of the term by replacing it with the word "musicianship." In this way we can repair some of the damage done by the Cartesian split and the consequent de-valuing of performance that has occurred through separation from its original context. Within such an integrated model, it would become problematic to debate the relative importance of performing, listening, theorizing, or any number of activities with regard to the overall goals of musicianship... (shrink)

Interest in corporate social responsibility (CSR) is gaining momentum in academic and managerial circles. However, prior work in the area has paid little attention to how CSR initiatives should be implemented inside the organization. Against this backdrop, this study examines the impact of CSR initiatives on an important stakeholder group—employees. We build and test a comprehensive multilevel framework that focuses on whether employees derive job satisfaction from CSR programs. The proposed model predicts that a manager’s charismatic leadership influences employees’ interpretations (...) about the motives underlying their companies’ engagement in CSR initiatives (intrinsic and extrinsic CSR-induced attributions) which, in turn, influence employee job satisfaction. Hierarchical linear modeling of data from 47 organizational units comprising 438 employees from three world-leading manufacturing organizations shows that when employees think that their manager possesses charismatic leadership qualities, they tend to attribute the organization’s motives for engaging in CSR activities to intrinsic values, which, in turn, are positively associated with job satisfaction. Also, the extent to which managers are perceived as charismatic leaders relates positively to job satisfaction. Interestingly, CSR-induced extrinsic attributions are neither explained by charismatic leadership nor do they predict job satisfaction. Implications for both theory and practice are discussed. (shrink)

Ecology - unlike astronomy, physics, or chemistry - is a science with an associated political and ethical movement: the Green Movement. As a result, the ecological position is often accompanied by appeals to holism, and by a mystical quasi-religious conception of the ecosystem. In this title, first published in 1988, Andrew Brennan argues that we can reduce much of the mysticism surrounding ecological discussions by placing them within a larger context, and illustrating that our individual interests are bound with larger, (...) community interests. Using an interdisciplinary approach, which bridges the gap between the sciences, philosophy, and ethics, this is an accessible title, which will be of particular value to students with an interest in the philosophy of environmental science and ethics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK R]]JVIEWS room for different theories and new developments. He does not try to tie up every loose end. Furthermore, he avoids the rut of the specialist by willingly and capably addressing questions of biblical exegesis, philosophy, psychology, science, and popular culture with even-handed competence. Space does not permit me to discuss his fascinating analysis of the psychology of near-death experiences or specific rejoinders to important objections (e.g., the (...) Bible depicts the dead as bodily beings, not immaterial spirits; dualism is a result of the Fall; dualism implies that the whole person does not die; at death we pass out of time, and, hence, there is no intermediate state). But I can assure you that his account is cogent and illuminating. Lenoir-Rhyne College Hickory, North Carolina PHILIP BLOSSER: The Crisis of Liberal Democracy: A Straussian Perspective. Edited by KENNETH L DEUTSCH AND WALTER SOFFER. Albany: State University of New York Press, 1987. Pp. ix+ 304. $54.50 (cloth); $18.95 (paper). For Leo Strauss, the superiority of classical political philosophy over modern social science (and political theory based on social science) lies in at least four principles. First, it treats political matters as they actually appear to man qua philosopher and, in a qualified way, to the good citizen. Because Strauss claims that social science (and much post-classical political philosophy) abstracts from his canon of intelligibility, he thinks that it cannot lead to a humane, rational politics. (See "What is Political Philosophy?", in What is Political Philosophy? [Westport: Greenwood], pp. 27-28, and "Distinction between Facts and Values" in Natural Right and History [Chicago: Univ. of Chicago Press, 1953], pp. 78-80.) Second, Plato and Aristotle believed that only the good man properly judges politics. This belief attracts Strauss, because it identifies virtue as the best claimant to political rule. ("What is Political Philosophy? ", pp. 36-38.) A third principle is derived immediately from this second: politics ought to be organized hierarchically. In the hierarchy, either the truly virtuous or gentlemen should rule, and those having a passive, obediential form of virtue should be the ruled. Fourth, this arrangement is rational and humane. For although the virtues of the ruler and the ruled are complementary in justice and necessary to it, still they are different and, in fact, require the stratification just mentioned. ("Classic Natural Right" in Natural Right and History, pp. 130-44.) BOOK REVIEWS 527 Because of the controversial nature of these principles and Strauss's eminence in political philosophy, one welcomes the present collection of essays by his disciples. They believe that in liberal democracies people confuse liberty with the uses to which liberty can and ought to be put. Doing so, people undermine that regime's foundations. Strauss and his disciples believe that modern natural right makes the clash between liberty and natural right inevitable, because its principal founders, Thomas Hobbes and John Locke, conceived man as non-political. They conceived individuals as gaining certain advantages from governments hut as gaining no good in the exercise of politics itself. Classic natural right, by contrast, bases itself on the assumption that man is radically political. Moreover, it conceives politics as an arena for liberating, ennobling activities. Hobbes and Locke viewed the individual as independent of politics, which they placed at the low end of the range of human activity, along with everyday concerns and popular morality, rather than at the high end, as Strauss would. Thus for Strauss, liberal democracy is founded on modern principles, which are either apolitical and liberal (Locke) or apolitical and illiberal (Hobbes). Consequently, it cannot withstand the individualist and collectivist onslaughts that we have seen in this century. What, then, have Strauss's disciples to say about liberal democracy and the prospect of classic natural right in a Western world which is more or less permanently Hobbesian-Lockean? This can be answered by describing first the hook's divisions and then its diagnoses and prescriptions. In part one the contributors appraise the work of Strauss itself; in part two they define issues in liberalism ; and in part three they discuss liberalism in American political life. In the first part, Michael Platt outlines how Strauss's thought... (shrink)

One of the most high-profile debates in Chinese philosophy concerns the compatibility of human and individual rights with basic Confucian doctrines and practices. Defenders of the incompatibilist view argue that rights are inconsistent with Confucianism because rights are (necessarily) role-independent obligations and entitlements, whereas Confucians think that all obligations and entitlements are role-dependent. Two other arguments have to do with the practice of claiming one's own rights, holding (a) that claiming one's rights undercuts family-like community bonds and (b) that giving (...) everyone license to claim her own rights is incompatible with certain hierarchical social structures that Confucians value. In this essay, I show that these arguments are too crudely formulated to identify the real points of contention with rights compatibilism, and then develop versions of two of the arguments which, when properly qualified, pose a more serious challenge for those who think rights and a license to claim one's own rights are consistent with core Confucian views. (shrink)

This chapter looks at how Beauvoir appropriates Lacan's account of the family complexes in The Second Sex, and in particular how Lacan's conception of infantile prematurity and instinctual (vital) insufficiency illuminates a conceptual conundrum in The Second Sex, namely the tension between the value of independence, autonomy, and active agency and the suspicion of its origin in familial life, an origin that also provides the foundations for hierarchical sexual difference. The complexities of the cultural/biological interplay in Lacan's Family (...) Complexes essay clarify Beauvoir's appropriation of the psychoanalytic concept of narcissism and its implications for the limits of independence and agency. Lacan's essay reveals ambiguities in Beauvoir's thinking about the ambiguity of freedom. (shrink)

The question of freedom in the modern German tradition is not just a metaphysical question. It concerns the status of a free life as a value, indeed, as they took to saying, the “absolute” value. A free life is of unconditional and incomparable and inestimable value, and it is the basis of the unique, and again, absolute, unqualifiable respect owed to any human person just as such. This certainly increases the pressure on anyone who espouses such a (...) view to tell us what a free life consists in. Kant’s famous answer is “autonomy,” where this means first or minimally freedom from external constraint, coercion and intimidation (“thinking for yourself”), but even more importantly, being in a certain specific sort of self-relation. I can only be said truly to be “ruling myself” when the considerations that determine what I do are reasons. But if, finally, in exercising reason I am merely rationally responsive to inclinations and desires and aversions, I am letting such contingent impulses “rule” my life, however strategically rational or hierarchically ordered my plans for satisfaction turn out to be. So, Kant concludes, I am only truly autonomous, self-ruling, when the one consideration of importance (that is, normatively authoritative) in what I do is, as he says so frequently if still mysteriously, the “ form of rationality” as such. The more familiar name for such a necessary condition of autonomy is the Categorical Imperative. To make clear that this subjection to the “form” of rationality counts as autonomy, Kant also insists that this moral law be understood as “self-legislated,” that we must be able to regard ourselves as its “author,” and that we are bound to such a law because we bind ourselves to it. (shrink)

The paper explicates the stages of the author’s philosophical evolution in the light of Kopnin’s ideas and heritage. Starting from Kopnin’s understanding of dialectical materialism, the author has stated that category transformations of physics has opened from conceptualization of immutability to mutability and then to interaction, evolvement and emergence. He has connected the problem of physical cognition universals with an elaboration of the specific system of tools and methods of identifying, individuating and distinguishing objects from a scientific theory domain. The (...) role of vacuum conception and the idea of existence (actual and potential, observable and nonobservable, virtual and hidden) types were analyzed. In collaboration with S.Crymski heuristic and regulative functions of categories of substance, world as a whole as well as postulates of relativity and absoluteness, and anthropic and self-development principles were singled out. Elaborating Kopnin’s view of scientific theories as a practically effective and relatively true mapping of their domains, the author in collaboration with M. Burgin have originated the unified structure-nominative reconstruction (model) of scientific theory as a knowledge system. According to it, every scientific knowledge system includes hierarchically organized and complex subsystems that partially and separately have been studied by standard, structuralist, operationalist, problem-solving, axiological and other directions of the current philosophy of science. 1) The logico-linguistic subsystem represents and normalizes by means of different, including mathematical, languages and normalizes and logical calculi the knowledge available on objects under study. 2) The model-representing subsystem comprises peculiar to the knowledge system ways of their modeling and understanding. 3) The pragmatic-procedural subsystem contains general and unique to the knowledge system operations, methods, procedures, algorithms and programs. 4) From the viewpoint of the problem-heuristic subsystem, the knowledge system is a unique way of setting and resolving questions, problems, puzzles and tasks of cognition of objects into question. It also includes various heuristics and estimations (truth, consistency, beauty, efficacy, adequacy, heuristicity etc) of components and structures of the knowledge system. 5) The subsystem of links fixes interrelations between above-mentioned components, structures and subsystems of the knowledge system. The structure-nominative reconstruction has been used in the philosophical and comparative case-studies of mathematical, physical, economic, legal, political, pedagogical, social, and sociological theories. It has enlarged the collection of knowledge structures, connected, for instance, with a multitude of theoreticity levels and with an application of numerous mathematical languages. It has deepened the comprehension of relations between the main directions of current philosophy of science. They are interpreted as dealing mainly with isolated subsystems of scientific theory. This reconstruction has disclosed a variety of undetected knowledge structures, associated also, for instance, with principles of symmetry and supersymmetry and with laws of various levels and degrees. In cooperation with the physicist Olexander Gabovich the modified structure-nominative reconstruction is in the processes of development and justification. Ideas and concepts were also in the center of Kopnin’s cognitive activity. The author has suggested and elaborated the triplet model of concepts. According to it, any scientific concept is a dependent on cognitive situation, dynamical, multifunctional state of scientist’s thinking, and available knowledge system. A concept is modeled as being consisted from three interrelated structures. 1) The concept base characterizes objects falling under a concept as well as their properties and relations. In terms of volume and content the logical modeling reveals partially only the concept base. 2) The concept representing part includes structures and means (names, statements, abstract properties, quantitative values of object properties and relations, mathematical equations and their systems, theoretical models etc.) of object representation in the appropriate knowledge system. 3) The linkage unites a structures and procedures that connect components from the abovementioned structures. The partial cases of the triplet model are logical, information, two-tired, standard, exemplar, prototype, knowledge-dependent and other concept models. It has introduced the triplet classification that comprises several hundreds of concept types. Different kinds of fuzziness are distinguished. Even the most precise and exact concepts are fuzzy in some triplet aspect. The notions of relations between real scientific concepts are essentially extended. For example, the definition and strict analysis of such relations between concepts as formalization, quantification, mathematization, generalization, fuzzification, and various kinds of identity are proposed. The concepts «PLANET» and «ELEMENTARY PARTICLE» and some of their metamorphoses were analyzed in triplet terms. The Kopnin’s methodology and epistemology of cognition was being used for creating conception of the philosophy of law as elaborating of understanding, justification, estimating and criticizing legal system. The basic information on the major directions in current Western philosophy of law (legal realism, feminism, criticism, postmodernism, economical analysis of law etc.) is firstly introduced to the Ukrainian audience. The classification of more than fifty directions in modern legal philosophy is suggested. Some results of historical, linguistic, scientometric and philosophic-legal studies of the present state of Ukrainian academic science are given. (shrink)

In this paper we focus on conversational thinking to demonstrate the value of public reasoning in building a decent world and true democracies. We shall take into account the views of selected scholars, especially John Rawls and Jürgen Habermas, on law and democratic practice, to explain why post-colonial Africa is weighed down by sociopolitical hegemonies that have aversion to their opposition and eliminate room for strong institutions, rule of law and human rights. In light of conversational thinking, (...) this eliminates any chance for “creative struggle,” i.e. a philosophers struggle against the post-colonial imaginary/social agents to dethrone strong individuals and create strong institutions. In the absence of these indices which a conversational orientation may engender, it is difficult to transform bogus democracy into true democracy and thus to create a decent society. Post-colonial Africa mired in social regression, political crisis and economic stagnation urgently needs conversational tonics to overcome the ineffectiveness of bogus democracy. We postulate a thesis about three structural transformations forming what we call Democratic Transformational Programme. (shrink)

In this investigation of the contemporary notion of evil, C. Fred Alford asks what we can learn about this concept, and about ourselves, by examining a society where it is unknown--where language contains no word that equates to the English term "evil." Does such a society look upon human nature more benignly? Do its members view the world through rose-colored glasses? Korea offers a fascinating starting point, and Alford begins his search for answers there.In conversations with hundreds of Koreans from (...) diverse religions and walks of life--students, politicians, teachers, Buddhist monks, Confucian scholars, Catholic priests, housewives, psychiatrists, and farmers--Alford found remarkable agreement about the nonexistence of evil. Koreans regard evil not as a moral category but as an intellectual one, the result of erroneous Western thinking. For them, evil results from the creation of dualisms, oppositions between people and ideas.Alford's interviews often led to discussions about imported ways of thinking and the impact of globalization upon society at large. In particular, he was struck by how Koreans' responses to globalization matched Westerners' views about evil. In much of the world, he argues, globalization is the ultimate dualism--attractive for the enlightenment and freedom it brings, terrifying for the great social and personal upheaval it can cause. (shrink)

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

Technology should be aligned with our values. We make the case that attempts to align emerging technologies with our values should reflect critically on these values. Critical thinking seems like a natural starting point for the critical assessment of our values. However, extant conceptualizations of critical thinking carve out no space for the critical scrutiny of values. We will argue that we need critical thinking that focuses on values instead of taking them as unexamined starting points. In (...) order to play a crucial role in helping to align values and technology, critical thinking needs to be modified and refocused on values. Here, we outline what value-centred critical thinking could look like. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:REVIEW SYMPOSIUM 319 secular communities before making up their minds. But, in this case at least, minding theological business requires minding philosophical business. I wish all teachers of the Catholic community would study this book. JAMES J. BUCKLEY Loyola Oollege, Baltimore, Maryland RELIGIOUS DIVERSITY WILLIAM CHRISTIAN'S important new book appears at an opportune moment. It breaks new theoretical ground in the cross-cultural study of religious communities and religious doctrines (...) at a time when this is badly needed. Its contributions could be especially valuable for the burgeoning industry that produces books by Christian theologians on non-Christian religions, since there are signs that this industry is beginning to feed upon itself. Such books (and every year more are published) refer more and more to one another, to previous ' achievements ' in the field, and less and less to the purported object of their study: non-Christian religions themselves. So, in every new addition to the field we find the more-or-less obligatory discussions of Karl Barth's and Hendrik Kraemer's word-centered exclusivism; of Karl Rahner's hierarchical inclusivism; of Wilfred Cantwell Smith's faith-based ·experiential expressivism; and of John Hick's radical theocentric pluralism. There is usually comparatively little discussion of what any non-Christian tradition actually asserts, values, and practices. That is to say, Christian theologians, whose major specialty is theologizing about non-Christian religions, have entered the ·realms of secondary, or even tertiary, processing; they have made the enterprise of theologizing about these religions a purely abstract a priori intra-Christian enterprise, constrained not by the religions themselves, as they impinge upon and make claims upon members of the Christian community, but rather by presuppositions drawn only from some particular reading of the Christian tradition. So Rahner could deduce his theory of " anonymous REVIEW SYMPOSIUM Christians" from a few simple propositions (most importantly, the absoluteness of Christianity and the possibility of the presence of supernatural grace in non-Christian religions), without reference to the actual teachings, practices and values of any non-Christian tradition. The same is largely true for Hick's advocacy of a Copernican revolution in theological thought, and for Barth's rejection of all religion as unbelief. All are a priori positions. William Christian (both in his earlier Oppositions of Religious Doctrines [New York, 1972] and in the new Doctrines of Religious Communities) is one of the few philosophers of religion whose work on the nature of religious doctrines has a direct relevance for Christian thinking about non-Christian religions. It is, moreover, a relevance which, if taken seriously, could provide an agenda for that enterprise which would lift it out of the self-reflexive and largely unproductive agonizing in which it is currently mired. Given that Christian theologizing about non-Christian ;religions is something that neither can nor should be avoided, any work that opens up new avenues is to be welcomed. Christian's Doctrines is thus a potentially important book, and it is the object of this short piece to suggest in what its importance lies and how it is relevant to the Christian enterprise of theologizing about non-Christian religions. First, though, a caveat is in order: Christian's earlier work, with which his new book is directly continuous, has not, to this writer's perception, received the attention it deserves from theologians concerned with these matters. In that earlier work Christian was concerned to lay bare and analyze the logical conditions that must be met before it can properly be said that that two doctrine-expressing sentences contradict or oppose one another, and also to discuss the varieties of opposition that might occur. Oppositions of Religious Doctrines, the work in which he did this, is a book written by a philosopher in a philosophical idiom: it exhibits to a high degree the virtues of conceptual rigor and careful, precise analysis of terms and concepts. Largely for this reason, the work was not attractive to theologians. They are not trained to think in this idiom, and are not easily drawn to works written in it. The work also received comparatively little attention from analyticallytrained philosophers of religion, those who should, by training and taste, find its idiom comfortable... (shrink)

Philosophers of science now broadly agree that doing good science involves making non-epistemic value judgments. I call attention to two very different normative standards which can be used to evaluate such judgments: standards grounded in ethics and standards grounded in political philosophy. Though this distinction has not previously been highlighted, I show that the values in science literature contain arguments of each type. I conclude by explaining why this distinction is important. Seeking to determine whether some value-laden determination (...) meets substantive ethical standards is a very different endeavor from seeking to determine if it is politically legitimate. (shrink)

Critical thinking measures have often been empirically associated with other cognitive dimensions (e.g., achievement test scores, IQ scores, exam scores) but seldom with sociopolitical perspectives. Consequently, the current study examined the relationship of critical thinking to sociopolitical values reflective of political ideology, namely respect for civil liberties, emphasis on national security, militarism, and support for the Iraq War. In a sample of 232 undergraduates attending a Southeastern university, critical thinking correlated significantly with respect for civil liberties (.19), (...) emphasis on national security (-.29), militarism (-.25), and support for the Iraq War (-.28). A logistic regression analysis showed that the sociopolitical measures significantly predicted placement in high and low critical thinking groups, with support for the Iraq War being the primary predictor. A multivariate analysis (MANOVA) revealed that the sociopolitical means for the high and low critical thinking groups all differed significantly. The results suggest that critical thinking scores are generally predictive of liberal versus conservative political ideology. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Separating the Human from the Divine Cesáreo Bandera University ofNorth Carolina at Chapel Hill Myths are hard to die. One such myth concerns what happened with poetry in general, that is to say, imaginative literature or literary fiction, in the transition from the Middle Ages to the Renaissance and beyond. Its basic outline was developed during the nineteenth century. J. E. Spingarn, for example, echoes such a myth in (...) his History of Literary Criticism in the Renaissance, first published in 1899, which has gone through many editions and reprintings since then. In it we read the following: The first problem of Renaissance criticism was the justification of imaginative literature. The existence and continuity of the aesthetic consciousness, and perhaps, in a less degree, of the critical faculty, throughout the Middle Ages, can hardly be denied; yet distrust of literature was keenest among the very class of men in whom the critical faculty might be presupposed, and it was as the handmaid of philosophy, and most of all as the vassal of theology, that poetry was chiefly valued.... The Renaissance was thus confronted with the necessity ofjustifying its appreciation of the vast body of literature which the Revival of Learning had recovered for the modern world. (3) Speaking of Savonarola's De Divisione ac Utilititate Omnium Scientiarum, written about 1492, he concludes as follows: In fine, as a reformer, he represents for us the religious reaction against the paganization of culture by the humanists. But the forces against him were too strong. Even the Christianization of culture effected during the next century by the Council of Trent was hardly more than temporary. Humanism, which represents 74Cesáreo Bandera the revival of ancient pagan culture, and rationalism, which represents the growth of the modem spirit in science and art, were currents too powerful to be impeded by any reformer, however great. (14) This general picture of the historical standing and the fate of literary fiction as we move from the Middle Ages into the modern era, is still very much with us, even though it is ill at ease with, or flatly contradicted by, undeniable historical facts. For example, the incredible notion of a "paganization of culture by the humanists" would have horrified somebody as profoundly Christian as Petrarch and, later on, Erasmus, who criticized the scholastics "in the name of a purer and simpler mode of piety and religious devotion" (Mazzeo 17). Or the mistaken idea that modern rationalism was much more hospitable to poetry than the old scholastic one. For from the seventeenth century on, as J. F. West has pointed out, the whole tide of [scientific] opinion was running strongly against poetry, metaphor, and poetic prose. The philosophers generally saw them as an obstacle to truth. Hobbes regarded metaphor as one of the hindrances to straight thinking. Rousseau thought that the philosophy of Descartes had 'cut the throat of poetry'; and John Locke, late in the century, openly regarded poetry as made up of 'pleasant pictures and agreeable visions in the fancy,' but basically misleading. (114) It is indeed true that in medieval scholasticism poetry occupies the lowest rank in the hierarchical structure of the arts and sciences. But it does have a place there. It would have never occurred to Thomas Aquinas, for example, to expel it from that position as something dangerous, something to be avoided. In fact, as he tells us at the beginning of the Summa Theologica, theology itself, the highest of the sciences, does not consider it below its dignity to make use of metaphor and other poetic devices propter utilitatem ac necessitatem. And yet it is precisely that kind of violent expulsion ofpoetic fiction that will be attempted during the Renaissance. In the words of Russell Fraser, "it is in the Renaissance, and not the Middle Ages that the artist is driven from the commonwealth" (39). It was then that the "war against poetry" intensified to fever pitch. It is, therefore, an error to imagine that those in the sixteenth and seventeenth centuries who bitterly attacked poetic fiction in general and the theater in particular as a very dangerous threat to religion and morality, were fanatic hold-overs from a medieval past... (shrink)

Dignity is traditionally thought to apply to almost all and almost only humans. However, I argue that an account of a distinctly human dignity cannot achieve a coherent and non-arbitrary justification; either it must exclude some humans or include some nonhumans. This conclusion is not as worrying as might be first thought. Rather than attempting to vindicate human dignity, dignity should extend beyond the human, to include a range of nonhuman animals. Not only can we develop a widely inclusive account (...) of dignity by pursuing this route, but we can still defend the three core principles that lie at the heart of contemporary thinking about dignity: that bearers of dignity possess dignity to an equal degree, in virtue of possessing the same intrinsic worth, and that this generates direct and claimable rights. I thus develop an account of dignity that includes nonhuman animals. I argue that the capacity to value most plausibly grounds dignity. This capacity arises from valenced sentience: a being values insofar as they have experiences that matter to them. I then characterise what follows from this. First, I contend that it is only the capacity to value grounds dignity because this produces the most plausible, simplest, and most explanatorily powerful account of dignity. We ought to reject pluralist accounts which assert a sharp distinction between bearers and non-bearers of rational agency, and biocentric accounts which include non-sentient organic entities. Second, I argue this property grounds an account of dignity that is non-hierarchical. There are no degrees of dignity. Instead, all possessors of the capacity to value have the same kind of intrinsic value, and the same equal fundamental right: to consideration of their interest in leading a life of value. Finally, I argue that since the fundamental right is to consideration, moral agents have claimable duties to engage in a deliberative procedure with actionable requirements. Specific rights are instantiations of this general procedure. Certain revisionist conclusions follow on my view, for instance, that nonhumans should be given greater weight and inclusion in a far wider range of cases, but my account is sensitive to the range of different things different beings value, so it does not generate counterintuitive implications. I conclude that dignity extends beyond the human. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second one, in which (...) a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

Normative powers like promising allow agents to effect changes to their reasons, permissions and rights by the means of communicative actions whose function is to effect just those changes. An attractive view of the normativity of such powers combines a non-reductive account of their bindingness with a value-based grounding story of why we have them. This value-based view of normative powers however invites a charge of wishful thinking: Is it not bad reasoning to think that we have (...) a given power because it would be good? In this article, I offer a defence of the value-based view of normative powers against this surprisingly under-discussed objection. First, I clarify the challenge by distinguishing between two components of normative powers, which I call the material and normative components, respectively. Secondly, I defend the form of normative explanation involved, showing that it is needed to give convincing value-based explanations for other important normative phenomena, especially rights of autonomy. (shrink)

This article examines the concept of wishful thinking in philosophical literature on science and values. It suggests that this term tends to be used in an overly broad manner that fails to distinguish between separate types of bias, mechanisms that generate biases, and general theories that might explain those mechanisms. I explain how confirmation bias is distinct from wishful thinking and why it is more useful for examining the relationship between cognitive bias and beliefs about the existence of (...) injustices. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Shape of Ancient ThoughtWill S. RasmussenThe Shape of Ancient Thought. By Thomas McEvilley. New York: Allworth Press, 2002. Pp. xxxvi + 732. $35.00.The Shape of Ancient Thought, Thomas McEvilley's magnum opus of over thirty years' preparation, draws together an encyclopedic array of texts and archaeological evidence from Greece and India, which he employs in clearly written arguments toward an answer to a volatile question: just how indebted (...) to each other are India and Greece for their philosophical ideas and techniques? The subject is volatile in that it often arouses the rancor of challenged claims to intellectual property or cultural superiority, and the author shows admirable sensitivity by arguing to his conclusions in a way that explicitly eschews the lesser motives of rivalry and self-aggrandizement; instead he promotes the appreciation of a passion and genius for philosophy that is shared equally in the East and the West. McEvilley has collected for his purposes a treasury of key passages from Greek and Indian philosophy, and this review will seek to give some idea of the vast scope of his work and to assess its contribution to our understanding of philosophy.In his Foreword McEvilley says that his book will challenge a dichotomy, which prevails in Western thinking, that divides the ancient world of thought into Greek and non-Greek. Greek thought is characterized as that which is rational, and non Greek thought as that which is irrational, antirational, or at least nonrational. He faults E. R. Dodds' The Greek and the Irrational for supporting this dichotomy, by which Orphism and even certain elements of Plato become assigned, solely by virtue of their nonrational character, to Oriental provenance. He condemns as "deeply and glaringly false" W.K.C. Guthrie's History of Greek Philosophy for disparaging the comparison of Indian and Greek philosophy on the grounds that their motives, methods, and background of thought are so utterly different. In such a spirit he undertakes to prove by argumentation and a "sea of evidence" the invalidity of so brusque a dismissal of Indian philosophy.The rest of the Foreword explores how the post-Enlightenment "Oriental Renaissance," that is, the discovery by nineteenth-century Europe of India as "the primal [End Page 182] font of wisdom," aroused troubling questions about racial and cultural superiority. McEvilley traces claims and counterclaims made by philologists, historians, philosophers, and art historians who asserted the hierarchical status of India relative to classical Greece as the source of Western culture. He shows how attitudes toward colonialism in India from the eighteenth century up to the present day have further fueled the politicization of scholarship about India. The scope of this controversy ranges from the view that in the second millennium B.C.E. white invaders called Aryans brought into India both Sanskrit and all that is of any cultural value there, to the view that the hypothesis of an Aryan invasion is a racist myth, that there was virtually no foreign intervention in Indian history, and that India was the origin of all the world's civilizations. He commends the attempts since World War II to approach afresh the question of intercultural influence between East and West, including the founding of Philosophy East and West in 1951, and he declares his own view, which forms the main thesis of the book, namely that there were "significant intrusions first from India to Greece in the pre-Socratic period, and then from Greece back to India in the Hellenistic period" (p. xxxi).In chapter 1 McEvilley presents archaeological evidence from as early as the middle of the third millennium B.C.E. of trade between the Near East and India, and between the Near East and Greece. He argues for "full East-West transport of goods" through the intermediary of the Near East around 1500 to 1300 B.C.E. (p. 4). He argues that by the seventh century B.C.E. the activity of Phoenician merchants and the Persian conquests eastward and westward facilitated the transmission of ideas between the Near East and Greece via the "diffusion channels" of merchants, artisans, mercenaries, philosophers, physicians, and seers. He argues for similar diffusion channels between the... (shrink)