In Plautus’Mercator, thesenex amatorDemipho lusts after the slave girl Pasicompsa, who is the lover of his son Charinus. Demipho knows nothing about their relationship. He believes that Charinus bought Pasicompsa as a present for his mother while he was trading on Rhodes. In an attempt to gain access to her, Demipho enlists the aid of his elderly neighbour, Lysimachus, who taunts him for his infatuation with such a young woman. Eager to persuade Lysimachus that he is truly in love, Demipho (...) offers to let him cut off his head, finger, ear, nose or lip, or even kill him with love if he is lying about his feelings (308–10):decide collum stanti si falsum loquor;uel, ut scias me amare, cape cultrum, [ac] secadigitum uel aurem uel tu nasum uel labrum:si mouero me seu secari sensero,Lysimache, auctor sum ut me amando enices.This hitherto unrecognized list of penalties for adultery not only sheds light on the nature of Charinus’ relationship with Pasicompsa, but also emphasizes the inappropriateness of Demipho's desire for her. (shrink)

In CQ n.s 32 , 237, Howard Jacobson comments on Lucretius' expression fingere somnia, for which he can find only two parallels, both later than Lucretius. He suggests that the phrase can best be understood as a reference to the actual practice of dream control, or oneiropompeia, for which he provides several useful references. A fragment of Luciiius, however, provides not only a parallel, but perhaps even a model, for Lucretius' phrase, and for his criticism in 1.102–35 of the lies (...) or fictions of both religious figures and poets. (shrink)

Philosophy and gardens have been closely connected from the dawn of philosophy, with many drawing on their beauty and peace for philosophical inspiration. Gardens in turn give rise to a broad spectrum of philosophical questions. For the green-fingered thinker, this book reflects on a whole host of fascinating philosophical themes. Gardens and philosophy present a fascinating combination of subjects, historically important, and yet scarcely covered within the realms of philosophy Contributions come from a wide range of authors, ranging from garden (...) writers and gardeners, to those working in architecture, archaeology, archival studies, art history, anthropology, classics and philosophy Essays cover a broad spectrum of topics, ranging from Epicurus and Confucius to the aesthetics and philosophy of Central Park Offers new perspectives on the experience and evaluation of gardens. (shrink)

The Krüppel‐like factors (KLFs) comprise a family of evolutionarily conserved zinc finger transcription factors that regulate numerous biological processes including proliferation, differentiation, development and apoptosis. KLF4 and KLF5 are two closely related members of this family and are both highly expressed in epithelial tissues. In the intestinal epithelium, KLF4 is expressed in terminally differentiated epithelial cells at the villus borders of the mucosa and inhibits cell growth, while KLF5 is expressed in proliferating epithelial cells at the base of the (...) intestinal crypts and promotes cell growth. KLF4 and KLF5 respond to a myriad of external stress stimuli and are likely involved in restoring cellular homeostasis following exposure to stressors. Confirming their importance in maintaining tissue integrity, KLF4 and KLF5 are both dysregulated in various types of cancer. Here we review the recent advances in defining the physiological and pathobiological roles of KLF4 and KLF5, focusing on their functions in the intestinal epithelium. BioEssays 29:549–557, 2007. © 2007 Wiley Periodicals, Inc. (shrink)

Whenever we grasp and lift an object, our tactile system provides important information on the contact location and the force exerted on our skin. The human brain integrates signals from multiple sites for a coherent representation of object shape, inertia, weight, and other material properties. It is still an open question whether the control of grasp force occurs at the level of individual fingers or whether it is also influenced by the control and the signals from the other fingers of (...) the same hand. In this work, we approached this question by asking participants to lift, transport, and replace a sensorized object, using three- and four-digit grasp. Tactile input was altered by covering participant's fingertips with a rubber thimble, which reduced the reliability of the tactile sensory input. In different experimental conditions, we covered between one and three fingers opposing the thumb. Normal forces at each finger and the thumb were recorded while grasping and holding the object, with and without the thimble. Consistently with previous studies, reducing tactile sensitivity increased the overall grasping force. The gasping force increased in the covered finger, whereas it did not change from baseline in the remaining bare fingers. Digit placement and object tilt were not systematically affected by rubber thimble conditions. Our results suggest that, in each finger opposing thumb, digit normal force is controlled locally in response to the applied tactile perturbation. (shrink)

An investigation of some of the most contentious debates of our time, Galileo's Middle Finger describes Alice Dreger's experiences on the front lines of scientific controversy, where for two decades she has worked as an advocate for victims of unethical research while also defending the right of scientists to pursue challenging research into human identities. Dreger's own attempts to reconcile academic freedom with the pursuit of justice grew out of her research into the treatment of people born intersex (formerly (...) called hermaphrodites). The shocking history of surgical mutilation and ethical abuses conducted in the name of "normalizing" intersex children moved her to become a patient rights' activist. By bringing evidence to physicians and the public, she helped change the medical system. But even as she worked to correct these injustices, Dreger began to witness how some fellow liberal activists, motivated by identity politics, were employing lies and personal attacks to silence scientists whose data revealed inconvenient truths. Troubled, she traveled around the country digging up sources and interviewing the targets of these politically motivated campaigns. Among the subjects she covers in the book are the anthropologist Napoleon Chagnon, falsely accused in a bestselling book of committing genocide against a South American tribe; the psychologist Michael Bailey, accused of abusing transgender women; and the evolutionary biologist E. O. Wilson, accused of fomenting rightwing ideas about human nature. Galileo's Middle Finger describes Dreger's long and harrowing journey back and forth between the two camps for which she felt equal empathy: social justice warriors and researchers determined to put truth before politics. (shrink)

This paper investigates modular combinations of temporal logic systems. Four combination methods are described and studied with respect to the transfer of logical properties from the component one-dimensional temporal logics to the resulting combined two-dimensional temporal logic. Three basic logical properties are analyzed, namely soundness, completeness, and decidability. Each combination method comprises three submethods that combine the languages, the inference systems, and the semantics of two one-dimensional temporal logic systems, generating families of two-dimensional temporal languages with varying expressivity and varying (...) degrees of transfer of logical properties. The temporalization method and the independent combination method are shown to transfer all three basic logical properties. The method of full join of logic systems generates a considerably more expressive language but fails to transfer completeness and decidability in several cases. So a weaker method of restricted join is proposed and shown to transfer all three basic logical properties. (shrink)

Gow and Page are of the opinion that Planudes’ àένναος in the fifth line of this epigram may be not his conjecture but the true reading, and reject Jacobs' commonly received emendation àєί λáνος, with κηρο in the following line. But I have no doubt that for the two words μέν àλανóς we should read μєμαλαγαγμένος for ó μєμαλαγαγμένος κηρóς is the regular gloss1 on the waxy substance called μàλθα or μàλθα which was used in Athens—at the time of Sophocles (...) himself2—particularly for spreading on wooden writing-tablets. It was surmised by Schwabe that μàλθη had been the word glossed in Ael. Dion. Two entries in Pollux are especially important for establishing the use ofmaltha. In 10. 58–9, describing it as ό ένών т πινακίδί κηρϳς, he quotes passages from Herodotus , Cratinus , and Aristophanes referring to the soft wax which could easily be scraped from writing-tablets to erase writing. In 8. 16 he says it is the wax spread on the dicasts’ πινáκιον тιμηтικóν, from scratching on which the ‘long line’ of condemnation it will be remembered that Athenian philheliasts got wax under their finger-nails. (shrink)

Recent flashpoints in Black-Jewish relations--Louis Farrakhan's Million Man March, the violence in Crown Heights, Leonard Jeffries' polemical speeches, the O.J. Simpson verdict, and the contentious responses to these events--suggest just how wide the gap has become in the fragile coalition that was formed during the Civil Rights movement of the 1960s. Instead of critical dialogue and respectful exchange, we have witnessed battles that too often consist of vulgar name-calling and self-righteous finger-pointing. Absent from these exchanges are two vitally important (...) and potentially healing elements: Comprehension of the actual history between Blacks and Jews, and level-headed discussion of the many issues that currently divide the two groups. In Struggles in the Promised Land, editors Jack Salzman and Cornel West bring together twenty-one illuminating essays that fill precisely this absence. As Salzman makes clear in his introduction, the purpose of this collection is not to offer quick fixes to the present crisis but to provide a clarifying historical framework from which lasting solutions may emerge. Where historical knowledge is lacking, rhetoric comes rushing in, and Salzman asserts that the true history of Black-Jewish relations remains largely untold. To communicate that history, the essays gathered here move from the common demonization of Blacks and Jews in the Middle Ages; to an accurate assessment of Jewish involvement of the slave trade; to the confluence of Black migration from the South and Jewish immigration from Europe into Northern cities between 1880 and 1935; to the meaningful alliance forged during the Civil Rights movement and the conflicts over Black Power and the struggle in the Middle East that effectively ended that alliance. The essays also provide reasoned discussion of such volatile issues as affirmative action, Zionism, Blacks and Jews in the American Left, educational relations between the two groups, and the real and perceived roles Hollywood has play in the current tensions. The book concludes with personal pieces by Patricia Williams, Letty Cottin Pogrebin, Michael Walzer, and Cornel West, who argues that the need to promote Black-Jewish alliances is, above all, a "moral endeavor that exemplifies ways in which the most hated group in European history and the most hated group in U.S. history can coalesce in the name of precious democratic ideals." At a time when accusations come more readily than careful consideration, Struggles in the Promised Land offers a much-needed voice of reason and historical understanding. Distinguished by the caliber of its contributors, the inclusiveness of its focus, and the thoughtfulness of its writing, Salzman and West's book lays the groundwork for future discussions and will be essential reading for anyone interested in contemporary American culture and race relations. (shrink)

Gow and Page are of the opinion that Planudes’ àένναος in the fifth line of this epigram may be not his conjecture but the true reading, and reject Jacobs' commonly received emendation àєί λáνος, with κηρο in the following line. But I have no doubt that for the two words μέν àλανóς we should read μєμαλαγαγμένος for ó μєμαλαγαγμένος κηρóς is the regular gloss1 on the waxy substance called μàλθα or μàλθα which was used in Athens—at the time of Sophocles (...) himself2—particularly for spreading on wooden writing-tablets. It was surmised by Schwabe that μàλθη had been the word glossed in Ael. Dion.Two entries in Pollux are especially important for establishing the use ofmaltha. In 10. 58–9, describing it as ό ένών т πινακίδί κηρϳς, he quotes passages from Herodotus, Cratinus, and Aristophanes referring to the soft wax which could easily be scraped from writing-tablets to erase writing. In 8. 16 he says it is the wax spread on the dicasts’ πινáκιον тιμηтικóν, from scratching on which the ‘long line’ of condemnation it will be remembered that Athenian philheliasts got wax under their finger-nails. (shrink)

Easy to understand philosophy papers in all areas. Table of contents: Three Short Philosophy Papers on Human Freedom The Paradox of Religions Institutions Different Perspectives on Religious Belief: O’Reilly v. Dawkins. v. James v. Clifford Schopenhauer on Suicide Schopenhauer’s Fractal Conception of Reality Theodore Roszak’s Views on Bicameral Consciousness Philosophy Exam Questions and Answers Locke, Aristotle and Kant on Virtue Logic Lecture for Erika Kant’s Ethics Van Cleve on Epistemic Circularity Plato’s Theory of Forms Can we trust our senses? Yes (...) we can Descartes on What He Believes Himself to Be The Role of Values in Science Modern Science Kant’s Moral Philosophy Plato’s Republic as Pol Potist Bureaucracy Schopenhauer on Human Suffering Bertrand Russell on the Value of Philosophy The Philosophical Value of Uncertainty Logic Homework: Theorems and Models Searle vs. Turing on the Imitation Game Hume, Frankfurt, and Holbach on Personal Freedom Manifesto of the University of Wisconsin, Madison Secular Society Michael’s Analysis of the Limits of Civil Protections Bentham and Mill on Different Types of Pleasure Set Theory Homework Aristotle on Virtue Nagel On the Hard Problem Wittgenstein on Language and Thought Camus and Schopenhauer on the Meaning of Life Camus’ Hero as Rebel without a Cause My Little Finger: Camus’ Absurdism Illustrated Are Late-term Abortions Ethical? Does Mathematics Assume the Truth of Platonism? The Self-defeating Nature of Utilitarianism and Consequentialism Generally What is The Good Life? Bentham and Mill regarding types of pleasures Kant’s Moral Philosophy Five Short Papers on Mind-body Dualism Tracy Latimer’s Father had the Right to Kill Her: Towards a doctrine of generalized self-defense Arguments Concerning God and Morality Goldman, Rousseau and von Hayek on the Ideal State J.S Mill on Liberty and Personal Freedom A Kantian Analysis of a Borderline Date-rape Situation Living Well as Flourishing: Aristotle’s Conception of the Good Life Three Essays on Medical Ethics: Answers to Exam Questions on Elective Amputation, Vaccination, and Informed Consent Hobbes, Marx, Rousseau, Nietzsche: Their Central Themes De Tocqueville on Egoism Mill vs. Hobbes on Liberty Exam-Essays on the Moral Systems of Mill, Bentham, and Kant Kant’s Moral System Aristotle on Virtue Plato’s Cave Allegory An Ethical Quandary Superorganisms The Tuskegee Experiment A Rawlsian Analysis Why Moore’s Proof of an External World Fails A Defense of Nagel’s Argument Against Materialism A Utilitarian Analysis of a Case of Theft The Paradox of the Self-aware Wretch: An Analysis of Pascal’s Moral Philosophy Jean-Paul Sartre: Decline and Fall of a Marxist Sell-out A One Page Proof of Plato’s Theory of Forms Plato’s Republic as Pol Potist Bureaucracy The problem of the one and the many Four Short Essays on Truth and Knowledge What is ‘the Good Life?’ The Ontological Argument Different Political Philosophies: Plato, Locke, Madison, Rousseau, Hayek, and Mill on the State What do I know with certainty? Skepticism about skepticism Neuroscience and Freewill Operant Conditioning What makes us special? Are Late-term Abortions Ethical? No Two Papers on Epistemology: Gettier and Bostrom Examination Nietzsche on Punishment God’s Foreknowledge and Moral Responsibility . (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Momma taught us to keep a clean house. Dust the wood furniture every two weeks. Clean the bathrooms once a week. Wipe down the baseboards once a season (Those damn baseboards. I still got bruises on my knees from scrubbing those things). Sweep away the cobwebs—and pray that those spiders are either dead or delirious (Livin in the country don’t mean you like bugs, especially the ones with too many legs ). Didn’t matter that the house was full of stuff: Great-Grandma’s heirloom dresser, that weird Mammy salt shaker and matching Uncle Tom pepper grinder (Where the hell did Momma get those P.O.S.’s?), the outdated drapes from Belks, Dad’s favorite wooden TV tray, and that uuuuugly love seat that some crazy uncle thought was a glorious find from the Salvation Army (Momma tried to make it pretty with some pillows, but no amount of love could help that seat). Spring Cleaning meant pullin all that furniture away from the walls and holdin your breath to see what time collected in the crevices. Then you gotta be careful not to breathe out too heavy cause the dust would go flying fore you got a chance to catch it. If you didn’t, you’d quickly find out if you’re allergic to dust. Quarter cup of lemon Lysol in a bucket of steaming water and an old wash rag. Maybe two. A dust towel and citrus-scent Pledge. Me and my brothers would fight over who cleaned what. Somehow the twins always got the easy stuff: vacuuming or moving dirt around with the feather-duster. Finishing in enough time to fly down the street on their bikes with the neighborhood kids. Older sister never got off that easy. Each of my stubby fingers morphed into plump, lemon-fresh golden raisins by the time that whole damn house was done. I would finish just in time to sit with Nadine on the porch, counting the seconds til the sun turned off and the fireflies fluttered on. The craziest thing: despite all that cleaning, the house still smelled like Momma’s cookin. That Old House. Might have been some of Grandma’s and Great-Grandma’s cookin mixed in there too. Pork chops. Ham hock soaked in collards. Pinto beans and mustard greens. Corn bread and my Auntie’s famous macaroni and cheese. Didn’t matter if the oven was cold and the valve of the gas stove had been shut for days. A stranger woulda thought someone’d been slavin away in that kitchen for a week straight. No Sweet Citrus & Zest Fabreze back then. Lysol would mask the odors for a little while. Not long enough to overpower the 50 years of goodness marinated in buttermilk, kneaded with lard, and fried in Crisco that’d been embedded in the wallpaper and window treatments. All that grime—dead skin, hair follicles, Carolina clay, carpet lint, yippee-little-dog fur—was evidence of life. We were a socially-awkward newly-minted teenager, two rowdy twin boys, a multi-tasking mother, and a road-warrior father. Eventually a strangely-feline Yorkie was added to the mix. And don’t forget about the stray distant relative stopping by unannounced. No corner of that damn house was unmarked. Hand-sewn pillows in the living room that we were forbidden to breathe on somehow had tiny burnt orange paw prints on them (sneaky little dog). It drove Momma crazy. And tore up my fingernails. They still won’t grow back right. Wipe all that shit off just for it to build up again. But that house was inherited and fully paid for. No reason to move. I did move. I was ready to move on. Move up. Move out. Over that small town. Into the big city. Here the streets take on the smells of Momma’s house. Plus piss, shit, and unbathed skin. A hot day means everything cooks and stews in its own juices, making the stench 10x more intense. The apartment is another story. 11 floors up. Big, east-facing windows. Great view of the skyline dotted with some green foliage. And the great lake. Immaculate. Odorless. Not even a trace of tobacco from the previous tenant’s bad habits. No lingering scent of lemon Lysol. No street stench seeping through the window panes. No stray cat hairs. Or dog fur. Not a speck of dust. Futon. Throw pillows. Photos. Knickknacks. Bowls of fresh citrus. Cursedly-assembled desk set from IKEA. Yet the void is too big to fill. Too clean. (shrink)

This is the report on the XVI BRAZILIAN LOGIC CONFERENCE (EBL 2011) held in Petrópolis, Rio de Janeiro, Brazil between May 9–13, 2011 published in The Bulletin of Symbolic Logic Volume 18, Number 1, March 2012. -/- The 16th Brazilian Logic Conference (EBL 2011) was held in Petro ́polis, from May 9th to 13th, 2011, at the Laboratório Nacional de Computação o Científica (LNCC). It was the sixteenth in a series of conferences that started in 1977 with the aim of (...) congregating logicians from Brazil and abroad, furthering interest in logic and its applications, stimulating cooperation, and contributing to the development of this branch of science. EBL 2011 included more than one-hundred and fifty participants, all of them belonging to prominent research institutes from Brazil and abroad, especially Latin America. The conference was sponsored by the Academia Brasileira de Ciências (ABC), the As- sociation for Symbolic Logic (ASL), Universidade Estadual de Campinas (UNICAMP), Centre for Logic, Epistemology and the History of Sciences (CLE), Laboratório Nacional de Computação o Científica (LNCC), Pontif ́ıcia Universidade Cato ́lica do Rio de Janeiro (PUC- Rio), Sociedade Brasileira de Lógica (SBL), and Universidade Federal Fluminense (UFF). Funding was provided by Conselho Nacional de Desenvolvimento Cient ́ıfico e Tecnolo ́ gico (CNPq), Fundac ̧a ̃o de Amparo `a Pesquisa do Estado de São Paulo (FAPESP), Fundação Euclides da Cunha (FEC), and Universidade Federal Fluminense (UFF). The members of the Scientific Committee were: Mário Folhadela Benevides (COPPE- UFRJ), Fa ́bio Bertato (CLE-IFCH-UNICAMP), Jean-Yves Béziau (UFRJ), Ricardo Bianconi (USP), Juliana Bueno-Soler (UFABC), Xavier Caicedo (Universidad de Los An- des), Walter Carnielli (CLE-IFCH-UNICAMP), Oswaldo Chateaubriand Filho (PUC-Rio), Marcelo Esteban Coniglio (CLE-IFCH-UNICAMP), Newton da Costa (UFSC, President), Antonio Carlos da Rocha Costa (UFRG), Alexandre Costa-Leite (UnB), I ́tala M. Loffredo D’Ottaviano (CLE-IFCH-UNICAMP), Marcelo Finger (USP), Edward Hermann Haeusler (PUC-Rio), Décio Krause (UFSC), João Marcos (UFRN), Ana Teresa de Castro Martins (UFC), Maria da Paz Nunes de Medeiros (UFRN), Francisco Miraglia (USP), Luiz Car- los Pereira (PUC-Rio and UFRJ), Elaine Pimentel (UFMG), and Samuel Gomes da Silva (UFBA). The members of the Organizing Committee were: Anderson de Araujo (UNICAMP), Walter Carnielli (CLE-IFCH-UNICAMP), Oswaldo Chateaubriand Filho (PUC-Rio, Co- chair), Marcelo Correa (UFF), Renata de Freitas (UFF), Edward Hermann Haeusler (PUC- RJ), Hugo Nobrega (COPPE-UFRJ), Luiz Carlos Pereira (PUC-Rio e IFCS/UFRJ), Leandro Suguitani (UNICAMP), Rafael Testa (UNICAMP), Leonardo Bruno Vana (UFF), and Petrucio Viana (UFF, Co-chair). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:382 HISTORY OF PHILOSOPHY the spiritual effort of all mankind. Many so-called historic events, he was convinced, will in the end be "as written in water," but the work of the human "spirit," however limited at any given time, is accumulative and helps prepare a better future. It seems fitting to close this review with the concluding words of high commendation addressed to him by the Argentinian Society of (...) Writers on the occasion of the appearance of the Theory of Man: "Se premia a un hombre, a una obra, a una conducta." (We are paying homage to a man, a work, a noble conduct.) COR~ELI~:S KRUS~ Wesleyan University The Knowledge o] Man. Selected Essays. By Martin Buber. Edited with an Introduction by Maurice Friedman. Translated by Maurice Friedman and Ronald Gregor Smith. (New York: Harper Torchbooks, The Cloister Library, TB 135H. Pp. 186. $1.45.) The present volume contains the English translations, previously published, of six anthropological essays of Martin Buber, which had appeared originally in German. They are: Distance and Relation (1950), Elements of the Interhuman (1954), What is Common to All (1956), The Word that is Spoken (1960), Guilt and Guilt Feelings (1957), Man and his Image-Work (1955). As an Appendix has been added the unpublished text of a discussion between the late Martin Buber and the psychologist Carl R. Rogers, in April 1957. An introductory Essay by Maurice S. Friedman intends to set these essays in the context of Buber's philosophy of dialogue and "to show their interrelations and their significance for other fields of thought" (p. 7). Both the Introductory Essay and the translated texts had been seen by Buber before going to the press. Broadly speaking, these essays concern the distinctive features of man, and the reality of the dazwischen (p. 12), translated as "there in-between," "the between" or "betweenness" (p. 107): between man and reality (art), and between man and man (the interhuman in dialogue, word and language, guilt and psychotherapy). No specific texts on religion and knowledge have been included in this collection, its purpose being to present Buber's "philosophical anthropology" (p. 7). One may speak of a synthesis of Buber's view of man, as it comes out in this volume. Man is constituting "a special category of being" (60), by being capable of entering into living relations; this happens in the sphere of "the between," in particular the interhuman, the unfolding of which is "the dialogicaI" (p. 75). Here the "spokenness" of the word has its place (p. 112), here are found the different forms of encounter from which the human "selves" emerge after "a bold swinging...into the life of the other" (p. 81) and making each other "present" through "imagining" the real in each other (p. 70). There is the permanent "temptation to... take refuge in the pseudo security of the world of It, the world of ordered objectivity and private subjectivity" (Friedman, p. 23). But there is also the "common world" (cosmos) as built by "common speech-with-meaning" (logos) (Friedman, p. 40); this is the world of the We (pp. 107-108). Buber dismisses the annihilation of the human person in the dream and sleep of the East (pp. 91-96), the "situationless" and "uncommunal" chemical holidays of Aldous Huxley (p. 100), the solipsism and panpsychism of C. G. Jung (p. 124-125) : by all of these "the pure duty and responsibility of waking togetherness" (p. 91) has been forsaken. Of particular interest are Friedman's pages concerning Buber's view of the unconscious (pp. 32-38): they replace an essay which Buber had intended to write on the subject. In this connection the essay on existential guilt to oneself and to others is illuminating ; this guilt is "as something of an ontic character" (p. 123), and only a--"for the man of our age" (p. 138)--difficult self-illumination can hereby give insight and open the door into "the identity of the human person as such with himself" (p. 147). Also, the discussion on psychotherapy should be mentioned, where Buber puts his finger on "this dialogue bounded by tragedy" (p. 174) in which "You are not equals and cannot... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:258 HISTORY OF PHILOSOPHY and diversity"-- ("it is useless to deny or even minimize the incongruities and the contradictions" in Rousseau's statements, as Burgelin says in another book). Instead he puts the finger on the one trait that sets this piece of rationalism (or anti-rationalism, as some would say) apart from all others: not sentiment verging on the mystical, but egocentrism, existentially founded and unique. Rousseau, taking a (...) stand outside the battling parties, outside his own religion, becomes more and more "une existence solitaire en face d'une autre existence, qui le regarde," that "other existence" which he calls God. Alas, the descent from such existential heights is swift. Soon the solitary thinker will be enmeshed again in unsolitary speculations about those very issues he had left behind in his flight into the self. Where will this strange pilgrim's progress end? In 1769, seven years before his death and feeling the cold breath of old age upon him, Jean-Jacques wrote: "In my childhood I believed by authority, in my youth by feeling, in my mature age by reason; now I believe because I have always believed." Burgelin cites this as proof that Rousseau never ceased to believe. Maybe so. But is this the point? What the passage defines is the pilgrim's irreversible religious itinerary. On cannot but ask what the next inevitable stop on the road would have been. Waiting for Godot? "Whoever makes an effort to find in Rousseau's work an explicit philosophy... runs into a very peculiar difficulty, for a philosophy is defined above all by its coherence, and [Rousseau] himself warns us against his own methods." With these words Pierre Burgelin opened his monumental work, La philosophic de l'existence de ].-]. Rousseau (1952). It is in the several pertinent chapters of this earlier work that the reader will find what the present book withholds: a philosophical analysis as rigorous as it is profound and comprehensive, the best analysis we have to Rousseau's religious thought. Professor Burgelin's new book merely proves that not even he can do justice to Jean-Jacques without explaining him. GREGORSEBBA Emory University l~mile ou de l'dducation. Par Jean-Jacques Rousseau. Introduction, bibliographic, notes, et index analytique par Francois et Pierre Richard. gdition illustr~e. (Paris: ~ditions Garnier Fr~res, 1962. Pp. 1 + 664 [1].) While the new Pldiade edition of Rousseau, a model of contemporary French scholarship, makes its slow, stately way towards completion, the well-known yellow Classiques Garnier keep coming out in new editions or simply in new dress. This 12mile is a handsomely produced, very readable BOOK REVIEWS 259 reissue of the 1939 Garnier edition, with reproductions of eighteenthcentury engravings on themes of Rousseau. They add rich period flavor to this strange work in which a hypermodern intelligence talks the language of three centuries ago. There are useful notes, the detailed subject index is exceptionally well laid out, the spacious bibliography is ample for Rousseau 's sources and influence, but its meager twentieth-century section should have been reworked and brought up to date. The Introduction, too, can still be read with much profit, even though its critical standpoint is now antiquated, eloquent proof of the effectiveness of Rousseau scholarship in the last two decades. For its price this is a very handy, serviceable edition to have until the Biblioth~que de la PMiade catches up with Garnier Fr~res. Emory University GREGOR SEBBA Kant's Theory o[ Knowledge. By Graham Bird. (New York: The Humanities Press, 1962. Pp. x + 210. ~5.50.) In the Preface the author states that he has two main objectives in his book: To pursue one central argument through the Critique of Pure Reason and to discuss Kant's views in terms of a modern philosophical idiom. Bird follows this programme out through most of the book, departing from it on only one occasion, in Chapter 11 (pp. 181-188) in which he discusses and criticizes Strawson's theory of personality (as presented in his book Individuals, chap. 3). The space given to Strawson does not, however, constitute a serious digression from the main argument because it comes at the end of a chapter devoted... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kyklikoi Logoi BENJAMIN HALLER i. palinode I really think Steisichorus had it all wrong, This rank and futile puttering in palinodes. And Simonides: did Ceos boast no beauties on its shores? Skopas would have laughed. The flute girls’ tatter, On and on and on and on—who would have thought Of recantations for a promise posed while perched Amidst... pornography of pillows, feastingSick symposiasts fed beasts dragged down with spear. (...) Wise, redundant Ocean. Wine, topped with a sleek Red-figured trireme would have bobbed its Watchful eye, and soon grown turgid. Louder, Now, the waves which rock the mountains, Waves of earth which crash across the mountains, Turn the blank limestone entablature of crags and ridges to a cyma cornice—rigid, cold. Steisichorus to Helen. Stop. Regrets. Misunderstanding. Stop. Your chastity unblemished. Stop. Grant voice to worship, praise you. Stop. Some will leave with tripods, some with gold. And Simonides? Will know these wilted sacks of flesh, Like flowers touched by some insensate plowshare, Sudden, dumb within the space of heavy seconds, Will know them for himself, and trace the path his errant Feet trod in egress, inscribe a witless placard on their graves. arion 27.2 fall 2019 ii. phaiakis 1. Appleton Wisconsin, Autumn Through the reddening maples and the birch where once a sluggish puddle moped round rocks a sudden surge, a rising tide, a convex tumescence building up for years, released. The sluice is open on the Fox, and all the hidden rocks that snooped like hounds about the pillars of the derelict railroad bridge are made a carcharodontous maul for hipboot fishers, waiting patiently beneath the lock’s expostulating lip. We flock, the shrieking gulls and I, to see what fish may drift by stunned beneath the bridge, what fishers might need fished from their upended sport, what crimson leaves have chosen at the very last, a final act of will, when all prevarication and all staring at the frothed abyss and all coy curling round their pendant stems like blonde Wisconsin girls twining locks and bounding O’s round fingers in the sunny stillness of a main street morning coffee shop, will choose this moment to precipitate themselves into the stream, inexplicably abandoning their elevated perch, and drift down toward the chilly Northern wood, meet muddy dissolution in the sediment, mingle in the bloated belly of that Ice Age Belua, Leviathan of Lakes. 120 KYKLIKOI LOGOI 2. Virginia Autumn, Five Years Later The light was yellow as a Martha Jones Postmodern; It was a bar, and it was late. I plaudered on about some... something? It was the wrong thing, and the music Capered on. And then the next day, It was like the year I spent in Appleton, Balmy cidermill frost in the morning, Mists on the polluted Fox, and bounding Rounded O’s on the red lips of buxom Girls. I lay upon the floor and watched The motes of dust in light no longer Cancerous from summer’s balmy claws. It was the wrong thing. And today Despite Virginia, it is autumn, where Yesterday was summer, and another year Has bobbed along beyond the sluice; It has weathered the railroad truss, Observed, with passing interest, thinking Every shore would be as polychrome As this, the evanescent burnt orange Oakleaves, without sighing. Worlds Of wanwood flap like navy wives In some old vintage film of VE day, All eager to embrace us from a distance, But soon past and little matter whether Waves or stern caresses were the fruit Of battles fought. And now the sluice Approaches, and the ominous broad Back of Winnebago, with its plesiosaurs And ex wives on its banks. There is little To regret. The sun upon the shores of Winnebago is yellow, honest yellow, Like some faded photo from an old Vacation that your parents took; such Benjamin Haller 121 Colors don’t exist (you thought) the Atmosphere has changed, attenuated, Global climate shifts have taken those Cold days,... Or yellow like the wan bar Lightbulb, chuckling at my hubris, pulsing In the silent starts, warning, as I pay my slinking tab and head for home. 122 KYKLIKOI LOGOI iii. kairos (christina) Ibycus on Spring this year, But... (shrink)

Barth, K. Ludwig Feuerbach.--Löwith, K. L. Feuerbach und der Ausgang der klassischen deutschen Philosophie.--Bloch, E. Keim und Grundlinie; zu den Elf Thesen von Marx über Feuerbach.--Lorenz, R. Zum Ursprung der Religionstheorie Ludwig Feuerbachs.--Löwith, K. Vermittlung und Unmittelbarkeit bei Hegel, Marx und Feuerbach.--Glasse, J. Barth zu Feuerbach.--Barth, H.-M. Glaube als Projektion.--Sass, H.-M. Argumentationsfiguren in der Kritik an Ludwig Feuerbachs Religions- und Metaphysikkritik.--Bayer, O. Gegen Gott für den Menschen.--Kosing, A. Ludwig Feuerbachs materialistische Erkenntnistheorie.--Finger, O. Von der anthropologisch-materialistischen Religionskritik zur historisch-materialistischen Ideologieanalyse.--Rotenstreich, (...) N. Anthropologie und Sinnlichkeit.--Arvon, H. Feuerbach und die Theologie.--Schmidt, A. Feuerbachs Stellung in der Geschichte des Materialismus.--Thies, E. Philosophie und Wirklichkeit; die Hegelkritik Ludwig Feuerbachs.--Rohrmoser, G. Warum sollen wir uns für Feuerbach interessieren? (shrink)

How is it that we think and refer in the first-person way? For most philosophers in the analytic tradition, the problem is essentially this: how two apparently conflicting kinds of properties can be reconciled and united as properties of the same entity. What is special about the first person has to be reconciled with what is ordinary about it. The range of responses reduces to four basic options. The orthodox view is optimistic: there really is a way of reconciling these (...) apparently contradictory properties as contained within the same thing. The heretical views are pessimistic and content to be so: there is no such way, and that is because there is simply nothing to reconcile – because there is really nothing special about what is in question; or there is really nothing ordinary about it; or there is really nothing …. (shrink)

Consciousness, with its irreducible subjective character, was almost exclusively a philosophical topic until relatively recently. Today, however, the problem of explaining the felt quality of experience has also become relevant to science and engineering, including robotics and AI: “What would we have to build into a robot so that it really felt the touch of a finger, the redness of red, or the hurt of a pain?”(O’Regan, 2014, p. 23). Yet a practical response still requires an adequate theory of (...) consciousness,which brings us back to the hard problem: how can we account, from a scientific point of view, for thephenomenological character of experience? Over a decade ago,O’Regan and Noë (2001)proposeda new approach to these questions, the so-called sensorimotor approach to perceptual experience.How far has this approach come and what are its outstanding challenges? The volumeContemporarySensorimotor Theory, edited by Bishop and Martin, takes stock of the current state of the field. (shrink)

Philosophical theories of emotions, and to an extent some theories of scientific psychology, represent attempts to capture the essence of emotions basically as they are conceived in common sense psychology. Although there are problems, the success of explanations of our behavior in terms of believes, desires and emotions creates a presumption that, at some level of abstraction, they reflect important elements in our psychological nature. It is incumbent on a theory of emotions to provide an account of two salient facts (...) about emotions as conceived in common sense psychology. As intentional states, emotions have representational and rational properties: emotions represent states of affairs; and they are rationally related to other mental representations, figure in rational explanations of behavior, and are open to rational assessment. Emotions also have a close relationship to a range of non-intentional phenomena: in typical cases, emotions involve physiological changes, usually associated with the activation of the autonomic nervous system, which are proprioceptively experienced; and they often involve behavioral tendencies, as well. (shrink)

A review of deVries' and O'Shea's books, both titled "Wilfrid Sellars". By Jaroslav Peregrin.

Thomas Kuhn had little to say about scientific change in biological science, and biologists are ambivalent about how applicable his framework is for their disciplines. We apply Kuhn’s account of paradigm change to evolutionary microbiology, where key Darwinian tenets are being challenged by two decades of findings from molecular phylogenetics. The chief culprit is lateral gene transfer, which undermines the role of vertical descent and the representation of evolutionary history as a tree of life. To assess Kuhn’s relevance to this (...) controversy, we add a social analysis of the scientists involved to the historical and philosophical debates. We conclude that while Kuhn’s account may capture aspects of the pattern of an episode of scientific change, he has little to say about how the process of generating new understandings is occurring in evolutionary microbiology. Once Kuhn’s application is limited to that of an initial investigative probe into how scientific problem-solving occurs, his disciplinary scope becomes broader. (shrink)

In this paper, we will consider the neuro-cognitive systems involved in mediating morality. Five main claims will be made. First, that there are multiple, partially separable neuro-cognitive architectures that mediate specific aspects of morality: social convention, care-based morality, disgust-based morality and fairness/justice. Second, that all aspects of morality, including social convention, involve affect. Third, that the neural system particularly important for social convention, given its role in mediating anger and responding to angry expressions, is ventrolateral prefrontal cortex. Fourth, that the (...) neural systems particularly important for care-based morality are the amygdala and medial orbital frontal cortex. Fifth, that while Theory of Mind is not a prerequisite for the development of affect-based 'automatic moral attitudes', it is critically involved in many aspects of moral reasoning. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:258 HISTORY OF PHILOSOPHY and diversity"-- ("it is useless to deny or even minimize the incongruities and the contradictions" in Rousseau's statements, as Burgelin says in another book). Instead he puts the finger on the one trait that sets this piece of rationalism (or anti-rationalism, as some would say) apart from all others: not sentiment verging on the mystical, but egocentrism, existentially founded and unique. Rousseau, taking a (...) stand outside the battling parties, outside his own religion, becomes more and more "une existence solitaire en face d'une autre existence, qui le regarde," that "other existence" which he calls God. Alas, the descent from such existential heights is swift. Soon the solitary thinker will be enmeshed again in unsolitary speculations about those very issues he had left behind in his flight into the self. Where will this strange pilgrim's progress end? In 1769, seven years before his death and feeling the cold breath of old age upon him, Jean-Jacques wrote: "In my childhood I believed by authority, in my youth by feeling, in my mature age by reason; now I believe because I have always believed." Burgelin cites this as proof that Rousseau never ceased to believe. Maybe so. But is this the point? What the passage defines is the pilgrim's irreversible religious itinerary. On cannot but ask what the next inevitable stop on the road would have been. Waiting for Godot? "Whoever makes an effort to find in Rousseau's work an explicit philosophy... runs into a very peculiar difficulty, for a philosophy is defined above all by its coherence, and [Rousseau] himself warns us against his own methods." With these words Pierre Burgelin opened his monumental work, La philosophic de l'existence de ].-]. Rousseau (1952). It is in the several pertinent chapters of this earlier work that the reader will find what the present book withholds: a philosophical analysis as rigorous as it is profound and comprehensive, the best analysis we have to Rousseau's religious thought. Professor Burgelin's new book merely proves that not even he can do justice to Jean-Jacques without explaining him. GREGORSEBBA Emory University l~mile ou de l'dducation. Par Jean-Jacques Rousseau. Introduction, bibliographic, notes, et index analytique par Francois et Pierre Richard. gdition illustr~e. (Paris: ~ditions Garnier Fr~res, 1962. Pp. 1 + 664 [1].) While the new Pldiade edition of Rousseau, a model of contemporary French scholarship, makes its slow, stately way towards completion, the well-known yellow Classiques Garnier keep coming out in new editions or simply in new dress. This 12mile is a handsomely produced, very readable BOOK REVIEWS 259 reissue of the 1939 Garnier edition, with reproductions of eighteenthcentury engravings on themes of Rousseau. They add rich period flavor to this strange work in which a hypermodern intelligence talks the language of three centuries ago. There are useful notes, the detailed subject index is exceptionally well laid out, the spacious bibliography is ample for Rousseau 's sources and influence, but its meager twentieth-century section should have been reworked and brought up to date. The Introduction, too, can still be read with much profit, even though its critical standpoint is now antiquated, eloquent proof of the effectiveness of Rousseau scholarship in the last two decades. For its price this is a very handy, serviceable edition to have until the Biblioth~que de la PMiade catches up with Garnier Fr~res. Emory University GREGOR SEBBA Kant's Theory o[ Knowledge. By Graham Bird. (New York: The Humanities Press, 1962. Pp. x + 210. ~5.50.) In the Preface the author states that he has two main objectives in his book: To pursue one central argument through the Critique of Pure Reason and to discuss Kant's views in terms of a modern philosophical idiom. Bird follows this programme out through most of the book, departing from it on only one occasion, in Chapter 11 (pp. 181-188) in which he discusses and criticizes Strawson's theory of personality (as presented in his book Individuals, chap. 3). The space given to Strawson does not, however, constitute a serious digression from the main argument because it comes at the end of a chapter devoted... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:258 HISTORY OF PHILOSOPHY and diversity"-- ("it is useless to deny or even minimize the incongruities and the contradictions" in Rousseau's statements, as Burgelin says in another book). Instead he puts the finger on the one trait that sets this piece of rationalism (or anti-rationalism, as some would say) apart from all others: not sentiment verging on the mystical, but egocentrism, existentially founded and unique. Rousseau, taking a (...) stand outside the battling parties, outside his own religion, becomes more and more "une existence solitaire en face d'une autre existence, qui le regarde," that "other existence" which he calls God. Alas, the descent from such existential heights is swift. Soon the solitary thinker will be enmeshed again in unsolitary speculations about those very issues he had left behind in his flight into the self. Where will this strange pilgrim's progress end? In 1769, seven years before his death and feeling the cold breath of old age upon him, Jean-Jacques wrote: "In my childhood I believed by authority, in my youth by feeling, in my mature age by reason; now I believe because I have always believed." Burgelin cites this as proof that Rousseau never ceased to believe. Maybe so. But is this the point? What the passage defines is the pilgrim's irreversible religious itinerary. On cannot but ask what the next inevitable stop on the road would have been. Waiting for Godot? "Whoever makes an effort to find in Rousseau's work an explicit philosophy... runs into a very peculiar difficulty, for a philosophy is defined above all by its coherence, and [Rousseau] himself warns us against his own methods." With these words Pierre Burgelin opened his monumental work, La philosophic de l'existence de ].-]. Rousseau (1952). It is in the several pertinent chapters of this earlier work that the reader will find what the present book withholds: a philosophical analysis as rigorous as it is profound and comprehensive, the best analysis we have to Rousseau's religious thought. Professor Burgelin's new book merely proves that not even he can do justice to Jean-Jacques without explaining him. GREGORSEBBA Emory University l~mile ou de l'dducation. Par Jean-Jacques Rousseau. Introduction, bibliographic, notes, et index analytique par Francois et Pierre Richard. gdition illustr~e. (Paris: ~ditions Garnier Fr~res, 1962. Pp. 1 + 664 [1].) While the new Pldiade edition of Rousseau, a model of contemporary French scholarship, makes its slow, stately way towards completion, the well-known yellow Classiques Garnier keep coming out in new editions or simply in new dress. This 12mile is a handsomely produced, very readable BOOK REVIEWS 259 reissue of the 1939 Garnier edition, with reproductions of eighteenthcentury engravings on themes of Rousseau. They add rich period flavor to this strange work in which a hypermodern intelligence talks the language of three centuries ago. There are useful notes, the detailed subject index is exceptionally well laid out, the spacious bibliography is ample for Rousseau 's sources and influence, but its meager twentieth-century section should have been reworked and brought up to date. The Introduction, too, can still be read with much profit, even though its critical standpoint is now antiquated, eloquent proof of the effectiveness of Rousseau scholarship in the last two decades. For its price this is a very handy, serviceable edition to have until the Biblioth~que de la PMiade catches up with Garnier Fr~res. Emory University GREGOR SEBBA Kant's Theory o[ Knowledge. By Graham Bird. (New York: The Humanities Press, 1962. Pp. x + 210. ~5.50.) In the Preface the author states that he has two main objectives in his book: To pursue one central argument through the Critique of Pure Reason and to discuss Kant's views in terms of a modern philosophical idiom. Bird follows this programme out through most of the book, departing from it on only one occasion, in Chapter 11 (pp. 181-188) in which he discusses and criticizes Strawson's theory of personality (as presented in his book Individuals, chap. 3). The space given to Strawson does not, however, constitute a serious digression from the main argument because it comes at the end of a chapter devoted... (shrink)