Advertising is one of the commonly visible elements of the urban landscape (real and virtual). It also does not require proof that advertisements of cities as such are also part of their “cityscape.” Since at least the nineteenth century, cities have advertised themselves as attractive places to live, visit, or do business. Therefore, the following research question can be asked: How do Polish cities present themselves in advertisements one can find in the landscape? The study assumes that each advertisement should (...) clearly identify the sender and indicate its specific characteristics, distinguishing itself from its competitors. Polish cities began to use logos and slogans as a mecha­nism of description and distinction after 1990, when socioeconomic changes started. There are quite a few studies on this activity, but most of them are single case studies. Therefore, the authors decided to examine a relatively large sample of Polish cities, which allows for statistical analysis. Analysis of the logo and slogan content allows the authors to examine the desired image or the projected identity of Polish cities. The methods were chosen because they admit qualitative and quantitative analysis, especially when there is a sufficiently large sample. Therefore, the survey covered all towns and cities with more than 20,000 inhabitants in Poland. There are 218 such towns in total. The analysis was carried out in the first half of 2021. In conclusion, the authors find that the advertising of Polish cities is embedded in the past, promotes resources (substance), sometimes geographical location, but rarely refers to famous characters and human potential. And such a picture of these cities one may find on outdoor advertisements, which sometimes produce dissonance when accompanying modern buildings or new transport solutions in the city. (shrink)

The general slogan in the title of this paper gives a general, but nevertheless accurate, expression of Strawson’s view concerning the nature of formal logic per se in relation to natural language. What is at stake here is the extent to which the formal methods and the formal semantics of contemporary symbolic logic can render the meanings of natural language expressions. Strawson sets up an agenda for logical theory which, although rather dated for a logic text, is what one (...) naturally expects from an introduction to elementary formal logic and a systematic analysis of certain crucial metalogical concepts, most notably entailment. However, my own reading is that Strawson’s approach to logic makes a lasting contribution to understanding the inner workings of natural language through his critical discussion of the limits of the formal renderings of the semantics of natural language expressions via canonical first-order notations. One can recognize in this critical attitude towards the limits of formal methods a consistent generalization of Strawson’s own strategy from his critical response to Russell’s theory of descriptions.In my paper I shall focus on certain examples which illustrate the general slogan that characterizes Strawson’s views on the nature of logic in connection with ordinary language and talk. (shrink)

A Mathematical Review by John Corcoran, SUNY/Buffalo -/- Macbeth, Danielle Diagrammatic reasoning in Frege's Begriffsschrift. Synthese 186 (2012), no. 1, 289–314. ABSTRACT This review begins with two quotations from the paper: its abstract and the first paragraph of the conclusion. The point of the quotations is to make clear by the “give-them-enough-rope” strategy how murky, incompetent, and badly written the paper is. I know I am asking a lot, but I have to ask you to read the quoted passages—aloud if (...) possible. Don’t miss the silly attempt to recycle Kant’s quip “Concepts without intuitions are empty; intuitions without concepts are blind”. What the paper was aiming at includes the absurdity: “Proofs without definitions are empty; definitions without proofs are, if not blind, then dumb.” But the author even bollixed this. The editor didn’t even notice. The copy-editor missed it. And the author’s proof-reading did not catch it. In order not to torment you I will quote the sentence as it appears: “In a slogan: proofs without definitions are empty, merely the aimless manipulation of signs according to rules; and definitions without proofs are, if no blind, then dumb.”[sic] The rest of my review discusses the paper’s astounding misattribution to contemporary logicians of the information-theoretic approach. This approach was cruelly trashed by Quine in his 1970 Philosophy of Logic, and thereafter ignored by every text I know of. The paper under review attributes generally to modern philosophers and logicians views that were never espoused by any of the prominent logicians—such as Hilbert, Gödel, Tarski, Church, and Quine—apparently in an attempt to distance them from Frege: the focus of the article. On page 310 we find the following paragraph. “In our logics it is assumed that inference potential is given by truth-conditions. Hence, we think, deduction can be nothing more than a matter of making explicit information that is already contained in one’s premises. If the deduction is valid then the information contained in the conclusion must be contained already in the premises; if that information is not contained already in the premises […], then the argument cannot be valid.” Although the paper is meticulous in citing supporting literature for less questionable points, no references are given for this. In fact, the view that deduction is the making explicit of information that is only implicit in premises has not been espoused by any standard symbolic logic books. It has only recently been articulated by a small number of philosophical logicians from a younger generation, for example, in the prize-winning essay by J. Sagüillo, Methodological practice and complementary concepts of logical consequence: Tarski’s model-theoretic consequence and Corcoran’s information-theoretic consequence, History and Philosophy of Logic, 30 (2009), pp. 21–48. The paper omits definitions of key terms including ‘ampliative’, ‘explicatory’, ‘inference potential’, ‘truth-condition’, and ‘information’. The definition of prime number on page 292 is as follows: “To say that a number is prime is to say that it is not divisible without remainder by another number”. This would make one be the only prime number. The paper being reviewed had the benefit of two anonymous referees who contributed “very helpful comments on an earlier draft”. Could these anonymous referees have read the paper? -/- J. Corcoran, U of Buffalo, SUNY -/- PS By the way, if anyone has a paper that has been turned down by other journals, any journal that would publish something like this might be worth trying. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Fellini's Crowds and the Remains of ReligionAndrew Mckenna (bio)The fascist parade in Federico Fellini's Amarcord enables us to take the measure of the director's analytic and inteve genius. It begins amid swirls of dust and smoke emanating from the town train station, as if attributing the successful spread of Italian fascism to a failure of perception. The party is, as the saying goes, blowing smoke in our face, producing (...) a cultural climate favorable to murky thinking. The haze connotes the inability to properly envision phenomena with any mental or moral clarity, to distinguish matters clearly, such as the difference that the film suggests in a later scene, with comic irony, between a real military victory and shooting a gramophone out of a bell tower because it is playing the communist Internationale.But we cannot get away with anything like blaming fascism only on the weather, moral or physical. Far more revealing is the next sequence of shots, in which local party officials and members, all in uniform, are shown running a little breathlessly in loose formation, while exchanging remarks that express gleeful admiration of their leader and his party. They hustle up some stairs in the same loose formation and stand facing the camera, medium close-up, in order to acclaim the party slogans booming from loudspeakers. They shout in unison before, we note, the slogans are fully pronounced, so that we are made aware that they are not really listening to what is being said, but only acting in concert. Their acclamation is comically out of sync—with reality, perceptual and, by implication, social. This image of the bersaglieri running in unison is familiar to spectators at political rallies and from newsreels at the time, and to historians since then. But Fellini has moved the camera in closer than it has ever been before, combining two or three characters in a head-shot as they trot up the street. It is a classic gesture of defamiliarization, as the Russian formalists called it when identifying art-work, that makes this phenomenon available to deeper understanding. [End Page 159]We have just viewed a penetrating analysis of group action, a symbolic discourse on crowd behavior as it concerns organized political activity. The running here is not natural to such a group; it must mean something. It isn't dictated to them as orders; it must obey the dictates of the phenomenon that Fellini is revealing to us. This brilliantly orchestrated scene prompts the question: why, when, for what reason does a crowd run? The answers, typically, are two: in fear, in panic, as from fire or flood; or in rage, in fury, as against an abhorred enemy culprit—to the Bastille, or the gallows, or the nearest tree or lamppost that can serve as such. Though it is closer to the second case, Fellini's gang of fascists fits neither of these models precisely, and we have to step back a bit and reflect upon what he is representing to us about crowd behavior and organized political activity of a certain kind, of the kind that can only succeed, perhaps, amid a hazy climate of moral perception. We need to probe further the logic of this phenomenon, to explore the meaning of what appears before our eyes, as the philosophers do when they say they are doing phenomenology. We can do this by further considering alternative models of behavior.In a military parade, we have an organized crowd of a certain specific type, in which a group is massed in rigid formation and everyone moves in lock-step order to the regular beat of the drum or to a repeated count of numbers. Fellini gives us an example of this in the fascist youth athletic exercises performed by uniformed groups of boys and girls who move their rifles and hoops to a steady eight-count beat. So we know the director of Amarcord is thinking about mass movements of all sorts. Moreover, his film also provides us with a crowd phenomenon at the opposite end of the social spectrum. At the beginning of the film, we witness the nightly passagiata, the evening town stroll still very... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Now What?Enrique Martínez CelayaThese were the invaluable assets that the people of Milwaukee entrusted to me. And they offered me something else as well, which is absolutely crucial for any architect. In the trustees of the Milwaukee Art Museum, I had clients who truly wanted from me the best architecture that I could do. Their ambition was to create something exceptional for their community. [End Page 17]I hope that (...) when the new Milwaukee Art Museum opens and people see its fully realized form, that they will feel we have designed not a building, but a piece of the city.—Santiago CalatravaPoverty in Wisconsin increased faster than in any other state in 2003 and 2004, the U.S. Census Bureau reported Tuesday, and Milwaukee climbed last year into the top 10 of the nation's poorest cities, reaching seventh.In Milwaukee, more than 62,000 of those living in poverty were children—41.3% of all the children in the city. That poverty rate for children ranks the city fourth in the nation, tied with Miami.—Milwaukee Journal Sentinel, August 30, 2005It is not surprising that a society ambiguous about religious and war monuments would prefer the museum as a symbol of vitality, enlightenment, and reinvention. What is not as apparent is why cities—even relatively poor cities—are eager to secure the funds to pay for the famous architect and the construction of not just any museum but grand temples to culture.The sacrifice might have something to do with elusiveness. Most modern museums would like to become incarnations of a city's greatness, but this greatness is hard to hold or to articulate beyond slogans and shopping districts: it is fleeting, untrustworthy, and rarely sensed by any but a lucky few. The trustees of museums and others in charge of the capital campaign do not respond to that uncertainty with humility but with its opposite: the modern museum aims to be undeniable, doubtless. The hope appears to be that, once built, the museum will show how the city overcame itself to be magnificent and, hopefully, magnanimous—the best aspect of the city preserved, Dorian Gray–like, by the semipermanence of architecture, crystallized dreams transcending social and economic problems.These museums seem, in scale and sacrifice, almost pyramidal. But they have less clarity of purpose and consciousness of the frailty of greatness than those earlier resurrection machines. And maybe for these reasons, there is something at odds, something anticlimatic, about the finished building, which for many people hardens rather than softens moral doubts about cities' agglomeration of capital, sewers, and population.Doubts that exist prior to the architecture always surface in the operation of the institution: doubts about the need for a huge museum, doubts about better uses for the public money, doubts about the condition of the arts. And so, mission statements and educational programs notwithstanding, the modern museum anxiously searches for its meaning—but never candidly. Instead, the institutions tend to hide problems behind appearances of certitude and scholarship, behind murky programming, so that anxiety can only be seen indirectly (and even then only briefly and against the [End Page 18] efforts of marketing departments) through the firing of museum directors, the familiarity of curatorial choices, the exhibitionist exhibitions, and the "tough realities" of attendance-based programming.It is possible that the opulent modern museum, rather than embodying the elusive greatness of the city, embodies, more properly, the question: Now what?Programmatic SolutionsThe cruelty and insistence of that question suggest why museums have a tendency to avoid self-conscious explorations of their reason for being, offering instead programmatic distractions. Of these, few are as effective as the crowd-pleasing exhibitions. While the isolation of the museum is fundamentally unaltered by esoteric presentations, which are inescapably unpopular, blockbuster exhibitions or oversimplified or sensational (in the banal meaning of the term) exhibitions are usually well-received by the public. Hence, many museums believe in those types of exhibitions, and their administrators and board members would argue that large audiences and the translation of difficult ideas into familiar representations are central to the mission of the institution. Thus, success is usually measured in numbers... (shrink)

On the winter morning of 16 June 1976, fifteen thousand black children marched on Orlando Stadium in Soweto, carrying slogans dashed on the backs of exercise books. The children were stopped by armed police who opened fire, and thirteen-year-old Hector Peterson became the first of hundreds of schoolchildren to be shot down by police in the months that followed. If, a decade later, the meaning of Soweto’s “year of fire” is still contested,1 it began in this way with a symbolic (...) display of contempt for the unpalatable values of Bantu education, a public rejection of the “culture of malnutrition” with which blacks had been fed.2 The local provocation for the Orlando march was a ruling that black children be taught arithmetic and social studies in Afrikaans—the language of the white cabinet minister, soldier, and pass official, prison guard, and policeman. But the Soweto march sprang from deeper grievances than instruction in Afrikaans, and the calamitous year that passed not only gave rise to a rekindling of black political resistance but visibly illuminated the cultural aspects of coercion and revolt.The children’s defacement of exercise books and the breaking of school ranks presaged a nationwide rebellion of uncommon proportion. The revolt spread across the country from community to community, in strikes, boycotts, and street barricades. It represented in part the climax of a long struggle between the British and Afrikaans interlopers for control over an unwilling black populace and was at the same time a flagrant sign of the contestation of culture, an open declaration by blacks that cultural value, far from shimmering out of reach in the transcendent beyond, would now be fought for with barricades of tires, empty classrooms, and precocious organization. 1. At least three general analyses of the Soweto uprising have emerged: deeper African National Congress involvement in the community; strains on the educational system, unemployment and recession, with greater industrial militancy stemming from the strikes in the early seventies; and the emergence of Black Consciousness ideology. See Tom Lodge, Black Politics in South Africa Since 1945 , pp. 321-62.2. See M. K. Malefane, “ ‘The Sun Will Rise’: Review of the Allahpoets at the Market Theatre, Johannesburg,” Staffrider ; reprinted in Soweto Poetry, ed. Michael Chapman, South African Literature Studies, no. 2 , p. 91. Soweto Poetry will hereafter be cited as SP. Anne McClintock is a Ph.D. candidate in English at Columbia University. She is the author of a monograph on Simone de Beauvoir and is working on a dissertation on race and gender in British imperial culture. Her previous contribution to Critical Inquiry , “No Names Apart: The Separation of Word and History in Derrida’s ‘Le Dernier Mot du Racisme,’ ” appeared in the Autumn 1986 issue. (shrink)

Translated by Drew S. Burk and Anthony Paul Smith. Excerpted from Struggle and Utopia at the End Times of Philosophy , (Minneapolis: Univocal Publishing, 2012). THE END TIMES OF PHILOSOPHY The phrase “end times of philosophy” is not a new version of the “end of philosophy” or the “end of history,” themes which have become quite vulgar and nourish all hopes of revenge and powerlessness. Moreover, philosophy itself does not stop proclaiming its own death, admitting itself to be half dead (...) and doing nothing but providing ammunition for its adversaries. With our sights set on clearing up this nuance, we differentiate philosophy as an institutional entity, and the philosophizability of the World and History, of “thought-world,” which universalizes the narrow concept of philosophy and that of “capital.” We also give an eschatological and apocalyptical cause to this end, of “times” or “ages” rather than those of philosophical practice. Last but not least, it is the Future itself in the performativity of its ultimatum that determines this end times, reversing these times from the Identity the Future accorded to it, withdrawing the thought-world from the lie of its death. Why this style of axioms and oracles, these more or less subtle distinctions, old and debased, with an appeal to the ultimata , to end times and last words? We fight to give, parallel to the concept of Hell, its new theoretical position, for its philosophical return and its non-philosophical transformation. No more so than any other word, Hell is not a metaphor here, just the Principle of Sufficient World. Every man, no doubt, has his “hell” readily available, connivance, control, conformism, domestication, schooling, alienation, extermination, exploitation, oppression, anxiety, etc. We have our little list that the Contemporaries established in the previous century in the same way one used to construct lists of virtues and vices or honors and wealth. They invented it for us without knowing it, for us-the-Futures who have as our responsibility to invent its use. In the Christian and Gnostic tradition, the struggle of the End Times takes place “on earth.” The most sophisticated of believers have it taking place in Heaven as well, above all in Heaven. The various kinds of gnosis imagine infinite falls and vertiginous highs, the vertigo of salvation. On Earth as in Heaven, a hell is available. The Marxists have the law of profit and the control of production, the class struggle Capital imposes on man. The Nietzscheans, the dull grumble of the struggle in the foundations of World and History, the domestication of man, the society of control. The phenomenologists, the capture of being, the most superficial amongst them, the age of suspicion. But all of these “hells” are taken from World, History, Society, and Religion. What we call Hell is no longer of the order of these specific and total intra-worldly generalities, it is both more singular and more universal, no longer being at all of the same order, it is the determinant Identity of these small hells strung out through history but unified here in the name of the last Humaneity. It is even found within the French idiom for hell [ enfer ], en-fer literally means “in-irons.” We are as much “in-irons” as we are “alive” [ en-Vie ]. We believe in Hell but as non-philosophers and it is even because we are non-philosophers that we can believe in it outside of any sort of religion. Hell is less mythological than ideological, it combines philosophizability with universal capital. Under what form? A single term could work for them without being a metaphor or something they would participate in by analogy, a more innovative and conjectural term than control, more universal than profit. It would denote the growing and permanent extortion of a surplus-value of communication, of speed and of urgency in change, in productivity and in work, in the pressure of images and slogans. It would be worse than solicitation, more tenacious than capture, more active and persecutory than control, softer and more insidious than a frontal attack, just as perverse as questioning and accusation, less brutal and offensive than extermination, less ritualized than inquisition, it would be soft and dispersed, instantaneous and vicious, it would be a crime without declared violence. Collusion and conformism, it would be afraid to show itself. Related to rumor, from which it borrows its infinite and tortuous ways. It is harassment. As a modernized form of Hell, perhaps harassment has a long future in front of it, of innocent torture, slow assassination, in short the fall, but radical with no way of recovering and which tolerates only salvation. THE PHILOSOPHICAL PAST OF NON-PHILOSOPHY Non-philosophy is thus Man as the utopian identity of the philosophical form of the World, a utopia destined to transform it. We still have to understand these equations, in particular that of the being-uni-versed from Man, and this book adheres to this by re-exposing non-philosophy in a different way via one of its new possibilities. It uses this opportunity to once again take up formulations that lead to objections answering certain external critics, as well as revisiting diverging interpretations specific to non-philosophers. A portion of this book is devoted to going through these theories via a strict or “lengthy” presentation of non-philosophy, and its defense against more expeditious solutions. This work of rectification is the occasion, merely the occasion, for refocusing non-philosophy on Man (the “Man-in-person,” “Humaneity”), and in a more innovative manner, on its utopian vocation established since the book Future Christ . As for this “occasion,” it is quite obvious. A school of posture, not to say a school of thought, supposes a minimum of closure from the most liberating of knowledge, a heritage, its utilization, and its no less certain dispersal. Within its development, a variety of interpretations will no doubt appear, deviations that are as much normalizations, and a struggle against this multiplication of divergent tendencies. These are perhaps not inevitable evils, especially here, merely a normal development according to the twisting paths of history. But the problem is made worse by the fact that this school of non-philosophers is that of utopia. Not the former attempts devoted to commenting on the worst authoritarian and criminal forms of the past and the present, but utopia as the determinant principle for human life, or to put it another way, of the Future as an irreducible presupposition of (for) thinking the World and History. Non-philosophers are engaged in an aleatory navigation between the respect for the most rigorous utopia, whose rules are not that of the reproductive imagination but those from the Future determining imagination itself, as well as the temptations, diversions, and remorse of history. Little by little, we will begin to understand that the Future as we understand it no longer has any temporal consistency or positive content, without being an empty form or a nothingness, but that it is foreclosed to past and present History, just as it is foreclosed to the place of places, the World, and that it is the only method for establishing the practice of thinking in a non-imaginary instance. Because it is the World and History that are imaginary and have a terrible materiality, it is not necessarily utopia. We will overlap two objectives here: the defense of non-philosophy against the (non-) philosophers that we are, only occasionally, and the introduction of philosophy to a rigorous future. Together they set out to definitively render, without any possible return to philosophical conformism or towards the facilities of the past and present, the non-philosophical enterprise understood as utopia or uchronia. Imagination and speculation, left to themselves and thus undistinguished, are quite good for participating in the grand game of History but have little value or worse for the Future which is unimaginable and unintelligible and must be maintained as such. MAN-IN-PERSON AS SUSPENSION OF THE PHILOSOPHICAL CHORA The point where philosophical resistance is concentrated is without a doubt the invention of the Name-of-Man, first name, oracular as much as axiomatic, of the determining cause for the non-philosophical posture. And that which concentrates the differends is the style of non-philosophy as identity that possesses the dual aspect, of discipline and of the oeuvre, of the theorem and of the oracle. But the real difficulty in understanding the simplicity of non-philosophy is profoundly hidden in the depths of philosophy itself. Because philosophy, from Parmenides to Derrida, even Levinas, continues to be a divided gesture, without a veritable immanence, transforming its thematic contents of transcendence in also forgetting to transform the operative transcendence in the element from which the ontology of surface is established which we will call, in memory of Plato, the chorismos. The general effect of the chora literally gives place to philosophy, demanding binding and sutures to which we will once and for all “oppose” the Man-in-person, his power of cloning, and his future being. All philosophy contains a hinter-philosophy in which it deploys its operations and weaves its tradition like an understudy of a topographical nature and in the best of cases being itself topological. Philosophy as well consists of two levels, its pre-ontological operative conditions on the one hand, and its superficial theme on the other, it too has its presupposed, but is not aware of it or erases it within the unity of appearance named Logos. Rightly, the Logos, and its flash or lightning nature, possesses a “dark precursor,” the chora, which is as much a virtual image, and philosophy, dazzled by its own lightning flash, seems to completely forget about it at the same time it sets itself up within it. Non-philosophy risks taking this same path, of confusing what it believes to be the real with its phantom double, contenting itself to working on the thematic level of philosophy, not its surface objects and its idle chatter (we stopped talking about this a long time ago and in any case they are merely simple materials for inducing a work of transformation), but the transcendence-form of its objects. In the end it risks, through precipitation, taking back up the heritage of philosophy, a heritage of a misunderstood presupposed, even more profound than the play of transcendences. This is what the imperative of the radicality of immanence meant, to treat immanence in an immanent manner, not to make a new object out of it. And from here we get non- (philosophy) and its refusal of the Platonic chorismos , symbol of all abstraction, and thus all transcendental appearance. There are no illusions. The message will leave a heritage in tattered pieces and interpretations. But it was difficult not to dispute the differend to its core. There will be complete confusion of the multiple, possible, and necessary effectuations of non-philosophy with its interpretations. The non-philosophical or human freedom of philosophical effectuation and the philosophical freedom of interpretation. Effectuations demand non-philosophy to return to zero from the point of view of its philosophical material and thus also but within these limits the formulation of its axioms , but in no way providing from the outset divergent interpretations of the aforementioned axioms. They are divergent because they do not take into account the material from which these axioms are derived within non-philosophy, and because they do not see themselves as symptoms of another vision of the World. The utterances of non-philosophy are not mathematical theorems and pure axioms, they merely have a mathematical aspect . They are, by their extraction or origin, mathematical and transcendental. And by their determined function in-Real, within non-philosophy, they are identically in-the-last-Humaneity entities which have an aspect of an axiom and an aspect of interpretation (or an oracular aspect as we say) that attempts (sometimes it is ourselves who provide the occasion) to isolate and transform, in complete freedom of interpretation. There will be an opportunity to complain about the complex character of the language of non-philosophy, an idiom saturated with classical references, sophisticated in a contemporary way. Its freedom of decision up against the whole of philosophy demands these effects of “complication” and “privatization,” as the saying goes. But it also demands fighting against the drift [ dérive ] of the pedagogical-all and the mediatic-all that leads philosophy into the shallow depths of opinion, which is the site of its impossible death. The noble idealism of “pop-philosophy” has been consumed into a “philo-reality;” against this we propose philo-fiction. Parricide, which is at the bottom of these interpretations and which we can judge as being quite fertile, although it has informed tradition, only takes place once or within one lone meaning. In regards to Parmenides, it was possible; Plato introduced the Other as non-being and language, bringing into existence the philosophical system of the World, but is it possible to repeat it again with the same fecundity in regards to non-philosophy, this time in introducing (non) religion or (non) art, still mixing them without taking into account this mixture, alternatively as a philosophical or religious resentment? If philosophy begins via a crime, it is no doubt obliged to continue down similar pathways, to the effect that the crimes of philosophy, once the founding crime has been committed, are a reaction of self-defense. It is undoubtedly from this that we get Marx’s declaration that history begins by tragedy and repeats itself or ends in farce. The preservation of rigor and fecundity is, in every respect, a psychologically difficult task within a theory such as non-philosophy. Having posited an essential objective of liberation in regards to philosophy and its services, one has often understood this objective as an authorization of providing particular interpretations of its axioms and ends up obliterating their scope. This ends up confusing, on one hand, two kinds of freedoms in regards to non-philosophy, the freedom of its interpretations and the freedom of its effectuations. On the other hand, any defense of “principles” against precipitated interpretations is immediately taxed with a will to orthodoxy, a prohibitive objection when we are dealing with, as is the case here, a heretical theory of thought. Nevertheless, it is time to stop confusing heresy as the cause of thought with an ideology of heresies, which is certainly not at all our object, but rather a form of normalization. As for the “disciplinary” aspect, which is not the only aspect, it demands something other than philosophical “answers to objections,” a precision in the definition and use of its procedures in the formation of utterances, since non-philosophy is neither a supplementary doctrine interior to philosophy nor a vision of the world but one whose priority is a “vision of Man,” or rather Man as “vision” that implies a theory and a practice of philosophy. In the end, struggle is only one aspect of non-philosophy, not its whole or telos, struggle coming only from its materiality. In particular, if the discipline of non-philosophy is inseparable from struggle, it is not a question of reducing the monomaniacal obsession of its “marching orders.” This would reduce its complexity and kill its indivisibility, deploying it in a “long march” and a form of Maoization whose philosophical presuppositions no longer have any pertinence here, a case of the One and the Two, which are now cloned and no longer tied together. More generally, non-philosophy is a complex thought composed of a multitude of aspects, which is to say, unilateral interpretations, of a philosophical origin but reduced by their determination in-the-last-instance . The “liberalism” of non-philosophy is merely one of the aspects of which it is capable, not an essence. Similarly, it is only capable of having a “Maoist” aspect. Let us generalize. The weakness of non-philosophy is due to a specific cause, the determination-in-the-last-Humaneity of a subject for the World. Everything that has a right to the philosophical city can be said about it in turn and in a retaliatory mode since Man contributes nothing of himself that Man takes from the World. We can consider non-philosophy as being pretentious, absurd, idealistic, empty, materialistic, formalistic, contradictory, modern, post-modern, Zen, Buddhist, Marxist; it endures or tolerates, perhaps “appeals” to, or at least renders possible, sarcasms, ironies, and insults without even talking about the misunderstandings, partly for the same reason as psychoanalysis. All of this goes beyond simple “deviations.” They are its aspects, which is to say, its “unilateral” philosophical interpretations in both senses of the word, being either sufficient coming from the mouth of philosophers, or reduced to their absolute dimension of sufficiency and totality in the mouths of non-philosophers, and both times due to the weakness and strength of Man-in-person as their determination only in-the-last-instance. The non-philosopher is certainly not a Saint Paul fantasizing about a new Church. The non-philosopher is either a (Saint) Sebastian whose flesh is pierced with as many arrows as there are Churches, or a Christ persecuted by a Saint Paul. What is engaged in here is the practice of retaliation. A negative rule of the non-philosophical ethics of outlawed discussion by way of argumentation (the sufficient is you, the orthodox one is always you, you are the fashionable one, and when a master you are someone else) that is founded on the confusion of effectuations of non-philosophy and of its overall interpretations. Retaliation is the law but as with any too-human law, it must acquire a dimension that displaces it, or rather emplaces it and takes away its authority but not all of its effectiveness. If the non-philosopher is only authorized by himself, which is to say by philosophy but limited by the Real-of-the-last-instance, its critique of other non-philosophers can merely be retaliatory under the same conditions, only by the Real limited in-the last-instance. THE TREE OF PHILOSOPHICAL SAINTLINESS The thematic horizon or material of these debates is in the relationships between philosophy, religion as gnosis, and non-philosophy. It is inevitable, regarding non-philosophers in general (whether they are non-philosophers by name or simply its neighbors) that we often end up evoking Marx’s Holy Family and imagining, arranged on the neighboring branches of the tree of philosophy and annexed, sometimes abusively, to non-philosophy, authors who would quite evidently and quite rightly refuse this label. So it is that we find, for example, a Saint Michel, a Saint Alain, a Saint Gilles 1 without even mentioning the youngest who aspire as well to the freedom of “saintliness” and who make their muted voices heard here. If there is a Holy Family of non-philosophers, it extends completely beyond these three, provided that the sectarian spirit can save us. This book is organized in the following manner: To begin, in order to recall the essential part of the problematic, we have organized a Summary of Non-Philosophy , a vade-mecum of notions and basic problems, in a classical style. Secondly, there is Clarifications On the Three Axioms of Non-Philosophy , designed to posit their proper use as much as to elucidate their meaning. Thirdly, an analysis of Philosophizability and Practicity , both being extreme constituents of philosophical material or the contents of the third axiom. Fourthly, the heart of this work: Let us Make a Tabula Rasa of the Future or of Utopia as Method . Fifthly, we have a theoretical outline of a non-institutional utopia, The International Organization of Non-Philosophy, L’Organisation Non-Philosophique Internationale, (ONPHI) already created in practice but under the conditions of possibility and functioning from which here we put into question “de jure,” thus not without a perplexity concerning “facts,” in any case, without the capability of “getting to the bottom of things.” Sixthly, an essay characterizing The Right and the Left of Non-Philosophy , a brief topology of several philosophizing and normalizing positions of proponents or tenants of this problematic. Seventhly, Rebel in the Soul: A Theory of Future Struggle , a systematic discussion starting from a confrontation of non-philosophical gnosis and non-religious gnosis to the extent that they pose, posed or perhaps still will pose themselves as rivals to non-philosophy in a mixture of fidelity and infidelity. Despite the fact that it can also be read as putting non-philosophy into perspective: it pits against a standard Platonism two contemporary appropriations of Gnosticism. On the basis of the paradigm of Man who never ceases to come as the Future-in-person, each one of these moments strives to reestablish not the “true” non-philosophy and its orthodoxy, but the minimal conditions to respect in order to allow for its maximum fecundity. And in order to bring about one of the last possibilities of its development, making explicit Humaneity as a utopia-for-the-World. In introducing these considerations in the form of a “testament” and “ultimatum,” we want to indicate two things: First, that this is the last time we will intervene in order to caution non-philosophers against the temptation of returning and looking backwards towards philosophy. Only a disillusioned nostalgia for the former World and its traditions barely remain permissible to us.… Secondly, that non-philosophy is also a sort of ultimatum for considering one’s life and transforming one’s thought from the perspective of a uni-version rather than a conversion. Man as future is this ultimatum in action, not an impatient self-proclaimed genius, and philosophy is his testament. It is obviously the ultimatum that determines this testament as “old” with a view towards a life that is, itself, non-testamentary. In and of itself, the “old” can never bear a veritable eschaton. Thus, this book intersects according to the logic of this paradigm, under the sign of the ultimate or “last” as future, philosophy as testament and cautionary note for maintaining the non-philosophical oeuvre as “future” or “utopian.” We will see that between these two dimensions it cradles a theory of struggle. In the end, this book envisions non-philosophers in multiple ways. It inevitably sees them as subjects of knowledge, most often academics insofar as life in the world demands, but above all as close relatives of three great human types. The analyst and political militant are quite obvious, for non-philosophy is close to psychoanalysis and Marxism insofar as it transforms the subject in transforming philosophy. Here again, one must have a sense not of certain nuances but of aspects (of the interpretations, albeit unilateralized) and not in order to construct a simple proletarization or militarization of thought as theory. To be rigorous, rather than authoritarian or spiteful, is its task. And lastly, non-philosophy is a close relative of the spiritual but definitely not the spiritualist. Those who are spiritual are not at all spiritualists, for the spiritual oscillate between fury and tranquil rage, they are great destroyers of the forces of Philosophy and the State, which are united under the name of Conformism. They haunt the margins of philosophy, gnosis, mysticism, science fiction and even religions. Spiritual types are not only abstract mystics and quietists; they are heretics for the World. The task is to bring their heresy to the capacity of utopia, and their utopia to the capacity of the paradigm. NOTES We will recognize allusions, and sometimes references, to closely related or distant themes, but which are related, in the work of Michel Henry, Alain Badiou and via the representative of “non-religious” gnosis of a Platonic origin, in Gilles Grelet. It goes without saying that these discussions are current and local, neither concerning the ensemble of doctrines nor prejudging the eventual evolution of certain amongst them. This concerns defining certain proximities with non-philosophy (rather than adversaries which in some sense they are) and typological and emblematic differends (rather than conflicts with a certain author). (shrink)

In response to the unsettled state of modern intellectual history, a model is offered for categorizing its subject matter. Two challenges to intellectual history are first examined: the relation of intellectual to social history and the relation of intellectual history to other disciplines which purport to deal with thought. The model proposed breaks down the "ideas" of intellectual historians into two sorts: 1) systems, complex bodies of thought related in a coherent fashion; and 2) embodiments, a way of fixating or (...) condensing a complex of meanings into a single expression. Each entails a distinct mode of communication, the former by processes of education or socialization, the latter by single symbols or slogans. The distinction between systems and embodiments is clarified by comparison to the abstract-concrete and the discursive-mythical thought distinctions. The "ideas" of intellectual history should ideally include both systems and embodiments as their components, as in the case of the Lutheran Reformation and the French Revolution. By showing their relation to other disciplines, these distinctions can be seen to demarcate the space in which intellectual history can operate. (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)

This article examined the recent emergence of the national and international issue of religious polarisation and identity, which affects some groups’ populism and fanaticism. Regarding social phenomena, religion and identity are intertwined like the two sides of a coin. This discourse has an impact how to interpret diversity on religious issues that are caused by political influences. Given the polarisation of identity politics and religion, the national and state campaign slogan ‘unity in diversity’ is merely wishful thinking. The polarisation (...) of identity and religion is heavily implicated in the Indonesia–Philippines border case; consequently, in some instances, the ‘seeds’ of these cases are discovered, eventually resulting in group fanaticism. This article employed the historical way of writing while also taking a social science angle that interacts with the research being done. For some communities, religion and identity may take on symbolic meaning, affecting how well they adapt and are accepted. However, the qualities of a community group or region are also shaped by historical events. According to the study’s findings, religion and ethnic identity have played important roles in long-standing historical processes and impacted them. This study is anticipated to ‘suppress’ the problem of political division involving religion and identity because the identification of ‘border’ communities depends not only on entity and identity issues but also on the community’s culture.Contribution: The contribution in this study is that it has an impact on religious issues and cultural identity relations perspectives. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Oppression1Françoise Lionnet (bio)In her disquietingly incandescent poetic novella, La vie de Josephin le fou, completed with the energy of urgency in just two weeks in November 2002,2 Mauritian author Ananda Devi explores Joséphin's relationship with the protective aquatic environment that becomes his refuge from domestic abuse and maternal rejection:J'ai pris l'habitude d'aller dans la mer chaque fois que le monde d'en haut criait trop fort. La mer m'a accueilli (...) chaque fois sans poser de questions, elle avait pas de voix, la mer, que des sons transparents et mouillés, des sons qui vous bercent et vous endorment et vous cicatrisent et vous guérissent….(20)Going into the ocean became a habit every time the world up above would scream too loud. The ocean welcomed me every time, without asking any questions--the ocean had no voice, only sounds, transparent and soaked, sounds that could rock you to sleep and heal your wounds…..(27)The French-language narrative plays with the homonyms mer (sea/ocean) and mère (mother) to underline the nurturing maternal qualities of the deep, which it contrasts with the behavior of the abused and abusive human mother. Caught in a vortex of violence on land where he must always hold his breath and his tongue, Joséphin has developed the ability to survive without much air. This learned ability to restrict his breathing has prepared him for life under water:J'avais pas besoin de respirer. J'avais tellement retenu ma respiration depuis bébé pour pas la mettre en colère… que c'était facile de le faire de nouveau pour rester longtemps longtemps sous l'eau. Vivre là, en captant quelques bulles d'air échappées des coquilles.(22)I didn't need to breathe. I had held my breath for so long as a baby to not make her mad…. that it was easy to do it again, to stay a long long time under water, to live there, off of a few air bubbles escaped from sea shells.(28)In a story that takes on the generic characteristics of the fantastic, Devi thematizes the relationship between social or familial oppression and the physiological constriction of lungs due to oxygen deficiency. Joséphin's (self-)denial of air speaks to us today, eloquently, of an urgent issue that became prominent in the past two years: choking as a form of torture inflicted upon victims of police brutality. The oft repeated slogan, "I can't breathe," militant words of the international Black Lives Matter movement, [End Page 169] have become a rallying cry against oppression. "I can't breathe" is recognizable everywhere as a sign of outrage against gratuitous human cruelty, and in 2020, George Floyd became its most famous contemporary symbol, after Eric Garner's death in a choke hold first drew attention to the issue. Journalist Lonnae O'Neal has discussed Floyd's fate, his tragic last moments, his call to his absent, deceased mother. O'Neal dwells on the words he uttered as he lay in the street: "Momma! Momma! I am through." In her elegy to black motherhood, O'Neal asserts that a dying man's call to his mother "is a prayer to be seen," "a sacred invocation" that expresses the poignant hope that memory and justice will prevail. She invokes Floyd's need to be recognized as a human being, to testify to his humanity with his last breaths, and thus to be remembered as having mattered. Her lyrical prose contains direct echoes of Martinican poet Aimé Césaire's poem "Le cri" in which the narrator forces recognition of his humanity by leaving traces of his "souffle," his breath, in the invisible presence-absence of air:Le vent novice de la mémoire des méandress'offenseÀ vif que par mon soufflede mon souffle il suffisepour à tous signifierprésents et avenirqu'un homme était làet qu'il a crié[…]The wind, inexpert at remembering meandersis stungto the quick that my breathmy breath alone sufficesto signify to allnow and foreverthat a man was... (shrink)

1. ExpositionRichard Sharvy's ‘A more general theory of definite descriptions’ was published in 1980. Its aim was to replace Russell's paradigm by " a general theory of definite descriptions, of which definite mass descriptions, definite plural descriptions, and Russellian definite singular count descriptions are species. … We have an account of the generic ‘the’ along these same lines. " By now his theory has attained the status of a new paradigm. Even a casual trawl of the literature throws up over (...) a score of citations and endorsements, and no rebuttals of its central contention that the primary use of ‘the’ is to indicate totality . We shall argue that it is wrong for mass description, wrong for singular description, wrong for plural description and wrong for generic ‘the’. Sharvy would have approved: his obituary says that his car displayed the slogan ‘Subvert the Dominant Paradigm’.He follows Russell in treating descriptions as incomplete symbols, but nothing in his paper turns on this aspect of it, and we can bypass the issue by considering them in the context of complete sentences. Where Russell translates F into the predicate calculus as Formula Sharvy translates it as Formula Here ≤ is supposed to stand for some or other species of part of relation. His other governing idea is of a predicate's being cumulative. G is cumulative if any number of things that satisfy G have a sum, i.e. a least upper bound with respect to ≤ which also satisfies G. The meanings of ≤, sum and cumulativity vary according to the different kinds of description, which we take in the order in which Sharvy presents them. Meanwhile, we note that he originally defined ‘sum’ to mean simply the l.u.b. , but subsequently redefined …. (shrink)

This work is a qualitative, exploratory study, on how the organizational culture is communicated in a Multinational Mexican company (CEMEX). It specifically analyses the creation of common meanings?culture?through formal communication. Based on an interpretative symbolic approach and using a non?obtrusive method, as is the analysis of documents (nine annual reports, two speeches by the CEO and a corporate video), a culture is discovered and an interpretation of the same is offered. For the analysis, a model was designed whose basic components (...) proceed from the assumption that the organizational culture is composed essentially of cultural substance and forms (Harrison and Beyer, 1993). Also, the ideas of Bantz (1993) were incorporated, as well as his methodology for understanding organizations, by analyzing their messages. The analysis starts from the message emitting sources up to reaching the center or content of the same through their language. In other words, the analysis begins with the form or external manifestation, up to reaching the substance or organizational ideology. This, through an examination of the vocabulary, the metaphors, the slogans, the themes and the stories, among several aspects, in order to reach the inference of meanings that can be taken as the basis or support of its culture. The study offers a different form of approach to organizations and is a case study that explores a blossoming phenomenon (the multinational is very young), which emerges and reveals itself with the investigative process. So, this is not a research for about proving a hypothesis or quantifying data, this is a discovery study. Finally, the findings reflect a possible interpretation of the culture; a picture built thanks to the language that sustains that symbolic reality called organization. (shrink)

Robert Aumann presents his Agreement Theorem as the key conditional: “if two people have the same priors and their posteriors for an event A are common knowledge, then these posteriors are equal” (Aumann, 1976, p. 1236). This paper focuses on four assumptions which are used in Aumann’s proof but are not explicit in the key conditional: (1) that agents commonly know, of some prior μ, that it is the common prior; (2) that agents commonly know that each of them updates (...) on the prior by conditionalization; (3) that agents commonly know that if an agent knows a proposition, she knows that she knows that proposition (the “K K” principle); (4) that agents commonly know that they each update only on true propositions. It is shown that natural weakenings of any one of these strong assumptions can lead to countermodels to Aumann’s key conditional. Examples are given in which agents who have a common prior and commonly know what probability they each assign to a proposition nevertheless assign that proposition unequal probabilities. To alter Aumann’s famous slogan: people can “agree to disagree”, even if they share a common prior. The epistemological significance of these examples is presented in terms of their role in a defense of the Uniqueness Thesis: If an agent whose total evidence is E is fully rational in taking doxastic attitude D to P, then necessarily, any subject with total evidence E who takes a different attitude to P is less than fully rational. (shrink)

Slogans have always been highly popular in China. They are extensively used in politics, as a typical form of public behavior. They are the most convenient and practical means of mobilizing people. Many political slogans or posters are still fresh in the memories of those who experienced the years of war or revolution in China. The most familiar slogans for people these days are those of the Communist Party of China, which exerted an enormous influence on people’s lives. The English (...) word ‘slogan’ has two corresponding meanings in Chinese: ‘slogan’ and ‘poster’. Slogans are designed to be chanted, exclaimed or shouted by people in public, thus appealing to people’s sense of hearing. Posters are designed to be written, and hence appeal to people’s sense of vision. This paper explores political slogans from the viewpoint of logics. It analyzes their stipulative structure and the implicit presuppositions they contain. It argues that, from a formal point of view, effective slogans should be free from logical fallacy, easy to remember, and rationally demonstrable. (shrink)

When bringing philosophical attention to bear on social movement slogans in general, philosophers have often focused on their communicative nature—particularly the hermeneutical failures that arise in discourse. Some of the most popular of these failures are illustrated in ‘all lives matter’ retorts to ‘black lives matter’ pronouncements. Although highlighting and criticizing these failures provides much needed insight into social movement slogans as a communicative practice, I claim that in doing so, philosophers and slogans’ users risk placing too much importance on (...) outgroup understandings. This emphasis is misguided because gaining such uptake is not required of particular slogans to perform their functions; indeed it is an inherent risk of them. I show how such an emphasis can also be distracting to users. Since social movement slogans that express values are first and foremost for users, I argue for a shift in focus in what these slogans (such as ‘Black Is Beautiful’ and the more recent ‘Black Lives Matter’) do for users, as well as what they demand from users and enable them to express. When slogans have done these things, regardless of uptake, we can say they have performed one of their key functions. (shrink)

This article focuses primarily on our research group’s year of preparation before the opening of a new K-7 publicly funded ecological ‘school’ for students aged 5–12. The article begins with a discussion of the reasons for seeking ways to change the values of a culture which fails to confront the consequences of its destructive practices, and for looking for a new approach to ecological education which sees the more-than-human world as an integral part of the learning situation. Five principles are (...) introduced and explained—principles that have grown out of the evolving experience of the research group, and then four ‘slogans’, which have served to guide the ongoing work of development, are described and illustrated. As part of the purpose of this project to change social and cultural values, the change of values within the research group during its ongoing work is also explored. (shrink)

Starting with D. Scott's work on the mathematical foundations of programming language semantics, interest in topology has grown up in theoretical computer science, under the slogan `open sets are semidecidable properties'. But whereas on effectively given Scott domains all such properties are also open, this is no longer true in general. In this paper a characterization of effectively given topological spaces is presented that says which semidecidable sets are open. This result has important consequences. Not only follows the classical (...) Rice-Shapiro Theorem and its generalization to effectively given Scott domains, but also a recursion theoretic characterization of the canonical topology of effectively given metric spaces. Moreover, it implies some well known theorems on the effective continuity of effective operators such as P. Young and the author's general result which in its turn entails the theorems by Myhill-Shepherdson, Kreisel-Lacombe-Shoenfield and Ceĭtin-Moschovakis, and a result by Eršov and Berger which says that the hereditarily effective operations coincide with the hereditarily effective total continuous functionals on the natural numbers. (shrink)

Kant uses the concept of the symbol to show the complicated relationship between the autonomy of beauty and its systematic function as a transition from nature to freedom, which are the two most important topics in the third Critique. Beauty’s symbolism of morality lies in the analog between aesthetic reflection and moral disposition; concretely, it lies in the purity or disinterestedness and self-legislation as negative and positive freedom in both subjective states of mind. In this scenario, beauty’s symbolism does (...) not refer to aesthetic ideas that either involve intelligent interests (in the beauty of nature) or presuppose an end (in the beauty of art); it also cannot be grounded in the supersensible substrate, which is an elevated and metaphysical principle of the judgment of taste given in the Dialectic but not the original principle of subjective purposiveness in the Analytic. With this formal relationship, beauty and morality accelerate each other in the empirical-anthological sense—but they are also not a sufficient or necessary condition for each other. Furthermore, through symbolism, taste looks toward the intelligible and serves as a transition from nature to freedom from the transcendental perspective. (shrink)

Artykuł poświęcony został relewantnym cechom języka reklamy. Już we wstępie autorka stwierdza, że obszerne przedstawienie języka reklamy jest utrudnione poprzez splot cech werbalnych i pozajęzykowych badanych tekstów. W celu przedstawienia najistotniejszych elementów definicji sloganu powołano się na wybrane wyniki badań Ruth Romer, Volkera Klotza, Nigela Forstera czy też Yahya Hassana Bajwy. Omawiając funkcje języka w sloganie jako ważnej formy werbalnej tekstów reklamowych, podkreśla autorka, że stosowane środki to m. in. uproszczona składnia, pytania retoryczne, struktury repetytywne i takie figury stylistyczne, jak (...) np. antyteza, parodia lub porównanie. Następnie przedstawiony został slogan na tie innych form językowych. Autorka koncentruje się tu przede wszystkim na przysłowiach, cytatach i często używanych, utartych zwrotach. Obszernie scharakteryzowane zostały aspekty semantyczne sloganów reklamowych. Omówiono także polifunkcyjność stosowanych elementów językowych i ich metaforyczną symbolikę. (shrink)

A referendum on abortion in the Republic of Ireland a while ago was strongly influenced by a curious case that aroused great controversy. You probably remember it, but I'll briefly recap the main points. A (very) young rape victim wanted an abortion (or her parents wanted it for her -- I'm not really sure, but it doesn't matter here). She was not only denied it, abortion being illegal in the Republic, but was prevented by a court ruling from going to (...) get one in a country where abortion is allowed. Now, I'm not concerned here with the moral question of abortion itself; what interests me is the confusion evinced (but apparently not felt) by most of those whose comments on the case were reported -- a confusion that afflicted those on both sides of the debate. The results of the recent referendum have reflected the confusion perfectly, with the Irish people offering their collective opinion that a woman shouldn't be allowed an abortion even if her life is endangered, but that women should be allowed free access to information about abortion and to travel to countries where abortion is legal. This would still have denied an abortion to the young rape victim, but would have allowed her to come to England for one. The confusion, it seems to me, is a symptom of two dangerous tendencies of thought concerning other people's moral beliefs -- tendencies which are often linked. (shrink)

This chapter examines a common objection to sex robots: the symbolic-consequences argument. According to this argument sex robots are problematic because they symbolise something disturbing about our attitude to sex-related norms such as consent and the status of our sex partners, and because of the potential consequences of this symbolism. After formalising this objection and considering several real-world uses of it, the chapter subjects it to critical scrutiny. It argues that while there are grounds for thinking that sex robots could (...) symbolically represent a troubling attitude toward women (and maybe children) and the norms of interpersonal sexual relationships, the troubling symbolism is going to be removable in many instances and reformable in others. What will ultimately matter are the consequences of the symbolism but these consequences are likely to be difficult to ascertain. This may warrant an explicitly experimental approach to the development of this technology. (shrink)

Les places où eurent lieu les contestations du soulèvement du 17 octobre au Liban ont connu l’émergence d’expressions populaires de dissidence, de colère et d’espoir. Les messages furent portés à travers différents médias, en particulier les graffitis, la musique, les chants. Cet épisode est particulier en ce que ces expressions transcendèrent les clivages sectaires et politiques habituels. Ce texte revisite, archive et analyse les différents moyens d’expression qui furent abondamment utilisés au cours de ce mouvement.

This work was awarded the John Templeton Award for Theological Promise 2009.

Norman Kretzmann's recent analysis of the natural lawslogan ``lex iniusta non est lex'' (an unjust law is nota law) demonstrates the coherence of the slogan andmakes a case for its practical value, but I shallargue that it also ends up showing that the sloganfails to mark any interesting conceptual or practicaldivision between natural law and legal positivistviews about the nature of law. I argue that this is ahappy result. The non-est-lex slogan has been used toexaggerate the extent of (...) disagreement about the natureof law and has diverted critics of natural law theoryfrom recognizing that the main disagreement betweennatural lawyers and legal positivists centres ontheories of practical reason and how they affect ourunderstanding of the relationship between law andmorality. This extends the debate about the nature oflaw somewhat beyond the traditional boundaries ofphilosophy of law, but these boundaries are due inpart to the diversion created by debate over thenon-est-lex slogan. Recognizing that the non-est-lexslogan fails on its own to mark any interestingpractical or conceptual division between natural lawtheories and legal positivism should therefore focusand encourage debate on matters of genuine substancebetween these outlooks. The disagreement, however, mayturn out to be primarily metaphysical and explanatoryand not normative in nature. (shrink)

The Symbolic Logic Study Guide is designed to accompany the widely used symbolic logic textbook Language, Proof and Logic (LPL), by Jon Barwise and John Etchemendy (CSLI Publications 2003). The guide has two parts. The first part contains condensed, essential lecture notes, which streamline and systematize the first fourteen chapters of the book into seven teaching sections, and thus provide a clear, well-designed roadmap for the understanding of the text. The second part consists of twelve sample quizzes and solutions. The (...) Symbolic Logic Study Guide is essential for all instructors and students who use LPL in their symbolic logic classes. (shrink)

A. Newell and H. A. Simon were two of the most influential scientists in the emerging field of artificial intelligence (AI) in the late 1950s through to the early 1990s. This paper reviews their crucial contribution to this field, namely to symbolic AI. This contribution was constituted mostly by their quest for the implementation of general intelligence and (commonsense) knowledge in artificial thinking or reasoning artifacts, a project they shared with many other scientists but that in their case was theoretically (...) based on the idiosyncratic notions of symbol systems and the representational abilities they give rise to, in particular with respect to knowledge. While focusing on the period 1956-1982, this review cites both earlier and later literature and it attempts to make visible their potential relevance to today's greatest unifying AI challenge, to wit, the design of wholly autonomous artificial agents (a.k.a. robots) that are not only rational and ethical, but also self-conscious. (shrink)

The two works reprinted in this volume are a unique fusion of logical thought and inimitable whimsy. Written by the 19th-century mathematician who also gave us "Alive in Wonderland", they are among the most entertaining logical works ever written, and contain some of the most thought-provoking puzzles ever devised.

On the occasion of a first conference on Cognitive Science, it seems appropriate to review the basis of common understanding between the various disciplines. In my estimate, the most fundamental contribution so far of artificial intelligence and computer science to the joint enterprise of cognitive science has been the notion of a physical symbol system, i.e., the concept of a broad class of systems capable of having and manipulating symbols, yet realizable in the physical universe. The notion of (...) class='Hi'>symbol so defined is internal to this concept, so it becomes a hypothesis that this notion of symbols includes the symbols that we humans use every day of our lives. In this paper we attempt systematically, but plainly, to lay out the nature of physical symbol systems. Such a review is in ways familiar, but not thereby useless. Restatement of fundamentals is an important exercise. (shrink)