Frank Wilderson: I introduce a semiotic configuration. The point is, at important levels of abstraction, people who are positioned as Black—which is very different from saying people who think of themselves as Black. One of the basic premises of Afropessimism, which makes it resonate with psychoanalysis or Marxism, is that where one is positioned in a paradigm might not be where one thinks one is or where one desires to be. When I teach undergraduates, I say: “Look, I (...) used to study neorealism. In these neorealist films, we have these people who are bona fide fascists, and then you have those people in the Communist Party, so they could not agree on much. They don’t see themselves as having much of a connection. But in a Gramscian sense, they are both positioned as the host of capitalist parasites. Both groups rely on the wage. So, they are both workers.” One of the big points with respect to the narratological question is that I, as a Black person, trained at Columbia University in creative writing, trained at UC Berkeley in critical theory, love narrative, but narrative does not love me. In other words, it is impossible for me to be “emplotted” as a speaking subject. I can only be “emplotted” as an object of narrative. But I am always struggling to attain that love of humanity; and if I were to attain it, the Human would not have a foil against which to know itself. So, what I am saying is that in a book like Red, White & Black, I am just being very categorically clear about the divisions. In Afropessimism, I am actually talking about the desire of a sentient being who cannot be allowed into an arena where people are recognized and incorporated, in Lacanian terms, as “contemporaries” of human beings. So, there is all this back and forth. I don’t think this speaking subject in Afropessimism ever achieves anything in particular. It is always struggling toward being a subject that can actually travel on a narrative arc and yet ultimately is an object that can never travel from dispossession to redemptive recovery. (shrink)

I defend a sensitive neo-Moorean invariantism, an epistemological account with the following characteristic features: (a) it reserves a place for a sensitivity condition on knowledge, according to which, very roughly, S’s belief that p counts as knowledge only if S wouldn’t believe that p if p were false; (b) it maintains that the standards for knowledge are comparatively low; and (c) it maintains that the standards for knowledge are invariant (i.e., that they vary neither with the linguistic context of the (...) subject of knowledge nor with the linguistic context of the attributor of knowledge). I argue that this sort of account allows us to respond adequately to some difficult puzzles in epistemology, puzzles such as skeptical puzzles, as well as puzzles that inspire epistemological contextualism. I also maintain that by utilizing what Keith DeRose calls a warranted assertibility maneuver, sensitive neo-Moorean invariantism can account for our epistemic judgments in each of these puzzle cases. (shrink)

The fact that A has relied on B to do something is often taken to be a relevant factor in judging that B has a moral or legal obligation to do that thing. This paper investigates the relation between reliance and obligation. Specifically, the question is whether reliance and moral obligation are connected by some relation of conditionality. I consider four such relations - necessary condition, sufficient condition, necessary part of a sufficient condition, and independent necessary part of a sufficient (...) condition. I argue that only the third one connects reliance and moral obligation, and that it does so in a trivial way. There are nevertheless two justifications for the prominence given to reliance in morality and law. First, reliance appears to be a sufficient condition of states of affairs involving concepts related to obligation. Second, reliance is a fairly reliable indicator of obligation. (shrink)

Georgians' acquaintance with Islam was with the first Arab raids. From the first Muslim Arab domination, Georgians started to become Muslims with cultural interaction. Islam spread especially in Eastern Georgia during the time of Muslim Arabs, Seljuks and Mongols. The spread of Islam in Western Georgia started with the Ottomans. The Ottoman Empire's contact with Georgia begins with the conquest of Trabzon by Fatih Sultan Mehmed. When the Ottomans contacted the region, the geography of Georgia was divided into small kingdoms. (...) With the conquest of Trabzon, the Georgian border was reached and in 1479, Acaristan, Borcka and Maçahel surroundings joined the Ottoman lands. On the one hand, Sukhumi was captured from the north. Then, continuing to advance in the region, Yavuz Sultan Selim paid tribute to the Kingdom of Güryel and Imeret (Açıkbaş) in 1508 during his governorship of Trabzon. Thus, the Ottoman borders had reached beyond the Black Sea coast into Western Georgia. As a result of the increasing relations around Adjaria, which came under Ottoman rule, Islamization began to spread rapidly among the people. Contrary to what is claimed, the spread of Islam in the region did not spread from the ruling strata to the lower, but from the popular strata to the ruling strata. This process was surprisingly fast. In the process of Islamization, many mosques, masjids and schools were built in Adjara, especially with the help of the people. The foundations operating in the region and the mosques and masjids serving under them show that, contrary to the claims of Russian and Georgian historians, Islamization took place rapidly at the beginning of the 17th century in Adjara. In this process, many mosques, masjids and schools were built in the region. In this research, based on the numerous Hurufat records belonging to Adjara, Batumi, Gönye, Çürüksu and Maçahel, the Islamization process will be evaluated by making a social reading with the data obtained from the religious structures established in the rural settlements of the Adjara geography and their officials. Evaluations were made on the Islamization process in Adjara by making a social reading. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Learning to BreatheFive Fragments Against RacismB. Venkat Mani (bio)For Dr. JLW, for all Black academics and students1. Air HungerI know you, Derek Chauvin. You may think that we first met on May 25, 2020, in Minneapolis. I was called George Perry Floyd. For you, I was just another Black man, a potential criminal. For me, you were not a police officer, but the knee that stands for (...) racism. You kneeled on my windpipe for 9 minutes and 29 seconds. Those were neither my first nor my last memories.You may choose not to recognize me, as you always have. But I do. I recognize every bone, muscle, tendon, pointy curve of the cap, every contour of your strong, heavy, determined, calculating, conniving knee that presses on my windpipe with a false sense of racist superiority. 9 minutes and 29 seconds. As often as you can.We have a history. You have never missed the opportunity of kneeling on my windpipe. You hauled me into your slave ships from various African ports along the Atlantic, then you kneeled on my windpipe all over your cotton and tobacco plantations in the Americas. We met again on schooners from Indian shores journeying across the Indian and Pacific oceans. With slavery banned in the British empire, you turned me into an indentured laborer. You made me put my thumb imprint on a document you created, in a script I could not read, of a language I could not speak. Then you threw me thousands of miles away in Mauritius, Fiji, and numerous Caribbean islands, pressing on my windpipe on sugarcane plantations. My wife, children, sisters, mothers, aunts, brothers, uncles, nephews, nieces, grandparents, great grandparents, we all have lived through those fatal 9 minutes and 29 seconds: on water and land. Repeatedly. Consistently. Incessantly.You want specific dates? April 8, 1857, Barrackpore, Northern India. My name was Mangal Pandey, you called me a Sepoy. You hanged me for standing up against my subjugation by your British East India Company. Against your rule over my land and my people. With your many titles [End Page 41] and names: Major-General Sir Henry Havelock, Lieutenant-General Sir Colin Campbell, Brigadier-General Charles Windham, you rampaged through the streets of Delhi, Meerut, Lucknow, killing anyone in your way so I could be a jewel in Victoria's crown. January 29, 1863, Bear River, Idaho. I was one among the Shoshone of Bia Ogoi, you were Colonel Patrick Connor. You came to us on a frigid morning and killed us by the hundreds. November 15, 1884, the Congo Conference, Berlin. You were called Chancellor Otto von Bismarck and were acting at the behest of sharecropping interests of King Leopold the Second. Your name for me was a "savage." You set up a society to civilize me while you plundered my bounty. You started drawing lines through land, rivers, mountains, deserts. For you, it was the Scramble for Africa. For me, bloody murder. You knelt on my windpipe, smoking a pipe with tobacco my people had grown. April 13, 1919, Jallianwala Bagh, Amritsar. You were called Brigadier General Reginald Edward Harry Dyer. For you, I was just a troublemaking native disrupting the civilized business of the Empire. You surrounded our peaceful gathering in Amritsar and opened fire. Your Nobel Laureate Rudyard Kipling claimed that "you did your duty as you saw fit." By killing us in thousands until the bullets ran out. Rikki Tikki Tavi. May 31, 1921, Tulsa, Oklahoma. Inspired by Jim Crow, your knees came running to us in mobs to massacre us. October 19, 1926, Imperial Conference, London. Your name was Field Marshall the Right Honorable Jan Christian Smuts. For you, I was one among the many "colored" subjects from the Cape Colony. You spoke vehemently against mixing my people with your people. Eloquently, I was told, in favor of apartheid.You know very well, Chauvin, that our acquaintance neither begins in 1857 nor ends in 1926. I could take you on a grand tour of the world and give you all the dates when you appeared in different forms. Your self-induced conviction of racial supremacy over me remained the same... (shrink)

New foreword written by HeritageMom, Amber O'Neal Johnston. "During a time when the United States needed to be reminded of the contributions Black people have made to its democracy, freedom, music, literature, and more, W.E.B. Du Bois took on the task of enumerating the gifts that we've provided to our country. "When I began reading The Gift of Black Folk...the story that unfolded was one that I had never anticipated. We the People of the United States, all of (...) us, have left our indelible mark on America the Beautiful." -Amber O'Neal Johnston In 1924, William Edward Burghardt (W.E.B.) Du Bois (1868-1963) penned The Gift of Black Folk in response to systemic racism in the United States, showing that "...the American spirit is a new and interesting result of diverse threads of thought and feeling coming not only from America but from Europe and Asia and indeed from Africa." Du Bois was the first African American to earn a Ph.D. from Harvard University, and later became a professor of history, sociology, and economics at Atlanta University. In 1909 he co-founded the NAACP. Du Bois was a lifelong leader and proponent of civil rights. Amber O'Neal Johnston is a writer, speaker, and home educator who blends life-giving books with a culturally-rich environment for her four children and others. She's the author of A Place to Belong, a guide for families of all backgrounds to celebrate cultural heritage and embrace inclusivity in the home and beyond, and she's known for sharing literary "mirrors and windows" on HeritageMom.com. (shrink)

I give a critique of the argument against the Identity of Indiscernibles found in Max Black's dialogue "The Identity of Indiscernibles". I begin by postulating and giving existence and individuation conditions for actually existent thought experiment characters on analogy with fictional characters as postulated in Peter van Inwagen's "Creatures of Fiction". I then show that Black's two-spheres thought experiment raises not one but two discernibility questions: 1) Is it true in the two-spheres thought experiment that there exist two (...) indiscernible spheres? NO. 2) Is it true in the actual world that there are two indiscernible sphere-characters? YES. (shrink)

According to Hempel's paradox, evidence (E) that an object is a nonblack nonraven confirms the hypothesis (H) that every raven is black. According to the standard Bayesian solution, E does confirm H but only to a minute degree. This solution relies on the almost never explicitly defended assumption that the probability of H should not be affected by evidence that an object is nonblack. I argue that this assumption is implausible, and I propose a way out for Bayesians. Introduction (...) Hempel's paradox, the standard Bayesian solution, and the disputed assumption Attempts to defend the disputed assumption Attempts to refute the disputed assumption A way out for Bayesians Conclusion. (shrink)

The Principal Principle (PP) says that, for any proposition A, given any admissible evidence and the proposition that the chance of A is x%, one's conditional credence in A should be x%. Humean Supervenience (HS) claims that, among possible worlds like ours, no two differ without differing in the spacetime-point-by-spacetime-point arrangement of local properties. David Lewis (1986b, 1994a) has argued that PP contradicts HS, and the validity of his argument has been endorsed by Bigelow et al. (1993), Thau (1994), Hall (...) (1994), Strevens (1995), Ismael (1996), Hoefer (1997), and Black (1998). Against this consensus, I argue that PP might not contradict HS: Lewis's argument is invalid, and every attempt – within a broad class of attempts – to amend the argument fails. (shrink)

I describe how gravitational entropy is intimately connected with the concept of gravitational heat, expressed as the difference between the total and free energies of a given gravitational system. From this perspective one can compute these thermodyanmic quantities in settings that go considerably beyond Bekenstein's original insight that the area of a black hole event horizon can be identified with thermodynamic entropy. The settings include the outsides of cosmological horizons and spacetimes with NUT charge. However the interpretation of gravitational (...) entropy in these broader contexts remains to be understood. (shrink)

Black and Gilson have argued that “venture capital can flourish especially – and perhaps only – if the venture capitalist can exit from a successful portfolio company through an initial public offering, which requires an active stock market.” But nothing in the Black and Gilson analysis requires that the exit option be a domestic capital market. In this article, I use the phenomenon of Israeli hi-tech companies going public on the Nasdaq as a case study to explore the (...) connection between a venture capital industry and domestic capital markets in a world of global capital and product markets. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 22 (2002) 2-15 [Access article in PDF] Economic Aspects of Social and Environmental Violence John B. Cobb Jr. Claremont School of Theology I When we think of violence, what first comes to mind are violent acts by individuals or groups against other individuals. We think of rapes and murders, lynchings and muggings, beatings and armed robberies. We want the police to protect us from this violence. Unfortunately, (...) we know that police are tempted, in turn, to employ their power in violent ways, chiefly against those guilty of crimes, but sometimes against the innocent. The cycle of violence on the part of individuals and groups goes on.Bad as this violence is, it is worse when the state, instead of restricting it, supports and requires it. Political authorities have always exercised violence against their own people, especially those they suspected of being threats to their power. But in the twentieth century, state violence reached previously unheard of levels. For the sake of building a communist society, Stalin killed millions and imprisoned millions more. The Nazis undertook to purify Germany of Jews, gypsies, and other undesirables through extermination undertaken through bureaucratic processes.We Americans do not think of ourselves as having employed state power in any such way. We know that national power was used violently to drive Native Americans off their land down through the nineteenth century. We know that southern states used their power to enforce segregation and protect whites who engaged in violent acts against blacks in order to maintain total white domination over them. But we now think of the national government much more as the protector of human rights. This is not entirely false.We tend not to recognize, however, the amount of violence the national government is exercising in the wars against crime and drugs. In order to reduce individual violence as well as drug use, we have created a prison population of two million. One-fourth of all the prisoners in the world are in the United States, most of them jailed for nonviolent crimes. Although drug use is more or less equally spread among ethnic and economic groups, most of those imprisoned for this crime are poor and ethnic minorities. In the name of law and order, enormous violence is inflicted by the United States against the people of its ghettos. [End Page 3]In this same century war also took on new dimensions. It has been waged against entire populations instead of armies. The aim at total destruction came to its fullest expression when twice the United States dropped atomic bombs on Japan.World War II has made all of us sadly aware of the horrors of state violence. It has turned us against nationalism. We are appalled as we see nationalism raise its ugly head again in the former Soviet Union and especially in the former Yugoslavia. When ethnic groups undertake to destroy each other, our moral condemnation is unambiguous. Personal, group, and state violence remains a problem, but at least the wrong involved in this is widely understood.In all civilization there has been another kind of violence—economic. In much of history economic violence has been closely related to the forms noted above. The rich have been able to impose their will on the poor because they could employ persons to exercise violence for them and they could influence state action. We see this glaringly in the "goon squads" employed by the wealthy in some Latin American countries to intimidate and kill those who protest their actions. These goon squads often work closely with the military power of the state.We know that in this country as well, wealth reduces the chance of conviction for crimes. It also buys influence in government. On the whole the United States government throughout history has supported the interests of those with money. Today the power of wealth in the political process is clearly evident. We recognize that this situation is corrupt, but we do not ordinarily think of it as a form of violence. This is because the violent consequences are indirect, and we are... (shrink)

Orthodox interpretations of Sperling‘s partial report paradigm support the idea that there is substantially more in our streams of consciousness than we can attend to or recall. I propose an alternative, postdictive interpretation which fails to support any such conclusion. This account is defended at greater length in my ‗Perception and iconic memory‘. Here I focus on the role ascribed to attention by the rival interpretations. I argue that orthodox accounts fail to assign a plausible role to attention. In contrast, (...) I suggest a novel way in which heterodox, postdictive account can assign attention a plausible role. We should therefore prefer such accounts over their orthodox rivals. Consequently, Sperling‘s paradigm fails to probe the true extent of conscious awareness unfettered by limitations on attention or memory. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Literature 26.1 (2002) 157-172 [Access article in PDF] Symposium: On Ken Burns's "Jazz" Jazz: America's Classical Music? 1 Lee B. Brown I VIEWERS OF KEN BURNS'S third cultural epic "Jazz" probably fell into one of three categories. 2 Some found it gripping. Some found it grating. Some found it both at once.The series has unforgettable moments: spectacular jitterbug sequences; Jimmy Lunceford's horn men fanning their trumpet bells (...) with hat mutes in sync; the close-up of the whirring cross-hand drumming of Art Blakey; the bitter-sweet glance Billie Holiday and Lester Young exchange in their last filmed appearance together; the occasional marriage of visuals to music. One riveting three minutes comes when the talking heads tune out, a 78-rpm disk of Louis Armstrong's "West End Blues" is set spinning, and the thrilling notes pour out on a carousel of visual imagery—finally freeze-framing on the face of the young genius himself.On the downside, the series is massively repetitious. As a result of Burns's decision to track two major figures—Louis Armstrong and Duke Ellington—from cradle to grave, the same cuts of Armstrong appear again and again, no matter what the time frame. Some of the series' commentators are particularly annoying—the fiddler of Burns's Civil War series, Matt Glaser, for instance, with his fatuous theories [End Page 157] about Louis Armstrong and Albert Einstein. And the documentary's heavy load of social freight—by Wynton Marsalis, and his mentors Albert Murray and Stanley Crouch 3 —threatens to flatten the music.The series is designed as informative entertainment, not Jazz 101. But Burns pays a price here, as he did in his documentary about baseball, in which not even the basics of the game, let alone any of the subtleties, were explained. In "Jazz" we get no explanation of what Jelly Roll Morton did to transform ragtime into jazz. (The series could easily have pressed Morton himself into service. With no sacrifice of his considerable charm, Morton did explain it, beautifully, in his recorded Library of Congress interviews. 4) Although the swing era gets big billing, no attempt is made to explain how swing rhythm actually works, as contrasted with earlier practices. (I have watched swing drummer Panama Francis entertain a packed hall with a brief but riveting illustration of how it works.)As jazz history, the film also has problems. Some legendary figures are resurrected unconvincingly. When Marsalis tells us what the legendary trumpet player Buddy Bolden sounded like, the illustrative off-camera trumpet is Marsalis's, not Bolden's, who embedded not one note in a record groove. Further, we face the tiresomely obvious problem of omissions. We hear nothing of Albert Ayler, Keith Jarrett, Sun Ra, Mildred Bailey, Benny Carter, Lennie Tristano, Erroll Garner, Eric Dolphy, Art Pepper, or Woody Herman. All we learn about Bill Evans—whose influence on jazz piano was huge—is that Miles Davis hired him even though he was white. Omissions are inevitable, of course. But there is a muted pattern to the exclusions. It was impossible for the series to avoid Benny Goodman, given his central role in the swing era. But white figures are too often either ignored or treated as alienated outsiders. We hear New York Times columnist Margo Jefferson opine that Bix Beiderbecke drank himself to death because he wasn't allowed to play with black musicians. In fact, many of the greatest players—white and black—never played with musicians of their own caliber.Most figures covered in the film are treated either with respect or with reverence. But things get nasty when matters turn to avant-gardists. Thus, Branford Marsalis—Wynton's talented brother—singles out the volcanic pianist Cecil Taylor for a particularly hostile attack. 5 Instead of explaining what Ornette Coleman meant by "free jazz," Albert Murray tells us that jazz is, by definition, free music—and by implication, that Coleman's concept must be fatuous. And Wynton has complained [End Page 158] elsewhere about a jazz avant-garde retreat into what he calls "a... (shrink)

(No abstract is available for this citation).

The Discourse on the All-embracing Net of Views: the Brahmajala Sutta and its Commentaries translated from the Pali by Bhikkhu Bodhi. Buddhist Publication Society, Kandy 1978. xiii-359pp. Rs. 75, £5.00.

The results of the development of the database of implants and plasma deposition plants in MS SQL Server 2012 are presented. The design of the infological model, the data design, the physical design, the architecture of the software and hardware complex are given. Possibilities of plasma spraying of implants with biocompatible elements are investigated. The system of classification of implants according to the type of application and manufacturing materials has been developed, implants have been classified according to the geometric-topological dimensions (...) of the components. A scheme of plasma spraying of metal and ceramic surfaces of parts and assemblies using a robotic complex is described. (shrink)