In lieu of an abstract, here is a brief excerpt of the content:Picking Up the Pieces of a Shattered Culture:Abandoning Sartre for AquinasR. E. HouserI expect to die in my bed, my successor will die in prison, and his successor will die a martyr in the public square. Then his successor will pick up the shards of a ruined society and slowly help rebuild civilization, as the Church has done so often in human history.—Francis Cardinal George (2010)Here I (...) propose to present a feature of the ethics of Thomas Aquinas, his ethical doctrine of virtue, concentrating on the four cardinal virtues—justice, prudence or good practical judgment, courage, and temperance. Plato first selected them as the four premier virtues, but they go back at least to Homer, for whom wily Odysseus exemplified prudence, warlike Achilles courage, old Nestor justice, Penelope and Telemachus, Odysseus' wife and son, temperance. And I offer them as central to living the morally good life required to "rebuild civilization" in an America that so fair and judicious a man as Cardinal George could call a "ruined society." To see the need for Thomas's solution, we must begin with the problem. Now, all societies depend upon the deep and fundamental ideas of the most important thinkers, prophets and sages, saints, and yes, even philosophers. Their ideas "trickle down" to influence regular folk, like you and me, those who whose hard work actually makes a society thrive, or die. And when those fundamental ideas change, the moral principles of those who embrace those ideas change, and consequently their actions change, and as a result the wider society in which they live changes, for better or worse. Such effects can now be felt across America [End Page 135] by all; but most of us are unaware of the primary intellectual agents of these changes, since they operate at the level of fundamental ideas, not politics or business or day-to-day life. And often their originators have died before the ideas reach full cultural force. So, ignorance of history makes it difficult to deal with present problems caused by those ideas.My first conclusion will be that a major cause of the current coarsening of our culture is the group of ideas of the French philosopher Jean Paul Sartre, even though most Americans have never heard of him, and most of those who recognize his name have not read his works carefully enough to see the connection. Why Sartre? In the honors program at my university, I had a bright young lady of Muslim heritage who had gone to a lycée, one of France's elite classical secondary schools. "Did you read the classics?" "Yes." Expecting Montaigne or Pascal, I asked, "Who?" Her answer: "Sartre." So let us begin with the theory and practice of Sartre and his long-time lover Simone Beauvoir, whose book The Second Sex was an intellectual spark for the women's liberation movement. Then we turn to some real-life examples of Sartrean influence on ourselves and American culture. Finally, for the best remedy for non-Christian and Christian alike, I recommend Aquinas's doctrine of virtue, when taken in its full scope.Sartre's Ethics of Absolute FreedomIn 1946, the year I was born, Sartre gave a lecture to a meeting of French librarians, which became his most popular book, Existentialism is a Humanism. There he laid out the core of his thought about God, humans, and their ethical behavior. Here I arrange his main ideas in an order that facilitates comparison with Aquinas, beginning with his view of human ontology and proceeding to its impact on the four cardinal virtues.Human OntologySartre turned his back on the traditional metaphysical view that every creature is an individual substance defined by a nature or essence it has in common with all other things of that type. In his "first principle of existentialism," Sartre skips over other animate things, plants and animals, and compares humans to inanimate objects:Let us consider... a book or a paper-cutter: here is an object made by an artisan whose inspiration came from a concept.... One cannot postulate a man who makes a paper-cutter but does not know what it is... (shrink)

_Psychoanalysis in the Age of Totalitarianism_ provides rich new insights into the history of political thought and clinical knowledge. In these chapters, internationally renowned historians and cultural theorists discuss landmark debates about the uses and abuses of ‘the talking cure’ and map the diverse psychologies and therapeutic practices that have featured in and against tyrannical, modern regimes. These essays show both how the Freudian movement responded to and was transformed by the rise of fascism and communism, the Second World War, (...) and the Cold War, and how powerful new ideas about aggression, destructiveness, control, obedience and psychological freedom were taken up in the investigation of politics. They identify important intersections between clinical debate, political analysis, and theories of minds and groups, and trace influential ideas about totalitarianism that took root in modern culture after 1918, and still resonate in the twenty-first century. At the same time, they suggest how the emergent discourses of ‘totalitarian’ society were permeated by visions of the unconscious. Topics include: the psychoanalytic theorizations of anti-Semitism; the psychological origins and impact of Nazism; the post-war struggle to rebuild liberal democracy; state-funded experiments in mind control in Cold War America; coercive ‘re-education’ programmes in Eastern Europe, and the role of psychoanalysis in the politics of decolonization. A concluding trio of chapters argues, in various ways, for the continuing relevance of psychoanalysis, and of these mid-century debates over the psychology of power, submission and freedom in modern mass society. Psychoanalysis in the Age of Totalitarianism will prove compelling for both specialists and readers with a general interest in modern psychology, politics, culture and society, and in psychoanalysis. The material is relevant for academics and post-graduate students in the human, social and political sciences, the clinical professions, the historical profession and the humanities more widely. (shrink)

In recent years phenomenology has attracted the interest of science, acquiring a role far beyond philosophy. Despite Husserl's clear denial of a possible naturalization of phenomenology, scientists from different fields have proposed its naturalization. To achieve this goal, different methodologies have been proposed. Most scientists seem to agree on the claim that phenomenology cannot be a science itself because it fails to respect one of the prerequisites of science, that is, the capacity to explain its phenomena. Phenomenology, thus, is forced (...) to remain a purely descriptive effort, preliminary to authentic scientific practice. I argue, instead, that the experimental development of phenomenology explains phenomena (that is, appearances and/or subjective experiences in first person account) and uses rigorous methods, conducts valid measurements, and can validate its results. The paper provides a variety of examples of how experimental phenomenology works. (shrink)

The intellectual relationship between Carl Schmitt and Max Weber has been a point of controversy for at least half a century. At the 1964 convention of the German Sociological Association, in honor of Weber's centenary, Schmitt was famously referred to as Weber's ?legitimate student.? This article uses the chapter Schmitt specifically wrote for an edited volume in Weber's memory, published in 1923, as the starting point for juxtaposing the two scholars, and then expands the analysis to encompass a range of (...) sources and commentaries. The comparison focuses on the approach of each of the two scholars to methodology and didactics, theory and conceptual use, as well as to the society/social science nexus. The article concludes by arguing that Schmitt performed a double rhetorical move: while styling himself as Weber's student, he then drew on that authority to assault Weber's liberalism and concept of scientific integrity. (shrink)

Originally applied on domestic and lab animals, assisted reproduction technologies (ARTs) have also found application in conservation breeding programs, where they can make the genetic management of populations more efficient, and increase the number of individuals per generation. However, their application in wildlife conservation opens up new ethical scenarios that have not yet been fully explored. This study presents a frame for the ethical analysis of the application of ART procedures in conservation based on the Ethical Matrix (EM), and discusses (...) a specific case study—ovum pick-up (OPU) procedures performed in the current conservation efforts for the northern white rhinoceros (Ceratotherium simum cottoni)—providing a template for the assessment of ART procedures in projects involving other endangered species. (shrink)

Hacking’s Law of Likelihood says—paraphrasing—that data support hypothesis H1 over hypothesis H2 whenever the likelihood ratio for H1 over H2 exceeds 1. But Hacking later noted a seemingly fatal flaw in the LR itself: it cannot be interpreted as the degree of “evidential significance” across applications. I agree with Hacking about the problem, but I do not believe the condition is incurable. I argue here that the LR can be properly calibrated with respect to the underlying evidence, and I sketch (...) the rudiments of a methodology for so doing. (shrink)

Hacking’s Law of Likelihood says – paraphrasing– that data support hypothesis H1 over hypothesis H2 whenever the likelihood ratio for H1 over H2 exceeds 1. But Hacking noted a seemingly fatal flaw in the LR itself: it cannot be interpreted as the degree of “evidential significance” across applications. I agree with Hacking about the problem, but I don’t believe the condition is incurable. I argue here that the LR can be properly calibrated with respect to the underlying evidence, and I (...) sketch the rudiments of a methodology for so doing. (shrink)

This essay explores a previously unexplored suggestion for combining consideration of aesthetics with considerations of vice and virtue to justify, not merely claims about nature’s beauty or its preservation, but landscape-transforming conservation projects. Its discussion is not univocal. On the one hand, it suggests that vices associated with humans assisting a creature’s journey to a new landscape make that organism’s presence on that landscape ugly. According to this suggestion, the creature may be regarded as trash, which would be virtuous to (...) remove. On the other hand, it worries that the argument ultimately traces this circle: It is wrong to fail to remove the creature because this failure would be blameworthy; and failure to remove would be blameworthy because wrong. (shrink)

This paper raises two problems for plan-expressivism concerning normative judgments about non-corealizable actions: actions which cannot both be performed. First, plan-expressivists associate normative judgment with an attitude which satisfies a corealizability constraint, but this constraint is (in the interpersonal case) unwarranted, and (in the intrapersonal case) warranted only at the price of a contentious normative premise. Ayars (2022) holds that the pair of judgments ‘A should φ’ and ‘B should ψ’ is coherent only if one believes that A can φ (...) while B ψ’s. But this is false. Both Gibbard (2003) and Ayars hold that the pair of judgments ‘A should φ’ and ‘A should ψ’ is coherent only if one believes that A can φ and ψ. But this assumes possibilism. Second, the paper demonstrates, cases involving interpersonal non-corealizability prompt judgments about what multiple agents should do which – contra Gibbard – are not plausibly associated with any planning subject. (shrink)

In July 2018, the Nuffield Council of Bioethics released its long-awaited report on heritable genome editing. The Nuffield report was notable for finding that HGE could be morally permissible, even in cases of human enhancement. In this paper, we summarise the findings of the Nuffield Council report, critically examine the guiding principles they endorse and suggest ways in which the guiding principles could be strengthened. While we support the approach taken by the Nuffield Council, we argue that detailed consideration of (...) the moral implications of genome editing yields much stronger conclusions than they draw. Rather than being merely ‘morally permissible’, many instances of genome editing will be moral imperatives. (shrink)

The dominant view of the ventral and dorsal visual systems is that they subserve perception and action. De Wit, Van der Kamp, and Masters suggested that a more fundamental distinction might exist between the nature of information exploited by the systems. The present study distinguished between these accounts by asking participants to perform delayed matching , pointing and perceptual judgment responses to masked Müller–Lyer stimuli of varying length. Matching and pointing responses of participants who could not perceptually judge stimulus length (...) at brief durations remained sensitive to veridical stimulus length , but not the illusion , which was effective at long durations. Distinct thresholds for egocentric and allocentric information pick up were thus evident irrespective of whether perception or action responses were required. It was concluded that the dorsal and ventral systems may be delineated fundamentally by fast egocentric- and slower allocentric information pick up, respectively. (shrink)

American outlier writer William S. Burroughs was a creative force – an homme de lettres in his own right, yes, but as a cultural theorist as well, particularly his anticipation of what we now regularly call ‘a society of control’ or ‘a surveillance culture’, and, moreover, as a textual embodiment as well. That is, Burroughs was as much a media theorist and performance artist as he was a traditional literary figure, what we generally call a writer, or novelist, although he (...) lauded those latter categories. Through such multimodality he offered critiques of a ‘control society’ and of ‘thought control’ by a media that strips us of volition. In his lectures on Michel Foucault delivered at the Université de Paris VIII in the 1980s, Gilles Deleuze detailed Burroughs's influence on both philosophers with his critique of our ‘control societies’, a term they adopted from him. These critiques of what Burroughs calls ‘thought control’ were and currently remain inseparable from his emergence as a performance artist, such embodiment of his art readily available amid our own image-obsessed electronic revolution. That is, the products of this period are currently being recirculated through commercial media outlets and through multiple open access formats to suggest – to confirm – that the artist whom many another ‘outsider’ has called ‘the Priest’ and who saw himself as a ‘cosmonaut of inner space’ and ‘a technician of consciousness’, this dystopic modernist author, visionary science fiction writer, and aesthetic weapons maker was one of the major media artists, social critics, cultural theorists and literary figures not only of his but of our ‘postpersonal’ time. Michel Foucault closes The Order of Things by imagining a time when ‘man will be erased, like a face drawn in sand at the edge of the sea’. The closing image was crafted some fifteen years before Foucault met Burroughs in New York in 1975, but in the 1960s Burroughs, too, was already imagining and theorising the disappearing author and a post-human, media-dominated world. Such lines of thought suggest parallel trajectories that Deleuze will see as bridging philosopher and artist if not philosophy and art. (shrink)

Name der Zeitschrift: Frühmittelalterliche Studien Jahrgang: 36 Heft: 2 Seiten: 305-321.

Increasingly visible global distributive inequalities and famine pose considerable challenges for policy-makers and political philosophers alike. A recent proposal forwarded by Thomas Pogge has taken on the challenge of outlining a concept of global justice according to which redistribution is not merely predicated on the beneficiaries being in a state of need. The scheme, which he calls the Global Resources Dividend, aims to compensate people who are excluded from the benefits of the common stock of natural resources, by taxing those (...) who unilaterally exploit it and by subsequently redistributing the revenues to the globally poor. This article assesses the GRD's moral standing once it is institutionalized in the real world. It analyses the causal link between a country's resource endowments and its economic prosperity and identifies the beneficiaries of, and contributors to, the monetary transfers under two possible tax-shifting scenarios. The article concludes that in order to offset the morally questionable results that Pogge's scheme produces, some moral demands need to be relaxed and the GRD scheme be divided into separate stages that operate with distinct moral rationales. (shrink)

Psychiatry has witnessed a new wave of approaches to clinical phenotyping and the study of psychopathology, including the National Institute of Mental Health’s Research Domain Criteria, clinical staging, network approaches, the Hierarchical Taxonomy of Psychopathology, and the general psychopathology factor, as well as a revival of interest in phenomenological psychopathology. The question naturally emerges as to what the relationship between these new approaches is – are they mutually exclusive, competing approaches, or can they be integrated in some way and used (...) to enrich each other? In this opinion piece, we propose a possible integration between clinical staging and phenomenological psychopathology. Domains identified in phenomenological psychopathology, such as selfhood, embodiment, affectivity, etc., can be overlaid on clinical stages in order to enrich and deepen the phenotypes captured in clinical staging (‘high resolution’ clinical phenotypes). This approach may be useful both ideographically and nomothetically, in that it could complement diagnosis, enrich clinical formulation, and inform treatment of individual patients, as well as help guide aetiological, prediction, and treatment research. The overlaying of phenomenological domains on clinical stages may require that these domains are reformulated in dimensional rather than categorial terms. This integrative project requires assessment tools, some of which are already available, that are sensitive and thorough enough to pick up on the range of relevant psychopathology. The proposed approach offers opportunities for mutual enrichment: clinical staging may be enriched by introducing greater depth to phenotypes; phenomenological psychopathology may be enriched by introducing stages of severity and disorder progression to phenomenological analysis. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:LinajeQuan Zhou WuWith “Linaje,” I wanted to explore the fine line between fiction and lies. Fantasy.I attended a workshop on embuste flamenco with artist Mateo Chica in Villanueva del Rosario. Mateo said that embuste is art, “that lie associated with oral flamenco, which is transmitted with a sort of distraction from real time, to be able to immerse oneself in a fun fiction, that leads to another possible place.”Mateo (...) explained to us that there are embustes that endure over time, like the mythical phrase about Lola Flores, “she neither sings nor dances but don’t miss her” from the New York Times that was never actually published, but immensely helped her in her career.“Linaje” is a work that respects orality, the one that happened, and the one that never was. The stories lost for being lost in translation. The stories misunderstood due to our language barriers, and those we collected incompletely due to language interferences. Where, thanks to different artificial intelligences like Stable Diffusion, Dall-E, and Chat-GPT, it has been possible to create that “almost real” universe, perceptible and concrete.But above all, “Linaje” is a question:Where will our memories remain?Once my contract with the web server ends, once my hard drive rusts, my space in the cloud expires, where will this story remain?Who will pick up the pieces of us, those of us who walk as secondary stories in this Western world?What is truth? What is a lie?In this piece, perhaps that does not matter. [End Page 7]Email: [email protected] © 2023 Cornell University... (shrink)

In the late 1980s, I wrote up some notes on the play of pick-up basketball and sent them to Harold Garfinkel, who incorporated them into an un-published monograph in 1988. They were motivated by an interest in exhibiting the sense of "detail" for ethnomethodological studies. An edited version is presented below. They follow a front piece of recollection and discussion about Garfinkel's distinctive interests in matters of "detail," their tie to structure and structure's circumstantiality, and their place in EM studies.

In the Fifth Meditation Descartes considers the problem of knowledge preservation : the challenge of accounting for the diachronic certainty of perfect knowledge [scientia]. There are two general solutions to PKP in the literature: the regeneration solution and the infallible memory solution. While both readings pick up on features of Descartes’ considered view, I argue that they ultimately fall short. Salvaging pieces from both readings and drawing from Descartes’ virtue theory, I argue on textual and systematic grounds for a (...) dispositionalist solution. On this view, the diachronic certainty of scientia is achieved through virtuous habits of belief. (shrink)

The paper has as its goal the investigation of the meaning of logos in DK frs. 1, 2, 31b, 39, 45, 50, 87, 108, and 115, with particular emphasis on frs. 1, 2 and 50. It is argued that the focal meaning of the term is ‘account’ or ‘statement’, and that the statement in question, of particular importance in frs 1, 2 and 50, it the account/statement forever being uttered by ‘that which is wise’,, Heraclitus’ divine principle. Plato picks up (...) the idea, with his notion of a World Soul which is similarly forever in a state of utterance which is a piece of self-description, and it is suggested that a modern version of the notion of the universe being in an everlasting state of such self-description is our ability to learn what it has to say by investigating the ‘language’ of radio waves and the like, which are forever being emitted by all moving systems composing the real, and thereby forever offering us a piece of the real’s self-description of itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:220 THEATRE AND RELIGIOUS HYPOTHESIS* We are placed in this world, as in a great theatre, where the true springs and causes of every event are entirely concealed from us.... David Hume La collection des idées s'appelle imagination, dans la mesure où celleci désigne, non pas une faculté, mais un ensemble des choses, au sens le plus vague du mot, qui sont ce qu'elles paraissent: collection sans album, pièce (...) sans théâtre, ou flux des perceptions.. Gilles Deleuze In Part III of Hume's Dialogues concerning Natural Religion the character Demea contests the analogy drawn by Cleanthes between an orderly world and a coherent, articulate speech, stating that, When I read a volume, I enter into the mind and intention of the author: I become him, in a manner, for the instant; and have an immediate feeling and conception of those ideas, which revolved in his imagination, while employed in that composition. To begin reading Hume's Dialogues with such false and naive premises would inevitably result in a failure to pick up on all the different voices in this text. In fact, no written text can really enable a reader "to enter into the mind and intention of the author." Moreover, such a predisposition on behalf of a naive reader will become further complicated by the processes of 'distanciation' and avoidance of a central point of view, which are brought into play by Hume in this text, where religion is being considered from a purely speculative point of view. Hume has in fact given the reader a clue in the introduction as to how 221 to approach reading the Dialogues. when Pamphilus, the narrator, expounds to his friend Hermippus the advantages of presenting a discussion in the form of a dialogue rather than as a direct statement. He argues that by using a dialogue it is possible to avoid any overtones of an author addressing his reader, or a pedagogue his pupil (D 127). Confronted with a text that is paradoxically both lucid and unclear, any reader whose attitude is still limited by certain metaphysical categories might very well want to know who is actually Hume's spokesman and who he is really addressing in this discussion on the nature and existence of God. These questions are in fact related to traditional oppositions, such as that between a central and subsidiary point of view in a dialogue; between the essential and non-essential of a discussion. In his Dialogues, Hume creates a second degree of separation between himself and the characters involved in the discussion by using the literary process of 'distanciation', when he introduces the fictitious character Pamphilus, who tells Hermippus of the discussions he has heard. From this point of view the style of the text is immediately more disconcerting than Cicero's De Natura Deorum, (which inspired Hume's text), as Cicero does identify himself with his narrator, such that any effect of distanciation is far smaller. Cicero's narrator does, however, emphasize that the multiplicity of points of view in this text results in a certain degree of scepticism and suspension of judgement: "Though it is possible that they are all of them false, it is impossible that more than one of them is true" (p. 71). As Hume does in his Dialogues, Cicero here tries to avoid imposing a 222 central point of view or a single authoritative angle to his discussions, as if given by a teacher; in fact, "in a discussion of this kind our interest should be centred not on the weight of the authority but on the weight of the argument" (p. 73). Thus, wearing the mask of Pamphilus, Hume can play an ironic role, without having to give a central point of view, by having his character present the idea that "reasonable men may be allowed to differ, where no one can reasonably be positive" (D 128). These two texts therefore use the same process of disassociation from a central truth by using a supposedly neutral narrator. When reading the Dialogues one can rely neither on the authority of the author, as he has hidden himself away in the shadows backstage, nor on that... (shrink)

It is a real pleasure to reply to so many thoughtful and probing responses to my book. In what follows, I will focus on six key themes that emerge across the various pieces. Some of them call into question core commitments of my theory, and in those cases I will try to show what might be said in its defence. Quite a number of the critics, however, present what we might call expansionist arguments: though they endorse some of the (...) arguments I make, that is – or pick up some of its key concepts – they seek to push them in new and interesting directions. I will suggest that many of those arguments look likely to be successful, though I will also express caution about one or two of them. I doubt, however, that I will be the final judge of their success. Early on in the book I express the hope that it might provide a set of conceptual tools capable of advancing discussions about resource justice more broadly, even for scholars who reject my own idiosyncratic approach. Having made that gambit, I cannot now claim to have a monopoly on the use of the tools in question. Witnessing the use that others have already made of them has been a refreshing and rewarding experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How I Hate You, CancerClaire YarMigraine. That’s what we thought. They run in my family, so why not? My beautiful, bright, extroverted ten–year–old daughter’s neurological exam was unremarkable, but she had a bad headache and was vomiting in the early morning hours. Migraine didn’t seem that much of a stretch. Our savvy pediatrician had a gut feeling that it was more than a migraine and sent her for an (...) MRI.We had not even left the children’s hospital before I received a voicemail to call our pediatrician. When I returned the call, on our way to pick up Ellie’s younger brother from school and already running late I heard the words that no parent wants to hear, “I have bad news. We found a brain tumor and it’s rather large”. This conversation would turn our lives into a frenzy of fear and leave unanswered (unanswerable?) questions. I was told to bring her to the ER where we would be met by a neurosurgeon and oncologist. I could not process this information. My initial fears were too scary to utter. Was she going to die? Do children survive brain surgery “intact”? Is it operable? Oncologist = scary cancer, doesn’t it? Did we do something to cause it? What if our insurance doesn’t cover the best treatment?Clinging to the life I knew before—needing to stay in the “before,” not even pulling the car over, I reached backwards, held Ellie’s leg and spoke the words out loud for the first time. That’s what a brain tumor diagnosis does to your family. It breaks up time into “before” and “after”. Her reaction was a terrified wail and then, oddly, hysterical laughter. Is that what shock looks like? My own reaction to the call was of stunned silence. The sound of my heartbeat and the blood rushing in my ears meant I could not ask the questions I had in that moment.Ellie has always been exceptional. She is a bright light in any room. At only ten–years–old, she spoke like a teenager; had the vocabulary of an adult. Never again would I be able to take this for granted. In every waking moment that our lives were unoccupied with the practicalities of a brain tumor diagnosis, the questions I couldn’t think of or say out loud during that terrible phone call continually flooded my thoughts. Your child’s brain is everything after all; it’s what makes them “them.”An avid horse rider, she had been off her favorite horse’s back for a few weeks saying that the bouncing hurt her neck. I had kept her off school for several days, but we had seen marked improvement in [End Page E12] the day or two leading up to that devastating D–Day of diagnosis, and she had been back at school doing well. Only a week before, Ellie had been dancing at a party with friends. How could she have a brain tumor?We rushed home and hurriedly packed our bags for “at least a week”—and I recall that life seemed to be both in slow motion and traveling at the speed of light. I desperately wanted to turn the clock back to the innocence we had known a few hours before. This was way too much news to hear in one day. Even when I heard the diagnosis, I was surprised that we would have to go to the hospital that day. Now! Don’t people get time to process or plan and get second opinions? We had no time to tell family and friends or ask for help. We didn’t have the luxury of time. Time is another thing I no longer take for granted.Upon arrival at the large children’s hospital we felt as if we were given so much information, but looking back, I now know that these angels are trained in giving parents only what they can handle—in tiny pieces, nibble by nibble. You don’t (can’t) hear half of it anyway. Our families live far from us, and trying to gather and figure out... (shrink)

It is not often that one picks up a newly published book and feels that one has read what should become a new classic. Velkley's volume is a courageous piece of imaginatively responsible scholarship that goes far beyond the realm of the ordinary. Effectively taking much pedestrian writing in stride, it points out new horizons of Kant interpretation which are systematically, as well as historically, sound and long overdue.

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * * Australia, Summer, 2012. …. essential humanity exists, and runs its course, within a system whose first principle is the preservation of balance. And arching over it all, is the logos of The Dreaming. How shall we state this when we fully understand it I do not know, but I should think we are more likely to ennoble it than not. Equilibrium ennobled is abidingness.” 1 On return to birthplace I write. Caught between jetlag and surprise, a relentless sun cracks my skin. Upright words fall under cockatoo roars. The attempt to settle, to be attentive, is shaken. Some kind of Dreaming surrounds and elements intrude without consent. Homeless at home. Exhausted, I fight sleep’s hard currents. Their victory would confuse the body clock, so the in-between wins. Half-there — half-awake — here in this place — I am driftwood. Driftwood: wood floating in or washed ashore by a body of water. A severed limb set adrift from the birthing body. Tossed from home it’s cast into processes of wind, water, sand, bacteria, decay and movement. Driftwood is orphaned members at the mercy and agency of weather, currents, submersion, and being thrown into dry world. Driftwood — singular plural. White man got no dreaming. Him go ‘nother way. White man, him go different Him got road belong himself. 2 photo: Bronwyn Lay The old man comes from the northern rivers. A while ago, he could no longer pay attention to wage slavery, so retreated north to be with dead redgum that lay abandoned in dry riverbeds. Derived from driftwood peoples tossed here by the sea, he followed the fragile river veins of his birth. He walked along water bodies and through country’s lungs. Some kind of displaced ancestral song compelled his leathered hands to pick up centuries old driftwood from flood plains. It emerged from under muddy creeks, was flung up by salt soaked coves, pushed underground by cracks in the claypan and lay embedded in mud and salinized soil. Smoothed and grooved in equal measure, the branches were marked by an organic alphabet that preceded him. As he held the wood, he touched decomposing circles that started with a blast and never ceased writing into abandoned flesh. When the ute was full the old man returned home having been away with the stuff that ‘growed him up’. His shed filled with red sawdust and the sound of tools at labour. His hands sculptured driftwood. History carved into itinerant skin. I sit opposite the old man. His body no longer holds the repetition of carpentry. He can no longer gift driftwood its detail. Outside redgum bits lie scattered around the fence line and beside the dam. He crouches over an unreliable computer researching the massacres of indigenous peoples that occurred along the same river veins that ‘growed him up’ long ago. Staring into the remnants of frontier resistance that he and I inherit, his eyes nurture fire. He discovers severed limbs and the slicing of tribes. In the ashes of sentences he sifts the lies that smoulder into our histories. In the 30’s the anthropologist Stanner said that due to certain factors — lack of change and isolation — the ideal and real come very close together in indigenous Dreaming. They are a people who were able to defeat history. 3 “If the Ideal and the Real drift too far away from one another (as they did at the end of the middle ages and seem increasingly to do this century) men face some difficult options. They have to change their way of life, or their philosophy, or both, or live unhappily somewhere in-between.” 4 Stanner says Indigenous Dreaming is blackfella thinking. 5 Dreamtime is not ethereal, not utopic, or otherworldly. It’s fused with the real and it’s not mine. I might never understand, but it’s the substance of my home. This here place ‘growed me up’. Is driftwood the unhappy in-between? Is it a radical itinerant written upon by currents? Where are we? The settler restless? photo: Alison Pouliot I return to the bush late one night, tired from high talk in city cafes, to find the old man at his computer. He’s either researching his white farming ancestors, or tracing unrecorded massacres of blackfellas. I laugh, “You know Dad, if you were indigenous you might go out by the dam and sing up your ancestors rather than try find them on a screen.” He peers over his glasses. His stare delivers an ancestral scold. He’s white man. Of course he archives. This is our way. One may see that, like all men, he is a metaphysician in being able to transcend himself. With the metaphysician goes a mood and spirit, which I can only call a mood or spirit of assent, neither despair nor resignation, optimism not pessimism, quietism nor indifference. The mood, and the outlook beneath it, make him hopelessly out of place in a world in which the renaissance has triumphed only to be perverted, and in which the products of secular humanism, rationalism and science challenge their own hopes, indeed their beginnings.” 6 The clinamen sometimes comes abstract — the rarefied swerve of possibility. But in the place we gather &mdash where this text has landed — in the heart of settler colony denial — the clinamen reminds of familiar violence and goes maximum. The earth’s swerve. Topography’s tip. Physics gone violent. Here, drift is initiated by the tear of flesh, scurvy voyages, frontier blood and the deracination from belonging. Here, war precedes drift. We all got tossed. Here. Pay attention. The country has its own gaze. ‘Lest we forget’. The seasonal turn on aborescent substances starts with a fall, an upwards rupture, a drop, a cut, a storm, a violence, a loss, forced migration, refugees, agricultural imperialism, settler wheat and poisoned rations. Pay attention to aftermath debris. Don’t drift too far from the real. History hasn’t settled into the water. It still tosses limbs back and forth. Surrounded by the backdrop of Dreaming country the old man archives and dreams. Both ways of settling into the real. But lest we forget, time, in this place, has no textual tick — tock. Our bodies know this, even though we persist with shipwreck illusions. It’s difficult being here. Here. Pay inattention. I walk through eucalyptus, over dried out clay pans and under kookaburras. It’s been two years in-between. This time country speaks strong underfoot. Forget books, forget texts, forget other lands and times, beginning and end. Be here. All falls raw. Leaves drop and refuse to compost. Bark untethers quick. Light denudes worlds. The heated horizon melts monoliths. It’s enough to make Cartesians shiver. Awake. Refuse the temptation to run. Have enough courage to drift into here. Love with a gum tree. Stand with her whole and dissolving. She moves light between our limbs, tossing them to wind. She — the original romance — is the dream that dares touch flesh and reaches over nightmares with elemental desire. I gaze and lose me. There’s no distance. The land that ‘growed me up’ speaks with symbiotic breath. There’s no division, no separation, no other. The gum is plastic arborescence. You be my body for me, always were. …..but I wake to driftwood histories and recall slaughters. Drifted, wicked fellow citizen — the other is someone else’s blind sleep. Betrayal maintains the other as mine. Archives reveal this place doesn’t belong to me. Body articulates that it became here. Gumtree cares not………her arms take me in anyway. “Like all men he is a philosopher in being able to use his power of abstract reason. His genius, his metier, and in some sense — his fate is that because of endowment and circumstance this power has channelled itself mainly into one activity, making sense out of social relations among men living together.” 7 The old man excavates seven generations of settler ancestors. They’re an ordinary lot with written-upon skin. He records genocides that occurred alongside his peoples fertility. Bodies rise from riverbeds like sovereign sacrifices. It hurts. It disrupts. He labours at the past with gestures that might go unnoticed in a country suffocated by rich amnesia. Inside walls, he seems attentive to historical details. Outside he seems inattentive to time, lost to us and embedded in a family of active matter — the bush. His driftwood skin appears around my eyes - grooves of experience, the rush of cruel sun, the push of blind winds, and the love of everything. The sovereign’s reluctant children are thrown here by, with and through blood, but country gets in and sculpts us here. photo: Chris Corrigan “But his abstractions do not put him at war with himself.” 8 The kangaroo family appears at dusk. When the sun is soft I follow the old man into the back paddock. Children skip behind us. In-between generations, I step into the old man’s driftwood leanings. My feet find traces of his understanding – the archivist that reads trees. Here, on home dirt, inattention and attention collapse as we wander into where we are. The roo family gaze at us. Through the grass the old man’s wooden finger articulates kin’s details. He points to the head male, the mother holding a joey in pouch and the young warriors side by side. My children, quieter than ever, meet the laser - eyed silence of another family. In half-light Dad, me, and the kids mirror the kangaroo constellation and stand gentle together. At the bushblock’s limit we encounter ancestral desires. White peoples are subject to driftwood histories. We’re severed limbs attempting to fuse here now, with what was, only to discover our skin becomes racked and embedded with the weather. Into the shelter and fissures of this difficult and ambiguous inheritance, I fall into dream light until balance saturates. Light breaks when the kangaroos move. They bounce someplace else without effort or impact. We turn and tread through the dark towards home. It’s time to sleep. Driftwood skin covers the country. Dreaming is still. photo: Bronwyn Lay NOTES W.E.H. Stanner, The Dreaming and Other Essays , (Melbourne: Black Inc. Agenda, 2009), 72. Ibid., 56. Stanner is recalling one intelligent old man who said to him, “with a cadence almost as though he had been speaking in verse.” Ibid., 60. Ibid., 69. Ibid., 58. Ibid., 67. Ibid., 68. Ibid., 59.  . 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In lieu of an abstract, here is a brief excerpt of the content:Advocates, Not Problem ParentsAnonymous TwoNothing could have prepared us for the shock of hearing that our son had a brain tumor.Rob* was 13½, an active, healthy eighth grader, when he developed a headache so bad he couldn’t get out of bed in the morning. We saw the pediatrician three times over the next ten days. On the third visit, after ruling out problems at home, stress at school, strep (...) throat and mono, he sent us for an MRI. When the radiology tech handed me the films and told us to drive back to the pediatrician’s office, I knew we were in trouble. Sure enough, after all the other patients had left, our long–time doctor called us into his tiny office, shut the door and fumbled with the films as he pointed to a white spot that he said was a brain tumor.So began the experience that would change the course of our lives. We remember the diagnosis in detail and relive it in slow motion. We recall packing suitcases, driving to the hospital, waiting to be seen in the emergency room, and walking through doors marked “Pediatric Hematology/Oncology” for the first time.We date everything “BC” (Before Cancer) or “AD” (After Diagnosis). We are grateful every day that [End Page 13] our son is alive, but we know he is forever changed. We are changed: Our nuclear family, our extended family, everyone who knew us and supported us at the time was affected. A pediatric cancer diagnosis is a bomb that shatters your world without warning. If you’re lucky, you can pick up a lot of the pieces, maybe even most of them, but the world you re–enter is never the one you inhabited before.Our doctor delivered the diagnosis to Rob and me at the same time. I’ve thought about this many times and perhaps one day will ask him: Why did he choose to do it that way? Was it a conscious decision or just happenstance? Was it kinder, in the long run—like pulling off a band–aid quickly—or terribly risky? What if I had collapsed at the news? I asked to step into the hall to use the phone. In a state of numbness, I called my husband. He knew we had had an MRI a few hours earlier. “Come quickly,” I said. “There’s a mass.”We chose to go to a top-ranked major medical center and were admitted that evening. A couple of days later, the discovery of tumor markers in Rob’s cerebrospinal fluid and blood confirmed a central nervous system mixed germ cell tumor. We were told he would require six cycles of chemotherapy, followed by six weeks of radiation, and possibly second–look surgery and high-dose chemo with stem cell rescue on top of that. We were given a consent form listing a catalogue of short–and long–term side effects, among them the likelihood of infertility. We were urged to start treatment as soon as possible.By sheer coincidence I had just completed a project for a small, nonprofit organization that existed to inform young adult cancer patients about their fertility rights and options. I knew that infertility concerns were usually pushed aside at diagnosis to make way for other priorities, namely the urgency of starting treatment. And that’s exactly the kind of pressure we were facing.But my husband and I were not ready to sign away our son’s fertility in what felt like a no–confidence vote, a capitulation. We needed to believe that he would survive and put this horror behind him, that he would look forward to marriage and starting a family. We were willing to cede nothing to the disease at this early stage of the game. Was this rational, naive or selfish on our part? I don’t know.The medical team seemed surprised when we asked for a delay in treatment in order to collect sperm samples. They warned that our son’s condition could decline suddenly—and that postponing treatment by even several days might be dangerous. However, at our insistence, they agreed to the delay... (shrink)

This thesis is about making decisions when we are uncertain about what will happen, how valuable it will be, and even how to make decisions. Even the most sure-footed amongst us are sometimes uncertain about all three, but surprisingly little attention has been given to the latter two. The three essays that constitute my thesis hope to do a small part in rectifying this problem. The first essay is about the value of finding out how to make decisions. Society spends (...) considerable resources funding people (like me) to research decision-making, so it is natural to wonder whether society is getting a good deal. This question is so shockingly underresearched that bedrock facts are readily discoverable, such as when this kind of information is valuable. My second essay concerns whether we can compare value when we are uncertain about value. Many people are in fact uncertain about value, and how we deal with this uncertainty hinges on these comparisons. I argue that value comparisons are only sometimes possible; I call this weak comparability. This essay is largely a synthesis of the literature, but I also present an argument which begins with a peculiar view of the self: it is as if each of us is a crowd of different people separated by time (but connected by continuity of experience). I’m not the first to endorse this peculiar view of the self, but I am the first to show how it supports the benign view that value is sometimes comparable. We may be uncertain of any decision rules, even those that would tell us how to act when we face uncertainty in decision rules. We may be uncertain of how to decide how to decide how to... And so on. If so, we might have to accept infinitely many decision rules just to make any mundane decision, such as whether to pick up a five-cent piece from the gutter. My third essay addresses this problem of regress. I think all of our decisions are forced: we must decide now or continue to deliberate. Surprisingly, this allows us to avoid the original problem. I call this solution “when forced, do your best”. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Preface: Variations of Archiving the Anarchive Through Editorial Witnessing by April Vannini “a diagram is a map, or rather several superimposed maps.” 1 What do we do with essays, art, artefacts, and practices that go against, resist, challenge and reject archival capture or documentation since they do not fit within the screen or manage to move beyond conventional scales? What do we do with an essay or artefact that is the event of the event becoming-event itself, or how do we move from volumetric space to two-dimensional space? How do editors, curators, participants, etc. become witness to an anarchive? And most importantly, what are the potential and unanticipated ways in which a volumetric submission can be diagrammed within a two- dimensional space? In short, how do we archive the anarchive? These are questions that have emerged and have been consciously and purposely activated by Sean Smith’s thinkpiece for this issue, The Garage (Take One) . Sean, as part of his contribution to the special issue of drift within the thread in between space and place , created an artefact that emerged out of an event held during May 2013, titled Cottage University: Topology and Immanence . The visual documentation of The Garage (Take One) is not an archive but an anarchive due to its multimodal form, non-representational diagramming, and its reactivation of non-representational folding which animates its non-representational or more-than -representational condition. In short, The Garage (Take One) stymies attempts to be translated into digital text, representationally. As a reader of Sean’s submission you will only have access to a portion of the original submitted contribution (see “Take One”). At this time, I remain the only witness of The Garage (Take One) in its entirety: I was present at the original event, Cottage University: Topology and Immanence , and I was the sole receiver of the original package because of my role as editor for the thread, in between space and place . However, I would like to stress that I was unaware of what Sean would submit as his contribution to the special issue. What is presented here is an emergent rippling of the event that was not predetermined or arranged in advance ... a drifting of sorts! As for now, the artefact sits here on my desk next to a pile of books—folded, creased and somewhat lost in its translation into digital form. Questions of transcribing, translating and converting volumetric space to two-dimensional space have been considered throughout this process. And more importantly this artefact and its processes raise the issue of not what has been saved and included but what has been left out in each conversion of the original into the academic publication. What follows this preface are various “cuts” or “takes” from The Garage: Take One . Each take or cut is merely an interpretive and representational rendering of the original volumetric submission. Although with that said I would like to propose they are more than just representations or interpretations: each take or cut works as rippling variations of the event itself . It is important to acknowledge that much has been lost in the creases and much still lingers which will never be archived within an academic journal. Hence, a discussion of how to archive the anarchive is so crucial to para-academic “scholarship”. I will sum up the process that has emerged from The Garage (Take One) with a final word from Brian Massumi, written in his foreword to Deleuze and Guattari’s A Thousand Plateaus : Each 'plateau' is an orchestration of crashing bricks extracted from a variety of disciplinary edifices. They carry traces of their former emplacement, which give them a spin defining the arc of their vector. The vectors are meant to converge at a volatile juncture, but one that is sustained, as an open equilibrium of moving parts each with its own trajectory. The word 'plateau' comes from an essay by Gregory Bateson on Balinese culture, in which he found a libidinal economy quite different from the West's orgasmic orientation. In Deleuze and Guattari, a plateau is reached when circumstances combine to bring an activity to a pitch of intensity that is not automatically dissipated in a climax. The heightening of energies is sustained long enough to leave a kind of afterimage of its dynamism that can be reactivated or injected into other activities, creating a fabric of intensive states between which any number of connecting routes could exist. 2 The Garage (Take One) Double Take 2:31pm/5:31pm Sean Smith You there? I just wanted to emphasize a couple of things about the process of the submission: 2:31pm/5:31pm April Warn-Vannini Yes, listening. 2:36pm/5:36pm Sean Smith 1.When you describe feeding forward from the CU (Cottage University) event, it is a WALKING ACTIVITY that reinvests/reactivates the intensive energies of the event. that is what my photos are in Take One......it connects the intensive state of CU to my "one-take" writing on construction paper experience. i'm not sure if i adequately conveyed that or not, or if you did, or how important that is. 2. In doing so, it ruptures open the "space" and "place" of material practice ...and how these may enter into the mediated production of academic journal work...and its flattened two-dimensional experience. 3. the abstract machines of CU (i.e.coming out of silence) are invested with a new diagramming practice (the photo walk) to produce a new text that is neither-nor: "spaced" as a content of that walk (garages), but "placed" as a technical question (coming out of silence to language). 4. the new text is precisely diagrammatic, non-representational, anarchival. ....multimodal. ok, that's all that comes to mind right now. appreciating your efforts. 5. oh, finally, i think you might need a better definition of "anarchive" here..... it was hard to pin them down in montreal on what this is, so you wouldn't be wrong, per se, but more require a working definition for the reader. obviously, as you say, without getting too academic/citations, etc. know what i am saying? 2:46pm/5:46pm April Warn-Vannini 1. Totally got it but I think I did because of our many past conversations about how to archive the event 2. Yes this is what I love about this. And I think you speak to this very carefully in your writing on the Garage. Now whether others pick up on this I don't know. This is why I wanted to see what it would look like if I flattened it (take 3). 5. I agree that a better definition is needed. This is where I've been stumbling because I have not found anything that clearly defines what is meant by anarchive. 2:47pm/5:47pm Sean Smith "with take one being the only remainder of the original submission left to reveal...." precisely because of its digitality!!! yeah, i would probably just append an edited version of what we are saying here, as if the editing process was still a ripple of the event. me "adding" new text later i think defeats the purpose, but if you were to take snippets of this dialogue as part of the anarachive/ 2:48pm/5:48pm April Warn-Vannini Totally! 2:49pm/5:49pm Sean Smith and just *use them*, i think that's fair game. that way i won't be crafting my words with intent. you can even use this profile pic. 2:50pm/5:50pm April Warn-Vannini Okay perfect. With that said, do you think I should just discuss your process further in the preface or include an introduction that would be in take one? 2:51pm/5:51pm Sean Smith could it be Take Two in its own right, like an atemporal ripple that coexists with the others and bumps them to Three, Four and Five? Or could it be called "Double Take" and leave the others as Two, Three, Four? 2:53pm/5:53pm April Warn-Vannini Perfect. I like double take 2:53pm/5:53pm Sean Smith and it's us hashing through this discussion 2:53pm/5:53pm April Warn-Vannini Double take will follow take one. i like this. The Garage (Take Two) Folded, taped (scotch and duct), folded recycled chart paper previous emergent thoughts: performed, inscribed and made anew Red jiffy, black jiffy, blue ink pen cursive writing/block writing diagramming amplification dilated » » » » directional arrows « « « « Moistened, torn, crinkled Ruptures Anarchive of thought events Deciphering language/writing Exchanged as a volumetrics of new spaces Performing tactics of “writing off the page” on the page Enclosed [OPEN THE DOORS, MOVE FROM SURFACE TO VOLUME…AND THE CONVERSATION JUST MIGHT BEGIN ANEW. *stamped* SEAN SMITH] Drifting Drifting Drifting The Garage (Take Three) 6 Sean Smith video from April Vannini on Vimeo . The Garage (Take Four) The Garage (Take Five). (shrink)

Charles Demuth is widely recognized as one of the most significant American modernists. His precisionist cityscapes, exquisite flowers, and free-wheeling watercolors of vaudeville performers, homosexual bathhouses, and cabaret scenes hang in many of the country's most prestigious collections, including the Metropolitan Museum of Art, the Philadelphia Museum of Art, the Columbus Museum of Art, the Amon Carter Museum in Fort Worth, the Art Institute of Chicago, and in Demuth's Lancaster, Pennsylvania, family residence, now home of the Demuth Foundation. At a (...) time when many American artists remained tied to Europe, Demuth "Americanized" European modernism. This collection of 155 of his letters offers valuable views of the arts and letters colonies in Provincetown, New York, and Paris. Besides offering information on Demuth's own works, the letters also shed light on the output of his contemporaries, as well as references to their trips, liaisons, and idiosyncrasies. Demuth numbered among his correspondents some of the most famous artists and writers of his time, inluding Georgia O'Keeffe, Eugene O'Neill, John Reed, Gertrude Stein, Alfred Stieglitz, Carl Van Vechten, and William Carlos Williams. In his travels in the United States and abroad, he encountered many other talented contemporaries: Peggy Bacon, Muriel Draper, Marcel Duchamp, the Stettheimer sisters, artists and writers, patrons, and gallery owners. Whether he is offering to pick up a copy of Joyce'sUlyssesfor Eugene O'Neill or trying to convince Georgia O'Keeffe to decorate his music room, Demuth is always in the thick of art and literary life. Flamboyant in attire but descreet in his homosexuality, Demuth also reveals in his letters the life of a talented homosexual in the teens and twenties. With his best friends Robert Locher and Marsden Hartley, he circulated through the art colonies of Greenwich Village, Provincetown, and Paris, meeting everyone. The book also contains reprints of some short appraisals of Demuth and his work that were published during his lifetime, long out of print, including pieces by A. E. Gallatin, Angela E. Hagen, Marsden Hartley, Helen Henderson, Henry McBride, Carl Van Vechten, Rita Wells, and Willard Huntington Wright. Author note:Bruce Kellneris Emeritus Professor of English, Millersville University, and a member of the Demuth Foundation Board of Directors. He is the author or editor of 10 other books. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:BOOK REVIEWS I05 1120a): these and much else form models of the meticulousness and also the daring with which such discussions should be conducted. THOMAS G. ROSENMEYER University of Washington Religious Philosophy, A Group ol Essays.By Harry Austryn Wolfson. (Cambridge : Harvard University Press, 1961. Pp. xii + 278. $6.00.) For those who have never dared to take the plunge into one of Professor Wolfson's massive studies--the two-volume sets (...) on Philo and Spinoza, for instance, or the first part of The Philosophy of the Church Fathers--these ten essays offer a series of brief but enlightening introductory paddles. The eleventh piece, a concluding Sermonette, is neither enlightening nor a happy introduction to a rigorous mind. The essays, ranging over a considerable number of Jewish, Christian, Muslim, and secular thinkers, are entitled as follows: "The Philonic God of Revelation and His Latter-day Deniers"; "Extradeical and Intradeical Interpretations of Platonic Ideas"; "Immortality and Resurrection in the Philosophy of the Church Fathers"; "Philosophical Implications of the Theology of Cyril of Jerusalem"; "Philosophical Implications of Arianism and Apollinarianism"; "Saint Augustine and the Pelagian Controversy"; "Ibn Khaldun on Attributes and Predestination "; "Causality and Freedom in Descartes, Leibniz, and Hume"; "The Veracity of Scripture from Philo to Spinoza"; "Spinoza and the Religion of the Past." Despite this wide variety of topics, the book is held together, Wolfson assures us, by a "common theme" (p. v). To accept this theme is, in effect, to look at the history of Western religious philosophy from New Testament times to Spinoza's in a very special way. Picking up three histories of philosophy at random, I find that Bertrand Russell's History of Western Philosophy mentions the Jewish philosopher Philo of Alexandria (20? mC.--A.D. 54?) on two pages; B. A. G. Fuller's History of Philosophy devotes about three and a half pages to Philo but concludes that "Philo seems to have had no disciples of note and no direct influence, at any rate, upon the century and a half that intervenes between his death and the birth of Plotinus" (p. 305); W. T. Jones in his History of Western Philosophy (Vol. I) rates Philo's worth at just over a page and a caustic footnote. If, however, we look at religious philosophy in Wolfson's way, we see Philo as the root and determining origin of all medieval philosophizing, Jewish, Christian and Muslim ; we further see the medieval philosophy begun by Philo as a homogeneous system of thought, lying between pagan Greek speculations and the secular systems of the seventeenth century. Wolfson writes: 106 HISTORY OF PHILOSOPHY Ostensibly Philo is only the interpreter of the Hebrew Scriptures in terms of Greek philosophy. But actually he is more than that. He is the interpreter of Greek philosophy in terms of certain fundamental teachings of his Hebrew Scripture, whereby he revolutionised philosophy and remade it into what became the common philosophy of the three religions with cognate Scriptures, Judaism, Christianity, and Islam (p. v). In all the essays the topics are taken partly as Philonic in origin; it is Wolfson's aim to make the quarrels of medieval and later thinkers more intelligible in the light of their positions' intellectual ancestry. The result of his approach is a series of amazingly dexterous historical investigations; the reader moves with quite unexpected ease through intricate thirty-page discussions, each carrying some hundred or so footnotes of far-flung references to Plato, Aristotle, Scripture, Jewish and Arabic commentators, Patristic hagglers, Spinoza, Hume, Mill, et alii. The burden of erudition is wielded with simplicity and grace. Where there are historical obscurities and misunderstandings to be cleared up, one reads Wolfson with gratitude and enjoyment. Perhaps I can best fulfill my role as reviewer by summarizing part of his sixth and most exciting chapter, that on the controversy of Pelagius and Augustine over human freedom. Here Wolfson sets out to reverse history's verdict: to show Pelagius' account of freedom as keeping to "the original Christian belief"; to show Augustine's views as heretical by the measure of previous Christian tradition. He begins with much-documented observations that Greek pagan philosophy establishes a tension in man between the powers of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Oxymorons of AnxietyOr the Influence of Baba Ram Dass on Harold BloomRichard Klein (bio)A REVIEW OF Harold Bloom. The Anxiety of Influence (New York: Oxford University Press, 1973).In 1974, when I initially submitted this article to diacritics, it was rejected, despite my being a member of the editorial board. I had previously agreed that the piece should first be sent to Harold Bloom for his reaction; he was not (...) pleased. The editor (and founder of diacritics) judged, I think correctly, that it was better to have Bloom well disposed toward the young journal than not. He had been very generous, since its inception, giving us articles and interviews, and lending his weight to this early attempt to translate French theory into America. I was naturally deflated by the rejection, but since I believe in institutions more than individuals, I acquiesced, gracefully I think. Perhaps I shouldn't have. It has been forty years and in that time Bloom has grown even more dismissive of major theoretical developments and contemptuous of efforts to expand the canon. In his latest work, his "virtual swan song," The Anatomy of Influence: Literature as a Way of Life (2011), he evokes the critical developments long championed by this journal, which have evolved over forty years, and lumps them together as: "what I shall call the New Cynicism (a cluster of critical tendencies which are rooted in French theories of culture and encompass the New Historicism and its ilk)."1 Note the ilk: making alike, in a single cluster of cynicism, what he will not differentiate. Currently, he is motivated to return to his earlier work on influence, "galvanized in part by the New Cynicism's reductio of all literary relationships to base self-interest."2 In The Anatomy of Influence, Bloom returns to the Bloom of The Anxiety of Influence to find and redefine a canonical interpretation of literary relationships that depends from his immense erudition. Against the cynics, he is excited by a nobler, disinterested perspective—a view more universally shared than what might be found, for example, in the pages of diacritics.In any case, I always hoped this article, excerpted from a much longer chapter, would one day be published. I didn't think the moment would wait forty years and for my retirement. For allowing this to see the light and for their kind indulgence of my valedictory vanity, I especially want to thank my colleagues deeply, as well as the editors of the new diacritics.Harold Bloom brings bad news. Geoffrey Hartman calls him a kakangelist; he calls himself a necromancer.3 The news is the death of poetry—an event, as Bloom at moments seems to believe, that began with Milton. Since then, things have only gotten worse and are no way bound to improve. What Bloom is saying may well be no news at all, if poetry in fact and in principle has always been dying, if its death were simultaneous with its birth—its possibility permanently implicated in its impossibility. But, if not what the man is saying, surely the way he kakangelizes, raises the most surprising questions about the possibility of something he continues to want to call "literary criticism." Hartman's carefully poised review neglects to insist on the question of Bloom's style. His opening sentence, however, does proceed straight to enumerate—with no further comment—the unwonted diversity of elements that compose Bloom's short theory of poetry: "Six essays emerge from this dense, eloquent and experiential brooding, flanked by two prose poems, and accompanied by a synoptic introduction and an interchapter on 'Antithetical Criticism.'"4 Hartman pretends to take all this perfectly for granted, as if we were quite prepared to understand, with no explanation, the nature and necessity of something called a synoptic introduction, or the status of an interchapter, or the force of a notion like [End Page 7] antithetical criticism, and, as if we should hardly be surprised to discover, the whole thing quite naturally flanked by two prose poems! Hartman picks up the new style, but for reasons not clearly readable in his text, chooses not to dwell on this most surprising news of... (shrink)

The wholesome severity of publishers' regulations restricted the small Teubner edition of Festus almost to the actual text of the archetype MSS. of Festus and his epitomator Paulus. The flimsy material to be picked up from mediaeval glossaries was excluded from this small and solid structure and reserved for the ampler space and freer air of a second volume, a volume which should attempt a reconstruction of Festus from Paulus' excerpts, like an antiquarian's reconstruction of the Forum from the ruins (...) that now remain. In Goetz' Corpus Glossariorum Latinorum we have apographs of the chief MS. of each important glossary, and in his Thesaurus Glossarum Emendatarum we have all the glosses edited and arranged in dictionary form; but much spade-work has to be done before these glosses can be used by an editor of Festus. Some has been done already by a pupil of Goetz in a Jena dissertation , who shows the so-called Philoxenus Glossary to be compiled in part from Festus, and collects and emends its Festus glosses. Yet even this piece of work is not complete. For our unique MS. of Philox., a mere ninth-century MS. , is an imperfec record of that large bilingual collection which has left so many traces of itself in the glossaries of the British Isles and of those parts of the Continent which received English or Irish culture. The Ab Absens Glossary, for example, printed by Goetz from a North Frankish MS. of Charlemagne's time, has a number of Festus glosses from this collection which are not recorded in our MS. of Philox. and are accordingly ignored by Dammann. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 41, no. 2. © 2015 by Feminist Studies, Inc. 463 Kawika Guillermo Libido Ergo Sum Sitting atop a red beanbag stained with dark splotches, Kelsey watched the tells from the five boys sitting on the carpet in front of her. One by one they gave away their hands, their eyes dodging hers, perhaps afraid of her female intuition. She loved these surreptitious moments, when her boys tried (...) to fool her, believing that they had her in their clutches, as if she couldn’t help but be pulled by their charms. Kelsey went all in, moving her chips into the middle of the carpet. Kaleb’s mouth grinned to the right while Gabriel impatiently tapped on his knee, keeping beat with the remixed 80’s tune coming from the large boom box behind him. Billy’s face was in a gleeful Leave-It-to-Beaver of daffiness, and Michael’s dumbfounded expression—worn to distract her— was put out by a nervous scratch of his neck. After each had pussied out, Kelsey leaned over to distract them further with her cleavage as she picked up the red playing cards, her hair settling onto the boys’ laps as if to imitate fellatio. “Alright, pussy bitches,” she said, collecting the chips and stirring the toothpick in her mouth like a mortar. “Pass’em down,” pointing to the gold dealer’s piece. “Big blind, little blind.” She watched the world as if from a recliner and saw herself dealing the next hand with the finesse of a professional dealer. Her gaze circled the carpet of poker players. Their eyes never met hers. In every house party Kelsey hosted, she always saw a faint bleakness in her guests. She always cleaned them out, her eyes scanning them like food at a supermarket, unveiling their moves with every glance. She watched them all at once: Jackson wiping his mouth, Michael adjusting his glasses, Gabriel 464 Kawika Guillermo chewing on bubblegum in loud smacks, Billy grinning as he mouthed curse words. Finally, Kelsey took only a glimpse at her own cards before doubling the ante. Tommy shrugged and tossed his cards; Michael met her raise and she went all in. She noticed these patterns all between them. She saw their reactions before they even happened: Michael shaking his head and calling her a bitch as he splashed his cards onto her living room carpet. At two in the morning she drank two tequila shots in the kitchen with Paul, one of the many toxic men that she had invited to her party from work. He was a sturdy baseball player/lightweight alcoholic, toxic in his thoughtless remarks on meeting schedules, upcoming due-dates, and portfolios. “Then you put the salt on your thumb, or whatever,” Paul said, shaking up a bottle of Patrón Silver, as if it needed to be shaken. Kelsey stuck out her shot glass for another. A year ago she would have been doing homework, playfully kicking off the dust of the world with a big biology textbook in her hands. Since then, she had discovered that there was a pattern to debauchery that led to some existential fulfillment—a realizing of herself as a living substance—an uber-debauchery. Refusing to dilute her angst into anything but total surrender, she was still a Vegas girl, willing to throw herself into in the Las Vegas rites of passage of drunk driving, diving nude into neighbor’s pools, and waking up in hotel rooms with a hundred dollar bill on the cupboard, weighted in place by Gideon’s Bible. “Another sausage fest,” said a man in a cowboy hat and vintage overalls. Kelsey didn’t know him. He sat on the countertop like the Cheshire Cat and flipped through a book of bumper stickers. He wore one with the words “Libido Ergo Sum” on his forehead. “All right!” another drunken voice shouldered through waves of sound: “Seize the day!” “James’s baby sure looks cute tonight,” said another drunken voice. “’Course no one would try, except this guy.” The man in the cowboy hat smiled up at her. “How come you don’t invite your girlfriends to your parties?” “I don’t have... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Epistemology in Pracīna and Navya NyāyaJonardon GaneriEpistemology in Pracīna and Navya Nyāya. By Sukharanjan Saha. Kolkata: Jadavpur University, 2003. Pp. 166.Epistemology in Pracīna and Navya Nyāya, by Sukharanjan Saha, usefully collates ten previously published essays on Indian epistemology: two longer essays first published in 1986 and a series of more recent shorter pieces. The leading thesis of the book is that the epistemology of the older writers (...) in the tradition of Nyāya-Vaiṣesika is, in important respects, better than the "new epistemology" originating with Gaṅgeśa. Sustained attention is given to the epistemology of the Vaiśeṣika thinker Praśastapāda (ca. A.D. 660), and the first six essays all "seek to show that Praśastapāda's views are more acceptable than those of Gaṅgeśa considered from the point of view of contemporary epistemology" (p. 4). The remaining essays argue in support of a similar conclusion with regard to certain ideas found in the older Nyāya of Gautama and Vātsyāyana. The titles of the essays collected here are: (1) "Epistemology in Pracīna and Navya Nyāya"; (2) "Kindred Points in an Old Epistemology" (1986); (3) "Gaṅgeśa's Reactions to Some Gettier-like Problems" (1986); (4) "The Unestab-lished Reason in Nyāya"; (5) "The Savyabhicāra Hetvābhāsa in Nyāya and Vaiśeṣika Schools"; (6) "The Thesis of Nirvikalpaka in Nyāya and Vaiśeṣika"; (7) "Truth as Avyabhicāritatva"; (8) "A Note on the Definition of Pramā; (9) "Nyāya Theory of Predication"; (10) "The Present and Its Knowledge"; and (11) "Types of Inference in Gautama and Vātsyāyana."Whether or not one finds oneself in agreement with Saha's specific arguments, the general conception of the book seems to me to be laudable. The astonishing [End Page 120] continuity of the Indian philosophical tradition makes it all too easy to survey the history of Indian philosophy and assume that historical development runs in tandem with philosophical progression. It is tempting to think, for example, that Gaṅśa, reviewing the epistemology of the older tradition, and considering the various objections that had been brought against it by external critics like Śrīharṣa and the later Buddhists, produced a new theory that was both an improvement on and a systematization of earlier Nyāya epistemology. To succumb to this temptation would be a mistake, however, for at least two reasons. First, it might be that the discussion of the earlier thinkers was, though less sophisticated, "closer to the ground," so to speak, than that of their successors. The comparative absence of theoretical baggage may have enabled those earlier writers to remain true to the facts, even when they could not easily be explained or systematized. This does indeed seem to be the case with the sūtra texts, and it is also very noticeably the case with Praśastapāda, who exhibited, for instance in his discussion of motion, an openness to the facts rather than closure born of theoretical over-commitment.Second and relatedly, it might be that the earlier thinkers had not yet closed down the range of topics and approaches deemed worthy of philosophical discussion or exploration. Thus, again in the sūtras, we find the beginnings of discussions on an enormous array of issues and hypotheses, not all of which were subsequently picked up or extended in later theory. Saha, for example, argues that Gaṅgeśa committed the later tradition to a rigid causal theory of knowledge, and suggests further that because of this he "failed to appreciate the richness of the philosophical insight of the founders of the system of philosophy to which he owes his allegiance" (p. 69). If this is right, then a return to the earlier strata of the tradition might well lead to an enrichment of our understanding of the range of philosophical possibility. Saha's approach, then, helps to guard the modern student of Indian philosophy from mistakenly thinking that "newer is always better," just as we have learned to be on guard against the older and contrary... (shrink)