Along with potential benefits to healthcare delivery, machine learning healthcare applications raise a number of ethical concerns. Ethical evaluations of ML-HCAs will need to structure th...

Given its non-invasive nature, there is increasing interest in the use of transcutaneous vagus nerve stimulation across basic, translational and clinical research. Contemporaneously, tVNS can be achieved by stimulating either the auricular branch or the cervical bundle of the vagus nerve, referred to as transcutaneous auricular vagus nerve stimulation and transcutaneous cervical VNS, respectively. In order to advance the field in a systematic manner, studies using these technologies need to adequately report sufficient methodological detail to enable comparison of results between (...) studies, replication of studies, as well as enhancing study participant safety. We systematically reviewed the existing tVNS literature to evaluate current reporting practices. Based on this review, and consensus among participating authors, we propose a set of minimal reporting items to guide future tVNS studies. The suggested items address specific technical aspects of the device and stimulation parameters. We also cover general recommendations including inclusion and exclusion criteria for participants, outcome parameters and the detailed reporting of side effects. Furthermore, we review strategies used to identify the optimal stimulation parameters for a given research setting and summarize ongoing developments in animal research with potential implications for the application of tVNS in humans. Finally, we discuss the potential of tVNS in future research as well as the associated challenges across several disciplines in research and clinical practice. (shrink)

Given its non-invasive nature, there is increasing interest in the use of transcutaneous vagus nerve stimulation across basic, translational and clinical research. Contemporaneously, tVNS can be achieved by stimulating either the auricular branch or the cervical bundle of the vagus nerve, referred to as transcutaneous auricular vagus nerve stimulation and transcutaneous cervical VNS, respectively. In order to advance the field in a systematic manner, studies using these technologies need to adequately report sufficient methodological detail to enable comparison of results between (...) studies, replication of studies, as well as enhancing study participant safety. We systematically reviewed the existing tVNS literature to evaluate current reporting practices. Based on this review, and consensus among participating authors, we propose a set of minimal reporting items to guide future tVNS studies. The suggested items address specific technical aspects of the device and stimulation parameters. We also cover general recommendations including inclusion and exclusion criteria for participants, outcome parameters and the detailed reporting of side effects. Furthermore, we review strategies used to identify the optimal stimulation parameters for a given research setting and summarize ongoing developments in animal research with potential implications for the application of tVNS in humans. Finally, we discuss the potential of tVNS in future research as well as the associated challenges across several disciplines in research and clinical practice. (shrink)

L'étude des blocs appartenant au pilier du char des Rhodiens à Delphes permet d'écarter l'hypothèse que les chevaux de Saint-Marc de Venise viendraient de ce monument et de restituer sur un pilier haut de 6,50 m le quadrige du Soleil tourné vers le temple d'Apollon. Grâce à l'identification de nouveaux éléments de cette offrande, nous pouvons mieux apprécier la puissante originalité de cette consécration qui ne peut être que l'œuvre d'un artiste de premier plan. Des détails techniques amènent à (...) reposer la date du « char d'or » que, pour diverses raisons, il conviendrait mieux de placer dans le dernier quart du IVe s. (shrink)

What is the point of isdem ? Editors of Juvenal pass over the word without comment and most translators are content with an unexplained ‘the same’. But if it means ‘the same as the ships that made the bridge’, it is odd that it should be put with the first clause. On the other hand, if Juvenal means the same ships as those that passed through the Athos canal, the reference must be to the fleet that sailed to Greece and (...) not to the boats that formed the bridge. The awkwardness of the passage is shown up by the obscurity of the Budé translation: ‘la mer tellement couverte de ces mêmes navires que, solidifiée, elle aurait supporté les roues des chars.’. (shrink)

Char and colleagues provide a useful conceptual framework for the proactive identification of ethical issues arising throughout the lifecycle of machine learning applications in healthcare. Th...

In their article, Char et al. have created a model intended to tidy up the messy landscape of ethical concerns arising from machine-learning health care applications. The novel con...

In lieu of an abstract, here is a brief excerpt of the content:SubStance 32.3 (2003) 109-132 [Access article in PDF] Passages Beyond the Resistance:René Char's Seuls demeurent and its Harmonics in Semprun and Foucault Van Kelly —Les actions du poète ne sont que la conséquence des énigmes de la poésie. —Le poète ne jouit que de la liberté des autres. René Char Spanish-born writer Jorge Semprun, in his memoir of deportation to Buchenwald, L'écriture ou la vie (1994), tells (...) how in spring 1945 he first came to read what is arguably René Char's first influential book of poetry, Seuls demeurent, and to recite on the liberated camp's assembly ground one of the keynote poems of the collection, "La liberté," as an emblem of his survival. Although Char had published several collections prior to World War II, Seuls demeurent was a major sign that something had changed in his poetry and politics, that he was about to entrer dans la carrière, to borrow the phrase that historian Olivier Wieviorka uses to describe the political and cultural ascension of French resisters in the postwar era. 1 A Gaullist officer, Marc, present at the liberation of Buchenwald in mid-April 1945, gave a copy of Seuls demeurent to Semprun, who had been deported for resistance activities in France. Semprun immediately felt that this book transcended what better-known writers had published from the late 1930s through early 1944, when he lost contact with a French literary scene he knew well (L'écriture, 79-87).Indeed, Seuls demeurent resonated so strongly in the post-Liberation years that it furnished a major reference point in Foucault's preface to his Folie et déraison (1961), where the philosopher links his own critique of social repression with Char's "Partage formel," the poetic sequence of aphorisms that concludes Seuls demeurent. Without mentioning his source (either poet or title of the poem), Foucault quotes from aphorism XXII, where Char praises the uncanny murmur he calls "étrangeté légitime," 2 and where we might hear the whispers of the Resister's legitimate revolt against repression as well as a legitimate strangeness or new self-assertive idiom within poetry. [End Page 109]It is interesting that Semprun and Foucault route their early encounters with Char's writing through the more explicitly poetical Seuls demeurent, and not through Feuillets d'Hypnos, a series of maxims, action portraits, and homages published in 1946 inGallimard's « Espoir » series, directed by Albert Camus, Char's friend. In Feuillets d'Hypnos, Char described, aphoristically more than anecdotally, his experience in the southern French Resistance. Seuls demeurent (and eventually other poems in a similar vein from his 1948 compendium Fureur et mystère, into which Seuls demeurent was merged alongside Feuillets d'Hypnos) purveyed Char's most lasting political and ideological impact on the generations represented by Semprun and Foucault.To understand how Seuls demeurent and the liberational poetics it initiated might spur two such nonconformist yet widely divergent left intellectual projects—Semprun's politique fiction, which resulted in novels like La deuxième mort de Ramón Mercader (1969), and Foucault's archeologies of social control—we must try to read Char's work back into the immediacy of its era, with the help of historians like H.R. Kedward, Henri Michel and others, despite the fact that Seuls demeurent is striated with discernible secondary work—the displacements and condensations that the Occupation and Liberation induced in its survivors and itinerants. Semprun and Foucault, in their quotations from Char's poetry, attest to the sense of personal empowerment that his voice effected. Perhaps something in his poetics, especially its mode of interaction with history, anticipated such readers.I will explore these ideas by showing, first, how in Seuls demeurent Char's poetic re-enactment of his passage through WWII foregrounds historical events and violence, but privileges poetry as a means of giving overriding sense to the war, and more specifically to the French internal Resistance, to the extent that it was morally distinct (if not always organizationally severed) from De Gaulle's external... (shrink)

La rencontre de Ricœur avec Greimas n’a pas été un événement éphémère, mais une discussion qui s’est étalée sur plus de trente ans. Anne Hénault retrace ici les différentes étapes de ce que Ricœur appelait son “combat amoureux” avec Greimas, et qui illustre à merveille le poème de René Char: “Les loyaux adversaires.” On y retrouve les qualités propres du philosophe dans ses dialogues, le souci de faire avancer son propre raisonnement de façon rigoureuse, mais aussi l’effort pour donner (...) à l’interlocuteur “la chance de son meilleur argument.” Anne Hénault raconte la traversée d’un structuralisme “ennemi” et la conquête d’une “amitié” réciproque exigeante, et fondée sur de véritables convergences intellectuelles. (shrink)

D'après Confucius, il y a six « arts libéraux » qui sont : la musique, le cérémonial, l'arithmétique, la calligraphie, l'escrime et « l'art de conduire un char ». Donc pas de gymnastique encore. L'escrime donne satisfaction à l'instinct combatif, mais il ne paraît pas que cet instinct ait suffi à la propager en Extrême-Orient. À remarquer que la première escrime naturelle n'a pu être celle du poing qui demande une contrainte et un assouplissement artificiels préalables. Il était plus (...) naturel à l'homme primitif de s'emparer d'un bâton ou même de lutter simplement corps à corps ou encore de chercher à frapper par le jet d'une pierre. Les escrimes d'Extrême-Orient sont demeurées des spectacles et n'ont donné naissance à aucune institution pédagogique sauf -- plus tard, au Japon -- le jiu-jitsu. (shrink)

In his 2009 PSA Recent Ph.D. Award winning contribution to the bi-annual PSA Conference at Pittsburgh in 2008, C. Wu ̈thrich mounted an argument against struc- turalism about space-time in the context of the General Theory of Relativity, to the effect that structuralists cannot discern space-time points. An “abysmal embarrass- ment” for the structuralist, Wu ̈thrich judged. Wu ̈thrich’s characterisation of space-time structuralism is however incorrect. We demonstrate how, on the basis of a correct char- acterisation of space-time structuralism, (...) it is possible to discern space-time points in the GTR-structures under consideration. Thus Wu ̈thrich’s argument crumbles. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Dewey on Metaphysics, Meaning Making, and Maps James W. Garrison Blueprints and maps are propositions and they exemplify what it is to be propositional.1 [E]very characteristic trait is a quality.... produced and destroyed by existential conditions.2 John Dewey's claim that there are metaphysical generic traits of existence the theory of which provides "a ground-map" for cultural criticism remains controversial. I will work along two intertwining lines to try and (...) clear things up a bit. First, many assume that his reference to a metaphysical map is a metaphor. My paper will show that he uses the idea of a map consistently in many different places throughout his career. Second, my paper will examine how Dewey functionally coordinates ordinary existential traits and their maps within his theory of judgment. We will find that the generic traits and the ground-map of criticism connect in much the same way. Before examining Dewey's theory of judgment, I want to say something about where Dewey's metaphysics fits into his empirical "denotative method." In the conclusion, we wiU look at where metaphysics fits into the architectonic of his entire phUosophy. In between, we wiU examine maps functioning as propositions (especiaUy logical and mathematical universals) as weU as ever-evolving guides to unending inquiry in an unfinished and unfinishable universe. Eventually we wiU see why Dewey insists that "the social" is "The Inclusive PhUosophic Idea." Metaphysics, for Dewey, is simply one tool of cultural criticism among others. First and Last Philosophy in Dewey's Denotative Method Dewey's "denotative method" moves from the immediately given intuitive meanings of qualitative "having" of experience that impart a "sense" of a qualitative, organically whole TRANSACTIONS OFTHE CHARLES S. PEIRCE SOCIETY Vol. 41, No. 4 ©2005 O situation from whence we may select traits, through the experience of "significant " linguistic meanings, such as the propositions of judgment, to the experience of "knowing" as the product of the logical process of inquiry, and back again to primary experience.4 Each phase interpenetrates every 3 other. Here is how Dewey describes the trans-action between primary, noncognitive and secondary, cognitive experience in his original (1925) >■$ introduction to Experience and Nature: ^r There are two avenues of approach to the goal of philosophy. We may " begin with experience in gross, experience in its primary and crude forms ^ [e.g., traits].... Or, we may begin with refined selective products, the a most authentic statements of commended methods of science [e.g., ¿q maps], and work from them back to the primary facts of life. ^ P TT ϕ > Philosophy may start with either immediate existential experience or the 3 experience of mediating meanings. While we may distinguish these two L starting points, we should never construct a dualism from them since both jx occur within experience.6 Dewey explains that "the subject-matter of primary experience sets the problems and furnishes the first data of reflection ""O which constructs the secondary objects of reflection."7 Further, "crude or macroscopic experience" provides the "test and verification" of the secondary objects of reflection. Secondary objects "explain the primary objects, 2 they enable us to grasp them with understanding!'9 The two starting points " differ in direction, but eventually they close to form a circle of expanding? dence. They may then pioneer new pathways, or, having different values, D choose to construct different kinds of maps. ^ Douglas Browning distinguishes "three phases of discussion of the start- 0 ing point."23 The first concerns "the designation of a certain subject matter P1 referred to under the names 'experience' and 'my life'."24 Dewey's empirical « denotative method selects aspects from immediate qualitative experience. The >% second phase involves two things: First, "a reflective moving away from and looking back upon that subject-matter" and, second, "the bringing of a puta- S tive characterization against it." Browning's example of characterization is g "the catalogue of the generic traits of experience." The generic traits are not S antecedent to inquiry; rather they are the products of reflection used to char- 5 ' acterize primary experience. Browning observes that characterization is always ^ provisional; as we wiU find, Dewey insists that the theoretical map proposi- ^ tionaUy representing the existential... (shrink)

Il est assez commun de se représenter le bûcheron comme un être plutôt fruste, qualifié avant tout par sa force au service d’une tâche peu valorisée. Or cette représentation se révèle tronquée, car l’équation qui associe la force à l’outil ne peut se réaliser sans le contrôle du geste. Plus encore, l’écoute des témoignages recueillis auprès des forestiers nous apprend que ce travail réclame d’efficaces systèmes de précision. C’est là une qualification oubliée, pourtant reconnue à part entière dès l’Iliade, qui (...) nous en donne deux témoins privilégiés par l’anthropologie historique de la Grèce, la mètis, l’« intelligence rusée », prêtée au kybérnêtês, le pilote du navire, au conducteur de char et, en bonne première place, au bûcheron. La théorie du contrôle nous permet maintenant de dépasser le flou conceptuel de la notion historiquement pré-théorique de mètis, la ruse s’appliquant à des cas bien trop divers, pour lui préférer les développements les plus récents d’une science du contrôle de l’action, théorisée depuis Wiener, nourrissant aujourd’hui les projets les mieux financés de cyber-cerveaux informatiques, au service des neurosciences et de la médecine. Le travail forestier, qui réclame une coordination maîtrisée des gestes, y compris de leurs commandes vocales dans le chant de travail — qu’un seul ou plusieurs bûcherons en équipe soient mobilisés —, nous en fournit une parfaite illustration. The woodcutter is commonly represented as a fairly boorish person, reduced to brute force and low-level tasks. But this representation is partial because a simplistic inferential link between an axe and strength obliterates that nothing can happen without any modus operandi, i.e. a set of neural controls over gestures. Indeed, listening to woodcutter’s testimonies led us to elicit that this work needs efficient precision systems. This high level of qualification was acknowledged at least since Homer’s Iliad as evidenced by two favourite telltales from historical anthropology of Ancient Greece: mètis ascribed to kybérnêtês, the ship’s pilot as to the chariot-driver and in the first rank to the woodcutter. Control theory allows now to avoid the fuzziness of meaning of the pre-theoretical notion of mètis to focus on a domain steadily developed since Wiener, now part of costly cyber-brain projects in informatics, for neuroscience and medicine. Forest work, which requires skilled gesture coordination, with vocal commands in a worksong—for one or more woodcutters being engaged in the task—is such a telling case. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

This paper is the first of a series of three articles that present the syntactic proof of the PA-completeness of the modal system G, by introducing suitable proof-theoretic objects, which also have an independent interest. We start from the syntactic PA-completeness of modal system GL-LIN, previously obtained in [7], [8], and so we assume to be working on modal sequents S which are GL-LIN-theorems. If S is not a G-theorem we define here a notion of syntactic metric d(S, G): we (...) calculate a canonical characteristic fomula H of S (char(S)) so that ⊢G ∼ H → (∼S) and ⊢GL-LIN ∼ H, and the complexity σ of ∼ H gives the distance d(S, G) of S from G. Then, in order to produce the whole completeness proof as an induction on this d(S, G), we introduce the tree-interpretation of a modal sequent Q into PA, that sends the letters of Q into PA-formulas describing the properties of a GL-LIN-proof P of Q: It is also a d(*, G)-metric linked interpretation, since it will be applied to a proof-tree T of ∼ H with H = char(S) and σ(∼ H) = d(S, G). (shrink)

This paper is the second part of the syntactic demonstration of the Arithmetical Completeness of the modal system G, the first part of which is presented in [9]. Given a sequent S so that ⊢GL-LIN S, ⊬G S, and given its characteristic formula H = char(S), which expresses the non G-provability of S, we construct a canonical proof-tree T of ~ H in GL-LIN, the height of which is the distance d(S, G) of S from G. T is the (...) syntactic countermodel of S with respect to Gand is a tool of general interest in Provability Logic, that allows some classification in the set of the arithmetical interpretations. (shrink)

Pélops sur un cratère du début du IVe s. av. J.-C. découvert à Pella L’article se réfère à un fragment de cratère en cloche à figures rouges découvert dans la région de la nouvelle entrée du site archéologique de Pella. Le vase présente un intérêt tout particulier, en raison de la rareté du thème iconographique. Sur la face principale est représenté le char de Pélops dans lequel devait aussi se trouver Hippodamie. Des éléments de la scène évoquent un enlèvement, (...) ainsi que la course de chars entre Pélops et Oenomaos. Le vase est attribué à l’atelier du Peintre d’Athènes 12255 et daté du début du ive s. av. J.-C. Cette datation permet de relier le thème iconographique du cratère à la victoire du roi Archélaos dans une course de chars aux jeux Olympiques, ainsi qu’à la fondation des fêtes olympiques en Macédoine. Notre cratère fait partie des nombreux vases à figures rouges arrivés dans la capitale macédonienne, qui confirment les échanges commerciaux avec l’Attique. (shrink)

Au cours des diverses périodes allant de 1062 au début du xviie siècle, hommes et femmes se spécialisent dans des rôles différents dans les tournois, en fonction des types d’épreuves et du pays où elles se déroulent. En commençant par le haut, une reine comme Catherine d’Aragon pouvait être la promotrice désignée d’un tournoi royal et, sur le continent, à l’occasion de mariages de cour, les épouses et leurs filles d’honneur constituaient le groupe central des personnages regardant les actions depuis (...) leurs balcons. En Allemagne, seules les jeunes femmes vertueuses étaient admises à la finale de la danse de la bougie. À la Cour anglaise, les femmes ne déterminaient pas les vainqueurs des tournois ; cela était une prérogative réservée aux hérauts et juges du tournoi. Lors de la cérémonie pour les vainqueurs, seules les dames des plus hauts échelons de la société distribuaient les prix à partir des décisions des hérauts. Même si, lors des cérémonies d’ouverture, les adversaires et/ou répondants paradaient occasionnellement avec leurs « inévitables jeunes demoiselles » dans un char, les jeunes femmes n’appartenaient pas à la liste des prix, mais à l’imagination des chevaliers. Les faits et la fiction étaient des mondes séparés qui, cependant, s’influençaient mutuellement fortement. Malgré les tentations, les amours courtisanes et les tournois ne se sont jamais vraiment rencontrés sur les terrains de joutes. Les hommes restaient entre eux et les représentantes du beau sexe de toutes les strates sociales inférieures n’étaient autorisées qu’en tant que spectatrices. (shrink)

Si vous n'aimez pas les chiens, si la peine de vie vous semble aussi discutable que la peine de mort, si vous ne vous esclaffez pas quand on rajoute des moustaches à la Joconde, si vous souhaitez la béatification de Monica Lewinsky, si l'art post-moderne vous paraît nullisime, si vous considérez que, pour faire partie d'une commission d'éthique, il faut être un salaud, si vous n'êtes pas un inconditionnel de Marcel Duchamp, de Marguerite Duras, de René Char, de Georges (...) Brassens ou d'Olivier Messiaen, si vous tenez l'horoscope pour une niaiserie, l'homéopathie pour une charlatanerie, le patriotisme pour une infamie et les supporters sportifs pour des Untermensch, alors vous êtes atypique et vous vous exposez à quantité d'embêtements. mais vous trouverez peut-être une consolation dans ce livre. Si, au contraire, vous êtes politiquement correct, vous y trouverez prétexte à fourbir vos armes. Et dans l'hypothèse improbable où vous ne seriez ni correct ni abject, il vous aidera à rejoindre la réalité. (shrink)

Entré en khâgne pour y devenir traducteur de Virgile et d'Homère, Pierre Magnard reçut de Jean Beaufret l'interpellation de Heidegger, qui fit vaciller ses certitudes et certaine manière d'être chrétien. Ce vacillement le conduisit vers Pascal, dont l'angoisse colore la foi d'une manière inoubliable, lequel Pascal le conduisit à Montaigne, ami de toute une vie. Deux figures en miroir entre lesquelles il lui parut urgent de ne jamais choisir, et auxquelles il consacra beaucoup de son industrie, comme à ces philosophes (...) de la fin de Moyen Age et de la Renaissance que Char eût dit des Matinaux. Un humanisme faisant l'épreuve du néant en l'homme et du silence de Dieu était possible, dont Maître Eckhart et Nicolas de Cues montrent le chemin ; un christianisme aussi, fondé non sur l'usage d'une raison dogmatique mais d'une raison joueuse, laquelle, tout en sachant que c'est le coeur qui lui donne ses principes, se déploiera en toute liberté. Le chemin d'un philosophe, professeur émérite en Sorbonne, jusqu'à la couleur du matin profond. (shrink)

Ces Confrontations avec l'histoire sont une suite de questions adres-sées à l'histoire, celle des historiens comme celle qui a incarné la marche du monde moderne: l'Histoire. Plus d'une fois, elle a été interpellée, critiquée, récusée par des auteurs qui ne sont pas des historiens de métier et que François Hartog nomme des outsiders. En Occident, le premier d'entre eux, Aristote, a donné l'avantage à la poésie. Ces grands outsiders ont, ici, pour nom Char, Camus, Sartre, Lévi-Strauss, Barthes, Foucault, Michon. (...) Confrontations aussi avec des concepts majeurs que l'histoire n'a cessé au cours des siècles de convoquer et de remodeler (l'altérité, l'accélération, l'héritage et la dette, le simultané du non-simultané). Confrontationsenfin avec le présentisme: la place prise par la mémoire, les transformations du musée, la montée du patrimoine, l'actualité des ruines, en questionnant l'histoire, l'obligent à se repenser. Quel peut être le rôle de celle qui s'est voulue la régis-seuse du temps, quand Chronos semble plus que jamais échapper à toute prise?"--Page 4 of cover. (shrink)

Au centre de l’Agora des Compétaliastes à Délos, une immense base à degrés de marbre, communément appelée le «Monument carré », a été considérée comme un autel, une base de statue ou la fondation d’un petit temple dorique. L’étude architecturale a permis d’identifier vingt-deux blocs errants et de restituer un pilier monumental d’une dizaine de mètres de hauteur. Au-dessus des trois degrés, le fût (large de 3,50 m) était constitué d’orthostates surmontés d’assises alternativement basses et hautes et couronné par un (...) entablement ionique. Ce monument ressemble étonnamment aux piliers attalides de Delphes et d’Athènes mais sa construction, située après 125 av. J.-C., doit plutôt être mise en relation avec la puissance des Italici dont les sanctuaires étaient établis en ce lieu : bien que la dédicace n’ait pas été conservée, il n’est pas exclu que le pilier ait porté la statue en char d’un magistrat romain. (shrink)

Turkish-Islamic literature contains numerous religious literar writings. In the existing literature, it can be seen that many kinds such as tawhīd, munājāt, nʿat, mawlid, hilya, hijrah-nāma, shafāʿat-nāma, miʿrāj, qisas al-anbiya, ramaḍāniyya, and al-asmā al-ḥusnā were written. Al-Asmā al-ḥusnā, written in the form of poetry and prose, were mostly sharḥ or their khawaṣṣ were explained. Çihil-nām al-Manẓūm, which is mentioned in the study, was written as khawaṣṣ al-asmā al-ḥusnā. The work is a poet entitled as Fażāyī. Manuscript was written in the (...) last quarter of the fifteenth century, and thus, it is presumed that the poet lived in the same century. This work has been identified in a manuscript. In addition, the poet’s Hadiyyat al-aḥbāb, der-Bayān al-maqāmāt al-darwīshān, Kitāb al-sharʿiyyat al-arbāb, and Ghazaliyyāt al-Darwīsh Fażāyī four other works have been identified. In the writings of the asmā al-ḥusnās, the names of ninety-nine were emphasized. In this study, the forty names of God are expressed. The text presented is a continuation of the tradition of writing some prose works written in Arabic and Persian. Çihil-nām al-Manẓūm, written in Arabic prose and known as Asmā al-Idrīsiyya it can be seen as a free stsyle translation of the prophet Idrīs. Forty names in the content of the work, their proper-ties, when, how much and how to read is explained. In this study, firstly the information about the subject of Qurʾān, hadith, Arabic, Persian and Turkish literature in the beautiful names of God is provided. Then, the information about the poet Fażāyī was given. Çihil-nām al-Manẓūm was introduced and the transcriptional form of the text was given.SummaryOne of the reasons that deeply affect a nation is the change of religion. This change did not only affect the individual but also influenced the society in which he was born and grew. One of the nations with strong influence is the Turks. Turks, after Islamization, have estab-lished a new civilization. One of the areas where this Islamic civilization reflects is the literary aspect of society. In this literature, which has begun to be formed, religious genres such as tawhīd, munājāt, nʿat, mawlid, hilya, hijrah-nāma, shafāʿat-nāma, miʿrāj, qisas al-anbiya, ramaḍāniyya, have been revealed. One of them is about God. Religious literary writings about God were written in the form of tawhīd and munājāts, which consist of one or more prophets found at the head of the dīwāns, or as the annotations of asmā al-ḥusnā or as khawaṣṣ asmā al-ḥusnā.In time, the need for some Turkish literary and scientific works to be translated into a different language were born. It can be seen that with some changes such as subtraction and addition, texts are rewritten or poetic works are translated into prose. The original of our research subject Çihil-nām al- Manẓūm’s is written in Arabic and prose. Çihil-nām al-Manẓūm, it is a munājāt of the work known as Asmā al-Idrīsiyya, which describes the call of prophet Idrīs.Asmā al-ḥusnā is a religious term used mostly to describe the attributes and names of God. In the Qurʾān, there is no information about the number of asmā al-ḥusnā mentioned as a concept. However, the number of the names of God in the Qurʾān is 155. This number is differ-ent in ḥadīths. It is widely accepted that the number of asmā al-ḥusnā is 99. Some Islamic schol-ars have argued against such restricting statements, arguing that ninety-nine names, such as the hiding of the Night of Qadr, were hidden in all Divine names during the month of ramaḍān, while others suggested that the number of ninety-nine was large number of asmās (names).The first examples of asmā al-ḥusnā were written in Arabic literature. Some of them are not detached: Abū Manṣūr al-Māturidī (d. 333/944) Kitāb al-Tawḥīd, Abū ʿAbdullāh al-Ḥalīmī (d. 403/1012) al-Minhāj fī shuʿabiʾl īmān, Taḳī al-Dīn Ibn Taymiyya (d. 728/1328) al-Īmān. A part of asmā al-ḥusnās is also a single work: Abū Isḥāq al-Zajjaj (d. 311/923) Tafsīr al-asmāi’llāh al-ḥusnā, Aḥmad b. Husayin al-Bayhaḳī (d. 458/1066) al-Asmā al-ṣifāt and ʿAbd al-karīm b. Havāzin al-Quşayrī (d. 465/1072) Sharḥ al-asmāi’llāh. In addition to Arabic, it is useful to talk about some of the asmā al-ḥusnās which is written in Persian. Muḥammed al-Shrāzī al-Nishāburī (d. 904/1498) al-Risāla der-asmā al-ḥusnā, Çarkhī Yaʿḳūb b. ʿOthmān (d. 851/1447) Sharḥ al-asmāi’llāh and ʿAbd al-Raḥmān Aḥmad al-Jāmī (d. 898/1492) Muʿammā al-Jāmī.Islamic nations have created an enormous collection of literature about God. Among them, asmā al-ḥusnās has a special importance. Many asmā al-ḥusnā were written in Turkish literature. The most famous among the verses of Ibn Isa b. Majduddīn ʿĪsā Saruḥanī (d. 967/559) is Sharḥ al-asmā al-ḥusnā. Other than that, Ḥusayin b. Aḥmad Sirozī (d. 1000/1401) Sharḥ asmā al-ḥusnā, Aḥmad Shākir Pasha (d. 1234/1818) Rawḍ-ı Ward, Ibrahim Mahdī (d. 1345/1926) al-Kanz al-asmā fī sharḥ al-asmā al-ḥusnā and Bijaqji-zāda Ismā‘īl Haqqi b. ʿOthmān (ö.1352/1933) Asmā al-ḥusnā’s naẓman tafsīr this work is shown among the major works written in this field. Again, the works of the late Sheykh-oghlu Muṣṭafā (d. 817/1414) Khawaṣṣ al-asmā al-ḥusnā, Ṣubḥī al-Bursawī (n.d.) Sharḥ al-manẓūm al-asmā al-ḥusnā, Ḥākim Sayyid Maḥmad Afandi (d. 1184/1770) Sharḥ manẓūm al-asmā al-ḥusnā, Lāmiʿ Jelebi (d. 938/1532) Sharḥ al-muʿammayāt ʿalā asmā al-ḥusnā, Ḥamdī Afandi (n.d.) Sharḥ al-manẓūm al-asmā al-ḥusnā, Naḥīfī (d. 1151/1738) Manẓūm al-asmā al-ḥusnā, ʿAbd al-Majīd b. Naṣūḥ Ṭosyavī (d. 996/1588) Sharḥ al-asmā al-ḥusnā can be listed among other notable works.In this study, a khawaṣṣ al-asmā al-ḥusnā is examined. Khawaṣṣ; khāṣṣ and khāṣṣa are the plural of the words khawaṣṣ al-wukalā, khawaṣṣa al-balda, the properties of some drugs, khawaṣṣa al-Qurʾān al-karīm, khawaṣṣa al-ism al-aʿẓam; a force that is found in something and not from others means special case. The verses of the Qurʾān, the rings, the hours of the days, some prayers, the names of God have some of the accents. It is believed that the desire of the person who reads them in certain conditions, in a certain amount, or in any manner, in specific hours, will occur. The fact that the concept of khawaṣṣ met these meanings allowed him to acquire scientific knowledge and to call it “khawaṣṣ science” characteristic in the literature.The works that deal with the Qurʾān and the asmā al-ḥuṣnā are written. Some of these works written in Arabic and Turkish literature are: Risāle fī khawaṣṣ al-asmā al-ḥusnā: Zunnūn al-Miṣrī, Khawaṣṣ al-Qurʾān: Ghazālī, ʿIḳdu al-manẓūm fī khawaṣṣ al-ḥurūf: Muḥyī al-Dīn al-ʿArabī, Asmā al-Idrīsiyya: Shāb al-Dīn al-Suhrawardī, Khawaṣṣ al-asmā al-ḥusnā: Shakh-oghlu Muṣṭafā, Sharḥ al-manẓūm al-asmā al-ḥusnā: Ṣubḥī al-Bursawī, Sharḥ al-asmā al-ḥusnā: Ibn ʿIsā b. Majd al-Dīn Ṣaruhanī, Manẓūm al-asmā al-ḥusnā sharḥ: Ḥākim Sayyid Maḥmad Afandi, Manẓūm al-asmā al-ḥusnā: Naḥīfī, Sharḥ al-asmā al-ḥusnā and khawaṣṣuhā: Imām Shabrāwī.One of the works in which asmā al-ḥusnā was described is attributed to prophet Idrīs. Among the miracles of prophet Idrīs, there have been intresting miracoulus performances such as possessing the knowledge of astronomy, fortune, mathematics, plants, writing, sew-ing, using the scales and strange art. The mysterious secrets were revaled to him in 30 ṣuḥuf. His major miracles are governing spiritual beings, knowing the properties of the beings and possessing the knowledge of various unknown things. Again, he wrote a book about the char-acteristics of letters. Aristotle later wrote a commentary using the majority of the information found in this book. Some of the works are written to narrate the Prophet Idrīs’s praising God with forty names:Muḥammad al-Tunisian, al-Ravḍatu al-Sundusiyya fī asmā al-ḥusnā al-Idrīsiyya al-Suhrawardiyya; Shāb al-Dīn Yaḥya b. Ḥabash al-Suhrawardī, Çihil-nām. Among these, the most famous is the work called Asmā al-Idrīsiyyā, written by Suhrawardī. Here, in addition to the asmā al-ḥusnā (forty names), prayers, prayers, conquests, their meanings, and the merits of reading them are explained. The book is written in Arabic. Many copies of this work have been identi-fied. Here are a few of these: Sulaymāniyya Hagia Sophia, K. 1870; Sulaymāniyya, Hagia Sophia, 377; Bāyazıd State Library 1314; National Library A005133-03 23b-33a; Adana Public Library 140; National Library, 06 Mil Yz A 9084/6.The works describing Asmā al-Idrīsiyya were written as prose. The work examined in this study was written as a manuscript. Çihil-nām-ı Manẓūm is distinguished from the others in this respect. Another point that makes the study important is the fact that Çihil-nām-ı Manẓūm has a very old period, this is written in the fifteenth century. (shrink)

« Retour amont » – le sens de cette formule, titre d’un ensemble de poèmes de René Char repris dans Le Nu Perdu, s’éclaire à la lumière du travail de Giacometti, à qui le poète avait demander d’enluminer son recueil. Dans l’eau-forte « L’homme au bord du précipice regardant dans le vide », le trait ardoisé de Giacometti, émergeant d’une opacité noire, vibre au plus près de l’intention poétique de Char : « Retour amont ne signifie pas retour (...) aux sources. Il s’en faut. Mais saillie, retour aux... (shrink)

L'Occident des Temps Modernes a privilégié la représentation linéaire du temps. Sur cette ligne du temps qui continûment s'écoule, l'instant succède à l'instant, dans l'imminence d'un futur qui condamne rapidement le présent à devenir déjà passé. Dès lors, pour maîtriser ce temps qui passe et fuit, sous l'instance de la mélancolie, il a fallu inventer des systèmes de mémoire, des techniques de reproduction, des prothèses d'image. Ainsi est née, dans sa signification moderne, la culture, qui vise à rassembler la création (...) humaine, à organiser la mémoire, à former l'héritage de la tradition. S'il est vrai que la pensée critique s'est attaquée, depuis longtemps, aux limites et même aux dangers d'une telle entreprise, elle s'est cependant bien peu interrogée sur la relation que l'idée de culture entretient avec cette conception linéaire du temps. Répondant au souci de stabiliser le passé, de le conserver sous le signe de l'identité, et de le sauver au nom de l'esprit, la culture s'est finalement instituée comme un monde autonome, rationalisé, intellectualisé, idéalisé, dont la toute-puissance s'affirme davantage encore sous son visage contemporain industriel, technique et institutionnel. La culture devient ainsi un péril pour ce qu'elle prétend transmettre, parce qu'elle méconnaît le sens de la finitude, laquelle, au coeur de l'expérience du temps et du monde, constitue le creuset de la vie des oeuvres : la culture "oublie" en l'homme son essentielle dimension d'être mortel. De fait, le temps n'est pas une ligne, mais un noeud : "le noeud de notre condition" (Pascal). Et, comme tel, le temps est une épreuve, une épreuve d'existence, dont la création, selon tous ses modes, tente d'assumer la construction symbolique. Seule l'imagination, liée à la reproduction bien comprise, permet d'entrer dans ce noeud, dans "la boucle du Temps artiste" (René Char). Seuls des moments d'oeuvre, capables de lier le passé, le présent et l'avenir, sont en mesure de renouer la richesse de la mémoire au déploiement de la présence, en ouvrant le sens du devenir. Rassemblant une quinzaine de textes, distribués en trois chapitres "Fictions", "Reproductions", "Imaginations", cet essai souhaite contribuer tout ensemble à une critique de l'idée de culture, à une philosophie de la reproduction et à une éthique de l'oeuvre."--Page 4 of cover. (shrink)

Previous research suggests that children can infer causal relations from patterns of events. However, what appear to be cases of causal inference may simply reduce to children recognizing relevant associations among events, and responding based on those associations. To examine this claim, in Experiments 1 and 2, children were introduced to a “blicket detector,” a machine that lit up and played music when certain objects were placed upon it. Children observed patterns of contingency between objects and the machine's activation that (...) required them to use indirect evidence to make causal inferences. Critically, associative models either made no predictions, or made incorrect predictions about these inferences. In general, children were able to make these inferences, but some developmental differences between 3- and 4-year-olds were found. We suggest that children's causal inferences are not based on recognizing associations, but rather that children develop a mechanism for Bayesian structure learning. Experiment 3 explicitly tests a prediction of this account. Children were asked to make an inference about ambiguous data based on the base rate of certain events occurring. Four-year-olds, but not 3-year-olds were able to make this inference. (shrink)

In locating friendly fire in contemporary philosophy of religion, D.Z. Phillips shows that more harm can be done to religion by its philosophical defenders than by its philosophical despisers. Friendly fire is the result of an uncritical acceptance of empiricism, and Phillips argues that we need to examine critically the claims that individual consciousness is the necessary starting point from which we have to argue: for the existence of an external world and the reality of God; that God is a (...) person without a body, a pure consciousness; and that to assent to a religious belief is essentially to assign a truth value to a proposition independent of any confessional context. When these products of friendly fire are avoided, we arrive at a new understanding of belief, trust and the soul, and refuse to say more or less than we know about the realities of human life in the service of religious apologetics. (shrink)

Giuseppina D'Oro explores Collingwood's work in epistemology and metaphysics, uncovering his importance beyond his better known work in philosophy of history and aesthetics. This major contribution to our understanding of one of the most important figures in history of philosophy will be essential reading for scholars of Collingwood and all students of metaphysics and the history of philosophy.

D.W. Hamlyn presents a history of the great philosophical thinkers and their responses to the profound problems involved in trying to understand the world and our place in it.