In this paper I defend the claim that quantum theory, Specifically quantum field theory (qft), Is incompatible with leibniz's principle of the identity of indiscernibles. This is in response to r. Barnette's criticism ("philosophy of science" 45:466-470) of an argument given by alberto cortes ("philosophy of science" 43:491-505) intended to establish this claim. I show that, Using the qft point of view, Cortes' argument can be restated in a way that leaves it immune to barnette's criticism.

Although philosophers have considered some of the implications of the nature of quantum statistics of many-particle systems for the interpretation problem, e.g., Reichenbach, they have not produced a complete analysis of the relationship between aspects of quantum statistics and complications and/or possible solutions of the interpretation problem. While the present work by no means provides a complete account, it does explore some heretofore uncharted regions. One of the latter is an analysis of a situation that I call 'The Paradox of (...) Identical Particles ,' which arises in Bose-Einstein statistics. PIP refers to the fact that Elementary Quantum Mechanics seems to be committed to the thesis that systems of particles of the same species, "identical" particles, exhibit behavior differing from that of systems of particles of different species, simply in virtue of the fact that the former contain entities of the same species while the latter do not. Taken at face value this is tantamount to the Empedoclean "axiom" that like attracts like, while like and unlike repel, a somewhat embarassingly naive proposition for modern physicists to embrace, and one which, furthermore, poses a host of perplexing problems, e.g., how do the particles "know" whether they are of the same species or not? A result proven in the present work is that any "pluralistic" interpretation of quantum theory is unable to provide a satisfactory way of ridding quantum physicists of this appeal to what I call "species sensitivity." Arguing that Quantum Field Theory is most naturally and plausibly interpreted as a "monistic" theory--which means, inter alia, that for a system of n identical particles to exist is not for n distinct objects of any kind to exist, but rather for one unified underlying entity, a quantum field, to be in a certain kind of state or condition--I show that from this point of view PIP can be dissolved. On the basis of this and other considerations, I argue that the interpretation problem is more amenable to solution if we take the QFT point of view as the fundamental expression of quantum theory. (shrink)

Since the war there has been a revival of interest in the idea of justice and its relation to law. The main contributions have come from the side of jurisprudence among which may be mentioned Sir Carleton Kemp Allen, Aspects of Justice ; Potter, The Quest of Justice ; Friedmann, Legal Theory ; Stone, Province and Function of Law ; Paton, Textbook of Jurisprudence ; Goodhart, English Law and the Moral Law ; H. L. Hart, The Concept of Law (...) ; E. Dowrick, Justice According to English Common Lawyers ; there have also appeared English translations of important continental contributions, such as the translation by Campbell of Del Vecchio's Justice ; by C. D. Broad of Axel Hägerströms's Inquiries into the Nature of Law and Morals and the work by Alf Ross On Law and Justice. (shrink)

The term Bāul is universally associated with singing. It is a form of folk music that emerges from Bengal in India. However, Bāul does not simply imply singing. It is more of a philosophy which is deeply rooted in the quest for self-realization. The raison d’être for the kind of attraction the music of Bāuls and the poetry of Kabir had for the West is that their music and poetry was essentially a poetry of simplicity, peace and celestial love. Since (...) Bāul music and Kabir’s poetry transcends religious boundaries, it was easily accepted by the Western canon that was looking to the East for newer inspiration and life philosophies. This paper focuses on the oral Indian tradition of Bāulgan and the Dohas of Kabir and how they influenced the writing of the legendary Beat poet Allen Ginsberg. The paper also partially focuses on Purna Das and Laxman Das, two famous Bāul singers who went to live in Woodstock at the house of Bob Dylan in the mid-1960s and their resulting friendship. (shrink)

Chasing the fading contours if the past. Pursuing points of intersection. Encounters with aging literary figures and surviving witnesses to history. Excavating printed artifacts in the back rooms of used book shops. Locating of equipment lost or discarded. Conversations with Paul Bowles & Mohammed Mrabet, Brion Gysin, "Pauline Réage, Robert Graves, Maurice Girodias, Berthe Cleyrergue, Edouard Roditi, Allen Ginsberg & Peter Orlovsky." --Back cover.

This essay explores the faultlines, poetic pressures and social structures of feeling determining poetry “after” Hiroshima. Nuclear bombs, accidents and waste pose theoretical and poetic challenges. The argument outlines a model of nuclear implicature that reworks Gricean conversational implicature. Nuclear implicature helps to describe ways in which poems “represent” nuclear problems implicitly rather than explicitly. Metonymic, metaphorical, and grammatical modes of implication are juxtaposed with recognition of social attitudes complicit with nuclear problems. Mushroom and lichen metaphors are analysed and distinguished. (...) There are brief accounts of The Chernobyl Herbarium, The Nuclear Culture Source Book and poems by Aidan Semmens, Lorine Niedecker, George Oppen, Denise Levertov, Adrienne Rich, Allen Ginsberg and Gerry Loose. The argument attempts to keep open the fragile agency of writing in poems that confront nuclear power. Poetry after Hiroshima is also contrasted with Adorno’s provocative questions about poetry after Auschwitz, amid Cold War arguments that have distorted recognition of the reality of nuclear production. The essay concludes by considering the emergence of poetry within E.P. Thompson’s theoretical account of “Exterminism,” sketching ways in which poetics and theory might inform both the nuclear imagination and the difficulties of nuclear song. (shrink)

This article explores attempts by Jack Kerouac and Allen Ginsberg to transcribe their drug experiences onto the written page. Utilizing both Maurice Merleau-Ponty’s work on intersubjective communication and Gilles Deleuze and Felix Guattari’s conception of the “Body Without Organs,” it argues that by writing “through the body,” Kerouac and Ginsberg are able to transmit the physical and emotional effects of the drug experience to the reader via the medium of the text. The reader thus receives not just (...) an objective account of the drug experience, but becomes privy to the alterations in temporal perception and intersubjective empathy that drug use inaugurates. (shrink)

This is what you shall do: love the earth and sun, and animals, despise riches, give alms to every one that asks, stand up for the stupid and crazy, devote your income and labor to others, hate tyrants, argue not concerning God, have patience and indulgence towards the people, take off your hat to nothing known or unknown, or to any man or number of men; go freely with the powerful uneducated persons, and with the young, and mothers, of families: (...) read these leaves in the open air every season of every year of your life: re-examine all you have been told at school or church, or in any books, and dismiss whatever insults your soul. “I am speaking from this pulpit conscious of history,” Allen Ginsberg .. (shrink)

Gornick on V. S. Naipaul, James Baldwin, George Gissing, Randall Jarrell, H. G. Wells, Loren Eiseley, Allen Ginsberg, Hayden Carruth, Saul Bellow, and Philip Roth and the intimate relationship between emotional damage and great literature.

In contemporary American poetry, poets practice open form. Charles Olson, Robert Duncan, Paul Blackburn, Robert Creeley, Jack Spicer, Denise Levertov, Gary Snyder, Allen Ginsberg, Edward Dorn, Louis Zukofsky, John Ashbery, and Frank O'Hara belong to this school of open form. Their open form advocates creative spontaneity, fragmentation, and juxtaposition. It repudiates thematic and formal closure and requires of its readers a willingness to value a poem as process and event. Recent studies of open form inform us that in (...) both theory and practice they descended from Pound and Williams. However, my intention is to establish the foreground of open form in the poetics and poetry of Yeats, Pound, and Eliot. My major objective is to establish Yeats as the precursor of the poetics of open form, and then to apply his poetics to his poetry, and to those of Pound and Eliot. ;Part I, with the aid of the theories of language by Paul de Man, Jacques Derrida, Jacques Lacan, and Martin Heidegger, examines the linguistic turn revealed in Yeats's A Vision which manifests the poetics of open form through the rhetoric of prophecy. Chapter One defines the concept of the Unity of Being. Chapter Two illustrates how Yeats disciplines himself in his poetic quest for the Unity of Being. Chapter Three defines prophecy and the rhetoric of prophecy. Exergue, an inter-chapter, surveys and assesses contemporary theories of language in an attempt to relate metaphor to rhetoric. Chapter Four closely examines A Vision in the light of the rhetoric of prophecy and poetics of open form. ;Part II demonstrates how the poetry of Yeats, Pound and Eliot provides the praxis of Yeats's poetics. Conclusion discusses the poetics of Duncan, Olson, and Levertov and show how they reflect Yeats's, thereby demonstrating the continuity between the poetry of modernism and postmodernism. (shrink)

René Guénon, metaphysician -- Ananda Coomaraswamy and traditional art -- Rudolf Otto, the East, and religious inclusivism -- Mircea Eliade and C.G. Jung: 'priests without surplices'? -- Allen Ginsberg, a Buddhist beat -- Swami Abhishiktananda, Fr. Jules Monchanin, and the Christian-Hindu encounter -- Frithjof Schuon, a sage for the times.

In lieu of an abstract, here is a brief excerpt of the content:Dharma Bums: The Beat Generation and the Making of Countercultural PilgrimageP. J. JohnstonI believe in the sweetness of Jesus And Buddha— I believe, In St. Francis, Avaloki Tesvara, the Saints Of First Century India A D And Scholars Santidevan And Otherwise Santayanan Everywhere.(Kerouac 1959: 15)Preliminary Polemics“PILGRIM, n. A traveler that is taken seriously.”—Ambrose Bierce, The Devil’s Dictionary 2007: 133As Beat commentator Stephen Prothero describes in his article “On the (...) Holy Road: The Beat Movement as Spiritual Protest” (1991), the Beats and their pilgrimages have most emphatically not been taken seriously. Both critics and scholars have been unkind to members of the Beat generation, and this unkindness has manifested itself in relative neglect of the Beats in all possible aspects of scholarly investigation. But nowhere does this appear more pronounced than in the area of Beat religion. Though some recent scholarship has been picking up from this earlier neglect and it is now [End Page 165] possible to find serious biographies of most of the major Beat writers and some belated attention to the movement as a literary phenomenon, the only book-length treatment of Beat Buddhism I was able to locate (Tonkinson 1995) hardly qualifies as a scholarly work and was published not by an academic press but as a special feature of the Buddhist magazine Tricycle. Prothero hypothesizes that this is because of the movement’s reputation as rebellious and antinomian—in its heyday the movement was characterized in identical unsavory terms by publications representing interests as diverse as Life and Playboy, with the latter describing the Beats as “nihilists” and the former claiming that the Beats were at war with “Mom, Dad, Politics, Marriage, the Savings Bank, Organized Religion, Literary Elegance, Law, the Ivy League Suit and Higher Education, to say nothing of the Automatic Dishwasher, the Cellophane-wrapped Soda Cracker, the Split-Level House and the clean, or peace-provoking H-bomb” (Prothero 1991: 206). Norman Podhoretz of Partisan Review went further still, claiming that the Beats were “hostile to civilization” and that the movement as a whole amounted to “a revolt of the spiritually underprivileged and crippled of soul” and “an affirmation of death” (ibid., 206). One couldn’t ask for a more passionate disavowal of the Beats or a more thorough polemic that the movement was profoundly antireligious.This could not contrast more with the Beats’ representation of their movement and its aims, with Jack Kerouac going so far as to reinterpret the crucial term “Beat” (a term for someone down and out originally borrowed from criminal street jive) as a noun derived from the adjective “beatific,” a specifically religious term familiar from such phrases as “the beatific vision” (ibid., 206–207). Several of the representative Beat writers were practicing Buddhists, influencing the entire movement to such an extent that Buddhist ideas and imagery suffused Beat literature as a whole. Ginsberg and Kerouac especially emphasized the positive and constructive elements of their spiritual vision, arguing that literature such as On the Road and Howl should be understood as religious affirmations of what is good and holy rather than as purely critical undertakings: “For the crucifix I speak out, for the Star of Israel I speak out, for the divinest man who ever lived who was German (Bach) I speak out, for sweet Mohammed I speak out, for Buddha I speak out, for Lao-tse and Chuang-tse I speak out” (ibid., 206–207). Or, as Allen Ginsberg put it less lyrically (and rather more bluntly): “Howl is an ‘Affirmation’ by individual experience of God, sex, drugs, and absurdity... the poems are religious and I meant them to be” (ibid., 207).But for the most part, Beat asseverations in no way diminished scholarly wariness about the Beat movement and its spirituality—as Prothero concludes, “the tendency among literary scholars is to see these [religious] concerns as tangential rather than constitutive” while “historians of American religion who have explored beat spirituality have tended to focus almost exclusively on the beats’ engagement with Zen and then to dismiss that engagement as haphazard” (ibid., 207).It is my contention that the mainstream scholarly neglect of Beat spirituality is in some part... (shrink)

This chapter contains sections titled: Domain of Consciousness.

The paper charts both the interpersonal connections between historical anarchist figures and the beat poets as well as the philosophical similarities between them. Almost all the beat poets were anarchists, though their politics was secondary to their attempts to transform consciousness. Among the anarchists, the romantic socialist Gustav Landauer, who was especially popular in post-war American anarchist circles, came closest to the political perspective of the beat poets. Like the beats, Landauer was a poet, a pacifist, an anarchist, a communitarian, (...) a romantic, and a mystic. In northern California, the circle of anarchists surrounding Kenneth Rexroth provided support and inspiration to the early beat movement. In New York, the beats had an affinity with anarchists such as David Thoreau Wieck and the publication "Why?" (later "Resistance"), as well as Dwight Macdonald's "politics" and Holley Cantine's "Retort". (shrink)

“Skhandas my ass! Even that” Alan Watts, in his oft-quoted 1958 Chicago Review essay “Beat Zen, Square Zen, and Zen,”3 fails to mention Philip Whalen—whose “Sourdough Mountain Lookout” appeared in truncated form in the same issue—even though he takes Gary Snyder, Jack Kerouac, and Allen Ginsberg to task. In fact, toward the beginning of his essay, Watts even makes a statement about Confucianism and Taoism that sounds similar to the dynamics one finds at play in Whalen’s poetry. The (...) ancient Chinese practitioners possessed, according to Watts, “a universal vision of life as the Tao or way of nature in which the good and evil, the creative and the destructive, the wise and the foolish are the .. (shrink)

Contents: PART I: AESTHETICS OF ARCHITECTURE: QUESTIONS. Francis SPARSHOTT: The Aesthetics of Architecture and the Politics of Space. Arnold BERLEANT: Architecture and the Aesthetics of Continuity. Stephen DAVIES: Is Architecture Art? PART II: NATURE OF ARCHITECTURE. B.R. TILGHMAN: Architecture, Expression, and the Understanding of a Culture. David NOVITZ: Architectural Brilliance and the Constraints of Time. Michael H. MITIAS: Expression in Architecture. Ralf WEBER: The Myth of Meaningful Forms. Michael H. MITIAS: Is Meaning in Architecture a Myth? A Response to Ralf (...) Weber. PART III: AESTHETIC EXPERIENCE IN ARCHITECTURE. Allen CARLSON: Existence, Location, and Function: The Appreciation of Architecture. Martin DONOUGHO: Spaced Out or Folded In? Trends in Architectural Choreography. Tom LEDDY: Dialogical Architecture. Roy T. DECKER: Tactility and Imagination: Considerations of Aesthetic Experience in Architecture. Robert GINSBERG: Aesthetics in Hiroshima. The Architecture of Remembrance. (shrink)

Positive aesthetics holds that the natural environment, insofar as it is unaffected by man, has only positive aesthetic qualities and value-that virgin nature is essentially beautiful. In spite of the initial implausibility of this position, it is nonetheless suggested by many individuals who have given serious thought to the natural environment and to environmental philosophy. Certain attempts to defend theposition involve claiming either that it is not implausible because our appreciation of nature is not genuinely aesthetic, or that the position (...) is justified in virtue of man’s limited control and understanding of the natural world or in virtue of the natural world’s divine design and origin. Such attempts are inadequate; they neither justify the position nor explain its acceptance. In order to account for positive aesthetics,we must note the intimate connection between nature appreciation and the development of natural science. An understanding of the role of scientific knowledge in the aesthetic appreciation of nature not only sheds light on the acceptance of the positive aesthetics position, but also suggests a means by which to justify it. (shrink)

The development and nature of environmental aesthetics -- Aesthetic appreciation and the natural environment -- The requirements for an adequate aesthetics of nature -- Aesthetic appreciation and the human environment -- Appreciation of the human environment under different conceptions -- Aesthetic appreciation and the agricultural landscape -- What is the correct way to aesthetically appreciate landscapes?

Since aesthetic experience is vital for the protection of nature, I address the relationship between environmental aesthetics and environmentalism. I first review two traditional positions, the picturesque approach and formalism. Some environmentalists fault the modes of aesthetic appreciation associated with these views, charging they are anthropocentric, scenery-obsessed, superficial, subjective, and/or morally vacuous. In light of these apparent failings of traditional aesthetics of nature, I suggest five requirements of environmentalism: that aesthetic appreciation of nature should be acentric, environment-focused, serious, objective and (...) morally engaged. I then examine two contemporary positions concerning appropriate aesthetic appreciation of nature, the aesthetics of engagement and scientific cognitivism, assessing each in terms of the requirements of environmentalism. (shrink)

Positive aesthetics holds that the natural environment, insofar as it is unaffected by man, has only positive aesthetic qualities and value-that virgin nature is essentially beautiful. In spite of the initial implausibility of this position, it is nonetheless suggested by many individuals who have given serious thought to the natural environment and to environmental philosophy. Certain attempts to defend theposition involve claiming either that it is not implausible because our appreciation of nature is not genuinely aesthetic, or that the position (...) is justified in virtue of man’s limited control and understanding of the natural world or in virtue of the natural world’s divine design and origin. Such attempts are inadequate; they neither justify the position nor explain its acceptance. In order to account for positive aesthetics,we must note the intimate connection between nature appreciation and the development of natural science. An understanding of the role of scientific knowledge in the aesthetic appreciation of nature not only sheds light on the acceptance of the positive aesthetics position, but also suggests a means by which to justify it. (shrink)

In this discussion I consider one aesthetic issue which arises from certain intimate relationships between art and nature. The background to these relationships can be traced to the seventeenth and eighteenth centuries. It includes factors of considerable importance in the history of the aesthetic appreciation of nature such as the eighteenth century infatuation with landscape gardening and the continuingly influential role of landscape painting. Here, however, I concentrate on these relationships only as exemplified in a contemporary phenomenon – environmental art. (...) By environmental art I mean both the earthworks and earthmarks of artists such as Robert Smithson, Michael Heizer, and Dennis Oppenheim and certain structures on the land such as those of Robert Morris, Michael Singer, and Christo. Some paradigm cases are Smithson's Spiral Jetty, Heizer's Double Negative, Singer's Lily Pond Ritual Series, and Christo's Running Fence. (shrink)

In this essay I attempt to move the aesthetics of human environments away from what I call the designer landscape approach. This approach to appreciating human environments involves a cluster of ideas and assumptions such as: that human environments are usefully construed as being in general ''deliberately designed'' and worthy of aesthetic consideration only in so far as they are so designed, that human environments are in this way importantly similar to works of art, and that the aesthetics of human (...) environments thus has much in common with the aesthetics of art. As an alternative to the designer landscape approach, I suggest that the aesthetics of human environments should be understood as a major area of the aesthetics of everyday life. To facilitate this shift I develop the idea of an ecological approach to the aesthetics of human environments and the related notion of functional fit. The ecological approach employs an analogy with natural ecosystems and, by stressing the role of functional fit in each, facilitates the appreciation of both natural and human environments in a way that I characterize as ''looking as they should.'' The upshot, I maintain, is a set of appreciative consequences constituting a more satisfying aesthetic experience of our everyday human environments. (shrink)