A Theory of Truth and Semantic Representation Hans Kamp. INTRODUCTION Two conceptions of meaning have dominated formal semantics of natural language. ...

The twenty-first century is teeming with larger-than-life threats to our larger-than-life existence, such as famine, war, natural disasters and climate change, viruses, incurable disease, etc. At stake is the future of the human species as a whole. But it is not just external threats that herald the prospective end of humanity. We also face the general exhaustion of many of our earlier and more comfortable modes of philosophy. This is arguably a much graver threat. It is this gloomy atmosphere that (...) the philosophy of antinatalism taps into. Antinatalism is the philosophical view according to which human reproduction should be brought to a halt for any of a variety of reasons. It will be argued here, however, that we can only come to the antinatalist conclusion when we affirm that humankind (somehow) represents a very persistent anomaly in the universe at large. Otherwise, we could simply resort to (much) less radical steps than the ones advocated by antinatalism. Based on this, an important distinction will be made between reactionary (or activist) antinatalism and its more philosophical, so-called originary, counterpart. Ultimately, against recent attempts that push for a moderate embrace of antinatalism, the present work makes a strong case for it. It is argued that this is warranted by the very writings most usually associated with this radical philosophical position. (shrink)

The paper identifies some background assumptions of compositionality in formal semantics and investigates how they shape formal semantics as a scientific discipline.

This paper is devoted to the formulation and investigation of a dynamic semantic interpretation of the language of first-order predicate logic. The resulting system, which will be referred to as ‘dynamic predicate logic’, is intended as a first step towards a compositional, non-representational theory of discourse semantics. In the last decade, various theories of discourse semantics have emerged within the paradigm of model-theoretic semantics. A common feature of these theories is a tendency to do away with the principle of compositionality, (...) a principle which, implicitly or explicitly, has dominated semantics since the days of Frege. Therefore the question naturally arises whether non-compositionality is in any way a necessary feature of discourse semantics. Since we subscribe to the interpretation of compositionality as constituting primarily a methodological principle, we consider this to be a methodological rather than an empirical question. As a consequence, the emphasis in the present paper lies on developing an alternative compositional semantics of discourse, which is empirically equivalent to its non-compositional brethren, but which differs from them in a principled methodological way. Hence, no attempts are made to improve on existing theories empirically. Nevertheless, as we indicate in section 5, the development of a compositional alternative may in the end have empirical consequences, too. First of all, it can be argued that the dynamic view on interpretation developed in this paper suggests natural and relatively easy to formulate extensions which enable one to deal with a wider range of phenomena than can be dealt with in existing theories. Moreover, the various approaches to the model-theoretic semantics of discourse that have been developed during the last decade, have constituted a ‘fresh start’ in the sense that much of what had been accomplished before was ignored, at least for a start. Of course, this is a justified strategy if one feels one is trying to develop a radically different approach to recalcitrant problems. However, there comes a time when such new approaches have to be compared with the older one, and when an assessment of the pros and cons of each has to be made. One of the main problems in semantics today, we feel, is that a semantic theory such as Montague grammar, and an approach like Kamp’s discourse representation theory, are hard to compare, let alone that it is possible to unify their insights and results.. (shrink)

Explores the place of intellectual virtues and vices in a social world. Chapters are divided into four sections: Foundational Issues; Individual Virtues; Collective Virtues; and Methods and Measurements.

The book presents a new logical framework to capture the meaning of sentences in conversation. It is based on a richer notion of meaning than traditional approaches, and allows for an integrated treatment of statements and questions. The first part of the book presents the framework in detail, while the second demonstrates its many benefits.

In the present version of these lecture notes only a number of typos and a few glaring mistakes have been corrected. Thanks to Paul Dekker for his help in this respect. No attempt has been been made to update the original text or to incorporate new insights and approaches. For a more recent overview, see our ‘Questions’ in the Handbook of Logic and Language (edited by Johan van Benthem and Alice ter Meulen, Elsevier, 1997).

This paper is about a topic in the semantics of interrogatives.1 In what follows a number of assumptions figure at the background which, though intuitively appealing, have not gone unchallenged, and it seems therefore only fair to draw the reader’s attention to them at the outset. The first assumption concerns a very global intuition about the kind of semantic objects that we associate with interrogatives. The intuition is that there is an intimate relationship between interrogatives and their answers: an interrogative (...) determines what counts as an answer.2 Given a certain, independently motivated, view on what constitutes the meaning of an answer, this intuition, in return, determines what constitutes the meaning of an interrogative. For example, starting from the observation that answers are true or false in situations, we may be led to the view that answers express propositions, i.e., objects which determine a truth value in a situation. Given that much, our basic intuition says that interrogatives are to be associated with objects which determine propositions. Such objects will be referred to as ‘questions’ in what follows. Notice that all this is largely framework independent: we have made no assumptions yet about what situations, propositions, and questions are, we have only related them in a certain systematic way. In fact we will use a more or less standard, but certainly not uncontroversial, specification in what follows: situations are identified with (total) possible worlds; propositions with sets of worlds; and questions with equivalence relations on the set of worlds. The second assumption that plays a role in what follows is of a more linguistic nature. Interrogatives typically occur in two ways: as independent expressions, and as complements of certain verbs. The assumption is that these two ways of occurring are systematically related, not just syntactically but also semantically.3 Notice that the exact nature of this relationship is underdeter.. (shrink)

This paper presents an analysis of wh-complements in Montague Grammar. We will be concerned primarily with semantics, though some remarks on syntax are made in Section 4. Questions and wh-comple ments in Montague Grammar have been studied in Hamblin (1976), Bennett (1979), Karttunen (1977) and Hauser (1978) among others. These proposals will not be discussed explicitly, but some differences with Karttunen's analysis will be pointed out along the way.

Vier opstellen over de grondslagen van de wijsgerige dialektiek.

Bayesian networks (BN) and argumentation diagrams (AD) are two predominant approaches to legal evidential reasoning, that are often treated as alternatives to one another. This paper argues that they are, instead, complimentary and proposes the beginnings of a method to employ them in such a manner. The Bayesian approach tends to be used as a means to analyse the findings of forensic scientists. As such, it constitutes a means to perform evidential reasoning. The design of Bayesian networks that accurately and (...) comprehensively represent the relationships between investigative hypotheses and evidence remains difficult and sometimes contentious, however. Argumentation diagrams are representations of reasoning, and are used as a means to scrutinise reasoning (among other applications). In evidential reasoning, they tend to be used to represent and scrutinise the way humans reason about evidence. This paper examines how argumentation diagrams can be used to scrutinise Bayesian evidential reasoning by developing a method to extract argument diagrams from BN. (shrink)

The mereological predicate ‘is part of’ can be used to define the predicate ‘is identical with’. I argue that this entails that mereological theories can be ideologically simpler than nihilistic theories that do not use the notion of parthood—contrary to what has been argued by Ted Sider. Moreover, if one accepts an extensional mereology, there are good philosophical reasons apart from ideological simplicity to give a mereological definition of identity.

In this paper we study the admissible rules of intermediate logics. We establish some general results on extensions of models and sets of formulas. These general results are then employed to provide a basis for the admissible rules of the Gabbay–de Jongh logics and to show that these logics have finitary unification type.

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has (...) no image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

How and when does followers’ upward hostile behavior contribute to the emergence of abusive supervision? Although from a normative or ethical point of view, supervisors should refrain from displaying abusive supervision, in line with a social exchange perspective, we argue that abusive followership causes supervisors to experience low levels of interpersonal justice, stimulating abusive supervision in response. Based on uncertainty management theory, we further expect that the extent to which supervisors reciprocate the experienced injustice with abusive supervisory behavior is moderated (...) by supervisors’ self-doubt. A multi-source field study as well as a vignette study following an experimental-causal-chain approach supported our hypotheses. Specifically, our results revealed that the indirect effect of abusive followership on abusive supervision through supervisors’ interpersonal justice is most pronounced when supervisors experience high levels of self-doubt. The practical and theoretical implications of our findings are discussed. (shrink)

How is it possible that modern scholars have labeled Maximus of Tyre, a second-century CE performer of philosophical orations as a sophist or a 'half-philosopher', while his own self-presentation is that of a genuinme philosopher? If we take Maximus' claim to phislophical authority seriously, his case can deepen our understanding of the dynamic nature of Imperial philosophy. Through a discursive analysis of twelve Imperial intellectuals alongside Maximus' dialexies, the author proposes an interpretative framework to assess the purpose behind the representation (...) of philosophy, rhetoric, and sophistry in Maximus' oeuvre. This is thus as yet the first book-length attempt at situating the historical communication process implicit in the surviving Maximean texts in the concurrent context of the Imperial intellectual world. (shrink)

Codes of conduct are the main tools to privately regulate worker rights in global value chains. Scholars have shown that while codes may improve outcome standards (such as occupational health and safety), they have had limited impact on process rights (such as freedom of association and collective bargaining). Scholars have, though, only provided vague or general explanations for this empirical finding. We address this shortcoming by providing a holistic and detailed explanation, and argue that codes, in their current form, have (...) limited impact on trade union rights due to (i) buyers paying lip service to trade union rights, (ii) workers being treated as passive objects of regulation in codes of conduct, (iii) auditing being unable to detect and remediate violations of trade union rights, (iv) codes emphasizing parallel means of organizing, (v) suppliers having limited incentives for compliance, and (vi) codes being unable to open up space for union organizing when leveraged in grassroots struggles. Our arguments suggest that there is no quick fix for codes’ limited impact on trade union rights, and that codes, in their current form, have limited potential to improve trade union rights. We conclude by discussing ways in which codes of conduct, and private regulation of worker rights more generally, could be transformed to more effectively address trade union rights. (shrink)

This paper presents three claims concerning boundaries, dependence and parthood. The claims are intuitively plausible, but cannot, at face value, all be true on pain of contradiction. Each of the three claims is shown to be more plausible than its converse and some solutions to the puzzle are presented.

Human papillomavirus (HPV) is one of the most common sexually transmitted infections. It is a leading cause of cervical cancer in women but the virus is increasingly being linked to several other cancers in men and women alike. Since the introduction of safe and effective but also expensive vaccines, many developed countries have implemented selective vaccination programs for girls. Some however argue that these programs should be expanded to include boys, since (1) HPV constitutes non-negligible health risks for boys as (...) well and (2) protected boys will indirectly also protect girls. In this paper we approach this discussion from an ethical perspective. First, on which moral grounds can one justify not reimbursing vaccination for the male sex? We develop an ethical framework to evaluate selective vaccination programs and conclude that, in the case of HPV, efficiency needs to be balanced against non-stigmatization, non-discrimination and justice. Second, if vaccination programs were to be expanded to boys as well, do the latter then also have a moral duty to become immunized? Two arguments in favor of such a moral duty are well known in vaccination ethics: the duty not to harm others and to contribute to the public good of public health. However, we argue that these are not particularly convincing in the context of HPV. In contrast, we believe a third, more powerful but also more controversial argument is possible. In our view, the sexual mode of transmission of HPV constitutes an additional reason to believe that boys in fact may have a moral obligation to accept vaccination. (shrink)

Bullying is one of the most impactful deviant actions that affects workers' personal health and work experience. Bullying is a quite distinctive deviant behavior as targets are subjected to transgressions that could last for months or longer. Even though a number of actions can be taken to resolve bullying between all parties, from the viewpoint of the target it is hard to resolve the situation. As a result, hierarchical influence may be necessary to prevent bullying in the first place. A (...) possible solution, therefore, is focusing on how leaders can impact the bullying behavior. This research argued and showed that ethical leadership is negatively associated with being bullied through tackling one of its most important antecedents of bullying: the design of the work environment. That is, ethical leaders could be shown to improve employees' workload (quantitative work environment) and poor working conditions (qualitative work environment), which was related to decreased bullying. (shrink)

Refutation systems are formal systems for inferring the falsity of formulae. These systems can, in particular, be used to syntactically characterise logics. In this paper, we explore the close connection between refutation systems and admissible rules. We develop technical machinery to construct refutation systems, employing techniques from the study of admissible rules. Concretely, we provide a refutation system for the intermediate logics of bounded branching, known as the Gabbay–de Jongh logics. We show that this gives a characterisation of these logics (...) in terms of their admissible rules. To illustrate the technique, we also provide a refutation system for Medvedev’s logic. (shrink)

Of course, although this view on meaning was the prevailing one for almost a century, many of the people who initiated the enterprise of logical semantics, including people like Frege and Wittgenstein, had an open eye for all that it did not catch. However, the logical means which Frege, Wittgenstein, Russell, and the generation that succeeded them, had at their disposal were those of classical mathematical logic and set-theory, and these indeed are not very suited for an analysis of other (...) aspects of meaning than those which the slogan covers. A real change in view then had to await the emergence of other concepts, which in due course became available mainly under the influence of developments in computer science and cognate disciplines such as artificial intelligence. And this is one of the reasons why it took almost a century before any serious and successful challenge of the view that meaning equals truthconditions from within logical semantics could emerge. (shrink)

When the likelihood ratio approach is employed for evidential reasoning in law, it is often necessary to employ subjective probabilities, which are probabilities derived from the opinions and judgement of a human. At least three concerns arise from the use of subjective probabilities in legal applications. Firstly, human beliefs concerning probabilities can be vague, ambiguous and inaccurate. Secondly, the impact of this vagueness, ambiguity and inaccuracy on the outcome of a probabilistic analysis is not necessarily fully understood. Thirdly, the provenance (...) of subjective probabilities and the associated potential sources of vagueness, ambiguity and inaccuracy tend to be poorly understood, making it difficult for the outcome of probabilistic reasoning to be explained and validated, which is crucial in legal applications. The former two concerns have been addressed by a wide body of research in AI. The latter, however, has received little attention. This paper presents a novel approach to employ argumentation to reason about probability distributions in probabilistic models. It introduces a range of argumentation schemes and corresponding sets of critical questions for the construction and validation of argument models that define sets of probability distributions. By means of an extended example, the paper demonstrates how the approach, argumentation schemes and critical questions can be employed for the development of models and their validation in legal applications of the likelihood ratio approach to evidential reasoning. (shrink)

Is epistocracy epistemically superior to democracy? In this paper, I scrutinize some of the arguments for and against the epistemic superiority of epistocracy. Using empirical results from the literature on the epistemic benefits of diversity as well as the epistemic contributions of citizen science, I strengthen the case against epistocracy and for democracy. Disenfranchising, or otherwise discouraging anyone to participate in political life, on the basis of them not possessing a certain body of (social scientific) knowledge, is untenable also from (...) an epistemic point of view. Rather than focussing on individual competence, we should pay attention to the social constellation through which we produce knowledge to make sure we decrease epistemic loss (by ensuring diversity and inclusion) and increase epistemic productivity (by fostering a multiplicity of perspectives interacting fruitfully). Achieving those epistemic benefits requires a more democratic approach that differs significantly from epistocracy. (shrink)

AbstractIn order to foster a transition of the food system toward more sustainable outcomes, scholars have increasingly pointed at the need for organizing strengthened food democracy. By increasing the participation of citizens and food system actors, democratic innovations, such as food policy councils, are believed to promote the quality and legitimacy of food policymaking. However, the question of whether and how food democracy initiatives do indeed contribute to more democratic modes of governance largely remains unexplored. This study addresses this gap (...) by performing a systematic literature review of the existing scholarship on food democracy, assessing democratic innovations for their contributions to four democratic goods: inclusiveness, popular control, considered judgment and transparency. The analysis shows that food democracy initiatives tend to be dominated by organized interests, have more influence on agenda-setting and implementation compared to decision-making, and generally aim for some form of deliberation or knowledge exchange. The precise selection mechanisms, processes and quality of deliberation, and transparency of democratic innovations remain important research gaps. The paper ends with a plea to better connect food democracy scholarship with the broader political sciences, as well as various suggestions for future research. (shrink)

Volume 20, Issue 9, September 2020, Page 58-60.

Volume 20, Issue 3, March 2020, Page 79-81.

Zes bijdragen tot de theorie van het dialectisch materialisme.

Name der Zeitschrift: Cognitive Linguistics Jahrgang: 26 Heft: 1 Seiten: 1-30.

The Visser rules form a basis of admissibility for the intuitionistic propositional calculus. We show how one can characterize the existence of covers in certain models by means of formulae. Through this characterization, we provide a new proof of the admissibility of a weak form of the Visser rules. Finally, we use this observation, coupled with a description of a generalization of the disjunction property, to provide a basis of admissibility for the intermediate logics BD2 and GSc.

In this article Schrijvers elaborates on the work of Jean-Yves Lacoste. In Expérience et Absolu , this French phenomenologist and theologian coins the ‘liturgic experience’. Such an experience is conceived of as a correction to the Heideggerian picture of finitude. While for Heidegger Dasein is a being towards the future and, most importantly, towards his own death, Lacoste wants to warrant the present as an area of meaning and sense. One such example is the liturgic experience, in which the faithful (...) undergo the nearness of God in the present. However, this experience must sharply be distinguished from the ‘religious experience’ as it is known in the works of Otto and Schleiermacher. The liturgic experience is the confrontation with the Christian God who does not appear objectively. Therefore the liturgic experience is a nonexperience. It is a brutal conversion of the believer to the image of Christ, who on the Cross had no experience of God whatsoever. Liturgy connotates a violent rupture with the world, and the experiences therein. In later works, Schrijvers contends, Lacoste corrects this Barthian scheme of liturgy: attention is now paid to the work of art as well as to the experience of resting as examples of an analogous rupture with Heideggers ‘being-in-the-world’. These experiences give back the Christian ‘being there’ its human character and recognizability: faith can be elucidated from the ruptures brought forth by the work of art and with the experience of resting in mind. The reflections on art are accompanied by an ontology of affectivity. ‘Older’ than the Heideggerian ‘world’ or ‘earth’ is our free and affective response to reality. This affective response is so rich that ‘being’ cannot and may not be reduced to Heidegger’s options: in between world and earth one encounters an open and indeterminate space that points to the irreducibility of being to its Heideggerian features. The experience of the work of art and liturgy, and their respective joyful present, can thus be given ontological weight. To conclude, Schrijvers examines I. Verhacks critical review of Lacostes book. The author tries to show that the Barthian scheme of liturgy is not solely due to the lack of a philosophical elucidation of the liturgic ‘being there’, as Verhack argues, but also, and foremost, to the lack of relation between God and world. This will be the occasion to conceive of the religious person as protesting against the Absolute. Is not the non-experience of liturgy the consequence of an ontotheological conception of the desire of God, and is it possible to understand theologically the protest against and refusal of one’s own non-experience as an unredeemedness? (shrink)

Bespreking van enkele spraakmakende ideeën-romans geschreven tegen het einde van de 19e en begin van de 20e eeuw, o.a. van Dostojevski, Thomas Mann, Proust en Hermann Broch.