This chapter contains sections titled: Introduction Don't Laugh at “Slow” Sailing: Average Versus Instantaneous Motion Motion Relative to What? – Galilean Relativity But There are No Fixed Reference Frames – Special Relativity General Relativity – Can it Really Matter?

The use of energy from wind has a multi-faceted relationship to visibility. Between 1973 and 1991, various actors in the West German environmental movement made assertions about the visibility of renewable sources of power, but wind energy took on a particular prominence. In this article, the question of how different actors have used knowledge and the materiality of wind turbines for competing purposes is explored. Environmentalists attempted to create visible signs of a valid alternative (...) class='Hi'>energy future by tinkering with small, decentralized wind turbines, while the Federal Republic of Germany's Ministry of Research and established energy providers used the failure of the state-subsidized large-scale wind-energy project GROWIAN to criticize renewables and brand their application as misguided. In both cases, actors created new wind energy visibilities to convey their conflicting interests—pitting those advocating a new, environmentally friendly energy system against those who sought consolidation of the large-scale fossil-nuclear energy system. (shrink)

The income and careers that come with building wind turbines have become a lifeline for many factory towns and farming communities. Generating electricity from the wind puts increasingly cheap power on the grid, saving consumers billions a year. And it is one of the biggest, fastest, cheapest ways to reduce carbon pollution, reducing the threat of climate change. Yet as wind farms have rapidly spread to forty‐one states, their developers must make their case anew with each community (...) that hosts them. Facts matter, but so do empathy, honoring deep connections to neighbors and landscape, and developing mutual respect. Successful wind farm developers listen first for shared values and speak with inclusive language, to communicate with potential opponents across divides of misunderstanding and motivate local residents to adapt to and benefit from change. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus nurture" argument. (...) Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Response to Eva Alerby and Cecilia Ferm, “Learning Music: Embodied Experience in the Life-World”C. Victor FungThe authors' choice of using phenomenology as a foundation of their inquiry is appropriate and appealing. They have, to a great extent, achieved their goal to explain music learning from a life-world approach. Descriptions of absolute musicality and relativistic musicality in the opening paragraphs remind me of the good old "nature versus nurture" argument. (...) Do the authors intend to relate musicality to musical ability or aptitude as defined by psychologists? If musicality is "the ability to make something of one's own," does it mean that the authors have taken on a relativistic view and believe that musicality can be acquired?At the onset of the essay, musicality is described as emotional or cognitive phenomena. I would be interested to know what role a psychomotor phenomenon plays in musicality. The authors later describe "motor knowledge" in the context of Merleau-Ponty's "maximum grip." Does it mean that "motor knowledge" or "maximum grip" in music is outside the realm of musicality?I have attempted to follow the authors' logic in answering the question: What is learning of music? The authors postulate that "knowledge does not always, and not in any way automatically, become exactly the same as the learning situation aimed for" and that "the aim of music education is to produce music knowledge." These propositions lead me to believe that the learning of music occurs in experiencing all types of musical activities, regardless of the musician's level of proficiency. In all types of musical activities, including different performances of the same repertoire by the same performer, the musician would find new knowledge that is being produced in his/her body. Therefore, I agree with the authors in that "bodily experience is the foundation for learning."I would like to respond to the issue of whether music learning occurs within [End Page 206] or outside of the human being. I enjoy reading how the authors borrow Merleau-Ponty's analogy of the blind man and his stick. They put it so beautifully that "the piano becomes an extension of the pianist's body, and the pianist can 'feel' its limitation." This leads me to ponder if there could be further extensions beyond the physical piano. We know that pianists make the strings in the piano vibrate through a lever mechanism. These vibrations travel through the air and arrive at the audience's ears. Then the vibrating energies are transmitted as electrical energies in the audience's nerve cells. The audience in turn may behave differently after such a complex transmission of energies at a performance. My question is: Is there an end to the "extension" of a musician's body? If so, where should it end? There is no doubt that the pianist relates to the world and learns about the world through the piano. Could the pianist learn about the world through the vibrations that the piano strings generate, through the air, and through the audience's hearing mechanism, brain cells, and behaviors? Is this what the authors meant by "the human ego is boundaryless and cannot be localized, and the ego is immanent in the whole system"? Regardless of how far the "extension" goes, how do we know if an "extension" has occurred? How can we validate an "extension" of a musician's ego"?It seems to me that the authors' discussions have focused on the tactile extension of the body. If the body can be extended like the stick for the blind man, would the air surrounding the blind man, including its smell, temperature, humidity, wind, and sound, be his extension too? When this question is transferred to a musician, would the total context of the musical event be the musician's extension of the body too? By "total context," I mean the cultural context, the environment (smell, temperature,...), and the people in the musical event.We are certain that music learning takes place when experiences and knowledge are incorporated in the body. We still have not solved the problem of whether music learning occurs within or outside of the human being, because the boundary of the... (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

This paper is about a support information management system for a wind power producer having an energy storage system and participating in a day-ahead electricity market. Energy storage can play not only a leading role in mitigation of the effect of uncertainty faced by a WP producer, but also allow for conversion of wind energy into electric energy to be stored and then released at favourable hours. This storage provides capability for arbitrage, allowing an (...) increase on profit of a WP producer, but must be supported by a convenient problem formulation. The formulation proposed for the support information management system is based on an approach of stochasticity written as a mixed integer linear programming problem. WP and market prices are considered as stochastic processes represented by a set of scenarios. The charging/discharging of the ESS are considered dependent on scenarios of market prices and on scenarios of WP. The effectiveness of the proposed formulation is tested by comparison of case studies using data from the Iberian Electricity Market. The comparison is in favour of the proposed consideration of stochasticity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Violent Inheritance: Sexuality, Land, and Energy in Making the North American West by E. CramNathan StormerViolent Inheritance: Sexuality, Land, and Energy in Making the North American West. By E. Cram. Oakland: University of California Press, 2022. 292 pp. Cloth $85.00, paper $34.95. ISBN: 0520379470.E. Cram’s Violent Inheritance is an exceptional work that presents a distinctive synthesis of queer, decolonial, and mixed-method scholarship. The goal of the (...) book, Cram states, is to both “reimagine the place of racialized sexualities in contemporary conversations about environment, energy, and systems of violence” and “anchor these questions in contested memories of the North American West” (5). The book does just that, drawing from many contemporary streams of thought in rhetoric as well as the environmental and energy humanities to fashion a new and subtle analytic of infrastructures of feeling, which is supported by a range of conceptual innovations. For readers of this journal, Cram’s choice to ground theory quite literally in the land will be, I suspect, highly rewarding for those with interests crossing a wide range of topics: queer studies, violence, affect, Indigenous thought, sexuality and modernity, memory studies, rhetoric and materialism, ecological thought, ambience, regionalism. The breadth of scholarly dialogues that Cram harmonizes is simply impressive, reflecting the many years and the care they have devoted to this project.The book is composed of five chapters including a conceptual first chapter followed by four separate yet reinforcing studies. These are framed by a tidy introduction that prepares the reader admirably for the synergistic work to follow and a conclusion that stresses the bonds between the chapters without compromising the particularity of each study. In that regard, Violent Inheritance is both a single work guided by several cross-cutting ideas and questions and an anthology of sorts that prompts a series of discrete, rich conversations. The careful writing is evident in every paragraph, often presenting the reader with elegant, thought-provoking formulations [End Page 199] of deep onto-epistemological problems that never feel weighted down by the complexity of dwelling on “onto-epistemic” matters.The introduction sets out the question of the book in engaging fashion. Cram asks, in the first sentence, “What does it mean to route ‘sexuality’ through modernity’s relationship to energy?” They use nineteenth-century eugenic physician John Harvey Kellogg’s Rocky Mountain climatic therapeutics to exemplify how “climate and the environment” became crucial to “the production of theories of sexuality” (3). Cram proposes energy to be “perhaps the dominant relationship between humans and the environment” and points to the ways that “racial and sexual value” have been assigned to a broad range of practices of “revitalization and exhaustion,” such that “racial and sexual vitality converge in extractivism” (3, 5, 4). In this way, the “bodily vitality” of the “normative sexual subject” demands privileged access to land and the energy that can be taken from it, be it affective or petrochemical. The emergence of sexual modernity, Cram thus contends, is inextricably tied to the regime of energy extraction. Through selected cases, Cram follows “nonlinear traces of this regime’s enduring materiality and sedimentation: the ecological, energetic, and affective inheritance that I call ‘land lines’” (6). The term “land lines” refers to how “political and economic actions tether, or forge connections, between domains of sexuality and land use,” and “names the aggregation of layers of cultural sediment or the violent inheritance of any given place.... As method, to trace land lines asks in earnest how places of memory and memorialization mediate these relationships” (6,7, emphasis original). The choice of the North American West follows from Cram having grown up there and the particular land lines that bind them to its violent inheritance, as well as the West’s stature as a colonial reservoir of myth and abundant energy.The separate chapters are saturated with meticulous detail, studied reflection, and constant insight that reward slow reading, making a synoptic view misleading. Nevertheless, chapter 1 travels through the 1893 journal of author Owen Wister (who helped create the myth of the West) to map a rhetoric of reinvigorated, masculinized settler sexuality by way of access to the West and the healing energy... (shrink)

The affective sciences are essential to research regarding sustainable transition towards renewable energy. We focus on important questions that should be addressed by affective science in relation to the siting of large-scale renewable energy projects like wind and solar. Considering the recent acceleration of the transition, a more holistic understanding of negative and positive emotional responses to energy development will be essential. This is particularly important as the least controversial sites begin to dwindle in number. We (...) break this commentary down into four primary question categories for future research. These are the causal relationships between emotional elicitations and their sources, dual processing through cognitive and affective response, affect and its relationship with place, and how all of these elements change over time. (shrink)

This article is focused on analysing the present state of renewable electricity production and consumption coverage in Germany, concentrating on the intermittence of wind and solar energy production and considering the significance of the wind silence phenomenon. The development and promotion of renewable energy is a major goal set out by politicians of which one example is the German plan “Energiewende”. The author examines wind and solar energy complementarity and attempts assessing the possibility of (...) basing Germanys’ electricity production on renewable energy sources, without significant advancements in technology and changes in consumer behaviour. Using the analysis based on hourly data of consumption and production by source of electricity in Germany in 2016, the research addresses the issues of renewable energy source effectiveness, intermittence and points to the critical matter of periodical unavailability of wind and solar energy. (shrink)

Businesses and governments in postcolonial countries frame investments in wind energy as efforts to address climate change and sustainable development. However, when wind energy projects encroach on indigenous peoples’ lives and land, there is often a lack of recognition and participation of these peoples and an unequal distribution of cost and benefits of such projects toward them, which leads to opposition against wind energy projects and often triggers conflicts for justice. Worryingly, such conditions have (...) repeatedly resulted in the assassination of human rights defenders, which further inflames the conflict. Herein, I discuss these concepts based on a longitudinal study centered on a wind energy project in Oaxaca, Mexico, with the aim of exploring and understanding the conditions under which wind energy investments fail to respect current laws and norms, as well as the consequences of such negligence. My in-depth analysis of the actions of the government, businesses, and indigenous peoples revealed a phenomenon that is less discussed in environmental justice research: the gradual and continuous transformation of indigenous peoples’ norms and behaviors away from their traditional economic and cultural livelihoods. This phenomenon helps to extend the conceptual understanding of environmental justice with regard to social turbulence, which is defined as the unpredictable behavior of political and social systems in contexts in which existing laws, regulations, and norms regarding environmental justice are not observed. The concept of social turbulence of environmental justice helps to explain how indigenous peoples sacrifice their territories, norms, and traditions to a technical solution to climate change and sustainable development. (shrink)

Contemporary debates concerning a universal theory about the praxis of love in human society and culture can benefit greatly from the works of two twentieth‐century thinkers, the French paleontologist and religious writer Pierre Teilhard de Chardin and the Russian‐American sociologist Pitirim A. Sorokin. Although from very different personal and disciplinary backgrounds, they share amazingly similar views on the power of love as transformative energy for transcending the individual self and for creating radically new, collaborative, and cooperative ways of acting (...) that will transform whole societies, indeed the planet. Traditionally, ideas of love have been associated with religion, but these two thinkers advocate systematic scientific research on the production and application of “love‐energy” for the change of culture, social institutions, and human beings. The article is organized in five parts: (1) altruism, science and love: what is love energy? (2) Teilhard's understanding of the phenomenon of love; (3) Sorokin's approach to creative, altruistic love; (4) comparison of Teilhard's and Sorokin's ideas; and (5) performing works of love. As far as I am aware, this is the first article comparing the remarkable parallels as well as distinctive differences between Sorokin's and Teilhard's ideas on love as the highest form of human energy. (shrink)

The Canadian residential sector contributes approximately 80 megatons of GHGs to the environment yearly. With the ratification of Kyoto Protocol, Canada has committed to reduce its 1990 GHG emission levels by at least 5% between 2008 and 2012. To meet this target, Canada must evaluate and exploit all feasible means to reduce fossil fuel energy consumption and GHG emissions. Test-case Canadian houses were modeled in the building-energy simulation software ESP-r. Requisite housing stock data were extracted from Canada's residential (...) end-use energy surveys. Photovoltaic and wind-turbine energy systems were assessed for their contribution to electricity generation and GHG savings. Typical household electrical consumption versus renewable electricity generation was assessed to estimate the GHG reduction, cost saving in electricity, and the impact of these technologies on single detached houses. With the use of net-metering, 100% of electricity requirements can be met by these technologies in certain cases, resulting in significant reductions in GHG emissions. (shrink)

Social licence to operate (SLO) is the ongoing acceptance or approval for a development that is granted by the local community and other stakeholders. From the current media and political attention on Australian wind farms, it appears that many specific wind farms, or indeed the industry as a whole, may not hold an SLO with affected stakeholders. This research was undertaken to examine whether the SLO might be a useful framework to enhance engagement and increase societal understanding of (...) wind farms. Twenty-seven interviews across nine wind farms were conducted with stakeholders representing wind companies, local government authorities, local opposition, local support and turbine hosts. The interviews revealed a complexity of concerns that informed the stakeholders’ perspectives, including “game-changing” issues that may stand to significantly increase wind farm acceptance. The results are presented with practical steps towards the development of a preliminary working model of an SLO for Australian wind f.. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From the Dutch Novel Messire (2008) by Els LaunspachEls LaunspachTranslated by Laura Vroomen (bio)The rooftops have just appeared out of the November night. First the white frames become visible, then the roof tiles, the walls and the gaping holes of the windows. A cluster of ravens alights on the far side of the tower. Three birds think better of it and fly from the eaves to the oak tree. (...) They are all awaiting the new day, as I am. The last remaining leaves on the trees—at night their vague contours can fool you into thinking it is summer—are shrivelled and yellow, the colour of the torches that are now being lit behind some castle windows. The mist presses against the walls of the watch house. Slowly, the dark-grey light turns a cooler shade.’How could he convey his experiences with a lump of charcoal? He threw it down on the table. His fingers had turned black and the characters, conceived with such conviction, were crude, with smudges everywhere. Yet he picked up his makeshift writing tool once more, this time to record two facts.‘I have lost my books. Cromwell sent Rich to take them away.’His books in Rich’s hands, his solace disappearing from view behind that pleated cloak. Naturally, their contents were all in his head. But his books were his friends; fellow travellers, silent witnesses, comrades. All gone, even God’s [End Page 249] word. Only a single sheet of paper remained, but what he wanted to tell his daughter Margaret, how the day began, refused to take shape.‘It’s funny,’ he had wanted to write. ‘I used to say that I’d wanted to be a monk, remember? Now I’ve got what I wanted. Peace and quiet. Few sounds penetrate my tower, save for the croaking of the ravens and the occasional cooing dove. I can meditate and pray and ponder to my heart’s content. The cries of the rowers and the seamen seem very distant, somewhere down below. No interruptions. At times the wind rattles the window and howls through the slit in the wall. I can hear John-a-Wood moving his stool or dropping a cup on the floor—wood and tin on stone. I have found my place in the world, Margaret. I have become pure spirit, just as I had wished. Still, I’m plagued by doubt and bad dreams.’ No, there was no need for them to know that. His family was worried enough as it was. The more steadfast he became, the more they worried. Humour no longer helped either. His eldest child’s letters pierced right through it.So now everything was laid bare. No more digression or embellishment; charcoal did not allow it. He had been reduced to straight talking, to facts. His days had become pure routine. Rise at six and pray. At times it felt as if he were in his own chapel at home, until he heard the rattling of John’s keys. The door would open: barley gruel and a jug of fresh water. The first and only smile of the day, unless he had a visitor. Then he was alone again to study and think.Now that his books were gone, there was every opportunity for thinking. Having had visitors just the week before, he could not expect any for a while. At the time he had not been able to summon the energy to listen and respond; his neck was stiff, turning his head painful. Howard had been there, asking question after question in an attempt to offer him a way out, when all he wanted was to enjoy the fire. Firewood and visitors went hand in hand, unbeknownst to Norfolk. The prisoner wanted to be alone and enjoy the fire. He wanted to close his eyes and not have to turn his head, to lose himself completely in the heat.So now he did not study after breakfast, but wrote a letter instead. Writing, debate and analysis were his reason for living, so he felt compelled to keep working, even here, even with a useless lump of charcoal. But prayer... (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)

The greatest intensity of “live” life is captured from as close as possible in order to be borne as far as possible away. Jacques Derrida. Echographies of Television . Rainer Ganahl has made a study of studying. As part of his extensive autobiographical art practice, he documents and presents many of the ambitious educational activities he undertakes. For example, he has been videotaping hundreds of hours of solitary study that show him struggling to learn Chinese, Arabic and a host of (...) other languages. The stacked boxes of tapes are then presented like minimalist monoliths, dense archives of effort. About fifteen years ago, Ganahl began photographing the lectures that he attends. At the time, he hadn’t seen anyone else doing it, so besides his spare selection of images of the speaker and the audience, much of the time the lectures would just pass into memory, undocumented, or recorded in writing alone. Since then, he has felt the transition to digital cause a significant shift in his process. At the same time, he has seen the habit become ubiquitous as others photograph, record, and videotape the lectures all around him. In keeping with the theme of this inaugural issue of continent. , can we propose each small grouping of photographs that result an isthmus stretching between two disparate bodies of mind? The first being the body of the lecture as spelled out in the title of each work – the experience of the event in all its constituent parts. The second is the body of the recipient, the listener, in this case an artist, who plays a minimal role just beyond the prescripted behavior of sitting and listening. He uses a gesture of documentation to draw a line between himself and the event, creating an artwork. Františka + Tim Gilman: As we mentioned before, the theme of the magazine for this issue is "isthmus." It seems like a very good way into your work, and it leads us to ask what connection you see between your photographs of the lecture and the lecture itself? Rainer Ganahl: The relationship is of course a concrete, pictorial one, or if you want a mimetic one but also an abstract one because the photographs carry the title of the lecture, the names of the lecturers, the site, the institution and the time of the lecture. Photos are fixed moments of time and can reproduce images displayed and reproduce visuals presented at a moment but they don’t come with time based recordings that video or sound takes are offering. What remains of a lecture is usually just the memory, some notes and all the announcements of it. In my case I end up with a visual product I declare as my artwork. It might not differ from any snapshot taken by any other student or member of the audience but I do this in a semi-systematic way with certain rules and procedures I have set up. While I am at a lecture I am mainly focusing on the lecture itself. Last night I went to one of Slavoj Žižek which demanded quite some concentration. I even was asking him a question at the end. I took photos as well but still didn’t lose track of the lecture. I didn’t walk around, I was not preoccupied by where I was sitting and what light I was having like some of the other photographing and filming people in the room who came and left, moved around and tried to capture him from this and that angle, from close and far. I just sat there and concentrated on the lecture and yet managed to take about 30 or so images of him, the public around me and of the film clips he presented. Once the lecture is over the story changes: it all becomes a question of the images, their selection, their visual qualities, their labeling and archiving. The function of the images also change: not only do they stand for an intellectual event in a row of lectures that become part of my intellectual history within many possible such histories but they also have to function as art, something not everybody else with images of lecturers demands of their images. This is my specific claim as an artist to impose them as artworks. And as with all artistic propositions the offer can be accepted or rejected. I basically spend my life trying to do exactly that: making what I declare as art, offering something to anybody interested in it as my art, an offer that is not and will never be accepted as such by all people. F+T: What are your criteria for selection, i.e. how do you choose which lectures to photograph, by lecturer, by topic, or do you photograph any and every lecture you can? RG: As everything in my life, I go by my interest which is the result of many factors. If I am aware of a lecturer, read his books or appreciate his works my interest of attending his much higher than if I am not aware of it. I usually don’t go to lecturers simply based on their subjects—something that can happen of course, if the subject, the title of the lecture is promising or at the heart of my interest. Sometimes I also wait for years to get a change to photograph certain people but I do that in a very low-level “keep your ears up” mentality and not in a systematic scanning of all channels and possibilities. I do not go into philosophy departments and photograph everybody teaching there. I go with the flow—and unfortunately a great deal of great talks I also miss because I hear too late of them. Often, I also stumble into them by traveling, by getting emails from friends and by simply being in the right spot at the right time. Somehow you could look at my lecture par cours as some kind of loose intellectual flâneurism . If you know of interesting lectures and events, please, let me know. F+T: Is your selection of images more of a production or post-production method? That is, do you take a lot of photos and select only a few images from each lecture, or do you take them very selectively? Do you have a particular methodology for the selection of images? RG: This all changed a bit with the arrival of digital photography. In the beginning I had to pay a lot of money for film developing. Hence, I was taking either one role - 36 images - or half a role - 13 images - depending on who talked and whether they projected images. With the unlimited capacity of digital imaging I easily end up between 30 and 150 images of one event still depending of whether images are presented or not. In the first years of that project when I wasn’t fully aware yet of what I was doing, I printed at least 2 images of any lecture and sometimes three or even four, a choice that was also constrained by costs. But again, since I have a web site and since images can easily be selected and presented on my web site without generating remarkable costs I have now more and more pain to reduce them to less than ten or eight images for an event. Now, before I have them printed which really is expensive, I can present them already as artwork on my web site without any immediate costs. Thus the economic factor is at the end of the chain which enables me to be more ‘generous’ and include more images. Over the last years I have been mostly selecting at least four photographs for a lecture unit but recently also as many as ten. But so far only one set above four images has been actually printed and sold. What might sound even more shocking is the likely fact that if a curator or a collector demands me to reduce the number of images due to costs, I might compromise at this current stage if the images have not been yet printed or published outside my own web site. This means that to a certain degree any selection that has only seen publication on my web site and not yet been produced runs the risk to change in numbers of images included. Needless to say, I am the last one that finally makes a decision and I do honor all given earlier decision if those were final. F+T: How do you feel the act of photographing the lecture affects your reception of the contents of the lecture? And your recollection afterwards, do you remember the lecture more having photographed it, or just having sat and listened? RG: As mentioned above, I get very little distraction from photographing since I can multitask well and do not obsess about the quality of the image: I photograph from where I am and listen with my ears and not my eyes. I am not sure whether the images serve as a mnemonic devise to the content of the lecture if there are no images involved but they at least remind me that the lecture existed, the title of the lecture and the name of the people and institutions involved. The titles of the hundreds of lectures I took during the past 15 years can also be read as an essay of theoretical life in that period. This will be come more and more visible as time passes by. These images age much better than I do. F+T: You mentioned at the outset of our discussions that you started this practice some time ago and have seen the practice of photographing lecturers become more commonplace. Why do you think that this shift has taken place? RG: The answer is very simple. Photographing is now free of any charge and hence omnipresent. You buy a phone or any other personal digital assistant and it has a camera integrated in it whether you want it or not. There is no need to develop images and there is no hassle to keep images, to distribute images, to organize images and save them. It is all virtual, not creating any costs and doesn’t require any efforts. You don’t spend twenty dollars for photo-developing anymore, you don’t need to walk anymore to your pharmacy or your photo shop to drop off and return to pick up and pay. You don’t need to go to the post office to send somebody a picture. You have a program like Photoshop already built into your camera. Photographing is now a thing for everybody—with functioning cameras made for two year olds. It is technically now nearly impossible to make bad images. The image quality is virtually guaranteed by cheap, high performing, mini-computers packed into miniscule cameras. With all these technological changes, we are undergoing now a cultural paradigm shift that includes permanent recording (not only still image taking) of everything. I wonder even whether babies are just born to be photographed—at least a process where the first photograph is right there. What is interesting now, is how the law is trying to catch up. I am experiencing and expecting more restrictions on photographing and recording—something already in place in many museums and in certain galleries—as the recording devices become more and more invisible and undetectable. It is an interesting cat and mouse play and will end up with some of us that are photographing the world around us in court. The world has become very transparent and everybody is contributing to it with social networking technologies—like twitter and Facebook—that are designed to monitor and communicate every step we make in our lives. F+T: Why did you start the practice? As a way to remember, or to capture the experience of the lecture and the environment there? RG: A couple of years earlier I started to photograph my own reading seminars as part of my art work with results that surprised me positively. I really liked these images of students and people discussing heavy non-fiction with me. The reading seminars justified this kind of pictorialism. Then in 1995 I had the chance to attend an entire seminar by Edward Said entitled “The Representation of Intellectuals at Columbia University,” which really gave me the idea to start this series. Why not also photograph these lectures I visit all the time since this really is a way of representing intellectuals? F+T: The constellation of images and the title seem like a kind of portrait, do you agree? If so, is it a portrait of the speaker, of yourself, or of the event? RG: Well, to follow up on the previous question the lectures are more than just portraits of lecturers since I include not only the speakers but also the audience, an audience that is not named or specifically highlighted as is the speaker. So if we stick with the metaphor of the portrait we would have to extend it also to the environment, the class room, the lecture hall, the arrangements of seats or benches, tables, lecture stands and other stuff typically seen on my images. Often the walls are decorated or even tagged with graffiti or posters and other stuff. There is a big difference between a small seminar room at the English Department of Columbia University, full with books and cabinets and a lecture room at a Paris or Frankfurt university that accommodates 50 to 150 people. We should, maybe, also distinguish between lectures that are one time events—mostly open to the public, free of charge or paid—and events that are weekly, closed to the public and held mostly in universities that can cost fortunes or be paid by the State as it is still predominantly the case in continental Europe. All this, of course, is not necessarily announced in the title of the lecture and is subject to information that isn’t visible on the images. To a certain degree we see also portraits of a general privilege when it comes to the public of certain institutions that are highly selective and extremely costly without forgetting that most of the lectures are dealing with theory, art, philosophy and other highbrow subjects. In general, I would say we see very little if we don’t know already what’s going on, who the lecturer, the institutions, the context are in which we subsequently can zoom into variants like sexual, racial, or age-related make-up without ignoring clothing fashions, hair styling, body mannerisms, gadgets and stuff. F+T: Do you see a relation between this body of work and your other work, for example your language studies? RG: Everything I do is “unfortunately” related. I say unfortunately because this makes my work not so easy to grasp. The relationship to the language studies is relatively clear since both are originally grounded in the domain of education and knowledge production. Nearly all my work comes across that nexus where knowledge and power are addressed. I was at one point wondering what the relationship was to some of my earlier indexical work where I was happy alone with footnotes from books painted on the walls: I came to understand that both are just different manifestations of knowledge and information. F+T: Do you foresee continuing the series indefinitely, or is there an end to it? RG: I think that I will continue this series indefinitely or to be more precise, as long as I go listen to lectures and want to learn something which brings me to your previous question: What do the reading seminars, language studies, historical research and lecture hopping have in common: I learn something. Further Reading Rainer Ganahl’s website William Kaizen. “ Vulgar Politics .” art&education . April 2009. Web. Smith, Roberta. “ Rainer Ganahl: ‘Language of Emigration & Pictures of Emigration .’” New York Times April 23 2010. Web. (shrink)

According to the free energy principle all living systems aim to minimise free energy in their sensory exchanges with the environment. Processes of free energy minimisation are thus ubiquitous in the biological world. Indeed it has been argued that even plants engage in free energy minimisation. Not all living things however feel alive. How then did the feeling of being alive get started? In line with the arguments of the phenomenologists, I will claim that every (...) feeling must be felt by someone. It must have mineness built into it if it is to feel a particular way. The question I take up in this paper asks how mineness might have arisen out of processes of free energy minimisation, given that many systems that keep themselves alive lack mineness. The hypothesis I develop in this paper is that the life of an organism can be seen as an inferential process. Every living system embodies a probability distribution conditioned on a model of the sensory, physiological, and morphological states that are highly probably given the life it leads and the niche it inhabits. I argue for an ecological and enactive interpretation of free energy. I show how once the life of an organism reaches a certain level of complexity mineness emerges as an intrinsic part of the process of life itself. (shrink)

In this paper we address the problem of short-term electric energy prediction using a time series forecasting approach applied to data generated by a Paraguayan electricity distribution provider. The dataset used in this work contains data collected over a three-year period. This is the first time that these data have been used; therefore, a preprocessing phase of the data was also performed. In particular, we propose a comparative study of various machine learning and statistical strategies with the objective of (...) predicting the electric energy consumption for a given prediction horizon, in our case seven days, using historical data. In this paper we have tested the effectiveness of the techniques with different historical window sizes. Specifically, we considered two ensemble strategies, a neural network, a deep learning technique and linear regression. Moreover, in this study, we tested whether the inclusion of meteorological data can help achieve better predictions. In particular, we considered data regarding temperature, humidity, wind speed and atmospheric pressure registered during the three-year period of data collection. The results show that, in general, the deep learning approach obtains the best results and that such results are obtained when meteorological data are also considered. Moreover, when meteorological data is used, a smaller historical window size is required to obtain precise predictions. (shrink)

This article explores Southern Saami reindeer herders’ experiences and contestations over state consultation and corporate dialogue during a conflict over the Øyfjellet wind energy project in Norway. Informed by a committed research approach and juxtaposition with findings from Indigenous peoples' territorial struggles in Latin-America, the article provides critical perspectives on governance practices in a Nordic-Saami green colonial context. The research draws on ethnography from a consultation meeting between Jillen Njaarke, the impacted reindeer herding community, and state authorities, as (...) well as diverse written material. The study suggests that the state- and corporate-led “dialogues” displaced the root cause of the conflict, revealed epistemic miscommunication, and perpetuated relations of domination which limited emancipatory effects for Jillen Njaarke. The premises and discourses underpinning the “dialogues” further reproduced racist notions which devalue ancestral Saami reindeer herding knowledges, practices, and landscape relations. These findings challenge dialogue as prescription of good governance and conflict resolution in a context where democracy and compliance with Indigenous peoples’ rights are perceived as high. (shrink)

To reduce CO2 emissions requires greater reliance on renewable sources of energy for generating electricity, especially adoption of large-scale wind generation. This study investigates possible approaches and/or policies that increase efficient use of renewable energy and reduce greenhouse gas emissions in a cost effective manner. We develop a constrained optimization model of two electricity systems to identify the impact of increasing wind generating capacity and examine how carbon prices (taxes, allowances) impact the penetration of wind (...) power into the electricity grids. Rather than employ engineering cost functions, marginal cost functions are estimated using hourly offer data from the Alberta Electric System Operator. We determine optimal removal of coal generating facilities as greater levels of wind capacity are installed in an integrated Alberta-BC electricity system; and examine the economic costs and institutional incentives that affect the ability to store intermittent wind-generated power in BC’s hydro reservoirs during low demand. The marginal shadow price of storage is zero, whichindicates that there is more than enough water behind the dams given Alberta’s relatively small demand for storage and limited intertie transmission capacity. (shrink)

This paper is an exploration of a current environmental issue dividing two industries in the UK. The issue is offshore wind farms, and the industries are commercial fishing and wind energy. The controversy over offshore wind farms highlights three core issues of conflict: the adequacy of stakeholder consultation processes; the right to compensation for loss of livelihood; and the lack of adequate data. We find that the characterisations that developers, regulators, and fishers hold of each other (...) critically inform their positions on these issues. We examine the weak bargaining position of fishers, and the 'power game' that is played out between them and developers. We conclude that offshore wind farm development would be better managed if stakeholder consultation was more extensive, compensation claims were standardised, and scientific data were more readily available, but that in the meantime, fishers could improve their bargaining power by mobilising potential allies. (shrink)

Those who endorse the free energy principle as a theory of cognition are committed to three propositions that are jointly incompatible but which will cohere if one of them is denied. The first of these is that the free energy principle gives us a self-sufficient explanation of what all cognitive systems consist in: a specific computational architecture. The second is that all adaptive behavior is driven by the free energy principle and the process of model-based inference it (...) entails. The third is that cognition is not ubiquitous. These three incompatible propositions together comprise a problem of scope for the free energy principle as a theory of cognition. The prospects for rejecting each of these propositions are considered. To drop either the first or the second would limit the explanatory success of the principle. However, there are plausible ways to bite the bullet on denial of the third proposition. In particular, I argue that it is possible f... (shrink)

Despite the fact that they are in most respects environmentally benign, electricity-generating wind turbines frequently encounter a great deal of resistance. Much of this resistance is aesthetic in character; wind turbines somehow do not "fit" in the landscape. On one (classical) view, landscapes are beautiful to the extent that they are "scenic," well-balanced compositions. But wind turbines introduce a discordant note, they are out of "scale." On another (ecological) view, landscapes are beautiful if their various elements form (...) a stable and integrated organic whole. But wind turbines are difficult to integrate into the biotic community; at least in certain respects, they are like "weeds." Moreover, there is a reason why the 100-meter, three bladed wind turbines now favored by the industry cannot very well be accommodated to any landscape view. They are, as Albert Borgmann would put it, characteristic of contemporary technology, distanced "devices" for the production of a commodity rather than "things" with which one can engage. It follows that the only way in which the aesthetic resistance to wind turbines can be overcome is to make them more "thing-like." One such "thing-like" turbine is discussed. (shrink)

Despite the fact that they are in most respects environmentally benign, electricity-generating wind turbines frequently encounter a great deal of resistance. Much of this resistance is aesthetic in character; wind turbines somehow do not "fit" in the landscape. On one view, landscapes are beautiful to the extent that they are "scenic," well-balanced compositions. But wind turbines introduce a discordant note, they are out of "scale." On another view, landscapes are beautiful if their various elements form a stable (...) and integrated organic whole. But wind turbines are difficult to integrate into the biotic community; at least in certain respects, they are like "weeds." Moreover, there is a reason why the 100-meter, three bladed wind turbines now favored by the industry cannot very well be accommodated to any landscape view. They are, as Albert Borgmann would put it, characteristic of contemporary technology, distanced "devices" for the production of a commodity rather than "things" with which one can engage. It follows that the only way in which the aesthetic resistance to wind turbines can be overcome is to make them more "thing-like." One such "thing-like" turbine is discussed. (shrink)

The Earth agglomerates and heats. Convection cells within the planetary interior expedite the cooling process. Volcanoes evolve steam, carbon dioxide, sulfur dioxide and pyrophosphate. An acidulous Hadean ocean condenses from the carbon dioxide atmosphere. Dusts and stratospheric sulfurous smogs absorb a proportion of the Sun’s rays. The cooled ocean leaks into the stressed crust and also convects. High temperature acid springs, coupled to magmatic plumes and spreading centers, emit iron, manganese, zinc, cobalt and nickel ions to the ocean. Away from (...) the spreading centers cooler alkaline spring waters emanate from the ocean floor. These bear hydrogen, formate, ammonia, hydrosulfide and minor methane thiol. The thermal potential begins to be dissipated but the chemical potential is dammed. The exhaling alkaline solutions are frustrated in their further attempt to mix thoroughly with their oceanic source by the spontaneous precipitation of biomorphic barriers of colloidal iron compounds and other minerals. It is here we surmise that organic molecules are synthesized, filtered, concentrated and adsorbed, while acetate and methane—separate products of the precursor to the reductive acetyl-coenzyme-A pathway—are exhaled as waste. Reactions in mineral compartments produce acetate, amino acids, and the components of nucleosides. Short peptides, condensed from the simple amino acids, sequester ‘ready-made’ iron sulfide clusters to form protoferredoxins, and also bind phosphates. Nucleotides are assembled from amino acids, simple phosphates carbon dioxide and ribose phosphate upon nanocrystalline mineral surfaces. The side chains of particular amino acids register to fitting nucleotide triplet clefts. Keyed in, the amino acids are polymerized, through acid–base catalysis, to alpha chains. Peptides, the tenuous outer-most filaments of the nanocrysts, continually peel away from bound RNA. The polymers are concentrated at cooler regions of the mineral compartments through thermophoresis. RNA is reproduced through a convective polymerase chain reaction operating between 40 and 100°C. The coded peptides produce true ferredoxins, the ubiquitous proteins with the longest evolutionary pedigree. They take over the role of catalyst and electron transfer agent from the iron sulfides. Other iron–nickel sulfide clusters, sequestered now by cysteine residues as CO-dehydrogenase and acetyl-coenzyme-A synthase, promote further chemosynthesis and support the hatchery—the electrochemical reactor—from which they sprang. Reactions and interactions fall into step as further pathways are negotiated. This hydrothermal circuitry offers a continuous supply of material and chemical energy, as well as electricity and proticity at a potential appropriate for the onset of life in the dark, a rapidly emerging kinetic structure born to persist, evolve and generate entropy while the sun shines. (shrink)

In association with the development of intermittent renewable energy generation, dynamic multiobjective dispatch faces more challenges for power system operation due to significant REG uncertainty. To tackle the problems, a day-ahead, optimal dispatch problem incorporating energy storage is formulated and solved based on a robust multiobjective optimization method. In the proposed model, dynamic multistage ES and generator dispatch patterns are optimized to reduce the cost and emissions. Specifically, strong constraints of the charging/discharging behaviors of the ES in the (...) space-time domain are considered to prolong its lifetime. Additionally, an adaptive robust model based on minimax multiobjective optimization is formulated to find optimal dispatch solutions adapted to uncertain REG changes. Moreover, an effective optimization algorithm, namely, the hybrid multiobjective Particle Swarm Optimization and Teaching Learning Based Optimization, is employed to seek an optimal Pareto front of the proposed dispatch model. This approach has been tested on power system integrated with wind power and ES. Numerical results reveal that the robust multiobjective dispatch model successfully meets the demands of obtaining solutions when wind power uncertainty is considered. Meanwhile, the comparison results demonstrate the competitive performance of the PSO-TLBO method in solving the proposed dispatch problems. (shrink)

This paper is an exploration of a current environmental issue dividing two industries in the UK. The issue is offshore wind farms, and the industries are commercial fishing and wind energy. The controversy over offshore wind farms highlights three core issues of conflict: the adequacy of stakeholder consultation processes; the right to compensation for loss of livelihood; and the lack of adequate data. We find that the characterisations that developers, regulators, and fishers hold of each other (...) critically inform their positions on these issues. We examine the weak bargaining position of fishers, and the ‘power game’ that is played out between them and developers. We conclude that offshore wind farm development would be better managed if stakeholder consultation was more extensive, compensation claims were standardised, and scientific data were more readily available, but that in the meantime, fishers could improve their bargaining power by mobilising potential allies. (shrink)

The harmful consequences of fossil fuels use has resulted in the promotion of clean and renewable energies. During the past decades, green technologies have experienced a strong development, paying especial attention to wind energy, that covers a significant share of the electric energy demand. In this context, the main efforts are focused on the optimization of wind generator facilities, not only in the mechanic design but also in the energy management. Then, the present work deals (...) with the prediction of the energy generated in a small wind turbine placed in a bioclimatic house located on the north west region of Spain. This includes an analysis of the characteristics of the atmospheric variables registered during the turbine operation for a period of one year and an exploratory examination of a range of regression techniques in order to assess the suitability of using the registered information to predict the installation’s power generation levels on the short term. The study detailed in this work proves that this objective is an attainable one with a good degree of accuracy. (shrink)

In this study, a hybrid model based on intelligent techniques is developed to predict the active power generated in a bioclimatic house by a low power wind turbine. Contrary to other researches that predict the generated power taking into account the speed and the direction of the wind, the model developed in this paper only uses the speed of the wind, measured mainly in a weather station from the government meteorological agency (MeteoGalicia). The wind speed is (...) measured at different heights, against the usual measurements in others researches, which uses the wind speed and the direction measured in a weather station on the wind turbine nacelle. The prediction is performed 30 minutes ahead, what ensures that the Building Management System knows the energy generated by the low power wind turbine 30 minutes before, and it can adapt the consumption of different equipment in the house to optimize the power use. The main objective is to allow the Building Management System to optimize the uses of energy, taking into account the predicted amount of energy that will be produced and the energy consumed in the house. The developed model uses a hybrid topology with four clusters to improve the prediction, achieving an error lower than 6.5% for Mean Absolute Error measured in a final test. To perform this test, part of the original dataset was isolated from the beginning of the training process to check the model with a dataset that is not used before, simulating the model as it is receiving new data. (shrink)

Bayesian methods are ubiquitous in contemporary observational cosmology. They enter into three main tasks: cross-checking datasets for consistency; fixing constraints on cosmological parameters; and model selection. This article explores some epistemic limits of using Bayesian methods. The first limit concerns the degree of informativeness of the Bayesian priors and an ensuing methodological tension between task and task. The second limit concerns the choice of wide flat priors and related tension between parameter estimation and model selection. The Dark Energy (...) Survey and its recent Year 1 results illustrate both these limits concerning the use of Bayesianism. (shrink)

Traveler, come with us! Do not be afraid. You will see sublime and melancholy, gay and beautiful scenes. Poet! Down there you will find poetic themes worthy of your most inspired verses. Artist! For you there are pictures of admirable freshness, painted by the hand of God. Writer! There you will encounter legends not yet written, legends of love and hate, of gratitude and vengeance, of hypocrisy and abnegation, of noble virtues and repugnant crimes; legends of fragrant romanticism and rich (...) in truth. Let us go there, plowing the dark and agitated waves of the restless Atlantic, through the islands of the Antilles, to the shores of Anáhuac.In the strictest sense, the Occident, (that prestigious union of nations, ideologies of progress, and export and import companies) discovered Mexico in the 19th century. Only at the end of Spanish domination—that never understood that “there are various kinds of excellence”—did other countries and Mexico itself begin to learn of the scope of the Conquest and regions affected by it, partially replacing Spanish mythology with another, more varied but equally remote. The greatness of the ancient Indians and their happy age was praised, while the living natives were reviled; the idealization of the pre-Columbian, which had been suspended by priests and encomenderos, was continued (Hernández wrote in 1577, “In this new world signs of avarice had never penetrated, nor had ambition been born until our compatriots arrived, carried by ships and the wind”); the possibilities of the new country were greedily examined; scornful notes were taken on the successive and simultaneous failures in the attempt to create a republic; the vices and virtues of those who were suddenly free were enumerated; a climate favorable to invasions and the amputation of territories was created; customs were observed with joy or alarm. (shrink)

The bioclimatic architecture is still fascinating to all of us. The lack of energy that the world is facing nowadays is forcing architects and engineers to implement smart solutions benefiting at the maximum from nature itself without considering the primary sources of energy that the world is actually using. Bioclimatic design has the roots in history, despite the fact that little attention has been paid to it throughout history. It is important to understand how natural systems operates, creating (...) closed or semi-closed systems that mirror the ecological systems on Earth. The components of bioclimatic design deal mostly with: climate type and requirements; adaptive thermal comfort; vernacular and contextual solutions; tools and assessment methods; microclimate; sun path; wind; rain; passive and active systems and responsive forms. The aim of the bioclimatic design is to improve the natural environment through the utilization of clean energy and renewable energy system; to reduce the need for energy for heating purposes; and to reduce the energy for cooling proposes, air conditioning and lighting. Furthermore, bioclimatic design involves changes in regulation, improves the house comfort, and also improves urban quality of life. Bioclimatic buildings also include the use of building elements such as walls, windows, roofs, and floors, in order to collect, store, and distribute solar thermal energy and to prevent overheating. The aim is to manage the energy flows providing comfortable conditions during the entire year and the entire day. Minimization of thermal losses and utilization of climatic conditions (climate; microclimate, sunrise) are other important issues to consider. According to many studies, the best orientation for a building in order to maximize the heat gain during winter is east–west and the primary façade should face south. Sustainability is mostly an outcome, rather than a goal or a process. The aim of all designers is to reduce the ecological footprints and to improve the quality of life. The energy sustainability and the use of natural resources must be an integral part of a sustainable development. Nowadays, there are softwares that are developed in order to carry out environmental assessment tools and standards, in order to draw conclusions about internal thermal comfort; uncomfortable times in the building during the entire year; the need for shading devices and their dimensions; energy use, energy cost, etc. Simulations are essential in the design process. Examples chosen as case studies participate to have a better insight into the overall approach of the bioclimatic design. Applying the principles of bioclimatic design remains still a challenge in redefining the perfect bioclimatic house. (shrink)

In recent years, a growing number of small-to-medium-enterprises are embracing wind turbine projects not only as part of their cost reduction strategy but also to actively play their part in the global fight against climate change. However, it would appear there are currently limited empirical studies carried out in this emerging industry. This case study analyses the cost effectiveness of one such wind turbine initiative by a company in the Republic of Ireland, who invested in a 300 kW (...) embedded wind turbine project at the end of 2013. The research methodology which is primarily a case study analysis included comparing historical electricity utility bills which allowed the 2013 quantity of electrical energy units imported, i.e. the year before the turbine was installed to be compared with the 2014 value, i.e. the year after the turbine was installed. Numerous site visits were undertaken over a four-year period, during which electric meter readings were recorded and stored. The findings of this piece of research indicate that the installation of the embedded wind turbine had minimal positive effect on the annual electricity costs for the company. Indeed the turbine appears to have significant negative effects such as a need for an increased maximum import capacity and also it appeared to contribute to a deteriorating utility power factor. While the aesthetic nature of the on-site turbine seemed to create a positive image of the company, it would appear that caution should be exercised when business owners select alternative energy providers who claim to be experts in the energy field but may have limited knowledge in this area of wind energy, which as of yet has minimal robust research into all aspects of its benefits/attributes. (shrink)

Wind turbine noise is annoying and has been linked to increased levels of psychological distress, stress, difficulty falling asleep, and sleep interruption. For these reasons, there is a need for competently designed noise standards to safeguard community health and well-being. The authors identify key considerations for the development of wind turbine noise standards, which emphasize a more social and humanistic approach to the assessment of new energy technologies in society.

There exist overwhelming – and morally compelling – reasons for shifting to renewable energy (RE), because only that will enable us to timely mitigate dangerous global warming. In addition, several other morally weighty reasons speak in favor of the shift: considerable public health benefits, broader environmental benefits, the potential for sustainable and equitable economic development and equitable energy access, and, finally, long-term energy security. Furthermore, it appears that the transition to RE is economically, technologically, and politically feasible (...) at this point in time. However, there are different possible pathways towards that goal, all of which involve tough choices. Some of these concern different ways of living: Do we have to make a choice between being sustainable and maintaining our current living standard? And if so, how can we balance the value of high living standards against that of a sustainable energy regime? In this chapter, I will not conduct a comprehensive analysis of all available renewable energy technologies, but rather provide a number of examples of tough choices entailed by solar, wind and hydropower. I will also attempt to rebut some of the common misconceptions regarding RE technologies. (shrink)

Internationally, there are reports of adverse health effects (AHE) in the environs of industrial wind turbines (IWT). There was multidisciplinary confirmation of the key characteristics of the AHE at the first international symposium on AHE/iwt. The symptoms being reported are consistent internationally and are characterized by crossover findings or a predictable appearance of signs and symptoms present with exposure to IWT sound energy and amelioration when the exposure ceases. There is also a revealed preference of victims to seek (...) restoration away from their homes. This article identifies the need to create a case definition to establish a clinical diagnosis. A case definition is proposed that identifies the sine qua non diagnostic criteria for a diagnosis of adverse health effects in the environs of industrial wind turbines. Possible, probable, and confirmed diagnoses are detailed. The goal is to foster the adoption of a common case definition that will facilitate future research efforts. (shrink)

The acquisition of a nuclear power reactor from the North American company Westinghouse in 1964 not only brought atomic practices and knowledge to Spain but also introduced new methods of industrial organization and management, as well as regulations created by organizations such as the US Atomic Energy Commission and the International Atomic Energy Agency. This article analyzes the history of the knowledge, regulations and experimental practices relating to radiation safety and protection that traveled with this reactor to an (...) industrial space: the Zorita nuclear power plant. Within this space, the appropriation, use, and coproduction of knowledge and practices were conditioned by political, economic, industrial and social factors, and by the engineers, researchers and other professionals who contributed expert knowledge. Material held in the Tecnatom Historical Archive—the engineering company that coordinated construction of the plant—is the main source for this work, which delves into the history of knowledge and atomic technologies and adds to the historiography of radiological protection in Spain. (shrink)

A clean energy future is both plausible and in the best interests of the country. The Upper Midwest, acting in concert with appropriate policy changes at the national level, could play a pivotal role in helping the nation move in that direction. As the past century’s embrace of centralized power is beginning to weaken, a variety of policy drivers, including concerns about energy system capacity and reliability, the improvement of public health by reducing pollution, the enhancement of national (...) security by decreased reliance on nuclear power, and the need to curtail greenhouse gas emissions, are beginning to make clear the outlines of this energy transition. The proposals offered by the Environmental Lawand Policy Center and Minnesotans for an Energy-Efficient Economy rely on proven, economical, and environmentally sustainable technology options. An aggressive development plan featuring efficiency, wind, and other renewable resources will be a significant first step in solving the climate change problem. (shrink)

Although China’s wind industry has made great progress in recent years, the wind abandonment phenomenon caused by the unbalanced development of regional wind power is still prominent. It is particularly important for the scientific development of wind power to accurately measure the utilization efficiency of wind power and understand its regional differences in China. This study establishes the improved super-efficiency slack-based measure model and long short-term memory network models, systematically and comprehensively measures and predicts the (...) wind power utilization efficiency of 30 regions in China from 2013 to 2020, and explores regional differences in wind power utilization efficiency. Our results show the following: China’s overall wind power utilization efficiency is relatively low but has been on a steady upward trend since 2013. Regional differences are obvious, showing that the spatial distribution pattern of wind power utilization efficiency is greatest in Northeast China, followed by North China, East China, South China, Northwest China, and Central China. The “Three-North” region with abundant wind energy resources has relatively high wind power utilization efficiency and exhibits a good development trend. East China, South China, and Central China, where wind energy resources are relatively poor, have low wind power utilization efficiency, and their development trends are not stable and are more prone to change. The utilization efficiency of wind power in coastal areas is generally better than that in inland areas. There are also differences among the thirty Chinese regions studied. Inner Mongolia and Shandong have achieved real efficiency in wind power utilization efficiency, with optimal allocation of input and output, and a good development trend. The other 28 regions have varying degrees of inefficiency, and there is still room for improvement. (shrink)

Climate change, rising energy costs, and other dilemmas raise the prospect for major change in energy-ecology-society relations. Two prominent proposals for change include: a nuclear power renaissance; and mega-scale renewable energy development. Both suggest that modern society will receive a rising stream of less CO2-rich kilowatt-hours, so that increased energy consumption and economic growth can continue. The article doubts these CO2 claims and finds both options lead to deepening unsustainability and environmental injustice. A third approach is (...) proposed. A new institutional and community strategy called a Sustainability Energy Utility. The SEU looks to reduce energy use and seeks to support remaining energy needs by community-scale renewables. To accomplish deep energy change, the authors show how an SEU can move society from an energy commodity to energy commons regime. Commonwealth economy and community trusts are key means to significant change: a future commons is offered as the more appropriate strategy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From Bookworms to Enchanted Hunters: Why Children ReadMaria Tatar (bio)Sensation SeekersThe laws governing the conservation of cultural energy are particularly effective when it comes to children’s literature. Peter Pan, Alice in Wonderland, The Chronicles of Narnia, The Yearling, The Wizard of Oz, Pinocchio, The Wind in the Willows, The Secret Garden, The Snow Queen: these are just a few of the volumes that continue to pull and (...) tug on young readers, drawing them into enchanted other worlds. Their propulsive force has moved from one generation to the next, setting minds into motion, renewing senses, and almost rewiring brains. Favoring expressive intensity over intellectual heft, the books of childhood use no-holds-barred melodramatic strategies until we are under their spell. We can all remember the jolts and shimmer of books we read as children, the moments that sent shivers up and down the spine.“Wow” moments saturate children’s stories, exploiting the emotive power of language for maximum effect.1 Think of the multiple evocations of the web created by the spider Charlotte in E. B. White’s book, how it “glistens” in the light and makes a pattern of “loveliness and mystery.” “What a curious feeling,” Alice declares in Lewis Carroll’s Alice in Wonderland once she has tasted the contents of a bottle marked “Drink me.” After that, the world she enters only becomes “curiouser and curiouser.” Dorothy lands in Oz and her eyes grow “bigger and bigger” at the “wonderful sights” she sees. They continue widening as she follows the Yellow Brick Road to Oz with her three companions. “A million golden arrows” point the way to Neverland, as the Darling children begin to experience the first in a series of bursts of beauty and rumbles of violence. Those rumbles create similar wow effects. Who can forget the moment when Iorek Byrnison, one [End Page 19]Maria Tatar Maria Tatar is the John L. Loeb Professor of Germanic Languages and Literatures at Harvard University, where she chairs the Program in Folklore and Mythology. She is the author of Classic Fairy Tales, The Annotated Brothers Grimm, The Annotated Hans Christian Andersen, and The Hard Facts of the Grimms’ Fairy Tales and has written for the New York Times, the New Republic, and Slate.com.Copyright © 2009 Board of Trustees of the University of Illinois... (shrink)

Informational self-determination refers to the right or ability of individuals to exercise personal control over the collection, use and disclosure of their personal data by others. The basis of modern privacy laws and practices around the world, informational privacy has become a challenging concept to protect and promote in a world of ubiquitous and unlimited data sharing and storage among organizations. The paper advocates a “user-centric” approach to managing personal data online. However, user-centricity can be problematic when the (...) user—the data subject—is not directly involved in transactions involving the disclosure, collection, processing, and storage of their personal data. Identity data is increasingly being generated, used and stored entirely in the networked “Cloud”, where it is under control of third parties. The paper explores possible technology solutions to ensure that individuals will be able to exercise informational self-determination in an era of network grid computing, exponential data creation, ubiquitous surveillance and rampant online fraud. The paper describes typical “Web 2.0” use scenarios, suggests some technology building blocks to protect and promote informational privacy online, and concludes with a call to develop a privacy-respective information technology ecosystem for identity management. Specifically, the paper outlines four fundamental technological approaches to help assure widespread and enduring online participation, confidence and trust in the information society. (shrink)

The way in which we produce and consume energy has profound implications for our societies. How we configure our energy systems determines not only our chances of successfully dealing with climate change but also, how benefits and burdens of these systems are distributed. In this paper, we set out to map the literature on conflicts related to the energy system in Sweden using a framework of energy justice. The purpose of this exercise is twofold: first, to (...) identify and understand energy conflicts in Sweden through the research that is published; and second, to identify gaps in the literature on energy justice in Sweden. This systematic review builds upon 40 scholarly articles focusing on energy conflicts in Sweden. All articles were written in the time period from January 2010 to January 2021. All articles were published in English in peer-reviewed scientific journals. The papers were analysed using a framework for energy justice that focused on the elements of distributional and procedural justice and recognition justice. The findings of the review suggest that there has been little explicit focus on energy justice in the literature on Sweden's energy system. Issues of distributional justice are most raised and procedural and recognition justice are often conflated in research. While conflicts over hydropower and nuclear have dominated in the past, wind energy in Sami territory is most problematised in the reviewed literature. The understanding of justice in the Swedish energy system is currently missing two elements: a rigorous handling of ecologically unequal exchange and restorative justice. (shrink)

Local opposition to infrastructure projects implementing renewable energy (RE) such as wind farms is often strong even if state-wide support for RE is strikingly high. The slogan “Not In My BackYard” (NIMBY) has become synonymous for this kind of protest. This paper revisits the question of what is wrong with NIMBYs about RE projects and how to best address them. I will argue that local opponents to wind farm (and other RE) developments do not necessarily fail to (...) contribute their fair share to producing a desirable public good (clean energy). In fact, with landscape concerns being at the heart of much protest, the question of fair burden distribution becomes sidelined: landscape impacts cannot be distributed nor compensated for. Protests may be attempts to express a true conflict of (incommensurable) values. Understanding them as such will help us better address NIMBY concerns and overcome such opposition through ensuring procedural justice. (shrink)

Wind turbines have been used by many groups of humans for many centuries. Wind turbines have allowed groups of humans to perform many different tasks in the past. However, only a century and a half ago, they began to be used to convert the energy captured from wind into electric energy. Moreover, only approximately twenty-five years ago, we started to introduce on a massive scale the energy generated from wind turbines into the electric (...) networks of most developed countries in the world for regular consumption. According to 2017 statistics, approximately 12 percent of the electric energy consumed in the EU is produced by wind turbines. Despite the fact that wind turbines generally appear quite similar externally—i.e., a three-blade structure, a nacelle, a tower, etc.—if we carefully examine the electric technology used within them, we find quite a wide range of technologies for energy conversion, which is a key issue in wind turbine technology. Hence, this paper adopts a dialectic perspective towards analyzing and understanding why several electric technologies coexist in wind turbine technology. We explain the specific factors that have influenced different wind turbine manufacturers to adopt different electric technologies across the last twenty-five years. We show how their actions and the technological directions that have followed have been mutually codetermined, resulting in a technological evolution that has produced today’s wind turbine variety. (shrink)

Until recently, Australia had little installed wind capacity, although there had been many investigations into its potential during the preceding decades. Formerly, state-owned monopoly utilities showed only token interest in wind power and could dictate the terms of energy debates. This situation changed in the late 1990s: Installed wind capacity began growing rapidly following the introduction of supportive renewable energy policies and the restructuring of the electricity industry. However, wind farms still provide only 1% (...) of Australia's electricity, the future of supportive policies is uncertain, and industry momentum is yet to become self-sustaining. Wind power, the authors argue, faces significant technological and institutional barriers, which need to be overcome if wind power is to play a significant role in Australia's electricity supply. The current window of opportunity is providing—for the first time—a significant space in which these barriers can be better understood and addressed and the requirements for wind power institutionally embedded. (shrink)

This book is an easy to use instructional aide. Explore sustainability issues in contemporary society through a transdisciplinary approach. Chapters include ethics, public resources, public policy, combustion, heat exchangers, nuclear, solar, water, and wind energy. A short summary is presented for each topic, followed by additional topics for research, assignments, and references. The complex assignments require students to grow in their professional judgment.

Corporations are increasingly forced to widen their agendas to include social and environmental concerns, or corporate social responsibility (CSR). This development has been recorded in the current academic debate, and the views regarding its implications for business, the state, and civil society diverge. However, there is agreement within the CSR and corporate governance literatures that there is a lack of thorough empirical studies of these effects. Based on a case study of the multinational wind energy company Suzlon (...) class='Hi'>Energy's CSR projects in rural India, this article contends that CSR projects implemented through cross‐sector partnerships can help to build the capacities of civil society organizations (CSOs). Although the risk of corporate steering of the civil society agenda is reduced when CSR prioritizes community needs over business imperatives, CSOs tend to bear the highest costs in partnerships, through credibility losses and insecurity concerning project terms and funding, reinforcing the importance of critical cooperation and complementary core competencies in cross‐sector partnerships. The results have implications for the strategies of corporations, CSOs, and governments as well as for the planning of national and international development aid. (shrink)