In this paper, I develop a novel account of ideological kinds. I first present some conceptual territory regarding the use of Occam’s Razor in minimizing ontological commitments. I then present the analogous device for minimizing ideological commitments, what I call the Comb. I argue that metaphysicians ought to use both or none at all. This means that those who endorse a principle of ontological parsimony ought to also endorse some principle of ideological parsimony, where we ought to prefer (...) the metaphysical theory that employs less ideology. In support of one such principle, I propose a novel account of ideological kinds. I individuate ideological kinds based on the satisfaction of two conditions: interdefinability and sameness of syntactic category. Ultimately, I think this account is the best available. It does, however, produce surprising results. For instance, my account shows that quantifier pluralism is ideologically parsimonious. I end by replying to some objections. (shrink)

How do we find what is clinically significant in the swarms of data being generated by today’s diagnostic technologies? As electronic records become ever more prevalent – and digital imaging and genomic, proteomic, salivaomics, metabalomics, pharmacogenomics, phenomics and transcriptomics techniques become commonplace – fdifferent clinical and biological disciplines are facing up to the need to put their data houses in order to avoid the consequences of an uncontrolled explosion of different ways of describing information. We describe a new strategy (...) to advance the consistency of data in the dental research community. The strategy is based on the idea that existing systems for data collection in dental research will continue to be used, but proposes a methodology in which past, present and future data will be described using a consensus-based controlled structured vocabulary called the Ontology for Dental Research (ODR). (shrink)

From the technical point of view, philosophically neutral, the duality between a paraconsistent and a paracomplete logic lies in the fact that explosion does not hold in the former and excluded middle does not hold in the latter. From the point of view of the motivations for rejecting explosion and excluded middle, this duality can be interpreted either ontologically or epistemically. An ontological interpretation of intuitionistic logic is Brouwer’s idealism; of paraconsistency is dialetheism. The epistemic interpretation of (...) intuitionistic logic is in terms of preservation of constructive proof; of paraconsistency is in terms of preservation of evidence. In this paper, we explain and defend the epistemic approach to paraconsistency. We argue that it is more plausible than dialetheism and allows a peaceful and fruitful coexistence with classical logic. (shrink)

In order to achieve genuine web intelligence, building some kind of large general machine-readable conceptual scheme (i.e. ontology) seems inescapable. Yet the past 20 years have shown that manual ontology-building is not practicable. The recent explosion of free user-supplied knowledge on the Web has led to great strides in automatic ontology building, but quality-control is still a major issue. Ideally one should automatically build onto an already intelligent base. We suggest that the long-running Cyc project is able to assist (...) here. We describe methods used to add 35K new concepts mined from Wikipedia to collections in ResearchCyc entirely automatically. Evaluation with 22 human subjects shows high precision both for the new concepts’ categorization, and their assignment as individuals or collections. Most importantly we show how Cyc itself can be leveraged for ontological quality control by ‘feeding’ it assertions one by one, enabling it to reject those that contradict its other knowledge. (shrink)

My first aim in this paper is to use time diagrams in the style of Brentano to analyze constructions in Brouwer's separable mathematics more precisely. I argue that constructions must involve not only pairing and projecting as basic operations guaranteed by the intuition of twoity, as sometimes assumed in the literature, but also a recalling operation. My second aim is to argue that Brouwer's views on the intuition of twoity and arithmetic lead to an ontological explosion. Redeveloping the (...) constructions of natural numbers and systems sketched in an appendix to Brouwer's Cambridge lectures, I observe that the only plausible way he can make some elementary arithmetic in his separable mathematics is by allowing for the same canonical number to be determined by multiple separable entities, resulting in an overabundant mathematical ontology. (shrink)

This chapter contains sections titled: What are Actions? What Are the Identity Conditions of Actions? Agents and their Powers References Further reading.

The significance of and the role played by Knowledge Management (KM) is ever increasing in today's business and organizational decision-making environment. This paper attempts to underline the importance of organizing knowledge not for its own sake, but for its efficient use in organizational decision making. The tremendous explosion of knowledge resources, both electronic and conventional, within the last few decades calls for an understanding of how knowledge is organized for management of data and information. This is so for the (...) reason that they can be proficiently employed to create value and utility. This also calls for a search for 'relevance' in KM with regard to its situated nature in different contexts within which knowledge is situated, and that which nevertheless indirectly refers to its ontological scaffolding. We have devised two simple mathematical models of reference with regard to the design of the systems mostly intended for organizing knowledge in knowledge organizations for its most efficient utilization. The model specifies several unique scenarios aided by discovery of arguments related to its ontological framework within which knowledge is situated. Several contexts were drawn to draw inferences from the research study. The results bear relevance to knowledge managers who make important decisions for realization of organizational goals and objectives. (shrink)

The explosion of data grows at a rate of roughly five trillion bits a second, giving rise to greater urgency in conceptualizing the infosphere and understanding its implications for knowledge and public policy. Philosophers of technology and information technologists alike who wrestle with ontological and epistemological questions of digital information tend to emphasize, as Floridi does, information as our new ecosystem and human beings as interconnected informational organisms, inforgs at home in ambient intelligence. But the linguistic and conceptual (...) representations of Big Data—the massive volume of both structured and unstructured data—and the real world practice of data-mining for patterns and meaningful interpretation of evidence reveal tension and ambiguity in the bold promise of data analytics. This paper explores the tacit epistemology of the rhetoric and representation of Big Data and suggests a richer account of its ambiguities and the paradox of its real world materiality. We argue that Big Data should be recognized as manifesting multiple and conflicting trajectories that reflect human intentionality and particular patterns of power and authority. Such patterns require attentive exploration and moral appraisal if we are to resist simplistic informationist ontologies of Big Data, and the subtle forms of control in the political ecology of Big Data that undermine its promise as transformational knowledge. (shrink)

There has been an explosion of interest in the metaphysics of fundamentality in recent decades. The consensus view, called metaphysical foundationalism, maintains that there is something absolutely fundamental in reality upon which everything else depends. However, a number of thinkers have chal- lenged the arguments in favor of foundationalism and have proposed competing non-foundationalist ontologies. This paper provides a systematic and critical introduction to metaphysical foundationalism in the current literature and argues that its relation to ontological dependence and (...) substance should be qualified in important ways. (shrink)

The information explosion and digital modes of learning often combine to inform the quest for the best ways of transforming information in digital form for pedagogical purposes. This quest has become more urgent and pervasive with the ‘turn’ to online learning in the context of COVID-19. This can result in linear, asynchronous, transmission-based modes of teaching and learning which commodify, package and deliver knowledge for individual ‘customers’. The primary concerns in such models are often technical and economic – technology (...) as a cost-effective ‘solution’ to educational challenges. In this paper I argue for the importance of dialogic learning space in teaching and learning by means of Information and Communication Technologies, whether in the form of fully online learning, blended learning or face-to-face encounters using ICT affordances. Although the 20th Century theorists Mikhail Bakhtin (1895–1975) and Hans-Georg Gadamer (1900–2002) produced their seminal works before the advent of ICTs, they were both concerned with the quality and authenticity of human engagement with texts and with other persons and contexts. Besides a shared interest in dialogue as an ontological feature of human life and being, they both used spatiotemporal concepts for understanding and interpreting texts. The article draws on Gadamer’s notions of dialogue and horizon, and Bakhtin’s notions of dialogue and chronotope, to conceptualize dialogic possibilities for online education. Its purpose is to provide a framework, grounded in Bakhtin’s and Gadamer’s ideas, for a dialogic approach to online teaching and learning in higher education. (shrink)

Events are things like explosions, floods, weddings or births. Both in common-sense and scientific usage, events are spatially and temporally bounded doings or happenings that involve activity and change. Philosophical theories of events have not, generally speaking, honored this feature of events. Probably the most widely discussed account, due to Jaegwon Kim, holds that events are exemplifications of properties at times. But properties are things like temperature, shape, color, solidity or fragility; they are not doings or happenings, but havings. In (...) this paper I defend an account which takes seriously the distinction between doings and havings, which I call the object-activity theory of events. I argue that an event is not an object or objects exemplifying a property or relation, but instead an object or objects engaged in an activity or interaction. (shrink)

Many authors have considered that the notions of paraconsistency and dialetheism are intrinsically connected, in many cases, to the extent of confusing both phenomena. However, paraconsistency is a formal feature of some logics that consists in invalidating the rule of explosion, whereas dialetheism is a semantical/ontological position consisting in accepting true contradictions. In this paper, we argue against this connection and show that it is perfectly possible to adopt a paraconsistent logic and reject dialetheism, and, moreover, that there (...) are examples of non-paraconsistent logics that can be interpreted in a dialetheic way. (shrink)

The problems of the meaning and function of negation are disentangled from ontological issues with which they have been long entangled. The question of the function of negation is the crucial issue separating relevant and paraconsistent logics from classical theories. The function is illuminated by considering the inferential role of contradictions, contradiction being parasitic on negation. Three basic modelings emerge: a cancellation model, which leads towards connexivism, an explosion model, appropriate to classical and intuitionistic theories, and a constraint (...) model, which includes relevant theories. These three modelings have been seriously confused in the modern literature: untangling them helps motivate the main themes advanced concerning traditional negation and natural negation. Firstly, the dominant traditional view, except around scholastic times when the explosion view was in ascendency, has been the cancellation view, so that the mainstream negation of much of traditional logic is distinctively nonclassical. Secondly, the primary negation determinable of natural negation is ·relevant negation. In order to picture relevant negation the traditional idea of negation as otherthanness is progressive) refined, to nonexclusive restricted otherthanness. Several pictures result, a reversal picture, a debate model, a record cabinet (or files of the universe) model which help explain relevant negation. Two appendices are attached, one on negation in Hegel and the Marxist tradition, the other on Wittgenstein's treatment of negation and contradiction. (shrink)

Applied Evolutionary Epistemology is a scientific-philosophical theory that defines evolution as the set of phenomena whereby units evolve at levels of ontological hierarchies by mechanisms and processes. This theory also provides a methodology to study evolution, namely, studying evolution involves identifying the units that evolve, the levels at which they evolve, and the mechanisms and processes whereby they evolve. Identifying units and levels of evolution in turn requires the development of ontological hierarchy theories, and examining mechanisms and processes (...) necessitates theorizing about causality. Together, hierarchy and causality theories explain how biorealities form and diversify with time. This paper analyzes how Applied EE redefines both hierarchy and causality theories in the light of the recent explosion of network approaches to causal reasoning associated with studies on reticulate and macroevolution. Causality theories have often been framed from within a rigid, ladder-like hierarchy theory where the rungs of the ladder represent the different levels, and the elements on the rungs represent the evolving units. Causality then is either defined reductionistically as an upward movement along the strands of a singular hierarchy, or holistically as a downward movement along that same hierarchy. Upward causation theories thereby analyze causal processes in time, i.e. over the course of natural history or phylogenetically, as Darwin and the founders of the Modern Synthesis intended. Downward causation theories analyze causal processes in space, ontogenetically or ecologically, as the current eco-evo-devo schools are evidencing. This work demonstrates how macroevolution and reticulate evolution theories add to the complexity by examining reticulate causal processes in space–time, and the interactional hierarchies that such studies bring forth introduce a new form of causation that is here called reticulate causation. Reticulate causation occurs between units and levels belonging to different as well as to the same ontological hierarchies. This article concludes that beyond recognizing the existence of multiple units, levels, and mechanisms or processes of evolution, also the existence of multiple kinds of evolutionary causation as well as the existence of multiple evolutionary hierarchies needs to be acknowledged. This furthermore implies that evolution is a pluralistic process divisible into different kinds. (shrink)

In the aftermath of the Fukushima power plant disaster, autoradiography became an increasingly widespread artistic technique for producing cameraless photography. By exposing photographic film directly using contaminated objects and materials, contemporary artists autoradiograph the geopolitics and local histories of atomic contamination due to bombing, testing, nuclear reactor explosions, mining or uranium disposal cells. In my article, I discuss the implications these autoradiographic works have for the concept of photography by drawing on Timothy Morton’s notion of hyperobjects. Being hyperobjective, radioactivity confronts (...) human beings with a vast non-human temporality, which, in turn, necessitates a shift in our understanding of photography. While photo theory has often been modelled on snapshot photography, privileging instantaneity and pastness, autoradiography is a durational and pluri-temporal procedure that points emphatically towards the future and invites us to reconceptualize the basis of photographic ontology. (shrink)

Recent years have seen an explosion of empirical data concerning arithmetical cognition. In this paper that data is taken to be philosophically important and an outline for an empirically feasible epistemological theory of arithmetic is presented. The epistemological theory is based on the empirically well-supported hypothesis that our arithmetical ability is built on a protoarithmetical ability to categorize observations in terms of quantities that we have already as infants and share with many nonhuman animals. It is argued here that (...) arithmetical knowledge developed in such a way cannot be totally conceptual in the sense relevant to the philosophy of arithmetic, but neither can arithmetic understood to be empirical. Rather, we need to develop a contextual a priori notion of arithmetical knowledge that preserves the special mathematical characteristics without ignoring the roots of arithmetical cognition. Such a contextual a priori theory is shown not to require any ontologically problematic assumptions, in addition to fitting well within a standard framework of general epistemology. (shrink)

When is it a good time to think about time? The answer provided by this essay is that there is no time like the present, especially the crazy, tense present of the year 2020. In this year four distinct scales of temporality have collided in a prolonged period of crisis and uncertainty: (1) the onset of a global pandemic that devastated the world economy and killed over a million people, the worst public health disaster since the Spanish flu of 1918; (...) (2) a political crisis featuring the rise of authoritarian governments around the world that threatened to overturn two centuries of efforts to secure stable representative democracies, centered in the rise of a would-be tyrant and demagogue in the US; (3) an explosive social movement centered in the endemic condition of systemic racism in the US; (4) a global environmental crisis that threatens the stability of the planetary ecological system as a sustainable habitat for thousands of species, including the human. Quarantined in monkish isolation by the pandemic, the author has engaged in a set of reflections on these convergent time scales. Instead of the classic (and unanswerable) philosophical question “What is time?” this essay reflects on the ways we picture time in metaphors, figures, personifications, and diagrams. In an anachronistic gathering of images of time from ancient and modern sources, the essay attempts to replace the ontology of time with an iconology that may provide some useful tools for finding our way through this epochal crisis. (shrink)

Since the early seventies, when English translations of Jürgen Habermas’ principal works became available to English-speaking scholars, there has been a virtual “Habermas explosion” of research papers, dissertations and books. Informative and penetrating discussions already exist discussing Habermas’ encounter with positivism and his relationship to the “Frankfurt school.” There are however few detailed discussions of the theoretical relationships between Habermas’ project of a critical theory of society and Hegel’s system. We attempt to correct this previous omission in the following (...) paper.The central thesis of Jürgen Habermas’ Knowledge and Human Interests is that theoretical discourse is fundamentally tied to human experience. Habermas wishes to show that all theoretical statements about the world have their genesis in the experience of everyday life and practices. His particular understanding of this approach to the question of the possibility of knowledge has its origins in Hegel’s Phenomenology of Spirit. The Phenomenology defines the development of knowledge in terms of a science of experience and must therefore constitute the main text in locating the philosophical parameters of Habermas’ thought. Our paper is an exercise in hermeneutics addressed to this task.In rejecting both Hegel’s philosophy of identity and Marx’s ontology of nature, Habermas has forced himself into a position where he must elaborate exactly how knowledge is possible at all. That is, the question which he confronts concerns the underlying basis of human experience. Hegel and Marx in Habermas’ opinion, were both unsuccessful in developing an adequate account of human life precisely because they tended to give an absolute basis to the the structure of the world. Knowledge itself, was considered as knowledge of something which existed beyond the scope of human control. Habermas attempts to overcome these difficulties by developing an explicitly ontological account of man through his theory of cognitive interests. Thus the process of reflection is ‘guided’ by certain cognitive interests. These interests perform the same function in Habermas’ system as does the notion of Geist in Hegel’s or Nature in Marx’s. They determine the conditions by which ‘knowledge’ can be generated and thus constitute the grounds upon which our world-view is constituted. (shrink)

Postmodernism was not launched by the development of Warholesque pop art in the 1960s, nor was it initiated by the explosive destruction of the Pruitt-Igoe modern housing project of St Louis, Missouri in 1972, or by the commissioning of Jean-Francois Lyotard's work on knowledge in advanced societies by the Quebec government in the late 1970s. Postmodernism began with the publication of a paper entitled `The individualistic concept of plant the association' in 1926 by the plant ecologist Henry Gleason. If we (...) dare to characterize postmodernism, emphases on ideas such as heterogeneity, ephemerality, anti-foundationalism, pluralism, fragmentation, indeterminacy, schizophrenia, chaos, antiformalism, discontinuity, absence, playfulness, irony, localism, anarchy and ontological meaninglessness are the ones that tend to abound. The Gleasonian theory of plant associations can be said to reflect such ideas in the ecological arena. Certainly there is room for, and an expanding professional commitment to, a fully-fledged neo-Gleasonian postmodern approach to natural history in which ecological phenomena are examined using non-determinist, pluralist and local perspectives that reject the foundationalism and unifying approach of modernist science and which posits a view of the Earth's biota highlighting fragmentation, anarchism and non-interaction. Community ecology, as opposed to the unifying and totalizing tendencies of ecosystems ecology, might rightly claim to be the intellectual site of such a postmodern natural history. Often, postmodern studies not only attempt to describe a postmodern phenomenon but act to forge new varieties of postmodernism. It is in this vein that this paper seeks to present a non-anthropocentric form of postmodernism; not by dissolving the dualistic barrier that separates humanity from nature (as many environmentalisms would advocate) but by dissolving humanity and nature. (shrink)

Over the past generation, the rise of East Asia and especially China, has brought about a sea change in the economic and political world order. At the same time, global warming, environmental degradation, food and water shortages, population explosion, and income inequities have created a perfect storm that threatens the very survival of humanity. It is clear now that the Westphalian model of individual sovereign states seeking their own self-interest will not be able to respond effectively to this win-win (...) or lose-lose crisis. In this volume, a cadre of distinguished scholars comes together to reflect on Confucianism and Deweyan pragmatism as possible resources for a new geopolitics that begins from an ontology of interdependence and recognizes the irreducibly ecological nature of the human experience at every level. Both Confucian and Deweyan traditions emphasize the primacy of experience, the importance of vital relationality, and the moral roots of good governance. The potential benefits of conceptually blending the two are many. Indeed, the contemporary Chinese philosopher Tang Junyi provides us with a cosmological understanding of the "idea" of Confucianism that, in parallel to Dewey's "idea" of democracy, can enable us to anticipate the core values, if not the specific contours, of a "Confucian democracy." Just as Dewey's "idea" of democracy is his vision of the flourishing communal life made possible by the contributions of the uniquely distinguished persons that constitute it, Tang Junyi's Confucianism is a pragmatic naturalism directed at achieving the most highly integrated cultural, moral, and spiritual growth for the individual-in-community. In both, we find an affirmation of communal harmony as a process "starting here and going there" through which those involved learn together to do ordinary things in extraordinary ways. Just such a cosmological understanding of democracy is one way of describing what will be needed to address the many predicaments characterizing the environmental, cultural, socioeconomic, and political dynamics of the twenty-first century. (shrink)

On the ground of Kant’s reformulation of the principle of con- tradiction, a non-classical logic KC and its extension KC+ are constructed. In KC and KC+, \neg(\phi \wedge \neg\phi),  \phi \rightarrow (\neg\phi \rightarrow \phi), and  \phi \vee \neg\phi are not valid due to specific changes in the meaning of connectives and quantifiers, although there is the explosion of derivable consequences from {\phi, ¬\phi} (the deduc- tion theorem lacking). KC and KC+ are interpreted as fragments of an S5-based (...) first-order modal logic M. The quantification in M is combined with a “subject abstraction” device, which excepts predicate letters from the scope of modal operators. Derivability is defined by an appropriate labelled tableau system rules. Informally, KC is mainly ontologically motivated (in contrast, for example, to Jaśkowski’s discussive logic), relativizing state of affairs with respect to conditions such as time. (shrink)

Introduction: The quickened and the dead -- Ontology for philologists : Nietzsche, body, subject -- "Be your self!" : Nietzsche as educator -- The life of thought : Nietzsche's truth perspectivism and the will to power -- Of slaves and masters : the birth of good and evil -- Moments of excess : the making and unmaking of the subject -- Lacan, desire, and the originating function of loss -- The word that sees me : the nexus of image and (...) sign -- The nothing as the reverse side of Lacan's mirror -- Nietzsche is dead, long live Nietzsche : in memory of paternal ghosts -- The "insiders" : Nietzsche's secret teaching and the invention of "the philosopher of the future" -- Finding one's home in the nothingness of Nietzsche's text -- Nietzsche's excessive demand and the question of the adulterous queen's desire -- High and low : the hierarchical structure of Nietzsche's texts -- Inside and outside : Nietzsche "incorporated"; or, Who incorporates whom in the act of reading Nietzsche? -- The father's indulgence of the prodigal son : ambiguity and the limits of "the position" -- The contagion of affect in Netzsche : Klein, Krell, Bataille -- Doing time with Melanie Klein : renouncing "the bad breast," mourning the loss of "the good breast" -- "Motivating this writingéis a fear of going crazy" : how Klein might read Georges Bataille sur Nietzsche -- David Farrell Krell's "novel" approach to reading Nietzsche -- Family romances and textual encounters : Sarah Kofman reading Nietzsche -- Reading Nietzsche I : explosions -- Autobiography or autothanography : killing with words in Rue Ordener, Rue Labat -- Reading Nietzsche II : le pris des juifs; Nietzsche, les juifs, l'anti-semitisme -- The vision, the riddle, and the vicious circle : Pierre Klossowski's reading of Nietzsche's sick body -- On the continuity and disjunction between the body and language -- Exquisite delirium : the thought of eternal return -- The conspiracy of philosopher/villains : Nietzsche/Klossowski/Sade -- From cannibalism to voodoo : the creation and control of the subject of Nietzsche's writing. (shrink)

Organization ethics praxis is theory and method of appropriate action for addressing ethics issues and developing ethical organizations. The perspective of praxis (theory and method of action) is important and different from the perspectives of theoria (theory of understanding), epistemology (ways of knowing), and ontology (ways of being/existing). Praxis is the least developed area within the field of organization ethics. Differences between theoria and praxis are considered within the context of Kohlberg—Gilligan developmental ethics where part of the controversy may be (...) unnecessary due to Kohlberg’s concentrating on epistemology and theoria, but not praxis; and, Gilligan’s considering aspects of praxis with epistemology and theoria. Differences between epistemology and praxis perspectives are considered in the contexts of two cases: Socratic “double-loop” action-learning conversations the night before the Challenger explosion; and, “triple-loop״ action-learning in a cross-cultural Boston—Indonesia child worker safety, acid-washed jeans case. (shrink)

In the past, philosophers, scientists, and even the general opinion, had no problem in accepting the existence of consciousness in the same way as the existence of the physical world. After the advent of Newtonian mechanics, science embraced a complete materialistic conception about reality. Scientists started proposing hypotheses like abiogenesis (origin of first life from accumulation of atoms and molecules) and the Big Bang theory (the explosion theory for explaining the origin of universe). How the universe came to be (...) what it is now is a key philosophical question. The hypothesis that it came from Nothing (as proposed by Stephen Hawking, among others), proves to be dissembling, since the quantum vacuum can hardly be considered a void. In modern science, it is generally assumed that matter existed before the universe came to be. Modern science hypothesizes that the manifestation of life on Earth is nothing but a mere increment in the complexity of matter — and hence is an outcome of evolution of matter (chemical evolution) following the Big Bang. After the manifestation of life, modern science believed that chemical evolution transformed itself into biological evolution, which then had caused the entire biodiversity on our planet. The ontological view of the organism as a complex machine presumes life as just a chance occurrence, without any inner purpose. This approach in science leaves no room for the subjective aspect of consciousness in its attempt to know the world as the relationships among forces, atoms, and molecules. On the other hand, the Vedāntic view states that the origin of everything material and nonmaterial is sentient and absolute (unconditioned). Thus, sentient life is primitive and reproductive of itself – omne vivum ex vivo – life comes from life. This is the scientifically verified law of experience. Life is essentially cognitive and conscious. And, consciousness, which is fundamental, manifests itself in the gradational forms of all sentient and insentient nature. In contrast to the idea of objective evolution of bodies, as envisioned by Darwin and followers, Vedānta advocates the idea of subjective evolution of consciousness as the developing principle of the world. In this paper, an attempt has been made to highlight a few relevant developments supporting a sentient view of life in scientific research, which has caused a paradigm shift in our understanding of life and its origin. (shrink)

Since the early seventies, when English translations of Jürgen Habermas’ principal works became available to English-speaking scholars, there has been a virtual “Habermas explosion” of research papers, dissertations and books. Informative and penetrating discussions already exist discussing Habermas’ encounter with positivism and his relationship to the “Frankfurt school.” There are however few detailed discussions of the theoretical relationships between Habermas’ project of a critical theory of society and Hegel’s system. We attempt to correct this previous omission in the following (...) paper.The central thesis of Jürgen Habermas’ Knowledge and Human Interests is that theoretical discourse is fundamentally tied to human experience. Habermas wishes to show that all theoretical statements about the world have their genesis in the experience of everyday life and practices. His particular understanding of this approach to the question of the possibility of knowledge has its origins in Hegel’s Phenomenology of Spirit. The Phenomenology defines the development of knowledge in terms of a science of experience and must therefore constitute the main text in locating the philosophical parameters of Habermas’ thought. Our paper is an exercise in hermeneutics addressed to this task.In rejecting both Hegel’s philosophy of identity and Marx’s ontology of nature, Habermas has forced himself into a position where he must elaborate exactly how knowledge is possible at all. That is, the question which he confronts concerns the underlying basis of human experience. Hegel and Marx in Habermas’ opinion, were both unsuccessful in developing an adequate account of human life precisely because they tended to give an absolute basis to the the structure of the world. Knowledge itself, was considered as knowledge of something which existed beyond the scope of human control. Habermas attempts to overcome these difficulties by developing an explicitly ontological account of man through his theory of cognitive interests. Thus the process of reflection is ‘guided’ by certain cognitive interests. These interests perform the same function in Habermas’ system as does the notion of Geist in Hegel’s or Nature in Marx’s. They determine the conditions by which ‘knowledge’ can be generated and thus constitute the grounds upon which our world-view is constituted. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:139. COULD AN IMPRESSION BE A PROCESS? Processes are of two main kinds, depending on whether the process has or lacks culmination. I am concerned with non-culminating processes, e.g., with a burning fuse sans explosion. This is reported as secondary by any good dictionary, derived from the head, or culminating, sense of 'process'. An ontological criterion for 'process' is as follows: something is absolutely unchanging, if it (...) is unchanging in every sense of the word. Those who hold that, e.g., a monotonous sound is absolutely unchanging hold that in an absolutely unchanging universe there is no reason why there should not be such a sound. Like any absolutely unchanging existent, a sound is caught, so to speak, in an instantaneous freeze on all change. Those who opt for process hold that change is, so to speak, of its essence. Hence, in an absolutely unchanging world, there could not be a process. The question I wish to raise is not whether there are processes, and certainly not whether Hume opts for processes. It is doubtful that Hume entertained the question of process. Indeed, that is the point. One of Hume's main commentators, R. W. Church, holds that Hume's perceptual atoms, defined by his dictum that distinguishability mutually entails separability, as well as their philosophical relations, are incompatible with the thesis that "experiences exist not in succession but in process." Church goes on to say that it is "difficult to see how... 'process' can have meaning for Hume. He plainly holds perceptions and their contents to be successive merely. I begin by considering Church's reason why Hume must reject processes, and then consider an additional reason drawn from Hume's account of time. Specifically, 140. divisibility òf time terminates in unchanging atoms. The essence of process is change. Hence, no temporal atom is a process. Neither reason, I argue, suffices for holding that impressions and processes are mutually exclusive. Hume holds that distinguishability mutually entails separability. Church holds that this dictum defines Hume's perceptual atomism. To highlight the atomism it is supposed to define, he rewords it, as follows: "Whatever is distinguishable is intrinsically self-identical and therefore self-contained." What does this rewording mean? According to Church, Hume, in the body of the Treatise, holds that resemblance is qualitative identity distributed, numerically, over many complexes. "On Hume's theory of abstract ideas, 'resemblance' is a verbal term referring (in virtue of habits of association) to any case of a qualitative 4 identity numerically distributed." Further, the qualitative identity in question is not relative to any difference from another quality, Bradley to the contrary notwithstanding. Difference, for Hume, is incompatible with relation and it is itself not a relation. It follows, according to Church, that Hume's absolute self-identity mutually entails self -containment. So much for Church's version of Hume's perceptual atomism. Is it incompatible with process, as Church claims? A trombone's slide illustrates non-culminating process with succession. Let us use it as a basis for an account. A trombone's slide is unbroken not only qua sound but qua pitch. Nevertheless, it incorporates pitch multiplicity. By "successive merely" does Church mean that the transition from pitch to pitch must be broken, contrary to what is heard, and, for this reason, Hume cannot account for the slide qua process? If so, he is mistaken. 141. Distinguishability mutually entails separability for Hume, but this does not mean that the transition from pitch to pitch cannot be experienced as a slide. In fact, it is easy to show that a trombone's slide conforms to Hume's dictum, by reason of the just noticeable difference and Hume's philosophical relation of contiguity in time. We are dealing with three notions: first, distinction, and, in particular, how pitches in the slide are distinguished. Second, separability, and, in particular, how separation corresponding to distinction is guaranteed by the fact of process. Third, slide, and, in particular how Hume's philosophical relation of temporal contiguity, coupled with the just noticeable difference, guarantees phenomenal slide. I take up these three notions in the order mentioned. The distinction between two pitches in the trombone's slide is... (shrink)

This article examines a strain of contemporary art photography marked by its resemblance to earlier scientific motion studies as indicative of a wider `scientific turn' in recent photographic art. Focusing on Sarah Pickering's series Explosions , Denis Darzacq's The Fall , Ori Gersht's Blow Up and Martin Klimas' Flower Vases , it addresses the conditions that have allowed for forms and methodologies associable with earlier scientific imagery to be reshaped as contemporary art, particularly the large-scale of recent `museum photography' and (...) its self-conscious indeterminacy of meaning. Adopting a schematic approach based on the identification of similarity, I examine the implications of ambiguity and scale as inherent qualities of the work, along with the interpretations that the projects examined share. Noting a potential formalism in artists' repeated isolation of frozen motion, I anchor this interest in the medium-specific qualities of photography in two changes associated with digitization. Where digital post-production has placed pressure on traditional ontological understandings of the medium, the projects are shown to offer a nostalgic return to `purer' forms of photographic production. Drawing on Fredric Jameson's 2003 essay, `The end of temporality', I conclude by considering how the photographs may be implicated in wider transformations to the construction and experience of time under late-capitalism. (shrink)

With the rapid development of information technology and data science, as well as the innovative concept of “Internet+” education, personalized e-learning has received widespread attention in school education and family education. The development of education informatization has led to a rapid increase in the number of online learning users and an explosion in the number of learning resources, which makes learners face the dilemma of “information overload” and “learning lost” in the learning process. In the personalized learning resource recommendation (...) system, the most critical thing is the construction of the learner model. Currently, most learner models generally have a lack of scientific focus that they have a single method of obtaining dimensions, feature attributes, and low computational complexity. These problems may lead to disagreement between the learner’s learning ability and the difficulty of the recommended learning resources and may lead to the cognitive overload or disorientation of learners in the learning process. The purpose of this paper is to construct a learner model to support the above problems and to strongly support individual learning resources recommendation by learning the resource model which effectively reduces the problem of cold start and sparsity in the recommended process. In this paper, we analyze the behavioral data of learners in the learning process and extract three features of learner’s cognitive ability, knowledge level, and preference for learning of learner model analysis. Among them, the preference model of the learner is constructed using the ontology, and the semantic relation between the knowledge is better understood, and the interest of the student learning is discovered. (shrink)

The article advances the notion that contemporary philosophy exists not as an ontology, but rather as an anthropology. The author posits that our understanding of being is contingent upon our comprehension of the human condition. Through an examination of the intellectual debate between M. Foucault and A. Badiou, the author demonstrates that I. Kant was the pioneer in European philosophy to interrogate the essence of humanity, thereby inaugurating an anthropological mode of philosophical thought. Building upon Kant’s proposition, the author presents (...) the intriguing hypothesis that the essence of humanity, or humanitas, is encapsulated within its capacity for hallucination, or hallucinatas. This perspective leads the author to introduce the novel philosophical concepts of “hallucenosis” and “explosion of hallucinations.” Here, “hallucenosis” refers to a collective of individuals engaged in a shared dream state, while “explosion of hallucinations” denotes the primal self-representation of humans as depicted in the rock art of the late Paleolithic era. The author gives particular emphasis to the concept of “double inversion” in human nature, a notion originally proposed in Russian philosophy by B.F. Porshnev and Yu.M. Borodai. Double inversion is interpreted as the emergence of self-consciousness, on one hand, and a speech event, on the other. The author further develops the idea that in contemporary human behavior, consciousness and intelligence are fundamentally disconnected. The conclusion drawn is that while intelligence facilitates animal existence in space, consciousness enables human life in time. In the author’s view, to hallucinate is essentially to live in time. The article substantiates the claim that organic intelligence and human intelligence operate within distinct sensoriums. Meanwhile, artificial intelligence, lacking its own sensorium, is argued to be non-existent in this context. (shrink)

The problematization of sense includes the historical and cultural horizon of the western culture, where it opens the possibility for an explosion of senses. In this modernity setting, the philosophical thought faces the crisis of the last fundamentation and the difficulty for translating, in terms of truth and racionality, the reflection in the field of philosophy and human sciences. In this context, there are at least two alternatives for modern philosophy- without resigning the pretension of universality- to find its (...) own historical time: the hermeneuthic and the dialectical criticism. The Paul Ricoeur thought, for whom hermeneuthical and critical are two necessary moments to the philosophical reflection, promotes the reconciliation between those two traditions of the modern philosophy. However, the thesis proposed in this essay is that the reconciliation strategies by Ricoeur correspond, in last term, to the construction of his own philosophical thought. It means the reconciliator movement of the Ricoeur thought is part of his own philosophical project: to do emerge a critical hermeneuthical and an ontologically founded ethics.La problematización de sentido integra el horizonte histórico y cultural de la modernidad occidental, donde se abre la posibilidad de una explosión de sentidos. En este escenario, el pensamiento filosófico se enfrenta a la crisis de fundamentación última y la dificultad para traducir, en términos de verdad y racionalidad, la reflexión en el campo de la filosofía y las ciencias humanas. En este sentido, existen por lo menos dos alternativas para que las filosofías modernas, sin renunciar a la pretensión de universalidad, se encuentren con su propio tiempo histórico: la hermenéutica y la crítica dialéctica. El pensamiento de Paul Ricoeur, para quien hermenéutica y crítica son dos momentos necesarios a la reflexión filosófica, promueve la reconciliación entre estas dos tradiciones de la filosofía moderna. Sin embargo, la tesis que se plantea en este ensayo es que las estrategias reconciliadoras de Ricoeur corresponden, en último término, a la construcción de su propio pensamiento filosófico. Es decir, el movimiento reconciliador del pensamiento ricoeurniano es parte de su propio proyecto filosófico, a saber, el de hacer emerger una hermenéutica crítica y una ética ontológicamente fundada. (shrink)

This paper discusses Sosa’s via media between existential relativism and absolutism. We discuss three implications of Sosa’s account which require some further clarification. First, we distinguish three alternative readings of Sosa’s account – the indexicalist, the homonymist and the (proper) relativist reading – and argue that they differ with respect to two crucial points: (a) they lead to different analyses of the lack of disagreement in existential discourse, and (b) they differ with respect to the question of whether conceptual schemes (...) pick out different senses of “exist” or whether they pick out different entities to exist. Second, we ask Sosa to answer on four problematic implications of his final position: (a) Sosa appears to change the topic from ontology to semantics without solving the ontological issue. (b) It is puzzling why Sosa finally accepts the initially implausible explosion of reality. (c) Sosa is forced to accept that disputants really disagree in existential disputes (although faultlessly). (d) We offer an even simpler alternative option to reconcile the realist and the relativist intuitions by clarifying what is meant by “conceptual relativism”, without arguing for existential relativity at all. Third, we argue that Sosa’s argumentative reliance on an appropriate development of conceptual schemes drives him not only to a position of pure conceptual absolutism, but even to a more traditional form of ontological absolutism according to which nature itself manages to cut the cookies. In contrast to his apparent intention, this discharges Sosa’s via media from any relativist intuition. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:From the Sacrifice of the Letter to the Voice of TestimonyGiorgio Agamben’s Fulfillment of MetaphysicsJeffrey S. Librett (bio)By denying us the limit of the Limitless, the death of God leads to an experience in which nothing may again announce the exteriority of being, and consequently to an experience which is interior and sovereign. But such an experience, for which the death of God is an explosive reality, discloses as (...) its own secret and clarification, its intrinsic finitude, the limitless reign of the Limit, and the emptiness of those excesses in which it spends itself and where it is found wanting.—Michel Foucault, “Preface to Transgression”Can there be a discourse that, without being a metalanguage or sinking into the unsayable, says language itself and exposes its limits?—Giorgio Agamben, “The Idea of Language”I shall not rest until every German sees that it is a shameful thing to be a lawyer.—Adolf Hitler, speech before theReichstag, April 26, 1942From his early works on, Giorgio Agamben has opposed the thought of no contemporary philosopher more consistently and programmatically than that of Jacques Derrida, whose questioning of phonocentric metaphysics Agamben has tried to replace by a characterization of metaphysics as (what I am calling here) graphocentric. To go back behind the replacement of the voice by the letter is for Agamben to recover the event of language itself, the taking-place of language as Being.1 In his conceptualization of the project for such a recovery, as we shall see, Agamben’s commitment to Heidegger’s fundamental ontology is overdetermined by his investment in the Christian God as logos.This philosophical program in Agamben’s early essays guides his later work on the homo sacer-sovereign relation but also distorts and disturbs the later work in three principal ways. First, it prompts him to propose an exclusively juridicopolitical understanding of the sacredness of the homo sacer, effectively scapegoating the juridical sphere for a more broadly theopolitical problem, while placing the specifically Christian background [End Page 11] of his antinomianism in a misleadingly secular, rational, and universalist light. Symptomatically, in order to accomplish this juridicopolitical reduction Agamben must reject Bataille’s analysis of sacrifice—along with the entire modern anthropological reading of the sacred—out of hand. For this rejection protects his discourse against any sustained confrontation with the importance of the sacrificial dimension for both what he calls the homo sacer and his own approach to law in his theorization of the homo sacer..Second, Agamben’s philosophical program impoverishes the account he provides of the Nazi death camps as an extreme example of the sovereign-homo sacer relation by making it impossible for him to appreciate the importance of Christian antinomianism in the formation of National Socialist ideology. For Agamben’s philosophical orientation requires or presupposes that he ignore or underestimate, first of all, the sacrificially anti-Semitic dimension of Christian antinomianism—the tendency of such antinomianism to make Judaism responsible for the ontological desert into which representation exiles us all. Further, as a consequence of his continuing commitment to this tradition, Agamben cannot see how important the tradition remains, even if in a displaced form, for Nazi anti-Semitism. I argue that Agamben’s animus against the letter blinds him to the Christian and sacrificial dimensions of the Holocaust—he ignores the former and explicitly, emphatically denies the latter dimension—because this animus represents his own commitment to the Christian antinomianism that, in its racialized National Socialist form, attempts to rid itself of the letter by sacrificing not only Judaism but the (biologically, racially construed) Jews. Because his radically antinomian program would become unsettled by his recognition of its important overlap with the ideological bases of National Socialism, Agamben cannot ultimately acknowledge the Christian and sacrificial aspects of the Holocaust.Finally, in Remnants of Auschwitz—his main reading (outside of Homo Sacer) of the significance of the Nazi death camps—Agamben positions “testimony” as the exemplary instance of the speaking of speech, the taking-place of language. The result of the destruction of European Jewry becomes here the revelation of poetic speech as a manifestation of the absolute. Unwittingly, Agamben ends up participating in... (shrink)

The traditional conception of knowledge is justified, true belief. If one looks at a modern textbook on epistemology, the great bulk of questions with which it deals are to do with personal knowledge, as embodied in beliefs and the proper experiences that someone ought to have had in order to have the right (or justification) to know. I intend to argue that due to the explosive growth of knowledge whose domain is “outside the head”, this conception has outlived its relevance. (...) -/- On the other hand, Karl Popper’s (1934) Falsificationism, with its emphasis on the objective character of knowledge, is not only a sounder, but also a more appropriate theory of knowledge for understanding the nature and growth of civilization. Later, Popper (1945) generalized this approach to obtain critical rationalism, in which all claims to knowledge, whether scientific or otherwise, are understood as objective solutions to objective problems and can be evaluated by other non-observational - types of criticism. I will first argue that Popper’s methodology is quite suited to the view that knowledge is an objective autonomous product and then adduce his theory of world 3, an ontology that neatly wraps up various considerations. World 3 is the domain of abstract products of the human mind that now have a life of their own, outside of human heads: theories, arguments, problems, plans, etc. I then adduce some other arguments for the autonomous quality of knowledge. (shrink)

This paper is about how the horror of noise has been expressed in the work of some writers, fiction and theory, who have detected a certain alien weirdness lurking in the human voice. I link this to Deleuze and Guattari’s discussion of ‘becoming-animal’, in which a ‘strange ecology’ is described. ‘We sorcerors’, they say, are drawn to experimental alliances with nature. The ‘sorceror’ is admitted to a multitudinous, teeming space and opened up to the immanent alien. H. P. Lovecraft’s weird (...) fiction frequently deals with alien simulacra of human language and speech. This is speech as human-alien alliance. In Thomas Ligotti’s fiction, too, we find becoming articulated as speech-noise. Apocalypse is imagined as ecstatic choral annihilation in which all souls merge into a great ‘black unity’. For Ligotti, we are the suffering puppets of a Schopenhauerian Will akin to Lovecraft’s ‘blind idiot god’, Azathoth. Nevertheless, what Deleuze and Guattari call ‘becoming zero’ can be associated with an affirmative thought of noise ontology, a furore which is sounded more from Bataille's 'Mouth' than from Azathoth’s mad musicians. As the head is thrown back in joyful frenzy, the mouth opens, screams ejaculate and rend with nature’s explosive propagation, like a blossoming flower or the racket of an anus. (shrink)

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

The traditional presentation about historical time-passing consists in a linear succession of facts in which some aspects of the lifeworld evolve from others in anirreversible manner. The presentation of change is connected to the presentation of gradual or revolutionary linear changes that areirrevocable. I believe that this presentation could be considered correct for living organisms, but does not take account of some important aspects of demonstrative presentations about artefacts and technologies. For example, we can ontologically assume that “hammer-beating” evolved from (...) “stone-beating”. In this sense, the “hammer-beating-time” could be considered contemporary-time and the “stone-beating-time” could be considered past-time. However, we still beat things with stones and stone-like artefacts. The technology of the stone-beating is still been used. That means that relationship between the stone and the hammer cannot be seen as “evolutive” in the same sense that organisms “evolve” from each other. We must assume then, that the stone and the hammer must be interchangeable technologies which do not overshadow each other. This family of technologies and artefacts are contemporary to each other. Time-passing metaphors must then be substituted with metaphors of a “technological instability” that can be associated to a foundational cultural explosion. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Transcendence and Violence: The Encounter of Buddhist, Christian, and Primal TraditionsSarah K. PinnockTranscendence and Violence: The Encounter of Buddhist, Christian, and Primal Traditions. By John D'Arcy May. New York: Continuum, 2003. 225 + xi pp.In popular media, religion appears as a dangerous social phenomenon with explosive potential. The investigation of transcendence as a source of violence is particularly timely in light of America's war on terrorism targeting extremist (...) Islam. However, this negative dimension of religion is nothing new. Over the course of history, hostility [End Page 231] and killing are intimately connected with religious divisions. The irony of religious violence as a betrayal of religious ethical ideals is both obvious and inescapable.Approaching this hot topic from the perspective of religious imperialism, John D'Arcy May examines violence perpetrated by the Christian and Buddhist traditions against indigenous religions. His investigation covers damaging evidence against these two universalizing traditions using geographically specific case studies in Asia and the Pacific Rim. Situating Christianity and Buddhism in parallel as religions of transcendence, he compares how indigenous localized religions were overpowered by expansionist universalizing religions, although not eradicated. Into his historical narrative, he weaves his personal encounters with otherness growing up in Australia while virtually oblivious to the oppression of Aboriginals by white settlers, and as a Roman Catholic doing ecumenical work in Papua New Guinea for four years.May opens the book with bold admission of the failures of European Christianity, evidenced in anti-Judaism and Holocaust genocide, and Theravada Buddhism's violent involvement in Sri Lanka's civil conflict between Singhalese nationalists and Hindu Tamils. The reader is led to expect elaboration on the moral failings of Christianity, and this proves true; however, May's examination of the Buddhism's expansion and endorsement of violence tempers the tendency to single out Christianity as uniquely imperialist. He suggests that transcendence itself can cause hierarchy and oppression.Part I of the book focuses on Christianity and violence. Chapter 1 studies how European Protestant and Catholic settlers to Australia treated the Aboriginal peoples. The story is grim. Using a psychoanalytic framework, May interprets the European vilification of Aboriginals as stemming from the repression of the primal other, and the repression of bio-cosmic religion in favor of transcendence. Constructively, he proposes that Aboriginal peoples can offer theological insights about the ontology of sacred space. Christians should not only seek reconciliation in society, but also consider new perspectives on the sacred in nature drawn from the dreaming of Aboriginal religious lore.In chapter 2, May deals with colonization in the Melanesian Islands of the Pacific Ocean, concentrating on Papua New Guinea. In the indigenous religions of Melanesia, the prosperous community is the measure of religious rectitude, while misfortune is explained by the breaking of taboos and the revenge of enemies or evil spirits. After European colonization, "cargo cults" arose among the islands that promised abundant material goods possessed by European settlers by means of religious rituals and magic. Surprisingly, May points out the positive impulses at the root of these cargo cults that are typically viewed as detrimental and even outlawed outright by local governments for their harmful social impact. At bottom, he argues, cargo cults reflect a positive religious aspiration for wholeness and healing in this life that is a counterpoint to the spiritualization of salvation by European Christianity.May tries to avoid idealizing these primal cultures and their religious insights; nevertheless, he finds them instructive for Christian theology. Native religions in both Australia and Papua New Guinea offer models of immanence that emphasize the religious value of nature and just relationships. It should be mentioned that [End Page 232] there is some nuance to this conclusion. For instance, Melanesian religion is portrayed as less exemplary than Australian aboriginal religion. But May's main point is that violence on a global scale is validated by Christian notions of transcendence that deny the material aspirations of the indigenous community, and promote a superiority that wreaks violence among indigenous peoples. Hopefully, intercultural theology will allow Christians to appreciate the Aboriginal respect for sacred geography and the Melanesian quest for the flourishing of one's local community.Christianity and Buddhism are treated... (shrink)

The concept of time is an integral part of any religious and philosophical system. It creates a universal cognitive strategy: seeing the world in its change and development, finding temporary relationships and order in everything. In Iranian mythology, where the cult of time was highly developed, time was personified by the higher deity Zurvan, who initially was imagined as an endless time, eternity, existing at the beginning of the universe, and then, in the latter part of the "Avesta" takes an (...) image of the final, natural, world time, who forecasts not only its beginning, but the end, death. Zurvan Akarana in Zoroastrianism - is unlimited Time or Eternity; one of the two primary forces that are mentioned in "Avesta" and "Yasna". Zurvan - is the Сreator who did not make a creation. He is only the foundation, the idea that gives impulse, like an explosion. It is similar to the concept of "dharma" in the Indian tradition, the "Logos" of Heraclites, the law by which the universe exists. Helps to the time, the main essence of space is the duration, the matter has the opportunity to come into effect. Late Avesta makes a distinction between endless time and time, which has a long duration, but finite. Later theologians interpreted endless time as eternity of being, and a long time was regarded as the duration of the world, which was created and will have an end. These ideas can be correlated with ideas that later we can find in Christianity, that person has a freedom of choice, and even later - in Islam, that person's fate is determined in advance. But Zoroastrianism is talking about the same thing, the fate of this material world in which evil is present is determined in advance, but in the world of Ahura Mazda person has the right to choose and there will get whatever deserves. The unconditional departure from mythological beliefs is also the idea of the linearity of time that we meet in Zoroastrianism and which later gets its continuation in Christianity. But in Zoroastrianism time is endless, and therefore is reversible and linear, and therefore simultaneously is irreversible. (shrink)

The paper begins with a more carefully stated version of ontologically neutral (ON) logic, originally introduced in (Hailperin, 1997). A non-infinitistic semantics which includes a definition of potential infinite validity follows. It is shown, without appeal to the actual infinite, that this notion provides a necessary and sufficient condition for provability in ON logic.