This chapter contains sections titled: Appendix: Analysis of the Wind‐Powered Boat.

Besides the pure pleasure of watching a dance performance, dance as a whole-body movement is becoming increasingly popular for health-related interventions. However, the science-based evidence for improvements in health or well-being through dance is still ambiguous and little is known about the underlying neurophysiological mechanisms. This may be partly related to the fact that previous studies mostly examined the neurophysiological effects of imagination and observation of dance rather than the physical execution itself. The objective of this pilot study was to (...) investigate acute effects of a physically executed dance with its different components on the electrical brain activity and its functional connectivity using electroencephalographic analysis. Eleven dance-inexperienced female participants first learned a Modern Jazz Dance choreography over three weeks. Afterwards, the acute effects on the EEG brain activity were compared between four different test conditions: physically executing the MJD choreography with music, physically executing the choreography without music, imaging the choreography with music, and imaging the choreography without music. Every participant passed each test condition in a randomized order within a single day. EEG rest-measurements were conducted before and after each test condition. Considering time effects the physically executed dance without music revealed in brain activity analysis most increases in alpha frequency and in functional connectivity analysis in all frequency bands. In comparison, physically executed dance with music as well as imagined dance with music led to fewer increases and imagined dance without music provoked noteworthy brain activity and connectivity decreases at all frequency bands. Differences between the test conditions were found in alpha and beta frequency between the physically executed dance and the imagined dance without music as well as between the physically executed dance with and without music in the alpha frequency. The study highlights different effects of a physically executed dance compared to an imagined dance on many brain areas for all measured frequency bands. These findings provide first insights into the still widely unexplored field of neurological effects of dance and encourages further research in this direction. (shrink)

We start by noting that the set-theoretic and semantic paradoxes are framed in terms of a definition or series of definitions. In the process of deriving paradoxes, these definitions are logically represented by a logical equivalence. We will firstly examine the role and usage of definitions in the derivation of paradoxes, both set-theoretic and semantic. We will see that this examination is important in determining how the paradoxes were created in the first place and indeed how they are to be (...) solved in a uniform way. There are three features that are special about these definitions used in the derivation of most of the above paradoxes. The first is the use of self-reference between the definiens and the definiendum, the second is the generality of the definiendum, and the third is the under-determination and over-determination of concepts that usually occur as a result of these definitions. We will examine the impact of these three features on the logical representation of definitions and show how this representation then leads to a uniform paradox solution using an appropriate logic that is both paraconsistent and paracomplete. However, it is the paracompleteness, exhibited through the rejection of the Law of Excluded Middle, together with the rejection of contraction principles, that enables the solution of the paradoxes to go through. We characterize definitions as involving syntactic identity and/or meaning identity. We point out that some paradoxes do not have explicit self-reference or circularity and some may not utilize the generality of the definiendum, but the general characterizations of definitions that we give will still apply. We also look beyond all this to paradoxes that rely on illicit definitions between objects that are essentially different to start with. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 61.2 (2000) 263-283 [Access article in PDF] Contesting Metaphors and the Discourse of Consciousness in William James Jill M. Kress Ah, not to be cut off,not by such slight partitionto be excluded from the stars' measure.What is inwardness?What if not sky intensified,flung through with birds and deepwith winds of homecoming? --Rainer Maria Rilke William James's lifelong attention to questions about human mental experience (...) elucidates the development of the concept of consciousness through its realization in fields as disparate as natural science, radical empiricism, and religious mysticism. 1 Over the course of a career that both establishes and traverses disciplinary boundaries, James's work embodies tensions between scientific explanations for mental phenomena and the inescapability of metaphysical arguments. Jamesian psychology thus alternates between materialist and spiritualist assumptions of scientists and philosophers at the turn of the century, joining their compulsive investigations into the nature of consciousness. 2 Most readers [End Page 263] of James puzzle over the theoretical contradictions within his work, debating central philosophical dilemmas concerning the status of the conscious self. Perhaps the most paradoxical aspect of James's theories, his response to dualism, emerges as he attempts to negotiate ethereal explanations for consciousness with bodily processes. 3 The mind-body problem disrupts James's more delicately balanced theories, a disruption registered explicitly through the metaphors in his texts.Reading The Principles of Psychology (1890) alongside "Does 'Consciousness' Exist" (1904), this essay demonstrates how figurative language directs James's study of consciousness. I argue that metaphor does more than describe consciousness; metaphor constructs James's arguments, governs his conflicting theories of mind through a series of rhetorical configurations and provokes the continual reconstruction of his ideas of human subjectivity. Furthermore, while it is impossible for James to explain and to study consciousness without metaphor, he experiences great anxiety about using language, figurative or otherwise, to represent his object of study. The language becomes more powerful than his intentions or designs and, indeed, raises implications that James cannot control. James possesses a heightened awareness of what he crafts with words; he also, perhaps more penetratingly, acknowledges the inadequacy of any linguistic system to realize concepts thoroughly. 4 Struggling over appropriate "names" and "terms" for consciousness, James presupposes some clearly delineated concept around which we might wrap a verbal expression; yet he also seems painfully aware that every new metaphor launches an entirely new theory. Fluid and unpredictable, consciousness becomes like language itself, yielding its power precisely because it can be so many things at once. The ultimate principle of Jamesian consciousness seems to be its creative capacity; still, once James admits that the problem of consciousness is a problem of language, his carefully constructed designs begin to unravel. Though consciousness will be translated into James's notion of "pure experience" by the time he writes the radical empiricism [End Page 264] essays, James remains simultaneously committed to his figures (especially of the "stream of consciousness") and ambivalent about the account of consciousness that they provide. James helps create the modern self with its enhanced individuality, though his metaphors at once direct us inward to a centered, private self and propel us outward to find consciousness materializing in the fluxional cycle of the natural world.In presenting his initial theory of the stream of our thoughts, James argues for its coherence. His most famous metaphor of the "stream" of consciousness appears to saturate the varied material of the mind, its water washing over and through any distinctions or separations which the mind might present: Consciousness, then, does not appear to itself chopped up in bits. Such words as "chain" or "train" do not describe it fitly as it presents itself in the first instance. It is nothing jointed; it flows. A "river" or a "stream" are the metaphors by which it is most naturally described. In talking of it hereafter, let us call it the stream of thought, of consciousness, or of subjective life. 5James's desire to find words that are more "natural... (shrink)

The last decade has witnessed the emergence of a paradox perspective on corporate sustainability. By explicitly acknowledging tensions between different desirable, yet interdependent and conflicting sustainability objectives, a paradox perspective enables decision makers to achieve competing sustainability objectives simultaneously and creates leeway for superior business contributions to sustainable development. In stark contrast to the business case logic, a paradox perspective does not establish emphasize business considerations over concerns for environmental protection and social well-being at the societal (...) level. In order to contribute to the consolidation of this emergent field of research, we offer a definition of the paradox perspective on corporate sustainability and a framework to delineate its descriptive, instrumental, and normative aspects. This framework clarifies the paradox perspective’s contents and its implications for research and practice. We use the framework to map the contributions to this thematic symposium on paradoxes in sustainability and to propose questions for future research. (shrink)

What happens to a person in a case of fission? Does it survive? Does it go out of existence? Or is the outcome indeterminate? Since each description of fission based on the persistence conditions associated with our ordinary concept of a person seems to clash with one or more platitudes of common sense about the spatiotemporal profile of macroscopic objects, fission threatens the common-sense conception of persons with inconsistency. Standard responses to this paradox agree that the common-sense conception of (...) persons is unstable, differing over which part of the conception requires revision. I will show that this entrenched view of fission is not compulsory. I will develop a solution to the paradox that maintains the consistency of the common-sense conception of persons on the basis of an ontology of persons and other ordinary objects as double-layered compounds. Each of various descriptions of the outcome of personal fission is compatible with principles about the spatiotemporal profile of persons, because the descriptions and the principles manifest different perspectives on persons and are made true or false by different ontological components of the latter. What holds for the fission of persons, holds for the fission of other kinds of objects. (shrink)

Recently, Estes and Arnold claimed to have “solved” the paradox of evolutionary stasis; they claim that stabilizing selection, and only stabilizing selection, can explain the patterns of evolutionary divergence observed over “all timescales.” While Estes and Arnold clearly think that they have identified the processes that produce evolutionary stasis, they have not. Instead, Estes and Arnold identify a particular evolutionary pattern but not the processes that produce that pattern. This mistake is important; the slippage between pattern and process (...) is common in population and quantitative genetics and contributes to a persistent misunderstanding of the nature of explanations in evolutionary biology. †To contact the author, please write to: Philosophy Department, 208 Hovland Hall, Oregon State University, Corvallis, OR 97331‐3902; e‐mail: [email protected]. (shrink)

The issue of gender is one of the important indicators for understanding religious interpretations at the individual and social levels. One of the responsible institutions in shaping the gender approach in Turkey are the Faculty of Theologies. The majority of the students who are studying in theology faculties and who will take part in the religious services of the society after completing their education are women. It is clear that the religion and gender understanding of female students of theology faculties (...) will have various levels of influence on the religious and social life of women and men in society, now and in the future. This article, which is studied with a qualitative research method, focuses on the religious and gender understanding of female students of theology faculty. The most basic conclusion reached in this article; the female students of the faculty of theology do not have a homogeneous understanding of religion and gender, they have traditional and modern approaches together. The students are mentally inconsistent and indecisive about many issues related to gender.Summary: Gender perceptions are One of the areas that have changed rapidly with the modernization processes. The issues concerning gender and religion recently have become a matter which is the subject of intense debate in Turkey. Theology faculties also take part as a party to the debates and tensions about gender and religion. This study focuses on the gender and religious understanding of the female students of the Faculty of Theology and to examine the intellectual and material factors that nurture them. The scope of the study was limited to Dicle University Theology Faculty female students. The data of the study was obtained by the qualitative research method. In this article, which takes the religion and gender understanding of female students of Theology Faculty as the main problem; the ontological value of women, the authority of men over women, the paid work and management of women in the public, the change of the Shari'ah provisions on gender with social change, the beating of women and the themes formed in this context are examined.The religious and social status of women in Muslim societies was not shaped by the Qur'an or practices of the Prophet, but by the discourse created by hadith narrations and the influence of economic and political conditions. The development of this discourse was also influenced by the image of the ‘seductive’ Eve and the patriarchal culture of Mesopotamia, which were inherited from the Jewish and Christian tradition.Women's social position within the traditional society structure was legitimized by religious traditions, some of which date back to pre-Islamic times, and by the contribution of the rising jurisprudence and ascetic movements in the historical process and has resisted change for centuries.Nearly all of the female students of the Faculty of theology consider that there is no difference between men and women ontologically in the context of the value that Allah gives to both sexes.According to them, the physical and emotional naivety of women cannot be interpreted as the ontological worthlessness of women or as their lack of intellect and religion.About half of female students think the final decision in the family should not always be in the male.According to them The Prophet's practices on this subject are a very important example. In some cases, he consulted his wives and followed their suggestions. Therefore, narrations that trivialize the thoughts and demands of women in the family have cultural and not religious influences.All female students think that women can work outside the home on a paid basis. Moreover, according to the vast majority of female students, women can be managers in the public sector. The students who are in this view think that the narrations stating that the woman cannot be a manager in the public can be ignored for reasonable reasons. About one-third of female students think that the Shari'a provisions in Islamic law regarding women and family may be able to changed with new jurisprudence, while one-third think that some of them may be able to changed with the change of social conditions. Another view shared by nearly a third of students is that Sharia provisions on gender will not be changed over time. Nearly two-thirds of the female students in the research sample do not approve of beating women under any circumstances. A third of female students think that a woman can be beaten if she disobeys her husband. Some of them are confused about how to interpret the verse about the beating of women.It is unthinkable that the Faculties of Theology, which cannot be an actor of religious social change, stay away from the wind of change of a rapidly modernizing society. The rapid flow of time of change on the one hand, and the absence of a tradition or strategy of the Faculties of Theology on the other, resulted in the Faculties of Theology becoming the object of social change in many contexts. This situation made the Faculty of Theology's understanding of religion hybrid, fragmented and unstable between traditional and modern approaches and quite open to the effect of political conjuncture. In this context, although the understanding of gender in theological faculties is not at the same level in all, it can be said that traditional understandings are in the form of a softened form in favor of modernity.The students of the Faculty of Theology at Dicle University are mostly grown up in the Eastern and Southeastern Anatolia regions and are generally members of the lower-middle societies. In most of the female students who come from a social structure where the social status of women is quite low and girls are regarded as worthless compared to boys, an awareness be formed about the social position of women during the education of the Faculty of Theology. Through the study of the Faculty of theology, female students realize that religion is not responsible for the otherized position of women, but for religionized traditions. Two main factors determining the gender understanding of women students of the Faculty of theology can be mentioned. These can be roughly categorized as the main sources of religion and their interpretation by denominations, as well as the socio-cultural habitats of the students and their individual experiences. On the subject of gender, there is a tension between verse, Hadith and their interpretations made by sects and the values and norms of modernity internalized by female students. At Dicle University Faculty of Theology, it is not possible to talk about a learning system and intellectual accumulation that would allow to overcome this tension. This causes mental and emotional bifurcation in female students and leads them to become caught up in a vortex between religious and social reality on many issues. An important consequence of this is the lack of updated religious norms to guide them in many issues that have emerged as an alternative to religious beliefs and practices in the context of gender and have become established values and have common practices in modern life, and have led them to modern secular tendencies and this leads to an internal secularization. The lack of updated religious norms to guide female students in many subjects that are widely practiced in Modern life leads them to modern secular tendencies, which lead to an insider secularization. The fact that female students are mostly traditional in discourse but modern in action on gender and religion makes this situation testable. (shrink)

In an era where autonomous technologies are progressively taking over more complex tasks and decision-making previously done by humans, the mastering of paradox-based skills and effectively reconciling paradoxical situations in everyday life will become increasingly important. This paper asserts that understanding and living with paradox is not only necessary for the future of work but also for human flourishing. While work is the primary means by which humans flourish in the traditional sense, there are deeper and more (...) holistic understandings of human flourishing which requires the acceptance and learning of paradoxical realities. Those who are steeped in the understanding and reality of paradox in everyday life can also be more open to these deeper and more holistic understandings of human flourishing. (shrink)

To celebrate the acquisition of the Tom Phillips archive, the Bodleian Library has asked the artist to assemble and design a series of books drawing on his themed collection of over 50,000 photographic postcards. These encompass the first half of the twentieth century, a period in which, thanks to the ever cheaper medium of photography, ‘ordinary’ people could afford to own their portraits.Bicycles documents the great age of the safety bicycle which was the instrument of emancipation for women (...) and freedom for men. Also we see competitive racers and pedalling toddlers.Each book contains 200 images chosen with the eye of a leading artist from a visually rich vein of social history. Their covers will also feature a thematically linked painting, especially created for each title, from Tom Phillips’ signature work, A Humument. (shrink)

This article pays tribute to the contribution made by Yolanda Dreyer regarding critique on the prevalence of patriarchy in society, as well as her defence of homosexuality as a normal sexual orientation. Taking as point of departure her work on the woman as created in God's image, it is argued that understanding the metaphor 'created in God's image' as referring to rule over all, and not as created as man and woman, has important implications for the relationship between man (...) and woman, as well as the normalisation of relationships between the same sex. (shrink)

Enūma eliš and Erra and Išum are richly intertextual poems that both make sophisticated allusions to Anzû. Both do so in competitive ways: Enūma eliš reshapes earlier motifs towards its goal of elevating Marduk and Babylon over the gods and cities that came before them, while Erra and Išum uses allusions to undermine the image of Marduk that Enūma eliš creates. Tiʼāmtu’s blood carried on the wind to announce Marduk’s victory and the tablet of destinies which Tiʼāmtu fastens to (...) Qingu’s chest are two well-known examples of borrowings from Anzû in Enūma eliš. This article traces them through all three poems and shows how they are transformed in each. In the case of Enūma eliš the way that the poem deploys these allusions has previously been called clumsy because they stand out and do not appear to fit seamlessly into the narrative. Yet a closer analysis reveals that they have been much better integrated than is usually recognized, and that their subtleties make important contributions to the program of Marduk supplanting Ninurta. In Erra and Išum the chain becomes ever more complex: the motifs refer back both to their original contexts in Anzû and to their occurrences in Enūma eliš, implying a self-conscious awareness and exploitation of techniques used by earlier poets. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

In a well-known passage in the last chapter of Frege: Philosophy of Mathematics Michael Dummett suggests that Frege’s major “mistake”—the key to the collapse of the project of Grundgesetze—consisted in “his supposing there to be a totality containing the extension of every concept defined over it; more generally [the mistake] lay in his not having the glimmering of a suspicion of the existence of indefinitely extensible concepts” (Dummett [1991, 317]). Now, claims of the form, Frege fell into paradox (...) because……. are notoriously difficult to assess even when what replaces the dots is relatively straightforward. Offerings have included, for instance, that — (A) Unrestricted quantification: Frege fell into paradox because he allowed himself to quantify over a single, all-inclusive domain of objects (Russell, Dummett). (shrink)

This article focuses on the link between borders and creativity that has come to light over the last two decades thanks to new interdisciplinary theoretical approaches proposing a systemic-processual shift within border studies. Following this, it is worth considering the creative interplay caused by the triad, bordering-ordering- othering, that conceives borders not only as demarcation lines, but also as dynamic, processual social practices. Borders are paradoxical structures that, created in order to separate and distinguish, signify created and creative spaces (...) for studying the contemporary world-system by adopting a pluri-versal perspective and moving toward a new border epistemology. (shrink)

Recent work on social movement fields has expanded our view of the dynamics of social movements; it should also expand our thinking about social movement success. Such a broader view reveals a paradox: social movements often snatch defeat from the jaws of victory by narrowly targeting authorities with their actions instead of targeting the broader social movement field. Negative impacts from the wider social movement field can then reverse or overshadow initial victories. We distinguish between a social movement’s victory (...) over the immediate target, and more lasting success that arises from shifting alignments in the broader social movement field. To test the predictive value of the distinction, we compare two very similar student-led social movements, both of which targeted university policies regarding sensitivity to race issues and changes in university personnel. One built a broad coalition of support that extended across its social movement field and was thereby able to institute durable change. The other did not, and despite its clear initial success, this protest movement produced consequences mainly adverse to its preferred outcomes. We demonstrate how pervasive this paradox is with examples from other U.S. protest outcomes and studies of revolutions. The paradox is resolved by focusing on changes in the entire social movement field. We thus argue that achieving, and understanding, lasting social movement success requires attention to the entire social movement field. (shrink)

This article examines the concept of ‘event’ and the manner in which it has been neglected in both ecocriticism and Hitchcock studies. Using The Birds (1963) to rethink the premises of ecocritics’ discussion of nature, animals, and disasters in cinema and Hitchcock scholars’ emphasis on representation and symbolism, the article argues that it has become imperative to philosophically foreground ‘events’ in light of the numerous contemporary films that revolve around them. Hitchcock’s film is shown to propose a renewed concept of (...) event, a concept that significantly departs from the two most influential conceptualisations of the event in post-1960 continental philosophy: those of Gilles Deleuze and Alain Badiou. Eschewing philosophical theories that equate the event with pure becoming or conceptualisations that characterise events as rupture and break, the film reveals a particular form of bird-event that posits relationality to address becoming and rupture simultaneously. Indeed, what distinguishes Hitchcock’s concept of event, contra Deleuze’s and Badiou’s, is that it emphasises relationality instead of pure continuity or radical rupture in the characterisation of corporeal or embodied individuation. Emphasising relationality helps understand the film’s deployment of a concept of event that departs from the aforementioned theorisations that exclude the human body (and therefore affect) from the event’s experiential import. Closely aligning bodies prior to and after the bird-events, The Birds ultimately discloses the paradox of body and event at the heart of contemporary event theory by way of linking or relating bodies and events, thus tapping into debates over embodiment and affect in cultural and media theory. Centering around modalities of evental experience rather than the controversial and endlessly debatable signification of the bird attacks, the analysis purports that the bird-event configures materiality only to reveal its relational and interstitial volatility. (shrink)

Does the establishment of a permanent InternationalWar Crimes Tribunal (International Criminal Court - ICC) constitute a challenge to national sovereignty? According to previous US governments and several American observers, the answer is yes. Establishing a world court that acts independently of the states that gave birth to it renders the idea of sovereignty meaningless. This article analyzes the American objections to the ICC and the conception of sovereignty and international law underlying these objections. It first considers the structure and intent (...) behind the criminal court and attempts to unveil the logic hiding behind the idea of ‘America’s historical uniqueness.’ It touches on the diverging US and European conceptions of sovereignty and ends up arguing that governments that stick to traditional conceptions of sovereignty and international law in the employment of their foreign policy may lose the moral legitimacy that has proven increasingly important for winning the sympathy of allies and regaining world leadership. Keywords: The ICC; US opposition to the court; sovereignty; international law; exceptionalism (Published: 19 May 2009) Citation: Ethics & Global Politics, Vol. 2, No. 2, 2009, pp. 83-108. DOI: 10.3402/egp.v2i2.1973. (shrink)

Historians are now generally agreed that the Darwinian recognition and institutionalization of the polygenist position was more than merely nominal.194 Wallace, Vogt, and Huxley had led the way, and we may add Galton (1869) to the list of those leading Darwinians who incorporated a good deal of polygenist thinking into their interpretions of human history and racial differences.195 Eventually “Mr. Darwin himself,” as Hunt had suggested he might, consolidated the Darwinian endorsement of many features of polygenism. Darwin's Descent of Man (...) was published in the same year that the Anthropological Institute was founded, and it was no coincidence that it was broadly congruent with Knoxian/ Anthropological race science. Recent scholarship has stressed the derivative character of the Descent, and Darwin's views on race were clearly influenced by the earlier interpretations of the abovecited Darwinians.196However, although the Descent was written in the light of the anthropological struggles of the 1860s, it is essential to acknowledge its origins in Darwin's notebooks of the late 1830s and early 1840s. A good deal of the congruence between Darwinian and Knoxian conceptions of race may be traced back to these early notebook constructions. As these document, Darwin, like Knox, brought to his very earliest conceptions of human evolution a “commitment to the idea of human races as discrete biological units with distinct moral and mental traits.”197 The young Darwin had been concerned with the same sorts of questions on racial biological and cultural differences that preoccupied Knox around the same time, and he was committed to as ruthless a naturalism. Apart from their individual and independent debts to Quetelet's “moral statistics,” both Darwin and Knox drew heavily on the general themes of struggle and adaptation in the contemporary “common context” of biological and social thought.198 Given their common context, the broad general similarities between the Knoxian laws of race antagonism and subordination and the Darwinian struggle for existence between races need occasion no strained historical explanation of direct influence.199Nevertheless, in more explicit ways, the Descent does show the conflation of Knoxian/Anthropological and Darwinian racial views, and Darwin located his discussion of these issues squarely within the dispute “of late years” between polygenists and monogenists.200 His mature views on race were shaped by the contemporaneous confrontations and negotiations between the Darwinians and the Anthropologicals. It is within this context that the minor historical puzzle of Darwin's failure to acknowledge Knox's “generic descent” may be explained. Apart from the difficulties of integration and interpretation of his scattered theoretical writings, Knox, through his adoption by Hunt and the Anthropologicals, became identified with anti-Darwinism and therefore with antievolutionism.201 Moreover, Knox, the disreputable and marginal “savage radical” and lately resurrected and equally unsavory “Anthropological,” was hardly an acceptable “precursor.” Yet, paradoxically, it was via the antithetical medium of the Anthropological platform that Knox's race science made an indirect and unacknowledged, but lasting, impact on the Darwinian anthropological model.In the Descent, Darwin argued that racial traits arose very early in the prehistory of man, were not biologically adaptive, and were therefore relatively fixed in character. By viewing race formation as a distant and closed episode of human history, Darwin endorsed the Knoxian categories of race as fixed and unalterable types. Although he thought it irrelevant whether human races were called species or subspecies, he conceded more to the Knoxian view than Huxley by granting that a naturalist confronted for the first time by specimens of Negro and European man “might feel himself fully justified in ranking the races of man as distinct species.”202 Consistent with the Knoxian interpretation, struggle, competition, and survival occurred between racial units rather than between individuals and, in Darwin's view, accounted for the superiority of the Anglo-Saxon and the inevitable triumph of the more intellectual and moral races over the lower and more degraded ones.Darwin was as insistent as Knox on the biological basis of intellectual and moral differences, and, through his tendency to reduce social and cultural differences to biology, he maintained the essential Knoxian/Anthropological link between race and culture.203 For above all, the Descent did much more than offer a naturalistic explanation of human evolution: it proffered social interpretation, justification, and prescription, and its timely appearance gave a powerful boost to the “moralizing naturalism” of Huxley and Galton, and to Spencer's “Social Darwinism.”204 We may draw a straight line from Knox's “moral anatomy,” through Hunt's “anthropology,” and on to “Social Darwinism” and the “social surgeons” of the eugenics movement.The Darwinians did not, of course, we their tendency to naturalize existing economic and social relations to Knox or Hunt and the Anthropologicals—they were simply reflecting the same general intellectual trend that had affected Knox and the Anthropologicals as well. And in the larger context, the forces that had created a climate receptive to Knox's racism had intensified: in the seventies, the need to justify white imperialism and class and racial inequalities was greater than ever. Scientific racism no longer appeared an aberration but the very essence of the scientific study of man, taking on a newfound respectability in the “new” evolutionary anthropology. But in more specific ways, through the struggle between the Darwinians and Anthropologicals for scientific and ideological hegemony, Knox's “moral anatomy” was institutionalized and perpetuated in late Victorian scientific racism. In the process, the delicate balance that Knox had maintained between his radicalism and his racism was outweighed by conservative institutional and social needs, and his “moral anatomy” was retooled — first by Hunt, and then by the Darwinians — to fit those needs. (shrink)

I resolve a previously unnoticed anomaly in the analysis of collective action problems. Some political theorists apply game theory to analyze the paradox of anarchy: War is apparently inevitable in anarchy even though all warring parties prefer peace over war. Others apply tipping threshold analysis to resolve the paradox of revolution: Joining a revolution is apparently always irrational even when an overwhelming majority of the population wish to replace their regime. The usual game theoretic analysis of anarchy (...) yields the conclusion that the suboptimal equilibrium of war is inevitable. The usual tipping threshold analysis of revolution yields the conclusion that the optimal equilibrium of successful revolution is possible. Yet structurally the collective action problems of anarchy and potential revolution are much the same. This suggests that tipping threshold analysis and game theory are incompatible methodologies, despite their widespread use in the social sciences. I argue that there is no real tension between game theory and tipping threshold analysis, even though these methodologies have developed largely independently of each other. I propose a Variable Belief Threshold model of collective action that combines elements of game theory and tipping threshold analysis. I show by example that one can use this kind of hybrid model to give compatible explanations of conflict in anarchy and successful revolution.1. Introduction2. Two Classic Problems, and Two Popular Analyses2.1. The paradox of anarchy2.2. The paradox of revolution3. Restating the Puzzle4. Evaluating the Prisoners’ Dilemma and S-Curve Models5. The Variable Belief Threshold ModelExample 5.1. A population of moderates with independent deviationsExample 5.2 A heterogeneous population with independent deviationsExample 5.3 A heterogeneous population with coordinated deviations6. ConclusionAppendix: Computer Simulations. (shrink)

For most of the 20th century, the condom in the United States was a cheap, useful, but largely unmentionable product. Federal and state statutes prohibited the advertising and open display of condoms, their distribution by mail and across state lines, and their sale for the purpose of birth control; in some states, even owning or using condoms was illegal. By the end of World War I, condoms were increasingly acceptable for the prevention of sexually transmitted disease, but their unique dual (...) function—for disease prevention and contraception—created ongoing ambiguities for sellers, consumers, and distributors as well as for legal, political, health, and moral leaders. Not until the 1970s did condoms emerge from the shadows and join other personal hygiene products on open drugstore and supermarket shelves and in national advertisements. Then came the 1980s and AIDS when, despite the rise of Ronald Reagan, the radical right’s demonization of condoms, and the initial reluctance of condom merchants to market to gay constituencies, the HIV/AIDS epidemic slowly but inexorably propelled the condom to the top of the prevention agenda. The condom’s journey from lewd device to global superstar was fitful, but colorful. The Comstock Act of 1873, prohibiting birth control information and devices, created a vast underground operation—periodically illuminated, however, by arrests, protests, legal proceedings, and media coverage. This essay chronicles one such moment of illumination: the legal battle in the 1920s and 1930s over the legitimacy and legality of the Trojan Brand condom trademark and the unusual series of advertisements produced by the Youngs Rubber Corporation, makers of Trojans, to dramatize the ethical and economic issues of the trademark battle. Culminating in Youngs Rubber Corporation v. C.I. Lee & Co., Inc. , this landmark case in trademark law established the right of the Trojan Brand condom, despite its ambiguous dual function, to the protection of a federal trademark. I seek to show how the Youngs antipiracy ad series illuminates the paradox of visibility by illuminating the paradox of any binary division: to establish the one depends inevitably on invoking or making visible—even if to suppress—the other. This essay is a case study in the negotiation of such a dialectic. (shrink)

We group the existing variants of the familiar set-theoretical and truth-theoretical paradoxes into two classes: connective paradoxes, which can in principle be ascribed to the presence of a contracting connective of some sort, and structural paradoxes, where at most the faulty use of a structural inference rule can possibly be blamed. We impute the former to an equivocation over the meaning of logical constants, and the latter to an equivocation over the notion of consequence. Both equivocation sources are (...) tightly related, and can be cleared up by adopting a particular substructural logic in place of classical logic. We then argue that our perspective can be justified via an informational semantics of contraction-free substructural logics. (shrink)

Schizophrenia as a pathology of self-awareness has attracted much attention from philosophical theorists and empirical scientists alike. I view schizophrenia as a basic self-disturbance leading to a lifeworld of solipsism adopted by the sufferer and explain how this adoption takes place, which then manifests in ways such as first-rank psychotic symptoms. I then discuss the relationships between these symptoms, not as isolated mental events, but as end-products of a loss of agency and ownership, and argue that symptoms like thought insertion (...) and other ego-boundary disorders are by nature a multitude of paradoxes created by a fragmented awareness. I argue that such fragmentation does not always require or lead to a delusional elaboration as the definitive feature of its phenomenology, and present reasons for the role of the first-person pronoun as a mere metaphor used to represent the patient’s bizarre experiences where sensory perception and thinking processes converge. Further, I discuss the initi... (shrink)

Knafo and Teschke’s surprisingly polemical critique of Brenner’s work is derived from earlier work which applies the same critique arising out of the agency/structure debate in International Relations theory. Casting Brenner’s work as increasingly structuralist over time and therefore increasingly prone to reify social relations, thereby suppressing or downplaying the role of agency, Knafo and Teschke ask their readers to take such claims at face value, offering no close textual reading of Brenner’s work. Focusing almost entirely on method rather (...) than on substance and by framing their critique within the confines of the unending debate over structure and agency, Knafo and Teschke’s claim that Brenner’s work consistently reifies social relations – presuming but not demonstrating that this is his intent – obscures and fails to engage substantively with his powerful historical contributions, or to offer alternative definitions or historical theories. (shrink)

Jennifer Johnston’s fiction presents the conditions of Irish culture and society by exploring the separations between interior and exterior realms and past and present temporalities persisting within the insulating privacy of the familial home space. In _The Christmas Tree_ (1981), the home is both haven and prison for Johnston’s heroine. In this paper, I argue that the home—which assumes the form of the individual body and the familial home—is paradoxical. The protagonist leaves 1950s Ireland because of the country’s rigid gender (...) roles in order to pursue an autonomous life as a writer in England, but she is unable to publish her writing within the confines of the patriarchal publishing world. The home of her body becomes paradoxical when she becomes a single mother as an avenue for creativity but is then diagnosed with terminal cancer. She returns to her father’s home to die, which she re-orders and reclaims through the disorder of the uncanny—represented by her non-conformity and illness brought into the patriarchal home. By writing her life story and creating a brief, alternative maternal relationship with her young caretaker, the protagonist confronts her own ambivalence toward her parents, who also represent aspects of oppressive heteronormative gender expectations. (shrink)

Plato's paradox of relative change in size and number (154e7-155c7) cannot be understood unless the text is emended (see Part i of this article) and unless full weight is given to shifts of mood and tense and to the play of particles. The critical reader will also need to adapt to a non-Fregean concept of equality and to a definition of change different from Geach's definition of "Cambridge change''. Only so will the structure of the paradox explain young (...) Theaetetus' bewilderment, while also showing that the author of the dialogue was not himself a victim of the paradox he has created. (shrink)

There are thirteen essays in this collection. Sophisticated disquisitions on rather disparate topics, they contain a number of statements which are obscure to me and, I wager, to many readers, including metaphysicians. There is space here to note only a few of the several recurrent themes in Miller’s essays. First and foremost is the notion of the primacy of action. The affirmation of values, he says, is not a "matter of logic but of action," and "values become real only in (...) the deed"—values being prior to mere facts. Miller’s action-philosophy entails an exaltation of will over intellect. For instance, he says that "the pursuit of truth is itself a gesture of will." Another recurrent theme is the human inescapability of history—of time, process, transitoriness, corruptibility. What Miller calls "ahistorical sublimity" is purchased at too high a price-the price of a "radical impersonality" with an "apparent irrelevance to action and values." Miller’s view of freedom can be called intellectualist: "It is," he says, "in the ‘revision’ of truth that freedom is found." He refers not to "static" truth in the impersonal mode of physics but to dynamic truth in the mode of personal creativity. For "creative adventure," by action and experiment, he holds, is the mark of freedom. The entire "midworld" of artifacts, including arts, sciences, and languages, is the province of "responsible freedom." This whole area should be marked by "skepticism" as well as freedom, because skepticism is man’s best weapon against "absolutist pretensions," Miller persuasively argues. Furthermore, he stresses the point that there is no fact within our ken which is not linguistically expressible, so that "responsible humanism" is inconceivable without responsible use of language. The desideratum, as Miller says, is "controlled receptivity" regarding the employment of all linguistic signs and instruments. For "nature," the common object of all our knowledge, embraces not only facts but artifacts as well, including languages. He says that only "purposeful artifacts"-especially languages—put us in touch with actuality and history. History alone, he argues, leads into philosophy. "Ahistoric ideals," present everywhere in classical thought, stand in the way of this wedding of history and philosophy. A happy wedding for, according to Miller, there is no human knowledge that is not historical; everything human is dated. Miller is an action-philosopher because he is a history-philosopher. He contends that there is no freedom for us outside of history. He hails skepticism regarding "ahistoric ideals" as a kind of "negative absolutism." And he says that such skepticism is an "experience, not a theory," and that it makes "metaphysics of the transcendent" possible. He does not explain what that metaphysics is. Apparently, his "skepticism" is the awareness of the limited character of all philosophies. If so, it is, for Miller, our chief safeguard against the use of bloated language in the service of the ahistoric ideal.—J.F.A. (shrink)

This essay interprets the controversy over Richard Serra's monumental sculpture, Tilted Arc , which was designed for a public plaza in downtown Manhattan in 1979 and then torn down five years later after intense public outcry. Levine reads this controversy as characteristic of contemporary debates over the arts, which continue the tradition of the nineteenth century avant-garde, pitting art against a wider public, and insisting that art must deliberately resist mainstream tastes and values in favor of marginality and (...) innovation. This definition of art has posed a lasting dilemma for democratic societies: how, after all, should a democracy deal with art that represents an intentional rejection of the majority? The problem becomes even more intractable when it comes to avant-garde art commissioned for public spaces, where the art object can challenge public tastes and movements in a way that is inescapable for those who must live and work in the space. Disturbed by the imposition of a massive and incomprehensible art object in a public plaza, Serra's opponents argued that Tilted Arc frustrated a whole range of socially beneficial activities, labor and leisure alike. And they claimed that Serra's supporters were dangerously anti-democratic. But despite the avant-garde's challenge to majority tastes, this essay makes the case that it remains a democratic value to continue to sponsor avant-garde art in public spaces. (shrink)

Can God create a stone too heavy for him to lift? Can time have a beginning? Which came first, the chicken or the egg? Riddles, paradoxes, conundrums--for millennia the human mind has found such knotty logical problems both perplexing and irresistible. Now Roy Sorensen offers the first narrative history of paradoxes, a fascinating and eye-opening account that extends from the ancient Greeks, through the Middle Ages, the Enlightenment, and into the twentieth century. When Augustine asked what God was doing before (...) He made the world, he was told: "Preparing hell for people who ask questions like that." A Brief History of the Paradox takes a close look at "questions like that" and the philosophers who have asked them, beginning with the folk riddles that inspired Anaximander to erect the first metaphysical system and ending with such thinkers as Lewis Carroll, Ludwig Wittgenstein, and W.V. Quine. Organized chronologically, the book is divided into twenty-four chapters, each of which pairs a philosopher with a major paradox, allowing for extended consideration and putting a human face on the strategies that have been taken toward these puzzles. Readers get to follow the minds of Zeno, Socrates, Aquinas, Ockham, Pascal, Kant, Hegel, and many other major philosophers deep inside the tangles of paradox, looking for, and sometimes finding, a way out. Filled with illuminating anecdotes and vividly written, A Brief History of the Paradox will appeal to anyone who finds trying to answer unanswerable questions a paradoxically pleasant endeavor. (shrink)

Successful sports teams are able to adopt what is known as the 'we-perspective,' forming intentions and making decisions, somewhat as a unified mind does, to achieve their goals. In this paper I consider what is involved in establishing and maintaining the we-perspective on a racing sailboat. I argue that maintaining the we-perspective contributes to the success of the boat in at least two ways: (1) it facilitates the smooth execution of joint action; and (2) it increases the chance that (...) individual crew members will exert their best effort in fulfilling their particular roles on the boat. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Paradox of Disability: Responses to Jean Vanier and L’Arche Communities from Theology and the Sciences ed. by Hans S. ReindersAdam ClarkThe Paradox of Disability: Responses to Jean Vanier and L’Arche Communities from Theology and the Sciences Edited by Hans S. Reinders Grand Rapids, MI: Eerdmans, 2010. 191pp. $18.00Jean Vanier introduces this collection of essays with a concise articulation of the themes that define L’Arche communities: (...) those with impairments “cry out” for loving service, yet love involves the receptivity by which those without obvious impairments learn to claim their own good amid a vulnerability that [End Page 205] appears to be its negation. Subsequent essays expand upon these themes, drawing on a range of theological and social-scientific perspectives. Most could serve as introductions for undergraduate or graduate classes. The volume also invites disability scholars to examine whether and how this “Vanier school” has succeeded in its attempt to reimagine and serve both those with and those without obvious impairments.For Vanier’s “school,” such reimagining entails perceiving those with impairments as “teachers.” Executing this, however, is difficult. Xavier Le Pichon, for example, argues that “the disabled” help us recover positive views of dependency in “childhood innocence” and “aged suffering” (since they embody both stages). Focusing on the suffering that human beings experience before death, he claims that paleo-anthropological evidence suggests that societies evolved as their care of the disabled taught them to accept suffering. His argument, however, risks strongly identifying persons with their impairments, thus reinforcing the social construction of “disability” as a marginalizing category in discourse and policy.Moreover, this difficulty is not limited to associations with disvalue. Hans Reinders draws on Søren Kierkegaard and Hans Ulrich in a comparison of the severely disabled to the “teachers” of Matthew 6: the birds and lilies. The disabled, he argues, embody a positive image of “humanity” characterized by dependence on God and a lack of competition with others. Such an image of grace “frees” one from a political economy that drives toward rational mastery of self and world. Yet, do the severely impaired always experience and manifest such dependence? If not, are they not being used to create a “human” image for others in which they, in fact, do not appear?Kevin Reimer’s essay contains similar difficulties. For him, the instructive values are “trust” and “gracious openness.” Citing studies that demonstrate how these values sustain communities—even absent rational agreement—he argues that they should replace rationality as the chief marker of moral maturity (as exemplified, e.g., in Lawrence Kohlberg’s stages of moral development). Like Reinders, Reimer clearly wants those with cognitive impairments to be appreciated as teachers of values that displace the rationalist ones that deprecate them. However, like Reinder’s argument, this easily slides toward defining “humanity” under a certain ideal form, thereby still implicitly devaluing those who do not embody that ideal form. Also, one finds here the danger of romanticizing that is often identified with Vanier: one only sees the form and not the real person.William Gaventa and Brian Brock, however, provide a counterresponse, the first pivotal turn in the book. Gaventa argues that the discovery of another’s value as “teacher” occurs only when one has already acknowledged her as a person (104). In other words, any “form” taught must come only after one has encountered a “person,” which is understood as a complete image of human [End Page 206] value. Here Vanier’s argument for mutual receptivity becomes a fundamental anthropology that grounds an ethic. Love must serve both persons—the teacher with impairments and the learning respondent—along distinct lines of practical action (107). In addition, Gaventa argues that persons need sources of support that are both familial and private, on the one hand, and institutional and public, on the other—thus transcending the usual splits between conservatives and liberals.Brock develops a similar anthropological ethic drawing on Martin Luther. Being human together simply means “becoming neighbors” through the absolute (Christological) imputation of personal value. Brock criticizes practices that negate this neighborly bond. In particular, he rejects the view, often endorsed by genetic counselors, that bearing potentially impaired... (shrink)

Over half of the world's population (3 billon people) now lives in urban environments. The combination of people, industry, and commerce enmeshed in environments over-determined by plans, designs, and configurations that continue to emphasize ease, efficiency, and spatial sprawl over ecological constraints and sustainability help to make urban environments the primary contributors to multiple types of ecological degradation. With this in mind, urban environments demand greater sustained theoretical and practical attention than has been and is the norm (...) under status quo approaches to urbanism that pay little regard to ecological constraints and under traditional models of environmentalism informed by an anti-urban bias. Fortunately, an emerging form of urban environmentalism exists that recognizes the central ecological role of urban environments. This emerging form of urban environmentalism also recognizes urban environments to be the places where environmental problems are often most severe and where environmental solutions are in most need of immediate implementation. The upshot of this dual recognition is that it is accompanied by a growing dual awareness of urban environmental problems and solutions. In this paper I argue that despite this dual recognition and awareness, a paradoxical form of inaction is the norm when it comes to implementing urban environmental solutions. I explain why this is the case by outlining what I call the paradox of urban environmentalism. I explain why the paradox should be considered one of the most significant problems of this new environmental century as well as that frame which opens the door to a new sense of what is possible in urban environments. In the process of considering what is possible, I arrive at some preliminary conclusions about a possible methodological role philosophers can play in helping to address this paradoxical inaction in the hopes of bringing about more sustainable urban environments. (shrink)

Which modernism or modernisms circulate in Deleuze’s two-volume work on cinema? Can one meaningfully claim that both or either The Movement-Image and The Time-Image maintain connections with literary modernism? What relationship if any may be forged between theoretical debates in the areas of literary and film studies as these have been influenced by engagement with Deleuze’s work on cinema? The first obstacle to any successful negotiation of these questions lies in the absence in the books of any reference to the (...) category of modernism – a fact which is after all hardly surprising in a French author of Deleuze’s generation. A second consideration is summed up well by Joost Raessens when he argues that “For Deleuze the term ‘modernity’ is not a neutral category. In effect modern cinema is a representation of differential thought which is determined [...] as a fundamental critique of the classic thought of Plato and Hegel.” Scholars often assert that Deleuze’s modernity owes much to Nietzsche, in the shape of the latter’s demand for a new approach to questions of truth and knowledge. Once life is no longer judged in the name of a higher authority such as the good or the true, the stage is set for Nietzschean transvaluation. This is a process which subjects “every being, every action and passion, even every value, in relation to the life which they involve” to evaluation. This normative model of a cinema which has the capacity to carry out a Nietzschean total critique by means other than philosophy presides over The Time-Image in particular. In terms of the trajectory of Deleuze’s thought, total critique is opposed, in Nietzsche and Philosophy and Difference and Repetition, to Kantian critique as well as to Hegelian sublation. The thinking images of modern cinema, more specifically of its preeminent auteurs in Deleuze’s pantheon such as Welles, Resnais, Godard, and others, can effectuate this new image of thought. Thus is rendered tangible Deleuze’s claim that films think, that cinema thinks. Thus are linked a modernism of cinema and a project which dates back to Difference and Repetition, namely the challenge to a certain image of thought. In this challenge the allies include the two philosophers who dominate the film books – Bergson and Nietzsche. This chapter assumes the position that it is impossible to consider Deleuze’s modernism as being in any way other than intrinsically linked to his overall philosophical system and therefore that it is only in this context that connections with literary modernism can be explored. (shrink)

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 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)

Will works of the imagination ever regain the power they once had to challenge and mould society and the individual? This was the question posed by Edgar Wind's influential Reith Lectures delivered in 1960 and later expanded into his book Art and Anarchy. The book examines the various forces that have fashioned the modern view of the art, from mechanization and fear of intellect to connoisseurship and--perhaps the fundamental weakness of our age--the dispassionate acceptance of art. In the course of (...) his discussion, Wind surveyed a wide range of topics in the history of painting, literature, music, and the plastic arts from the Renaissance to modern times. (shrink)

Which modernism or modernisms circulate in Deleuze’s two-volume work on cinema? Can one meaningfully claim that both or either The Movement-Image and The Time-Image maintain connections with literary modernism? What relationship if any may be forged between theoretical debates in the areas of literary and film studies as these have been influenced by engagement with Deleuze’s work on cinema? The first obstacle to any successful negotiation of these questions lies in the absence in the books of any reference to the (...) category of modernism – a fact which is after all hardly surprising in a French author of Deleuze’s generation. A second consideration is summed up well by Joost Raessens when he argues that “For Deleuze the term ‘modernity’ is not a neutral category. In effect modern cinema is a representation of differential thought which is determined [...] as a fundamental critique of the classic thought of Plato and Hegel.” Scholars often assert that Deleuze’s modernity owes much to Nietzsche, in the shape of the latter’s demand for a new approach to questions of truth and knowledge. Once life is no longer judged in the name of a higher authority such as the good or the true, the stage is set for Nietzschean transvaluation. This is a process which subjects “every being, every action and passion, even every value, in relation to the life which they involve” to evaluation. This normative model of a cinema which has the capacity to carry out a Nietzschean total critique by means other than philosophy presides over The Time-Image in particular. In terms of the trajectory of Deleuze’s thought, total critique is opposed, in Nietzsche and Philosophy and Difference and Repetition, to Kantian critique as well as to Hegelian sublation. The thinking images of modern cinema, more specifically of its preeminent auteurs in Deleuze’s pantheon such as Welles, Resnais, Godard, and others, can effectuate this new image of thought. Thus is rendered tangible Deleuze’s claim that films think, that cinema thinks. Thus are linked a modernism of cinema and a project which dates back to Difference and Repetition, namely the challenge to a certain image of thought. In this challenge the allies include the two philosophers who dominate the film books – Bergson and Nietzsche. This chapter assumes the position that it is impossible to consider Deleuze’s modernism as being in any way other than intrinsically linked to his overall philosophical system and therefore that it is only in this context that connections with literary modernism can be explored. (shrink)

With Wind Wizard, Siobhan Roberts brings us the story of Alan Davenport, the father of modern wind engineering, who investigated how wind navigates the obstacle course of the earth's natural and built environments--and how, when not properly heeded, wind causes buildings and bridges to teeter unduly, sway with abandon, and even collapse. In 1964, Davenport received a confidential telephone call from two engineers requesting tests on a pair of towers that promised to be the tallest in the world. His resulting (...) wind studies on New York's World Trade Center advanced the art and science of wind engineering with one pioneering innovation after another. Establishing the first dedicated "boundary layer" wind tunnel laboratory for civil engineering structures, Davenport enabled the study of the atmospheric region from the earth's surface to three thousand feet, where the air churns with turbulent eddies, the average wind speed increasing with height. The boundary layer wind tunnel mimics these windy marbled striations in order to test models of buildings and bridges that inevitably face the wind when built. Over the years, Davenport's revolutionary lab investigated and improved the wind-worthiness of the world's greatest structures, including the Sears Tower, the John Hancock Tower, Shanghai's World Financial Center, the CN Tower, the iconic Golden Gate Bridge, the Bronx-Whitestone Bridge, the Sunshine Skyway, and the proposed crossing for the Strait of Messina, linking Sicily with mainland Italy. Chronicling Davenport's innovations by analyzing select projects, this popular-science book gives an illuminating behind-the-scenes view into the practice of wind engineering, and insight into Davenport's steadfast belief that there is neither a structure too tall nor too long, as long as it is supported by sound wind science. (shrink)

A Brief History of the Paradox is the first narrative history of paradoxes. Sorenson draws us deep inside the tangles of riddles, paradoxes and conundrums by answering the questions which are seemingly unanswerable. Can God create a stone too heavy for him to lift? Can time have a beginning? Which came first, the chicken or the egg? Filled with illuminating anecdotes, A Brief History of the Paradox is vividly written and will appeal to anyone who finds trying to (...) answer unanswerable questions a paradoxically pleasant endeavour. (shrink)

Once described as hermaphrodites and later as intersex people, individuals born with intersex variations are routinely subject to so-called “normalizing” medical interventions, often in childhood. Opposition to such practices has been met by attempts to discredit critics and reasserted clinical authority over the bodies of women and men with “disorders of sex development.” However, claims of clinical consensus have been selectively constructed and applied and lack evidence. Limited transparency and lack of access to justice have helped to perpetuate forced (...) interventions. At the same time, associated with the diffusion of distinct concepts of sex and gender, intersex has been constructed as a third legal sex classification, accompanied by pious hopes and unwarranted expectations of consequences. The existence of intersex has also been instrumentalized for the benefit of other, intersecting, populations. The creation of gender categories associated with intersex bodies has created profound risks: a paradoxically narrowed and normative gender binary, maintenance of medical authority over the bodies of “disordered” females and males, and claims that transgressions of social roles ascribed to a third gender are deceptive. Claims that medicalization saves intersex people from “othering,” or that legal othering saves intersex people from medicalization, are contradictory and empty rhetoric. In practice, intersex bodies remain “normalized” or eliminated by medicine, while society and the law “others” intersex identities. That is, medicine constructs intersex bodies as either female or male, while law and society construct intersex identities as neither female nor male. Australian attempts at reforms to recognize the rights of intersex people have either failed to adequately comprehend the population affected or lacked implementation. An emerging human rights consensus demands an end to social prejudice, stigma, and forced medical interventions, focusing on the right to bodily integrity and principles of self-determination. (shrink)

Over the past decade, teaching and learning in virtual worlds has been at the forefront of many higher education institutions around the world. The DEHub Virtual Worlds Working Group (VWWG) consisting of Australian and New Zealand higher education academics was formed in 2009. These educators are investigating the role that virtual worlds play in the future of education and actively changing the direction of their own teaching practice and curricula. 47 academics reporting on 28 Australian higher education institutions present (...) an overview of how they have changed directions through the effective use of virtual worlds for diverse teaching and learning activities such as business scenarios and virtual excursions, role-play simulations, experimentation and language development. The case studies offer insights into the ways in which institutions are continuing to change directions in their teaching to meet changing demands for innovative teaching, learning and research in virtual worlds. This paper highlights the ways in which the authors are using virtual worlds to create opportunities for rich, immersive and authentic activities that would be difficult or not possible to achieve through more traditional approaches. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Losing the Self:Detachment in Meister Eckhart and Its Significance for Buddhist-Christian DialogueCharlotte RadlerThe purpose of this article is to probe Meister Eckhart's concepts of self—or, rather, no-self—detachment, and indistinct union, and their positive implications for Buddhist-Christian dialogue. I will examine potential affinities between Eckhart and Buddhist thought with the modest hope of identifying areas in Eckhart's mysticism that may present themselves as particularly ripe for Buddhist-Christian conversations.On April 15, (...) 1329, Pope John XXII issued the bull "In agro dominico" that condemned tenets of Meister Eckhart's teaching. Pope John XXII, who had also dealt harshly with the spiritual Franciscans, was truly concerned about Eckhart's seductive impact on the uneducated in the pews.1 Eckhart's claim that every human's true identity, attainable through detachment, is divine must have created dreams in some of an unmediated experience of and union with the divine, and nightmares in others of the bypassing of the Church's structures, sacraments, and hierarchies.Eckhart, a University of Paris teacher and a preacher, bases his mysticism in part on Proclus and Dionysius the Areopagite. Similarly to Proclus, Eckhart proposes that the soul's circular journey runs from the nothingness of the God beyond God, the God beyond the Trinity, into the somethingness of the world, and back to the nothingness of the God beyond the God. There is a firm ontological link between the One, the Trinity, and creation, which means that creation in its core is Trinitarian and One. In his interpretations of Job 22:14 and Ps. 61:12, Eckhart demonstrates that God is never static as One or Three or creation, but God is at once dialectically One and flowing out into the persons of the Trinity and flowing over into creation.2 This continuity between the Creator and creature, time and eternity, sanctifies creation and transience in all its grittiness and overcomes a duality between Creator and creature similar to the interpretation of samsara and nirvana (conditioned reality is Boundless Openness in Mahayana thought). Furthermore, Eckhart maintains that the One, as transparent and transcendent nothingness, encompasses and penetrates all. The wondrous truth, for Eckhart, is that we are truly all in all, just like the center of the circle is everywhere and its circumference nowhere.3 [End Page 111]To his audience, Eckhart repeatedly underscores that the soul is ontologically rooted in the nothingness of the divine unity and is thus in its deepest essence divine. In fact—and here we find profound resonances with tenets of Buddhist thought such as the concept of no-self (anatta or anatma)—the self's only true existence is the divine nothingness. Contrary to such thinkers as Thomas Aquinas, Eckhart focuses on the principal existence of things in the godhead and maintains that the human being does not possess a true substantial existence or "I" apart from God.4 Hence, the "I" or self can never constitute the foundation of reality. Because of the human being's absolute ontological dependence on God, Eckhart can assert that "where God is, there is the soul, and where the soul is, there is God."5 In his writings, Eckhart therefore differentiates between the true existence that creatures have in their original cause, the esse virtuale, and the particular and ephemeral existence that creatures possess in themselves, the esse formale.6 Thus, instead of autonomy and possessive individualism, "theonomy" implies the realization of the human being's full potential.While the autonomous, individual self is a form of negative nothingness or no-self, it paradoxically constitutes the greatest attachment for the human being. The clinging to the self causes what David Tracy refers to as an individual and cultural terror of transience.7 In the journey toward union, the soul must carefully release itself from all its attachments and detach itself from all its possessiveness. Eckhart's existential letting-go and letting-be imply the profoundest respect for existence itself as well as recognition of the ontological interconnectedness of all life.One of the foremost representatives of the apophatic tradition, Eckhart hooks up the praxis of apophasis to the notion of detachment, the stripping away of... (shrink)

Edgar Wind was one of the most distinguished art historians and philosophers of the twentieth century. He made crucial contributions to debates on aesthetics and on the interdisciplinary nature of cultural history involving such other leading figures as Ernst Cassirer and Erwin Panofsky. It is not always realised, however, that his early thinking was moulded by a concern with the German philosophical tradition, culminating in the analysis of the meaning and function of scientific experimentation and proof. This first edition in (...) English of Edgar Wind's important work Das Experiment und die Metaphysik: Zur Auflosung der kosmologischen Antinomien (1934) also carries a new introduction by Matthew Rampley, placing Wind's philosophical thinking in context. The work is being published to coincide with the opening in 2000 of the Sackler Library at Oxford, which will include a Wind Reading Room. (shrink)

As the seminal essay, it gives title to the present volume, and is here translated into English for the first time. In this essay, which marked a change of direction in Wind's own development, he argues that two opposing styles of portraiture, exemplified in the art of Gainsborough and Reynolds, can be related to the different notions of humanity subscribed to by the philosophers David Hume and James Beattie. Other important studies, also reprinted here, make this volume an excellent resource (...) to Wind's tremendous contributions to art history. (shrink)

Although nanotechnology is often defined as operations on the 10-9 meters, the lack of charisma in the scale-bound definitions has been fortified by remarkable dreams and alluring promises that spark excitement for nanotechnology. The story of the rhetorical development of nanotechnology reveals how speculative claims are powerful constructions that create legitimacy in this emerging technological domain. From its inception, nanotechnology has been more of a dream than reality, more fiction than fact. In recent years, however, the term nanotechnology has been (...) actively drawn toward the present to begin to deliver on the fantastic expectations. This debate over time and timing is loaded with paradox. This work examines how future claims work to define what counts as nanotechnology and reveals dilemmas that accompany temporal disjunctures. Science and politics converge in debates about the future of technology as expectations serve to create and enforce power and legitimacy in the emerging area. (shrink)

Socrates' attitude towards falsehood is quite puzzling in the Republic. Although Socrates is clearly committed to truth, at several points he discusses the benefits of falsehood. This occurs most notably in Book 3 with the "noble lie" (414d-415c) and most disturbingly in Book 5 with the "rigged sexual lottery" (459d-460c). This raises the question: What kinds of falsehoods does Socrates think are beneficial, and what kinds of falsehoods does he think are harmful? And more broadly: What can this tell us (...) about the relationship between ethics and epistemology? The key to answering these questions lies in an obscure and paradoxical passage in Book II; at 382a-d Socrates distinguishes between "true falsehoods" and "impure lies." True falsehoods are always bad, but impure lies are sometimes beneficial. Despite Socrates' insistence that he is not saying anything deep, his distinction is far from straightforward. Nevertheless, in order to determine why some falsehoods are beneficial and why some are always harmful, we must understand what exactly true falsehoods are and how they differ from impure lies. In this paper, I argue that true falsehoods are a restricted class of false beliefs about ethics; they are false beliefs about how one should live and what one should pursue. I refer to these beliefs as "normative commitments." False normative commitments are always pernicious because they create and sustain psychological disharmony. Unlike true falsehoods, impure lies can be about anything. Nevertheless, they are only beneficial when they help produce and sustain true normative commitments. I argue that the upshot of this is that practical concerns have a kind of primacy over theoretical concerns. (shrink)

This paper examines the role that linguistic and cognitive prominence play in the resolution of anaphor–antecedent relationships. In two experiments, we found that pronouns are immediately sensitive to the cognitive prominence of potential antecedents when other antecedent selection cues are uninformative. In experiment 1, results suggest that despite their theoretical dissimilarities, topic and contrastive focus both serve to enhance cognitive prominence. Results from experiment 2 suggest that the contrastive prosody appropriate for focus constructions may also play an important role in (...) enhancing cognitive prominence. Thus different types of linguistic prominence (topic, contrastive focus) appear to have the common effect of increasing the cognitive prominence of the discourse referent. For pronouns with two possible antecedents, the cognitive prominence of an antecedent aids in anaphor resolution, immediately biasing selection towards the more prominent (and ultimately preferred) antecedent. (shrink)

This paper reexamines the concept of filial piety from a specific perspective, asking how filial piety is performed by and observed on the body. I argue that in pre-Qin and Han Confucian texts, there was a strong anxiety over the potential hypocrisies of filial deeds; that is, the fact that filial piety could be abused and transformed to become a mere show intended for gaining fame and reputation. Because of this, early commentators felt the need to create methods and (...) criteria for evaluating filial piety. One important way to do this was to examine how filial piety was materialized through the ritual performance of the body. Filial piety was thus embodied and evaluated in terms of corporality. Ironically, this embodiment of filial piety had its own paradox as filial piety could become oversimplified as physical care of the parents and the ritual of xiao be reduced to a performance. (shrink)