We study the embedding property in the category of sorted profinite groups. We introduce a notion of the sorted embedding property (SEP), analogous to the embedding property for profinite groups. We show that any sorted profinite group has a universal SEP-cover. Our proof gives an alternative proof for the existence of a universal embedding cover of a profinite group. Also our proof works for any full subcategory of the sorted profinite (...) groups, which is closed under taking finite quotients, fibre products, and inverse limits. We also show that any sorted profinite group having SEP has a sorted complete system whose theory is $\omega $ -categorical and $\omega $ -stable under the assumption that the set of sorts is countable. (shrink)

Temporal analyses of causal directionality fail if causes needn't precede their effects. Certain well-known difficulties with alternative (non-temporal) analyses have, in recent accounts, been avoided by attending more carefully to the formal features of relations typically figuring in philosophical discussions of causation. I discuss here a representative of such accounts, offered by David Sanford, according to which a correct analysis of causal priority must issue from viewing the condition relation as nonsymmetrical. The theory is shown first to be an implicitly (...) counterfactual treatment at its base: this provides for an explicit reformulation of several key notions in the theory. An argument is then presented, independent of these modal considerations, for the conclusion that causal priority is possible only given certain implausible assumptions about the asymmetric character of causal laws which, I claim, are not met. The best objection to this argument is shown to fail on several counts, partly in light of the counterfactual results offered earlier. It is concluded that, if laws are symmetric, analyses of the sort discussed must look elsewhere for the source of causal priority; but if laws are not symmetric, resting causal priority so heavily on nomological asymmetry is no analysis at all. (shrink)

Whether perception involves the manipulation of representations is currently heavily debated. The embedded view advanced by Nico Orlandi seeks a middle passage between representationalism and radical enactivism. In this paper I argue for a non-representational take on EV. I argue that this is the best way to resolve the objections EV has received from both representationalists and non-representationalists. I analyze this debate, and distinguish four sorts of objections: the objection of the wrongfully cut middleman, the argument against explanatory exclusionism, the (...) case for scientific benefits of representations, and the charge of inconsistent ascription of representational status in EV. I argue that the middleman was never cut in EV, and is controversial to boot, otherwise equal, non-representational explanations have primacy over representational explanations, due to the lack of naturalistic grounds for representations and the unnecessarily ascribed cognitive load to the system. Further, I show that puts the cart before the horse, and the arguments on offer are viciously circular. However, the final objection, lays bare a deeper issue for EV. At the cost of giving up the middle position, however, the explanatory tools already available to EV can be shown to cover the work initially thought to require representation. I conclude that EV is best altered to be a non-representational theory of perception. (shrink)

We prove some embedding theorems for classical conditional logic, covering 'finitely cumulative' logics, 'preferential' logics and what we call 'semi-monotonic' logics. Technical tools called 'partial frames' and 'frame morphisms' in the context of neighborhood semantics are used in the proof.

The particular design of any technology may have profound social implications. Computing technologies are deeply intermeshed with the activities of daily life, playing an ever more central role in how we work, learn, communicate, socialize, and participate in government. Despite the many ways they have improved life, they cannot be regarded as unambiguously beneficial or even value-neutral. Recent experience shows they can lead to unintended but harmful consequences. Some technologies are thought to threaten democracy through the spread of propaganda on (...) online social networks, or to threaten privacy through the aggregation of datasets that include increasingly personal information, or to threaten justice when machine learning is used in such high-stakes, decision-making contexts as loan application reviews, employment procedures, or parole hearings. It is insufficient to ethically assess technology after it has produced negative social impacts, as has happened, for example, with facial recognition software that discriminates against people of color and with self-driving cars that are unable to cope with pedestrians who jay-walk. Developers of new technologies should aim to identify potential harmful consequences early in the design process and take steps to eliminate or mitigate them. This task is not easy. Designers will often have to negotiate among competing values—for instance, between efficiency and accessibility for a diverse user population, or between maximizing benefits and avoiding harm. There is no simple recipe for identifying and solving ethical problems. -/- Computer science education can help meet these challenges by making ethical reasoning about computing technologies a central element in the curriculum. Students can learn to think not only about what technology they could create, but also whether they should create that technology. Learning to reason this way requires courses unlike those currently standard in computer science curricula. A range of university courses on topics in areas of computing, ethics, society and public policy are emerging to meet this need. Some cover computer science broadly, while others focus on specific problems like privacy and security; typically, these classes exist as stand-alone courses in the computer science curriculum. Others have integrated ethics into the teaching of introductory courses on programming, artificial intelligence, and human-computer interaction. (shrink)

A positive topology is a set equipped with two particular relations between elements and subsets of that set: a convergent cover relation and a positivity relation. A set equipped with a convergent cover relation is a predicative counterpart of a locale, where the given set plays the role of a set of generators, typically a base, and the cover encodes the relations between generators. A positivity relation enriches the structure of a locale; among other things, it is (...) a tool to study some particular subobjects, namely the overt weakly closed sublocales. We relate the category of locales to that of positive topologies and we show that the former is a reflective subcategory of the latter. We then generalize such a result to the category of suplattices, which we present by means of cover relations. Finally, we show that the category of positive topologies also generalizes that of formal topologies, that is, overt locales. (shrink)

1 INTIMACY Among Descartes's most and consequential achievements has been his of the mental as an independent ontological domain. By taking the mind as a substance, with cognitions as its modes, he accorded them a status as self-standing and determinate on their own, without essential regard to other entities. Only with this metaphysical conception in place, could the idea of solipsism-the idea of an intact ego existing with nothing else in the universe-so much as make sense. And behind that engine (...) have trailed the sorry boxcars of hyperbolic doubt. the mind-body problem, the problem of the external world, the problem of other minds, and so on. -/- Although the assumptions have been under fire, off and on. at least since Hegel-including with renewed intensity in recent years … the Cartesian separation that is still so pervasive as to be almost invisible. In particular, inter-relationist accounts retain a principled distinction between the mental and the corporeal-a distinction that is reflected in contrasts like semantics versus syntax, the space of reasons versus the space of causes, or the intentional versus the physical. (Notice that each of these contrasts can be heard either as higher versus lower’ level" or as inner versus outer 'sphere‘.) The contrary of this separation-or battery of separations-is not inter-relationist holism but something that I would like to call the intimacy of the mind's embodiment and embeddedness in the world. The term 'intimacy' is meant to suggest more than just necessary interrelation or interdependence but a kind of commingling or integralness of mind, body,and world-that is, to undermine their very distinctness. The challenge is as much to spell out what this could mean as to make a case for it. Indeed, no sooner does such a possibility seem intelligible at all, than ways bring out its plausibility and significance turn up everywhere. -/- There is little original in what follows. The strategy will be to bring some well known principles of systems analysis to bear on the mind- body-world 'system' in a way that refocuses questions of division and unity, and then to canvas a selection of investigations and proposals - some fairly recent, others not-in the light of this new focus. The hope is that these superficially disparate ideas, none of them new, will seem to converge around the theme of intimacy in a way that illuminates and supports them all. Sorting and and aligning issues in this manner has sometimes been discussed under titles like 'embedded computation’ and 'situated cognition'. (shrink)

First published in 1996, _The Embedded Self_ was lauded as "a brilliant and long overdue rapprochement between psychoanalysis and family therapy conceived by a practitioner trained and experienced in both modalities of treatment." Mary-Joan Gerson’s integrated presentation of psychodynamic and family systems theory invited therapists of either orientation to learn the tools and techniques of the other, to mutual benefit. Firmly grounded in detailed case presentations, her focus on family therapy examined its history, organizing concepts, and developmental approaches, and addressed (...) practical questions of diagnosis, clinical interaction, and referrals. A dozen years later, the psychoanalytic community is more open to integrating perspectives, and the growth of analysts working with couples and families necessitates an update of the material presented in _The Embedded Self_. Similarly, the family therapy community has deepened its interest in individual dynamics within systemic patterning. From a new and revised perspective on the possibilities of integration, Gerson covers the latest research in neuroscience and the transmission of affect within intimate relationships, with a new chapter on attachment theory and emotionally focused therapy. Sections on narrative therapy and psychoanalytically-oriented family therapy are expanded as well. _The Embedded Self_ was a sterling introduction to family systems theory and therapy, and enhanced the work of analysts and family and couples therapists alike. The second edition proves no different in its context but wider in its scope, further enhancing the work of the family therapist interested in individual dynamics, and preparing the psychodynamically-oriented therapist who seeks to extend her craft from the dyad to the triad, and beyond. (shrink)

Stephen Barker argues that a possible worlds semantics for the counterfactual conditional of the sort proposed by Stalnaker and Lewis cannot accommodate certain examples in which determinism is true and a counterfactual Q > R is false, but where, for some P, the compound counterfactual P > (Q > R) is true. I argue that the completeness theorem for Lewis’s system VC of counterfactual logic shows that Stalnaker–Lewis semantics does accommodate Barker’s example, and I argue that its doing so should (...) be understood as showing that the example is an exception to Lewis’s Time’s Arrow requirements. (shrink)

Counterfactual analysis of causation between particular events, combined with standard semantics for counterfactual conditionals, cannot express the idea that the cause is sufficient for the effect. Several authors have suggested that a more complex pattern of nested counterfactual conditionals is a better candidate for expressing the idea of causal connection. The most systematic account is developed by Kadri Vihvelin. She argues that a complex pattern of causal dependence, expressed by embedded conditionals, covers all the cases of causation and still yields (...) an account of causal asymmetry. But the new account relies heavily on the use of backtracking conditionals, and no criterion is given for their evaluation. I will try to show that Vihvelin’s proposal is not superior to the standard account because it overlooks the disadvantages of a liberal theory of causal relata. (shrink)

Experiments have led some philosophers to conclude that the reference determination of natural kind terms is neither simply descriptive nor simply causal-historical. Various theories have been aired to account for this, including ambiguity, hybrid, and different-idiolects theories. Devitt and Porter (2021) hypothesized that some terms are covered by one theory, some another, with a place for all the proposed theories. The present paper tests hypotheses that the term ‘Rio de Janeiro Myrtle’ is simply causal-historical but the term ‘rice’ is hybrid. (...) For, whereas the former term is of scientific but little practical interest, the latter is not: rice is a significant part of the human diet. So, we predicted there would be two factors to the reference determination of ‘rice’: a superficial-descriptive one and a deep-causal one. Our experiments confirmed these hypotheses using the methods of elicited production and truth value judgments. We take our results to support the hybrid Theory of ‘rice’ rather than the ambiguity or different-idiolects theory. We were not testing ‘myrtle’ but, surprisingly, our results implied that ‘myrtle’ was partly descriptive and so like ‘rice’ but not ‘Rio de Janeiro Myrtle’. A follow-up experiment confirmed these puzzling results. More investigation is needed. (shrink)

‘Grounding and the indispensability argument’ presents a number of ways in which nominalists can use the notion of grounding to rebut the indispensability argument for the existence of mathematical objects. I will begin by considering the strategy that puts grounding to the service of easy-road nominalists. I will give some support to this strategy by addressing a worry some may have about it. I will then consider a problem for the fast-lane strategy and a problem for easy-road nominalists willing to (...) accept Liggins’ grounding strategy. Both are related to the problem of formulating nominalistic explanations at the right level of generality. I will then consider a problem that Liggins only hints at. This problem has to do with mathematics’ function of providing the sort of covering generalizations we need in scientific explanations. (shrink)

The political philosophy of radical democracy has made innumerable invaluable contributions to theories of democracy. However, while radical democrats tend to focus on the political, a cogent and comprehensive framework of law appropriate to radical democracy has only recently been begun to be developed. Interpreting the vast tradition of radical democracy to be based at least on the fundamental tenets of radical equality, anti-foundationalism, and to a lesser extent conflict, this paper argues that the oft-forgotten work of the American legal (...) philosopher Robert Cover may provide critical resources for a radical democratic theory of law. According to Cover, every agent living under law is embedded, or embeds themselves, within a nomos or normative universe. From this nomos legal texts become imbued with widely different meanings, many of which will be mutually incompatible. Cover’s legal anarchism, moreover, gives way to the argument that no agent or institution has a particularly privileged view of the ‘correct’ law. Accordingly, every legal texts gives rise to a proliferation of normative universes which due to their mutual incompatibility will eventually come into conflict with one another. This paper shows that Cover’s normative commitments are highly congruent with those professed by many radical democrats, and that therefore Cover’s legal philosophy furnishes a fruitful basis on which to further theorise a framework of radical democratic or agonistic law that incorporates struggle while remaining committed to equality and disavowing of any determinate foundations. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 63.1 (2002) 1-17 [Access article in PDF] What if the Father Commits a Crime? Rui Zhu Apparently, Socrates and Confucius respond similarly to the question if a son should turn in his father in the case of the father's misdemeanor. When Euthyphro, flaring his pride of his moral impartiality, tells Socrates that he is on his way to report his father because he (...) has thrown one of the household slaves into a ditch and left him bound there until he was dead, Socrates says, "Good Heaven! Certainly, Euthyphro, most men would not know how they could do this and be right. It is not the part of anyone to do this, but of one who is far advanced in wisdom." 1According to Socrates, only a man of high wisdom knows how to prosecute his father righteously, but Euthyphro does not appear to have this wisdom. When his interlocutor observes that an upright man in his state would bear witness against his father if he misappropriates a sheep, Confucius contradicts the interlocutor's understanding of uprightness by speaking in a matter-of-fact tone: "In my country the upright men are of quite another sort. A father will cover up for his son, and a son his father—which incidentally does involve a sort of up—rightness." 2Confucius stands on the same line with Socrates but seems the more radical of the two. Socrates does not directly refute Euthyphro and only suggests that he make sure he understands what he is doing before going any further. Socrates is not only typically Socratic—indirect and suggestive—but also sounds so reasonable that Euthyphro appears in contrast to be a reckless youth who harbors [End Page 1] only a faint understanding of morality. Confucius's response is more rigid, for he categorically dismisses an act of the Euthyphroian kind. He demands that father and son cover up for each other in the case of either one's guilt. Compared to Socrates, Confucius advocates the position that seems a little too strong and leaves no room for justice, while Socrates does not have that problem with justice. This is how we feel about Socrates and Confucius on our first impression. The prima facie observations that we make from the remarks of Socrates and Confucius seem both plain and unproblematic.By embedding these remarks into their respective social or philosophical cultures, this paper will show that our previous observations are not quite accurate. The apparent affinity of the Socratic and Confucian stances belies different underlying moral philosophies. We want to use their comments as bridges to explore the early Greek and Confucian ethics and show how different a picture we see after things are examined within their traditions.The issue of a possible father-son conflict may be treated as a case study of the early Greek (the Heroic era until the age of Socrates) and early Confucian (Confucius and Mencius) morals. There is a strong theme in the early Greek morals that allows, or sometimes demands, a son such as Euthyphro to prosecute his father for the sake of justice, because justice, instead of love (philein) or filial piety, is the governing principle in the early Greek ethics. Confucian ethics is founded on love (human-heartedness), which in turn is extended from the love between father and son. All moral principles including justice are derived from this extension of love. The mutual love of father and son then becomes the governing principle in the case of Confucianism. A Guilty Father: The Greek Motif The question, "What if the father commits a crime?" has a certain realistic aroma to a boy coming of age in the Hesiodic Greek world. That father has to be overcome by son before some relief from strife becomes possible is a familiar theme in Greek literature. In Hesiod's Theogony, Uranus (the sky) incurs hatred from all his newborn children since he hides them in their mother Gaia's womb and does not let them return to the light, for no reason... (shrink)

An axiomatic account of multiset theory is given, where multiplicities are of the same sort as sets. Various theories are proposed covering different existing multiset systems, as well as a stronger theory which is equiconsistent with Zermelo–Fraenkel set theory and with antifoundation. The inclusion relation receives a recursive definition in terms of membership and is shown to be not always antisymmetric.

We achieve several results. First, we develop a variant of the theory of absolute Galois groups in the context of many sorted structures. Second, we provide a method for coding absolute Galois groups of structures, so they can be interpreted in some monster model with an additional predicate. Third, we prove the “Weak Independence Theorem” for pseudo-algebraically closed (PAC) substructures of an ambient structure with no finite cover property (nfcp) and the property [Formula: see text]. Fourth, we describe (...) Kim-dividing in these PAC substructures and show several results related to the SOPnhierarchy. Fifth, we characterize the algebraic closure in PAC structures. (shrink)

This volume presents studies on pronouns in embedded contexts, and offers fundamental insights into this central area of research. Much of the recent research on pronouns has shown that embedded environments, such as clausal complements of attitude predicates, provide a window into the nature of pronouns. Pronouns in such environments not only exhibit familiar distinctions such as that between bound and referential pronouns; if they refer to the attitude holder, they also participate in a broader range of phenomena, e.g., distinguishing (...) between a de se reading and a de re reading. Topics covered include: the semantics of attitude reports that contain pronominal elements, the semantics of pronominal features and their connection to indexicality, new insights in the connection of pronominal typology and logophoricity or anti-logophoricity, and finally, the localization of embedded pronouns within a bigger picture involving the nature of perspective and the analysis of quasi-pronominal phenomena such as sequence of tense. (shrink)

Extrapolating from the work of Mahlo , one can prove that given any pair of countable closed totally bounded subsets of complete separable metric spaces, one subset can be homeomorphically embedded in the other. This sort of topological comparability is reminiscent of the statements concerning comparability of well orderings which Friedman has shown to be equivalent to ATR0 over the weak base system RCA0. The main result of this paper states that topological comparability is also equivalent to ATR0. In Section (...) 1, the pertinent subsystems of second-order arithmetic and results on well orderings are reviewed. Sections 2 and 3 overview the encoding of metric spaces and homeomorphisms in second-order arithmetic. Section 4 contains a proof of the topological comparability result in ATR0. Section 5 contains the reversal, a derivation of ATR0 from the topological comparability result. In Section 6, additional information about the structure of the embeddings is obtained, culminating in an application to closed subsets of the real numbers. (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)

The aim of this paper is to give a general solution to the paradoxes of the material conditional, including the paradoxes generated by embedded conditionals. The solution consists in a pragmatic reinterpretation of the formal languages of classical logic LK and relevant logic LR as presented in Paoli. In particular I argue that the material conditional in the classical logic LK captures the truth conditions of “if...then”, but ignores certain pragmatic enrichments that are associated to it, while relevant logic LR (...) can give a systematic diagnostic of the cases in which a conditional is pragmatically enriched and those cases in which it is not. This diagnostic shows the reason why the paradoxes seem unacceptable and why they are, nevertheless, truth-preserving. This reinterpretation will also cover the solution that Paoli gives to McGee’s paradoxes of the Modus Ponens. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

Few problems are as challenging to Levinas's ethics as the tension or even chiasm that opens between the ethics in relation to the face and the claims of the third. This paper offers a reading of the role of the judge in court as the model for understanding the relation of these two aspects of justice. I make reference to an essay by the legal theorist Robert Cover that explored the violence of the courtroom. He shows how society contains (...) appropriate violence by framing the institutions of the court. Levinas then appears in his repeated citation of a Talmudic text about the judge _not_ facing the defendant in a court. Through a careful reading of the Talmudic text and the Biblical texts upon which it draws, we can see Levinas sorting out the different kinds of responsibility to which the judge responds. The paper ends with a brief reflection on how engaging with the specificity of a text offers new methodological resources for philosophical reflection. (shrink)

Few problems are as challenging to Levinas's ethics as the tension or even chiasm that opens between the ethics in relation to the face and the claims of the third. This paper offers a reading of the role of the judge in court as the model for understanding the relation of these two aspects of justice. I make reference to an essay by the legal theorist Robert Cover that explored the violence of the courtroom. He shows how society contains (...) appropriate violence by framing the institutions of the court. Levinas then appears in his repeated citation of a Talmudic text about the judge not facing the defendant in a court. Through a careful reading of the Talmudic text and the Biblical texts upon which it draws, we can see Levinas sorting out the different kinds of responsibility to which the judge responds. The paper ends with a brief reflection on how engaging with the specificity of a text offers new methodological resources for philosophical reflection. (shrink)

In a previous paper with M. Džamonja, class forcings were given which fixed the complexity (a universality covering number) for certain types of structures of size λ together with the value of 2λ for every regular λ. As part of a programme for examining when such global results can be true in an inner model, we build generics for these class forcings.

We give a syntactic translation from first-order intuitionistic predicate logic into second-order intuitionistic propositional logic IPC2. The translation covers the full set of logical connectives ∧, ∨, →, ⊥, ∀, and ∃, extending our previous work, which studied the significantly simpler case of the universal-implicational fragment of predicate logic. As corollaries of our approach, we obtain simple proofs of nondefinability of ∃ from the propositional connectives and nondefinability of ∀ from ∃ in the second-order intuitionistic propositional logic. We also show (...) that the ∀-free fragment of IPC2 is undecidable. (shrink)

Although we all learn differently, we all need to be able to engage certain fundamental reasoning skills if we are to manoeuvre successfully through life—however we define success. Peirce's philosophy provides us with a framework for helping students develop and hone the ability for making deliberate and well‐considered choices. For, embedded within Peirce's complete body of work is a design for thinking that provides a sturdy foundation for the development of three important learning capabilities. These capabilities are 1) the ability (...) to identify, compare, and contrast qualities, 2) the ability to perform analyses, and 3) the ability to interpret the meaning of signs. Although these capabilities may seem like the sort of skills that only older and academically inclined students can master, even young children and the intellectually challenged can learn to use them as well. Once teachers learn to develop their own intellectual potential by expanding these capabilities within themselves, they will be able to begin bringing about the development of these capabilities in their students. Once identified, developed, and applied to the mastery of educational skills and subject matter, these three fundamental learning capabilities , can form the foundation of a common‐sense approach to educational reform. Peirce asserts that good reasoning must be informed by ethical considerations, which in turn has been informed by the highest of aesthetic impulses. From this, we can extrapolate the importance that an educational model based upon Peirce's philosophy must place upon aesthetic and ethical considerations, as well as logical ones. Once fully understood, the philosophy of education embedded within Peirce's epistemology can revolutionize educational practices at all levels of learning. (shrink)

The purpose of this paper is to elucidate the semantic relation between continental drift and plate tectonics. The numerous attempts to account for this case in either Kuhnian or Lakatosian terms have been convincingly dismissed by Rachel Laudan, who nevertheless acknowledged that there was not yet a plausible alternative to explain the so called “geological revolution”. Several decades later, the epistemological side of this revolution has received much attention, while the semantic relation between drift theory and plate tectonics has remained (...) mainly unexplored. In studying this case under a new light, the notion of embedding, as distinguished from other sorts of intertheoretical relations :11–27, 2011), will have a particular significance. After formally analyzing the relationship between continental drift and plate tectonics, it will become evident that the models of drift theory are part of the models of plate tectonics, thereby fulfilling the conditions for embedding. All theoretical concepts from drift theory are presupposed in some theoretical concepts from plate tectonics, and all empirical concepts of the former are shared by the latter. Furthermore, all the successful paradigmatic applications of continental drift are also successful applications of plate tectonics. As a consequence, under the label “geological revolution”, we actually find a salient historical case of cumulative progress across theory change. (shrink)

Although we all learn differently, we all need to be able to engage certain fundamental reasoning skills if we are to manoeuvre successfully through life—however we define success. Peirce's philosophy provides us with a framework for helping students (and ourselves) develop and hone the ability for making deliberate and well‐considered choices. For, embedded within Peirce's complete body of work is a design for thinking that provides a sturdy foundation for the development of three important learning capabilities. These capabilities are 1) (...) the ability to identify, compare, and contrast qualities, 2) the ability to perform analyses, and 3) the ability to interpret the meaning of signs. Although these capabilities may seem like the sort of skills that only older and academically inclined students can master, even young children and the intellectually challenged can learn to use them as well. Once teachers learn to develop their own intellectual potential by expanding these capabilities within themselves, they will be able to begin bringing about the development of these capabilities in their students. Once identified, developed, and applied to the mastery of educational skills and subject matter, these three fundamental learning capabilities (qualification, analysis, and interpretation), can form the foundation of a common‐sense approach to educational reform. Peirce asserts that good reasoning must be informed by ethical considerations, which in turn has been informed by the highest of aesthetic impulses. From this, we can extrapolate the importance that an educational model based upon Peirce's philosophy must place upon aesthetic and ethical considerations, as well as logical ones. Once fully understood, the philosophy of education embedded within Peirce's epistemology can revolutionize educational practices at all levels of learning. (shrink)

In a recent contribution to this journal, Andrew Fenton and Sheri Alpert have argued that the so-called “extended mind hypothesis” allows us to understand why Brain Computer Interfaces (BCIs) have the potential to change the self of patients suffering from Locked-in syndrome (LIS) by extending their minds beyond their bodies. I deny that this can shed any light on the theoretical, or philosophical, underpinnings of BCIs as a tool for enabling communication with, or bodily action by, patients with LIS: BCIs (...) are not a case of cognitive extension. I argue that Fenton and Alpert’s claim to the contrary is the result of a widespread confusion about some related, but significantly different, approaches to cognition that all fall under the heading of “situated cognition.” I first provide a short taxonomy of various situated approaches to cognition, highlighting (some of) their important commonalities and differences, which should dissolve some of the confusions surrounding them. Then I show why the extended mind hypothesis is unsuitable as a model of BCI enhancements of LIS patients’ capacity to interact with their surroundings, and I argue that the situated approach with obvious bearings on the sort of questions that were driving Fenton and Alpert is not the idea that cognition is extended , but the idea that cognition is enacted. (shrink)

We live in a fragmented environment where spatial information is scattered across rooms, streets, neighborhoods, and cities. To point out the direction to a currently non-visible location or to find novel shortcuts across previously untraveled terrain we need to rely on our spatial memory by piecing the experienced fragments together in our head. This thesis is concerned with the question of how our spatial memory for navigable space (also called survey knowledge) is structured. Two major theoretical approaches are contrasted. Euclidean (...) map approaches assume that spatial locations are represented in a map-like, globally embedded, Euclidean format. Enriched graph approaches propose a partitioned, unit-wise representation of places connected in a network. In four consecutive studies participants learned spatial relations between objects spread across virtual environments and solved survey tasks afterward (e.g., pointing to object locations from memory). The observed effects imply that our memory of navigable space is stored in the format of an Enriched graph, a network of local places connected by directed links, without the necessity of a global calibration. Survey estimates seem to be constructed incrementally along the memorized connectivity and are generally transient. Additionally, a general reference direction can be acquired, a main direction that is propagated across a sub-group of multiple local places (i.e., a region) or that can cover the entire environment. Taken together, our representation of navigable space seems to be best described as an impossible puzzle where the memorized pieces and connections do not necessarily match up on a global scale. (shrink)

Theorists have oversold the usefulness of predicate logic and generative grammar to the study of language origins. They have searched for models that correspond to semantic properties, such as truth, when what is needed is an empirically testable model of evolution. Such a model is required if we are to explain the origins of linguistic properties by appealing to general properties of linguistic engendering, rather than to the advent of genotypes with the propensity to produce certain brain mechanisms. While the (...) latter sort of explanation has a place, no theory can be considered an `evolutionary' theory without the former. We introduce a general notion of engendering, whose primary virtue is its freedom from assumptions regarding the nature of colloquial change. We use it to frame a conjecture about the evolution of centre embedded clauses; one which makes the fewest possible assumptions about the neural requirements upon individual brains. Keywords: biology of language; epigenesis; engendering; evolution; mutation; population; recursion. (shrink)

Theorists have oversold the usefulness of predicate logic and generative grammar to the study of language origins. They have searched for models that correspond to semantic properties, such as truth, when what is needed is an empirically testable model of evolution. Such a model is required if we are to explain the origins of linguistic properties by appealing to general properties of linguistic engendering, rather than to the advent of genotypes with the propensity to produce certain brain mechanisms. While the (...) latter sort of explanation has a place, no theory can be considered an ‘evolutionary’ theory without the former. We introduce a general notion of engendering, whose primary virtue is its freedom from assumptions regarding the nature of colloquial change. We use it to frame a conjecture about the evolution of centre embedded clauses; one which makes the fewest possible assumptions about the neural requirements upon individual brains. Keywords: biology of language; epigenesis; engendering; evolution; mutation; population; recursion. (shrink)

In this paper we discuss an interpretation of intuitionistic type theory in many-sorted arithmetic with so-called conditional application. Via the formulas-as-types correspondence the arithmetical system in turn can be embedded in ML, resulting in a characterization of strong Σ-elimination by an axiom of conditional choice.

We use connections between conjunctive game formulas and the theory of inductive definitions to define the notions of a coinductive formula and its approximations. Corresponding to the theory of conjunctive game formulas we develop a theory of coinductive formulas, including a covering theorem and a normal form theorem for many sorted languages. Applying both theorems and the results on "model interpolation" obtained in this paper, we prove a many-sorted interpolation theorem for ω 1 ω-logic, which considers interpolation with (...) respect to the language symbols, the quantifiers, the identity, and countably infinite conjunction and disjunction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Causation Debate in Modern Philosophy: 1637–1739J. A. CoverKenneth Clatterbaugh. The Causation Debate in Modern Philosophy: 1637–1739. New York and London: Routledge, 1999. Pp. xi + 239. Cloth, $75.00. Paper, $21.00.Over the scholastics and earliest moderns, Hume had an advantage of hindsight in declaring that "There is no question, which on account of its importance, as well as difficulty, has caus'd more disputes both among ancients and modern (...) philosophers, than this concerning the efficacy of causes, or that quality which made them be followed by their effects" (Treatise I.iii.14). Between the scholastics and Hume fell (i) Descartes, (ii) classical mechanists such as Hobbes and Gassendi, (iii) the Cartesians Le Grand and Malebranche, (iv) the explanatory rationalists Spinoza and Leibniz, (v) later experimental mechanists such as Boyle, Rohault and Newton, and (vi) the so-called empiricists Locke and Berkeley. This book presents an accessible and admirably broad overview of the modern debate about causation, without sacrificing serious attention to textual details. With two chapters on (i) and one apiece on (ii) - (vi), Clatterbaugh earns for himself and his reader a helpfully synoptic picture of philosophical shifts in the causation debate in the hundred years separating Descartes' Discourse and Hume's Treatise. By the end of the (modern) day, (1) the four-fold causes of Aristotelian-Scholasticism have given way to efficient causation alone; (2) no pre-existing forms in efficient causes are to be found, nor indeed any substantial active powers whatever; (3) there is no deep sense in which causes communicate reality to effects; (4) necessary connection has gone by the board; (5) divine causation has no place in a natural philosophy of causation. No surprises there, but Clatterbaugh's effort reminds us afresh of the varied and torturous routes to such shifts, helping advanced students better (or newly) appreciate them in the comfortable space of 200 pages.Of those pages, a third are devoted to Descartes and the Cartesians. That's not inappropriate, given the importance and difficulty of Descartes's response to Aristotelian-Scholastic accounts of causation, and its influence on occasionalist sentiments on the Continent. The tenor and value of this book may be illustrated by reflecting on the first of these—a rich and frustrating business, both in Descartes's texts and in Clatterbaugh's book. Suppose we grant Descartes the back of his hand to substantial forms and active formal causes as at best "unexplanatory" (counseling Regius): his "at-least-as-much-reality-in-the-cause-as-in-the-effect" principle might be treated as the basis of "an alternative" metaphysical account of causation (19-32). Well, it might be so-treated: but three versions of the principle later, the reader will be excused for judging it little more than a necessary condition for some event-pair x,y counting as a cause-effect pair. If the scholastic appeal to active forms is unexplanatory, then Descartes's [End Page 600] principle—which isn't Descartes's principle at all but a scholastic commonplace—can scarcely fill the explanatory gap. Glossed as a predictable consequence of some strong form of influxus physicus, it is embarrassed by Foucher's objection (that mind bears no likeness to body) and by the weight of texts urging that accidents are individual to their bearers. Having offered us no deep metaphysical story about what in the world answers to 'vis,' Descartes is at best a bungling "interactionist" (here appropriating Clatterbaugh's word for someone whose apparent talk of secondary causes we are asked to respect as expressing a strict and considered philosophical commitment). One can only side with Voetius in reckoning Descartes's replacement of forms by purely quantitative, mechanical principles of motion as expressing a mere "disposition of the movable to move... not an activity of an efficient cause, but merely a necessary condition and a causa sine qua non" (my emphasis: Selectarum Disputationum I [1648-59], 873). Descartes has no deep theory about the nature of causation.Is that too harsh? Had this book a different target, one could fairly complain that the author too infrequently steps away from the texts and commentators to offer and defend a... (shrink)

My focus in this essay is on those singular causal explanations which purport to explain the occurrence of some particular event by means of a claim of the following general sort The occurrence of event caused the occurrence of event.Examples include sentences like The short circuit caused the fire’ and The impact of the hammer caused the shattering of the glass,’ Many philosophers hold that there is a sharp distinction to be drawn between singular causal explanations and those sentences which (...) simply report causal connections. While singular causal sentences are said to typically relate events, and to be extensional, singular causal explanations are held to relate items which are sentential or fact-like in structure and to be non-extensional.1 Singular causal explanations are held on this view to always be explanations of why events or other objects belong to certain kinds or possess certain properties. (shrink)

This book offers a sustained re-evaluation of the most central and perplexing themes of Leibniz's metaphysics. In contrast to traditional assessments that view the metaphysics in terms of its place among post-Cartesian theories of the world, Jan Cover and John O'Leary-Hawthorne examine the question of how the scholastic themes which were Leibniz's inheritance figure - and are refigured - in his mature account of substance and individuation. From this emerges a fresh and sometimes surprising assessment of Leibniz's views on (...) modality, the Identity of Indiscernibles, form as an internal law, and the complete-concept doctrine. As a rigorous philosophical treatment of a still-influential mediary between scholastic and modern metaphysics, their study will be of interest to historians of philosophy and contemporary metaphysicians alike. (shrink)

“Spinoza's Extended Substance: Cartesian and Leibnizian Reflections” This essay examines Woolhouse's interpretation of Spinoza's extended substance. According to that interpretation, the extended substance is a quasi‐Platonic form, and Spinoza's substance is not actually extended. This essay argues that the burden of defending such an interpretation is very great indeed, and requires that we read Spinoza's understanding of Descartes and Leibniz's understanding of Spinoza in unusual and awkward ways.

Many areas of genetic research, genetic forensics and genetic essentialism are treated in public sphere debate as suspicious and problematic or are subject to waves of moral panic. In cultural theory, likewise, strong critiques of the genetic essentialism emerge as part of a broader critical assessment of the discourses of the biological sciences and the assertion of a connection between genes and human behavior. However, the scientific and popular claim to the existence of a “gay gene” is not treated in (...) the same way, and has been widely celebrated both within lesbian/gay culture and more broadly in liberal-humanist speech. This essay suggests that it is not enough to presume that this is a result of the extension of essentialism into new popular understandings of human biology. Rather, this essay examines five reasons which have made the popular acceptance of a “gay gene” tenable: the dominance of “gay personage” arguments, the continued influence of early sexology, the suspicion of psychological and constructionist approaches to lesbian/gay sexualities, the effectiveness of genetic essentialism in“ethnic rights” political approaches and the continued centrality of “fixed subjecthood” in contemporary western culture. (shrink)

Precipitated largely by publication of the Theodicy in 1706, requests for a systematic exposition of Leibniz’s philosophy led to his self-described Éclaircissement sur les monades, begun in the summer of 1714 at the request of Remond. Unlike the treatise on philosophical theology, Leibniz’s Monadology is at once broadly systematic but sketchy and compressed: so it is useful, but then not so useful, as an introduction to his philosophy. Leibniz later decompressed it somewhat by adding references to the Theodicy, where certain (...) issues received fuller treatment. Rescher’s new book goes several steps further, still reckoning Leibniz as his own best commentator: in addition to those passages from the Theodicy, other passages from the Leibniz corpus are brought alongside each section of the Monadology, letting them pretty much speak for themselves about the ideas of that section, with a miminum of added commentary. This is a swell idea, and I think Rescher succeeds in executing it. The result is a useful work for students, who in a single edition get Leibniz’s original effort at carving his system at its joints—the principles of philosophy, he called them—and enough additional text to flesh out a full-bodied picture of his mature philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Leibniz & Clarke: A Study of Their Correspondence by Ezio VailatiJan A. CoverEzio Vailati. Leibniz & Clarke: A Study of Their Correspondence. New York and Oxford: Oxford University Press, 1997. Pp. xii + 250. Cloth, $45.00.When Leibniz received the 1710 issue of the Royal Society’s Philosophical Transactions in early 1711, he read John Keill’s public charge that he had stolen the calculus from Newton. Leibniz twice sought amends (...) from the Society in the form of a retraction, in response to which a committee was formed to investigate and issue a report. The resulting Commercium epistolicum, written by the good Isaac Newton himself and condemning Leibniz, was published in early 1713. In Vienna at the time, Leibniz learned of its contents in a June letter from Johann Bernoulli, who complained about this “scarcely civilized way” of holding what was in effect a tribunal from which the chief witness was absent. By year’s end Leibniz had enlisted Wolff to see into print Leibniz’s anonymous statement—overstatement, in fact—of his case, and nine months later Keill replied with an equally overstated rejoinder. Late autumn of 1714 found Leibniz back in Hannover, suffering from gout and the tiresome pressure to advance his work on the history of the house of Brunswick-Lüneburg. If only he felt better and had more free time, he could collect his mathematical papers and set an end to the dispute by writing his own Commercium epistolicum: as it was (Leibniz told Wolff in the spring of 1715), he had no intention of giving Newton’s cronies the luxury of his time.The Leibniz-Clarke exchange began in the shadows of this dispute, contributing to Leibniz’s already established distaste for parts of British philosophy. Already in 1690 he was describing (to Huygens and others) Newton’s gravitational attraction as “inexplicable.” Soon after Leibniz was surprised to discover that Locke had accepted Newtonian attraction in the second edition of the Essay—surprised, at least, until he came to see it as part and parcel of the dangerous idea that God could attach any old property whatever to matter if He chose, including thought. Materialism and frequent miracles [End Page 533] were just around the corner, and from there it was a short distance to the mortality of the soul, and a mean view of God’s power; the decay of natural theology itself could only follow. Leibniz’s misgivings didn’t see the light of day in the early 1700s, when he penned them in the Preface to the Nouveaux Essais; but he went out of his way to work an explicit complaint about Mr. Newton and Mr. Locke into the Théodicée of 1710 (§19 of the Preliminary Discourse). The calculus dispute followed. By the time Leibniz got round to writing Princess Caroline about the dispute in a letter of May 1715, he was insisting that the Newtonians deserved public censure, and that the Britons deserved Leibniz as historiographer of England. For her own part, Caroline now wondered if Samuel Clarke, who had translated Newton’s Opticks into Latin, would in the end be unbiased enough to translate Leibniz’s Théodicée into English. Moreover Caroline doubted that Clarke’s notion of the soul was theologically innocent. Replying in November, Leibniz summarized his view that natural religion was in great decline in England, and the famous exchange began.Despite there being no monograph devoted to it until now, the Correspondence ıs (and was) famous. If a book-length study is overdue, so perhaps are three reminders—that a significant portion of the Correspondence is devoted to issues other than space and time and gravitation, that the depth to which its issues are pursued was compromised by impatience on the side of both parties, and that Clarke’s philosophical views aren’t so well-understood as Leibniz’s own. Nowhere does Vailati set out to make these points explicitly, but they emerge over the course of his book, and together with exegetical soundness are its chief contributions. While this volume makes no historical or philosophical waves, it indirectly (perhaps unwittingly) explains why none are readily forthcoming in a book... (shrink)

Since the appearance of Bertrand Russell’s A Critical Exposition of the Philosophy of Leibniz, Leibniz’s theory of relations has been a topic of considerable discussion and controversy. Russell himself argued that Leibniz cannot consistently assert both the primary motivation for his denial of relations—that all propositions are of subject-predicate form—and also that relations are to be understood as somehow mental, their foundations being guaranteed by the divine mind. For on the one hand, God must know all relational truths about numbers, (...) aggregates, and relations among monads; but on the other hand, any judgment lacking a subject and predicate will be meaningless. (shrink)