The paper looks at three big ideas that have been associated with the term “relativism.” The first maintains that some property has a higher-degree than might have been thought. The second that the judgments in a particular domain of discourse are capable only of relative truth and not of absolute truth And the third, which I dub with the oxymoronic label “absolutist relativism,” seeks to locate relativism in our acceptance of certain sorts of spare absolutist (...) principles. -/- The first idea is well illustrated by the famous cases drawn from physics, but is ill suited for providing a model for the sorts of relativism about normative domains that have most interested philosophers. -/- The second idea – according to which it is the truth of certain judgments that is relative – seems subject to a very difficult dilemma. -/- The final idea provides a coherent model of cases like etiquette but is not plausibly applied to the moral or epistemic domains. (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)

With the knowledge that team work is not always associated with high(er) performance, we draw from the Multi-Level Theory of Psychological Contracts, Person-Environment Fit Theory, and Optimal Distinctiveness Theory to study shared perceptions of psychological contract (PC) breach in relation to shared perceptions of complementary and supplementary fit to explain why some teams perform better than other teams. We collected three repeated survey measures in a sample of 128 respondents across 46 teams. After having made sure (...) that we met all statistical criteria, we aggregated our focal variables to the team-level and analysed our data by means of a longitudinal three-wave autoregressive moderated-mediation model in which each relationship was one-time lag apart. We found that shared perceptions of PC breach were directly negatively related to team output and negatively related to perceived team member effectiveness through a decrease in shared perceptions of supplementary fit. However, we also demonstrated a beneficial process in that shared perceptions of PC breach were positively related to shared perceptions of complementary fit, which in turn were positively related to team output. Moreover, best team output appeared in teams that could combine high shared perceptions of complementary fit with modest to high shared perceptions of supplementary fit. Overall, our findings seem to indicate that in terms of team output there may be a bright side to perceptions of PC breach and that perceived person-team fit may play an important role in this process. (shrink)

The present study examined the longitudinal association among the Big Five personality traits, maladaptive cognitions, and Internet addiction during the COVID-19 pandemic. A total of 481 Chinese university students were surveyed three times by using the Chinese version of the Big Five Personality Traits Scale, Maladaptive Cognitions Scale, and Internet Addiction Scale. The results of a cross-lagged panel analysis highlighted that extraversion, agreeableness, conscientiousness, and openness were negatively associated with maladaptive cognitions and Internet addiction, whereas neuroticism was (...) found to be positively associated with maladaptive cognitions and Internet addiction across time; associations among the Big Five personality traits, maladaptive cognitions, and Internet addiction were dynamic and bidirectional; and maladaptive cognitions played mediating roles in extraversion, agreeableness, conscientiousness, openness, and Internet addiction across time. The Big Five personality traits, maladaptive cognitions, and Internet addiction predicted each other across time, and maladaptive cognitions were likely to be the key mediating factor in the associations between the Big Five personality traits and Internet addiction, which supported and expanded the Davis’ cognitive–behavioral model. (shrink)

Some of the problems associated with the construction of a manifestly covariant relativistic quantum theory are discussed. A resolution of this problem is given in terms of the off mass shell classical and quantum mechanics of Stueckelberg, Horwitz and Piron. This theory contains many questions of interpretation, reaching deeply into the notions of time, localizability and causality. A proper generalization of the Maxwell theory of electromagnetic interaction, required for the well-posed formulation of dynamical problems of systems with (...) electromagnetic interaction is discussed, and some of the significance of recently found (classical) relativistic chaotic behavior is pointed out. Many results of a technical nature have been achieved in this framework; in this paper, some of these are reviewed, but I shall concentrate on a discussion of the basic ideas and foundations of the theory. (shrink)

My aim in this programmatic paper is to explore the relationship among three important notions: intentionality, disposition and artefact. There wouldn’t be artefacts without what I call “intentional work,” a sustained activity directed to the production of some good. I first present contextualism as a method. Then I use it to delimit the problematic concept ARTEFACT, with the intention to apply it to repertoires of mental dispositions that affect directly our personal identity. The unavoidable but loose criterion of (...) human intervention is used, at least to some degree. Attitudes are intentional states with conceptual content, and concepts are dispositions. We acquire concepts during our lives, sometimes unconsciously, sometimes explicitly through definition of some kind, and each cognitive agent has a unique repertoire of concepts and a unique idiolect as well. The idea that our mental representations are artefacts might sound strange at first sight, but I shall try to show that it makes full sense. Most of our mental dispositions –those provided with a conceptual content– are themselves artefacts. At the end, we are all different psychologically and culturally because our idiolects and repertoires of concepts are different. For a large part, what makes our species so special is an ongoing process through which homo sapiens makes itself what it is.Keywords: Intentionality, disposition, artefact, contextualism, repertoire. (shrink)

By dividing the creation of matter, energy, life, and mind into three big bangs, Holmes Rolston III brings into focus a history of the universe that respects both scientific discovery and the potential presence of an underlying intelligence. Matter-energy appears, initially in simpler forms but with a remarkable capacity for generating heavier elements. The size and expansion rate of the universe, the nature of electromagnetism, gravity, and nuclear forces enable the the explosion of life on Earth. DNA discovers, (...) stores, and transfers information generating billions of species. Cognitive capacities escalate, and with neural sentience this results in human genius. A massive singularity, the human mind gives birth to language and culture, increasing the brain's complexity and promoting the spread of ideas. Ideas generate ideals, which lead life to take on spirit. The nature of matter-energy, genes, and their genesis therefore encourages humans to wonder where they are, who they are, and what they should do. (shrink)

Before the EU General Data Protection Regulation entered into force in May 2018, we witnessed an intense struggle of actors associated with data-dependent fields of science, in particular health-related academia and biobanks striving for legal derogations for data reuse in research. These actors engaged in a similar line of argument and formed issue alliances to pool their collective power. Using descriptive coding followed by an interpretive analysis, this article investigates the argumentative repertoire of these actors and embeds the (...) analysis in ethical debates on data sharing and biobank-related data governance. We observe efforts to perform a paradigmatic shift of the discourse around the General Data Protection Regulation-implementation away from ‘protecting data’ as key concern to ‘protecting health’ of individuals and societies at large. Instead of data protection, the key risks stressed by health researchers became potential obstacles to research. In line, exchange of information with data subjects is not a key concern in the arguments of biobank-related actors and it is assumed that patients want ‘their’ data to be used. We interpret these narratives as a ‘reaction’ to potential restrictions for data reuse and in line with a broader trend towards Big Data science, as the very idea of biobanking is conceptualized around long-term use of readily prepared data. We conclude that a sustainable implementation of biobanks needs not only to comply with the General Data Protection Regulation, but must proactively re-imagine its relation to citizens and data subjects in order to account for the various ways that science gets entangled with society. (shrink)

Digital media, such as cellphones and tablets, are a common part of our daily lives and their usage has changed the communication structure within families. Thus, there is a risk that the use of DM might result in fewer opportunities for interactions between children and their parents leading to fewer language learning moments for young children. The current study examined the associations between children’s language development and early DM exposure.Participants: Ninety-two parents of 25months olds recorded their home sound environment during (...) a typical day [Language ENvironment Analysis ] and participated in an online questionnaire consisting of questions pertaining to daily DM use and media mediation strategies, as well as a Swedish online version of the MacArthur Communicative Development Inventory, which includes a vocabulary scale as well as a grammar and pragmatics scale.Results: Through correlations and stepwise regressions three aspects of language were analyzed. The child’s vocabulary was positively associated with interactional turn-taking. The child’s vocabulary and grammar were negatively associated with the likelihood of parent’s device use during everyday child routines and the amount of TV watched by the child. The child’s pragmatic development was also positively associated with the parent’s device use in child routines but also with the parent’s joint media engagement, as well as the child’s gender.Conclusion: Our study confirms that specific aspects of the 2-year old’s DM environment are associated with the child’s language development. More TV content, whether it is viewed on a big screen or tablet, is negatively associated with language development. The likelihood of parents’ use of DM during everyday child routines is also negatively associated with the child’s language development. Positive linguistic parental strategies such as interactional turn-taking with the child, JME, and book reading, on the other hand, are positively associated with the child’s language development. (shrink)

Emojis and stickers are becoming increasingly popular in computer mediated communications. The present study examined the associations between personality traits and people’s reasons and patterns for using both emojis and stickers. Participants (n= 312) completed three on-line questionnaires assessing shyness, the Big Five personality traits and why and how they used emojis and stickers. Results revealed that shyness, neuroticism, extraversion and agreeableness were correlated with different reasons of usage. Moreover, some participants exhibited a tendency to adjust frequency of (...) usage depending on who the target person was and whether they were in a private or group chat. People who showed such tendencies were found to differ in personality with those who did not. Some differences in usage patterns were also observed between emojis and stickers. Together, the present study sheds more insights into how emojis and stickers can help people with different personality traits to achieve different purposes in their daily communication. (shrink)

Although museums of all kinds continue to proliferate, they have lost the capacity to generate big ideas that characterize epistemic shifts, such as evolution, the labour theory of value, or relativity. They have become mere echo chambers for ideas proposed elsewhere. How might museums regain their capacity to generate big ideas? The development of a Tangible Turn in scholarly thinking is leading to a reinvigoration of knowledge claims derived from material things. Museums are well placed to participate in such a (...) reinvigoration, and in some instances – notably in the natural sciences – already are. Yet to do so they must overcome the taxonomic and systematic divisions that in the nineteenth century stimulated but now inhibit creative thinking. How can disciplinary ossification associated with collection definition be overcome? Two possible models are artists' interventions and arrangement according to philosophical principles, yet neither is sufficient. Curatorial scholars should acknowledge the physical and cultural instability of tangible things, and work with these properties to combine things in revelatory ways, eschewing stable categories. This can be accomplished most effectively in museums associated with universities through collaboration among the scholarly staffs of university collections and with university faculty. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and revolutionary (...) like the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 34.3 (2001) 260-274 [Access article in PDF] Second Thoughts on the Critiques of Big Rhetoric Edward Schiappa This note is divided into three parts. First, I explore some answers to the question "How did Rhetoric get so Big?" Second, I review some of the more important criticisms of a "globalized" or "universalized" view of rhetorical studies. Finally, I contend that the critiques of Big Rhetoric (...) do not withstand scrutiny and ought to be dismissed for insufficient evidence. While there certainly are important issues for scholars of rhetorical studies to consider about how to enhance the quality and importance of our work, such issues should not include the concern that rhetoric has grown too "big."By "Big Rhetoric" I refer only to the theoretical position that everything, or virtually everything, can be described as "rhetorical." I refer to the growth of rhetorical scholarship in communication studies and other disciplines as the "popularization" of rhetorical studies. 1 Theories associated with Big Rhetoric are credited with popularizing or at least rationalizing what Herbert W. Simons (1990) calls the "rhetorical turn" in a variety of disciplines. Within the journals and conventions of members of the National Communication Association (NCA), popularization is often characterized by studies of the form "the rhetoric of X," where X could literally be anything. Outside of the NCA-defined parameters of communication studies, popularization is evidenced by the apparently ever-increasing ranks of scholars who use "rhetoric" as a relevant and important term of art within their scholarship. By either measure, it can be argued fairly convincingly that "rhetoric" has become a widely used construct in scholarship. What I wish to engage is the disputed desirability of broad definitions and the related popularization of rhetoric. [End Page 260] 1. Whence big rhetoric? There are a number of narratives on the rise of Big Rhetoric already in print in communication studies (Simons 1990; Gaonkar 1990), rhetoric and composition (Berlin 1987; Young and Goggin 1993), and interdisciplinary publications (Roberts and Good 1993; Mailloux 2000; Nelson, Megill, and McCloskey 1987). Many accounts identify the 1960s as a turning point. For better or for worse, there was a confluence of changing rhetorical practices, expanding rhetorical theories, and opportunities for rhetorical criticism. The cultural clashes of the 1960s were felt perhaps most acutely on college campuses. The sufficiency of deliberative argument and public address can be said to have been called into question, whether one was an antiwar activist who hated LBJ's war in Vietnam or a pro-establishment stalwart trying to make sense of the rhetoric of protest and demonstration. Years later, scholars would characterize war itself as rhetorical. What counted as rhetorical practice was up for grabs.At about the same time, our understanding of rhetorical theory was being expanded. Here we can identify two main strands of thought. For ease of reference I will call one the symbolic interactionist rationale and the other the epistemological rationale. The symbolic interactionist rationale can be boiled down to a syllogism: All persuasive actions are rhetorical. All symbol/language-use is persuasive. Therefore: All symbol/language-use is rhetorical. Perhaps the two most significant pronouncements of this approach--for my generation of rhetoric scholars, at any rate--are by Richard Weaver and Kenneth Burke. Weaver claims that "language is sermonic" in the sense that whenever we offer a description or label a phenomenon, we are "preaching" a particular way of making sense of it (1970, 201-25). Burke, of course, has two famous (or infamous) statements in Rhetoric of Motives: first, that rhetoric is "the use of language as a symbolic means of inducing cooperation in beings that by nature respond to symbols" (1950, 43); and second, that "something of the rhetorical motive comes to lurk in every 'meaning,' however purely 'scientific' its pretensions. Wherever there is persuasion, there is rhetoric. And wherever there is 'meaning,' there is 'persuasion'" (1950, 172). Obviously, such pronouncements serve as encouragement to [End Page 261] those who would define rhetoric broadly, and arguably fueled the popularization of rhetorical studies within the ranks of NCA.The epistemological rationale is fueled... (shrink)

In this contribution I reply to Heather Wiltse and Róisín Lally’s commentaries. Both stress the importance of not only looking at gaps, but also accounting for relation and connection—an endeavor which was less visible in my original piece but which I wholly support, and on which I elaborate more here, making use of the example of ‘algorithmic mediation.’ In the process, I attempt to clear up some possible misunderstandings with regard to my initial formulations, as concerns object-oriented ontology’s stance (...) on relation, the question of whether postphenomenology already has a ‘transcendental’ account, the variety of possible connotations associated with the term ‘transcendental,’ and my proposals for looking specifically at what happens in between ‘small’ (‘technology with a small “t”’) and ‘big’ (‘Technology with a capital “T”’) perspectives. It turns out that my commentators and I are pretty much on a similar track—though we may differ in the first instance as to the conceptual instruments we would choose to deploy in that, nonetheless shared, project. (shrink)

Architecture and Deconstruction Case of Peter Eisenman and Bernard Tschumi -/- Introduction Towards deconstruction in architecture Intensive relations between philosophical deconstruction and architecture, which were present in the late 1980s and early 1990s, belong to the past and therefore may be described from a greater than before distance. Within these relations three basic variations can be distinguished: the first one, in which philosophy of deconstruction deals with architectural terms but does not interfere with real architecture, the second (...) one, in which a collaboration between Jacques Derrida and a group of architects interested in his concepts is commenced, and the third one, in which completed or only designed objects or new concepts of deconstruction created by architects gain their supremacy over philosophy. The following book analyses these three possible ways, first of all with the reference to Peter Eisenman and Bernard Tschumi. -/- Peter Eisenman -/- Misreading… and Other Errors -/- The issue of relations between Peter Eisenman’s work and philosophy of deconstruction may be referred to his activity more than ten years preceding his direct collaboration with Jacques Derrida (in 1985) and organisation of the exhibition Deconstructivist Architecture at Museum of Modern Art in New York (in 1988). As soon as at the stage of designing the first houses (House I-III, 1967-1970), which almost entirely inscribed in formalistic aesthetics of Modernism, the architect analysed the problem of architecture dependence on its assumptions. All his later designs may be treated as consequence of this initial interest in relations between practice and theory, and at the same time as an introduction to manipulations later on led at the level of metaphysics of architecture. Beginning with the issue of presence, considered in comments to House VI (1972), the number of ideas having their analogies in philosophy of deconstruction increased. The text entitled The End of the Classical: The End of the Beginning, The End of the End (1984), in which Eisenman criticised questions of representation in architecture, its delusive strive for truth and comparably unattainable attempts at ultimate definition of elementary rules, should be acclaimed the breaking point. This attitude was extended by numerous strategies disturbing architecture rules defined at metaphysical level in an essay Moving Arrows, Eros, and Other Errors: an Architecture of Absence (1986). The issue of Eisenman’s passage from formalism to deconstruction has already been much discussed in the literature (Rosalind Krauss, Thomas Patin among others), still it should be mentioned that the threads similar to Derrida’s concept included in Eisenman’s writing reveal untranslatability of architecture and philosophy. -/- Choral Works or Separate tricks -/- In 1985-1986 a series of seven disputes between Jacques Derrida and Peter Eisenman took place. The pretext for them were designs concerning Parc de la Villette in Paris. The situation of many months of collaboration between a notable philosopher of the second half of the 20th c. and an architect that already had a huge theoretical oeuvre, ended up with a publication of a large volume entitled Chora L Works and it became at the same time a vast study area for historians of contemporary architecture and philosophers. Derrida’s contribution to concept works were his considerations over the idea of chôra, the properties related to this concept were about to be reflected in shapes of the park. Therefore, Chora L Works became an example of the abilities of contemporary art, both in its capability of translation from philosophical ideas to artistic forms and its resistance to tradition of representing in architecture some phenomena and values originating outside this discipline. In the final period of their collaboration both interlocutors started to polemicise with each other more decidedly, what became a separate part of their thought exchange. The exchange of letters between Derrida and Eisenman at the turn of 1989 ended up the period of their direct contacts, nevertheless, at this time precisely a large group of experts in issues of deconstruction joined the discussion and extended the revealed in the former dispute problems into more than ten years of further considerations and publications. Except for a long text by Jeffrey Kipnis, who had participated in the meetings of the philosopher and the architect, there appeared also comments of researchers of artistic theories (K. Michael Hays, Thomas Patin), philosophers (Andrew Benjamin), and even experts in Greek literature (Maria Theodorou or Ann Bergren). Following these debates a contemporary reflection on architecture has saturated with indeed numerous concepts originating in philosophy of deconstruction. -/- Architecture which imitates mute philosophy -/- The series of Jacques Derrida and Peter Eisenman meetings, which took place in the period of 1985-1987, induced many authors to make comments. Some of them (Jeffrey Kipnis, Ann Bergren, Maria Theodorou) developed the subject of chôra which was introduced to the discussion by Derrida. The problem that was about to be solved was the question of tying up the concept of chôra with architecture, including Eisenman’s architecture and the series of meetings within frames of Chora L Works project. Kipnis on this occasion paid attention to chôra and its character of anachronia which infects any being created within chôra. In other words any event has its counterpart (analogon) in another, earlier event. He demonstrated the similarity of structure of many events and statements from the times of Derrida and Eisenman’s meetings to the almost identical behaviour of figures in Plato’s dialogue Timaeus. The loss of beginning present in this phenomenon was appropriate to both features of chôra and the effects of typical analyses of philosophy of deconstruction. Bergren’s analyses focused on accentuating gender of chôra, which, according to this author, had been neglected hitherto in discussions. She collated chôra descriptions with characteristics of women in myths, early Greek epic and philosophy and she arrived at a conclusion that chôra has features of a single woman and a married one at the same time. And yet Theodorou’s studies showed that in the Homeric epics chôra is not treated as an idea but is related with single things and events. The other part of the comments (represented by Andrew Benjamin and K. Michael Hays’ utterances) concerns Eisenman’s attitude to tradition which was treated as a variety of iteration understood philosophically. Benjamin commenced his considerations at the point of closeness between a definition of tradition and a concept of chôra understood as perpetuation (placement). A problematic issue was for him Eisenman’s complex relation to tradition based on its contest and affirmation at the same time. Overcoming the simple subordination to tradition – according to Benjamin – was based on awareness of the role of repetition in culture not known before. Hays made an attempt to explain the pleasure and torment of repetition with the support of Sigmund Freud and Roland Barthes’ concepts. According to Hays repetitions are attempts of a single being to a certain primal state perceived as free of any tension. In a similar way Rosalind Krauss explained a motif of a grate present in Modernistic art and also exceptionally frequent in Eisenman’s work. -/- Annex Architecture is still writing Balzac novels. Peter Eisenman and literature -/- Architecture’s approach to writing, script or literature, present within Peter Eisenman’s work, is an exceptional phenomenon, furthermore a complex one. The article considers four possible relations. The first one relates to Eisenman’s characteristics as a person extremely gifted with the ability to wordplay, which very ‘play’ reveals skills to create architectural images. In the second approach the attention has been paid to Eisenman’s interests – in the first period of his oeuvre – in linguistic works by Noam Chomsky and his transformational-generative grammar. The third kind of relations applied to overcoming the need for autonomy of architecture (and of modernist aesthetics at the same time) and renew interests in questions of meaning in architecture. The fourth sort of relations occurred when Eisenman started to create reflections of historic or literary narrations in architecture – ‘stone stories’ and architectural fictions of their kind. -/- Bernard Tschumi -/- From perversion to deconstruction In Bernard Tschumi’s writings from the 1970s and 1980s we can find a transposition of important threads of post-structuralist ideas deriving from Georges Bataille, Roland Barthes and Jacques Derrida’s works. The analysis of the architect’s writings also shows roots in Phillippe Sollers, Michel Foucault and Denis Hollier’s works. The analysis of borrowed elements from the beginnings of Tschumi’s theoretical activity may be helpful in explaining the contents of his later writings motre inspired by philosophy of deconstruction. The set of his earliest views was inspired by Marxism, Neo Marxism and French Structuralism, mainly by the writings of Henri Levebre and Guy Debord. From the thought of Levebre Tschumi took interest for city as not only a question of urbanistics but also a political issue. From Debord’s concepts he borrowed a conviction about the role of situational violation for changes in the society structure. Some of these beliefs were preserved in his own concepts of architecture as an event. From this period derived also his will to change conservative elements of social structure not by means of political revolution but of theoretical and creative activity. Tschumi acknowledged that the effective way of the proceedings towards achieving his aims would be accepting the role of both a critical intellectualist and architecture expert who would not hide away his left-wing orientation. The speculations defined by the architect as ‘revolting analyses’ were about to characterise contradictions which tear the society apart, penetrate architecture and constitute the basis of culture. Spreading away of the conscience of false assumptions hidden away in various disciplines could have weakened cohesion of a conservative society and influence the will to change among the elites. This way the beginnings of political revolution were rooted in philosophy of architecture. In 1977 Tschumi published his text entitled The Pleasure of Architecture inspired by Roland Barthes’s The Pleasure of the Text, it also included some concepts derived from Georges Bataille and Jacques Derrida. First of all the author used Barthes’s concept which made an assumption that literary activity is pervaded by the spirit of resistance towards social rules, and Tschudi transferred this remark onto architecture. From the ideas of Bataille, acquainted via Holier’s work, he derived his belief that two concepts of space, a conceptual one (defined as Pyramid) and a sensual one (defined as Labirynth), not losing their distinct features, they join in the concept of experienced space which exceeds contradictions. The exceeding itself was defined as the basic rule of architecture and it was referred to situations in which architecture not only negates social needs, but also disavows its own tradition. Crossing the borders applies not only to political issues or permanent rules of the very discipline but also interfering with other fields (especially literature and film). The fact that architecture is associated with organising events turned Tschumi’s attention to questions of violence that result from upsetting architectural order of a given building by its users and the one hand, and on the other from forcing the users to specific acts imposed by this very order. The analysis of the concepts used by Tschumi in his early writings indicates that they are close to definitions that would occur in his reflection in the following years influenced by philosophy of deconstruction. -/- Approaching deconstruction Tschumi in his theories developed in the 1980s presumed that the current social world had undergone a deep process of decay, and the reaction against which ought to be based on ordering-up actions, and also preserving the main outline of disintegration of the whole and its elements in the state of conflict. The statements concerning the nature of the contemporary to Tschumi social relations were applied by him to the world of architecture, this led him to coming up with designing strategies that took into consideration the destabilised character of conditions in which works of architecture were created. New ways of conduct invented by Tschumi drew their inspiration from literature and research on literature, psychoanalysis, structural linguistics, structuralism and post structuralism, and eventually also deconstruction philosophy. The proposed methods were opposed by their author both to functionalism continuity trends and postmodern architecture. Tschumi’s proposals contradicted any forms of conservatism or traditionalism in political sphere as well as in reference to tendencies in architecture. They were not simple contradictions of social or architectural rules, they intrude them from the inside, weaken or escalate the already existing incongruities, they move the boundaries between the areas. Revolutionary illusions about the possibility of radical changes were replaced with strategies which completed, tainted or test former rules in the series of formal games of permutation and combination. Quite different from avant-garde formalism Tschumi’s games were not about maintaining the autonomy of a given area, but on the contrary – polluting it with other areas’ influences. Tschumi enjoyed demonstrating illusions of architecture concerning simple relations between form and function, or between form and meaning. Making use of Freud, Lacan and Foucault’s research he introduced a category of “madness” into architecture allowing an observation that the recognised norms are nothing but merely ones of many possible principles of behaviour, and their recognised status resulted from unjustified hindering innovativeness which is crucial for architecture. To reborn architecture’s capability of changing Tschumi also made use of Barthes’s discoveries concerning rules of narration and works by writers who applied in their writing knowledge on linguistics. Making a work’s author unclear by various mechanical transformations of its elements was however apparent only, and formal rigours imposed on the process of designing liberated possibilities difficult to obtain in more traditional creative action. Another mode of acting introduced by Tschumi was combining his work of elements deriving from outside architecture; joining space records with notation of motion and events accompanying architectural objects among others. These architectural and extra-architectural elements were not unified, on the contrary their heterogenous and conflictual character was stressed. This is how shock, anxiety and instability, typical for live in great metropolises, infiltrated architecture. Taking some ideas of deconstruction philosophy as a pattern Tschumi also took into critical consideration in his essays traditional in architecture oppositions between form and figuration, or theory and practice. By combining various inspirations he eventually worked out an idea of architectural event, which he understood as a series of actions contesting its own field, redefining its sources, principles and elements. An event, understood in this way, was not so much producing works as rather creating conditions of their production and at the same time designing the society different from a hierarchic one. -/- Park of deconstruction Among numerous philosophical strategies of deconstruction most frequently used was questioning the practice of strong opposition of two reasons. In many cases Bernard Tschumi’s writings just consider functioning of the conflict juxtaposition of the ideas of structure and ornament or theory and practice in history of architecture. Violation of traditional relations between terms of this kind, both old and modern, raised Jacques Derrida’s objections, when he was induced for the first time to co-operate with architects’ milieu. During this long lasting thought exchange the philosopher eventually acknowledged Bernard Tschumi’s arguments for reasoning the encroachment of architecture’s fundamental rules. Deconstruction applied in architecture was not a simple transposition or analogy of practices that had been applied by philosophy of deconstruction. We may even say that considering architectural terms became an important formula of deconstruction. Architecture understood in philosophical way became something beyond the practice and theory of its own discipline, a sort of metaphysics of both philosophy and architecture. The deliberate encroachment of simplicity of dividing architecture into theory and practice, for the first time became a clear aim for Tschumi in his drawings and texts entitled The Manhattan Transcripts. The contents of this series of works was a record of characteristic features of this New York district in such a way that not only objects were the subject of the record but also relations between objects, people and events. The record was about to take into consideration a conflict character of elements of this representation and at the same time to avoid applying to them the rule of mimetism. The record became a form of reflection over the very record by an increased control over the ways of representation. Architecture which was considered in the The Manhattan Transcripts was not directed to fulfill the needs of inhabitation or production, it was rather related with hitherto usually marginalised liminal situations: building ostentatiously big monuments, religious cult, war etc. Architecture operating in these relations focused also the attention on the included in it continuous tendency to overpass its own restrictions, the role of violence as its not recognised factor, or the meaning of excess and shock in its operation. Architecture moving from reason towards madness became even more visible in the design of Parisian Parc de la Villette, whose pavilions were defined as folies (in French it means both small park buildings and follies). The park was supposed to be on the one hand a reflection of traditional society disintegration while on the other it questioned basic rules of producing a work of architecture. The traditional rules of designing, based on ordering up, were replaced with the strategies of dysfunction and dissociation. In Tschumi’s opinion methods of this kind may be equivalent of what Derrida named différance. Instead of aiming at mergence, any diversity, plays or variations were strengthen. Tschumi’s texts, in which he explained his attitude, were completed by Derrida’s extent statement entitled Point de folie – Maintenant l’architecture. Derrida’s article is the most significant of all his statements on architecture as a form of thinking and activity. According to the philosopher, architecture should divide space (in French defined as espacement), what enables both thinking and action – it arranges the space of an event. Tschumi’s buildings, defined as folies, in an essential way destabilise any created order, and at the same time they refresh it. Derrida’s statement suggests that architecture may become both metaphor of an order merging a language or a society but also of inner forces which deconstruct and reconstruct it. Therefore architecture is at the same time a construction, a deconstruction and a reconstruction. Parc de la Villette stands out in this system with its attempt to step beyond the scheme of an easy repetition and its heading for chances of achieving more radical otherness. -/- Conclusion Destruction as construction. Paradoxes of deconstruction in architecture -/- Scepticism about persistence and common importance of fundamental values of human culture evinced in philosophers and writers’ works as early as in Greek antiquity, nevertheless it was not expressed so strongly as in the second half of the 20th century. Especially in Heidegger’s work Being and Time (although originated in 1927, still influential in all later philosophy) the following states were characterised: the state of losing the ground (Abgrund), of being out of sight (Unheimlichkeit) and of being out of dwelling (Un-zuhause-sein) – as the basis of self-confidence of conscious being there (Dasein). The entire criticism of philosophy of home and dwelling draws the inspiration from this early writing of the German philosopher, it combines crisis of basic terms of metaphysics with social conditions which are dictated by living in large metropolis. The crisis of both metaphysical foundation and home appears to be similar to the situation of weakening the relations between a man and his dwelling in extensively expanding cities. Whereas philosophy, as well as many disciplines of social sciences, have diagnosed for a long time the destabilisation of fundamental ideas of Western culture and crucial changes in the ways of dwelling, architecture itself occurred to be “the last fortress of metaphysics” (J. Derrida). Among contemporary architects, Peter Eisenman and Bernard Tschumi were the ones who engaged most decidedly in the issues of critical analysis of architecture foundation and its social role. Both the architects noticed new formulas of contemporary social and individual existence, tremendously different from the entire history, and at the same time they affirmed lack of adequacy of architecture concepts to new situations. Both Eisenman and Tschumi used to describe the existing architecture as a tool for consolidation of highly integrated and hierarchised societies, and also as a discipline extremely uncoincidental with the current character of social life based on ideas of freedom and diversity. The means to transform architecture and make a factor of further social changes out of it, was a concept that accentuated revealing the inner contradictions of this discipline, and considering them in designing strategies. Eisenman’s activity, in regard of what has just been noticed, was focused on questioning the basic rules of traditionally comprehended architecture, especially the rule of purpose. The American architect noticed that the concept of architecture as fulfilment the need of location, hides away the fact that the location has to be constantly reconsidered, and hence it is overtaken by change (dislocation). Therefore new concept of architecture propounded architectural activity to translocate the concept of location – more than before – but also to change its status perpetually. Such comprehended architecture should claim, as its main purpose, the constant revision of this purpose and create itself anew permanently. Even Eisenman’s earliest designs of houses nos. I-IV broke with such values as the sense of safety, closeness and familiarity, and just on the contrary they accentuated senses of strangeness, homelessness and loss of confidence. The contradictions within architecture noticed by Tschumi referred to combination of intellectual and sensual values in architecture, when their non-appropriation was defeated by an additional condition, namely the way of experience based on pleasure of excess, marked by insanity. The features of folly were especially visible in his designs of gardens, where the order of planning was mixed with sensual experience introduced by particular elements (both the ones created by nature, and the buildings defined as folies). Parc de la Villette designed by the French architect in Paris put in question not only the common understanding of purpose in architecture but also the ideas of order and integrity, as its plan was based on the combination of independent layers with records of grids of points, various lines and planes. The architecture that collides inadequate elements with each other was supposed to be a kind of an event with no beginning and no end. The architecture treated as an event became a form of a space weakened articulation that maintains its diversity and lack of accordance of the elements building it up. The analyses of Eisenman and Tschumi’s theoretical writings indicate how much the aims of architecture have actually changed; instead of supporting social persistence, the architecture is rather intensifying contradictions, and instead of providing people with the sense of safety, it sublimes danger. From simple acts of defamiliarisation, increasing the distance to itself and enhancing the role of theory, through discomfort, anxiety, not feeling someone at home, weirdness, excess, shock and violence, architecture reached the edge of stability and uncertainty, only to make an attempt at penetrating what is impossible and unutterable, and recording what cannot become the subject of any records. -/- . (shrink)

This paper explores the distinctive features of the critical agenda associated with the ‘Social Life of Methods’. I argue that although this perspective can be associated with the increasing interest, often associated with scholars in Science and Technology Studies, to reflect on how methods can become objects of inquiry, it also needs to be rooted in the current crisis of positivist methods. I identify the challenge for positivism in terms of the decreasing ability of (...) its procedures to effectively organize increasingly ‘lively’ sources of standardized data, which can now be assembled using aesthetic registers. In developing this argument, I dispute the idea that this development is due to historical shifts linked to the way that methodological devices are playing an increasingly significant role in contemporary social life, which might be argued by writers such as Thrift or Castells. I also argue that by opening up issues of method to the aesthetic, we also recast the relationship between theory and method, pointing to the exhaustion of a certain kind of cultural theory within the social sciences. I contextualize these issues by considering how methods are implicated in the intellectual differentiation between scientific and humanities expertise. Rather than conceiving the ‘Social Life of Methods’ in terms of the rise of instrumentalist modes of governance, it is preferable to place it within the dialectic of transparency and the relationship between the implicit and explicit. These issues are addressed through introducing the papers in the special issue. (shrink)

Did Chinese mysticism vanish after its first appearance in ancient Taoist philosophy, to surface only after a thousand years had passed, when the Chinese had adapted Buddhism to their own culture? This first integrated survey of the mystical dimension of Taoism disputes the commonly accepted idea of such a hiatus. Covering the period from the Daode jing to the end of the Tang, Livia Kohn reveals an often misunderstood Chinese mystical tradition that continued through the ages. Influenced by but ultimately (...) independent of Buddhism, it took forms more various than the quietistic withdrawal of Laozi or the sudden enlightenment of the Chan Buddhists. On the basis of a new theoretical evaluation of mysticism, this study analyzes the relationship between philosophical and religious Taoism and between Buddhism and the native Chinese tradition. Kohn shows how the quietistic and socially oriented Daode jing was combined with the ecstatic and individualistic mysticism of the Zhuangzi, with immortality beliefs and practices, and with Buddhist insight meditation, mind analysis, and doctrines of karma and retribution. She goes on to demonstrate that Chinese mysticism, a complex synthesis by the late Six Dynasties, reached its zenith in the Tang, laying the foundations for later developments in the Song traditions of Inner Alchemy, Chan Buddhism, and Neo-Confucianism. (shrink)

The article outlines an approach to the history of ideas which capitalizes on the discussion of the theoretical sides of the history of ideas and the history of political thought during the last three decades. Two aspects are of particular importance in the outlined approach, namely a focus on the materialistic aspect of the text -- the text as a manuscript. A second important aspect is the need to come to terms with the diachronic side to the history (...) of ideas. By combining the insights of linguistic contextualism with Begriffsgeschichte, Receptionsgeschichte and Wirkungsgeschichte, the end result is an approach that perhaps is able to grasp the innovative ideas at the moment they appear as well as to trace their eventual further destiny through subsequent receptions. The first part of the article presents the theoretical synthesis, whereas the second part exemplifies the use of the approach by analysing a medieval text in a manuscript, namely Pope Gregory VII's letter to Bishop Hermann of Metz from 1081. (shrink)

This pioneering anthology of Middle English prologues and other excerpts from texts written between 1280 and 1520 is one of the largest collections of vernacular literary theory from the Middle Ages yet published and the first to focus attention on English literary theory before the sixteenth century. It edits, introduces, and glosses some sixty excerpts, all of which reflect on the problems and opportunities associated with writing in the "mother tongue" during a period of revolutionary change for the (...) English language. The excerpts fall into three groups, illustrating the strategies used by medieval writers to establish their cultural authority, the ways they constructed audiences and readerships, and the models they offered for the process of reading. Taken together, the excerpts show how vernacular texts reflected and contributed to the formation of class, gender, professional, and national identity. They open windows onto late medieval debates on women's and popular literacy, on the use of the vernacular for religious instruction or Bible translation, on the complex metaphorical associations contained within the idea of the vernacular, and on the cultural and political role of the "courtly" writing associated with Chaucer and his successors. Besides the excerpts, the book contains five essays that propose new definitions of medieval literary theory, discuss the politics of Middle English writing, the relation of medieval book production to notions of authorship, and the status of the prologue as a genre, and compare the role of the medieval vernacular to that of postcolonial literatures. The book includes a substantial glossary that constitutes the first mapping of the language and terms of Middle English literary theory. _The Idea of the Vernacular_ will be an invaluable asset not only to Middle English survey courses but to courses in English literary and cultural history and courses on the history of literary theory. (shrink)

Building on prior research in Confucianism and business, the current study examines the effects of Confucianism on consumer trust of government involvement with products and company brands. Based on three major ideas of Confucianism – meritocracy, loyalty to superior, and separation of responsibilities – it is expected that consumers under the influence of Confucianism would perceive products from government-involved enterprises to have more desirable attributes and show preference for their company brands. Findings from an empirical study in the (...) Chinese automobile market support the hypotheses. The results suggest that small firms doing business in China would especially benefit from some association with the government. These results also provide managerial implications for enterprises in other countries with a Confucian cultural background. (shrink)

The belief that human rights are culturally relative has been reinforced by recent attempts to develop more plausible conceptions of human rights whose philosophical foundations are closely aligned with culture-specific ideas about human nature and/or dignity. This paper contests specifically the position that a conception of human rights is culturally relative by way of contesting the claim that there is an African case in point. That is, it contests the claim that there is a unique theory of rights. It (...) analyses three examples of what often passes as African conception of human rights arguing that they have little or nothing to do with human rights, are simply inadequate or are not African in the sense at issue in a cultural relativism. Along the way, it distinguishes between two meanings of the term African contending that to the extent that the practice of prizing the ‘community’ higher than any other value is definitive of African, the idea of African human rights remains suspect. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Listening In: Music, Mind, and the Modernist NarrativeRandall Everett AllsupEric Prieto, Listening In: Music, Mind, and the Modernist Narrative ( Lincoln NE: University of Nebraska Press, 2002)Modernism. The Interpretation of Dreams, the assembly line, The Rite of Spring, the Panama Canal. The modernist sensibility is characterized above all by the "willful big idea"—history as text, a manifesto in conflict with itself and its past. Hopeful and revolutionary (...) like the writings of Karl Marx or progressive and corrupt like the Manhattan Project, such events-as-manifesto had a way of feeding off each other. Through collaboration, conflict, and competition, modernists from Robert Moses to Elliott Carter raced to explain and exemplify, often deliberately creating conflict as if crisis were its own rationale, its own sine qua non. One could hypothesize that this arms race of complexity collapsed—exhausted—about the same time that Communism did. Its failure to sustain its ideas (rather than outpace them one after another) may be one reason we live in an anti-dialectical world, an unmodern place of fundamentalisms and easy freedoms.Author Eric Prieto is at home in the modern world more so than the present; his heroes are French intellectuals after all, those lovers of complexity. In Listening In: Music, Mind, and the Modernist Narrative, he investigates late modernist authors who looked to music as a way to exemplify the inward nature of mind [End Page 93] and the outward nature of place. To understand this book, we must revisit some formal aesthetic theories, namely that music's value resides in its ability to name without signifying, that musical properties like intervallic distance, dynamic contrast, and the space-time component that is rhythm put us in touch with the Kantian a priori—the-thing-in-itself, the Schopenhauerian will. Music as sound-in-itself (to riff on Kant and Schopenhauer) becomes a metaphor for the noumenal world or is mimetic at the very least of the abstract and non-linear nature of thought. Prieto argues that "wherever a music model is present [among his examples] it always serves to further this inwardly directed mode of mimesis I call 'listening in,' where the primary object of representation is not the outside world but the subtly modulating interactions between consciousness and world."1Prieto's book is highly consistent. He masterfully captures the spirit of cooperation from modernist writer to musician to thinker and back. Concentrating on three authors, Robert Pinget, Michel Leiris, and Samuel Beckett, Prieto cites the influences of composers like Bach and Beethoven, as well as philosophers like Wittgenstein and Schopenhauer on their literary works. He brings in thinking from Nelson Goodman and Ferdinand de Saussure. The result is literary criticism as manifesto. Reader beware, this is a book for an elevated audience, those rare folk who are comfortable with structural linguistics, nineteenth-century music aesthetics, specialized academic scholarship, and word puzzles. To explain for example why an author like Beckett is inspired by music to create abstract or associative narratives rather than traditional stories of cause and effect, Prieto writes:In music, this progression necessarily takes place on the level of audible resemblances, but in literature, by virtue of the properties of the two-tiered linguistic sign, analogical progression may take place either on the level of the signifier (via the principle of paronomasia), on the level of the signified (via metaphorical substitutions, as in the association of ideas), or between the two levels (punning, "imitative harmony").2This density of language and concept speak well of Prieto's intellect and one is likewise impressed by his broad understanding of music and letters, yet it is the musical scholar who gets the short end of the deal. Paronomasia? "Audible resemblance" is not a musical term I have heard used. In Listening In: Music, Mind, and the Modernist Narrative, music serves as starting point, an inspiration, not as an equal partner. This holds true for Beckett and Pinget as well as for Prieto. The result can be disconcerting, even to readers like me for whom the cross-disciplinary study of music and literature is a fascinating endeavor.Difficulty, nonetheless, has its rewards and this is one lesson of... (shrink)

Since its presumed origin by the big bang, about 14 pasts billion years, the Universe is composed of entities, or objects, that produce movements that produce new objects that produce new movements, in an endless sequence.The human mind is one of these entities, whose movements are capable to produce many objects, materialized or as ideas. Those objects in their turn will interact with the mind and new movements will be produced. This process had composed the history of mankind.The Nature (...) presents a world of movements, originated from its first movement—the explosion of the Singularity. The Universe continues in its expansion, while the Earth rotates and the animals move on its surface. So are the humans, who continue to reproduce by natural movements, biologically, but are capable to fly to the Moon. The entire Universe is composed by the same particles, forming a multitude of objects, inserted in the primary objects, participating in the primary movements, and introducing new ones. It is a World of an infinite number of movements derived from the first one, disposed in levels. The upper levels are constituted by the social movements.Thus, history is a development of the producing of material and ideal objects and of their related movements. To produce it mankind have been using the natural environment, offered by the earth’s surface, and the social products already produced during their times of history.Among the last, the social products, one recognizes: a) the knowledge, or information; b) the social relations between men and their social structures, and c) the spatial shaping of their social life, or geography.Thus, in this paper one tries to develop the idea of relating the terms Civilization, Mode of Production and Ages of History to the above three-legged composition.An example is given here: the invention of the caravel, that had conduced to the large discoveries (technology, information, knowledge). It intensified commercial activities, geographical interactions, accelerating the replacing of the feudal society in Europe by the mercantile society (social relations, social structure). The geography also changed with the higher development of the commercial sea port urban centers (spatial shaping geography).The current age of globalization is being an age of a new geography and of new forms in the urbanization process. (shrink)

The big bang idea is not only a dominant idea in cosmology but also a very successfully idea out of cosmology. Although sometimes just in metaphorical sense, the big bang idea is present, since some decades, in a variety of domains such as natural sciences, humanities, social sciences, arts, and it also has a great acceptance by the general public. Furthermore, the term Big Bang has become increasingly popular and currently it is often used with very different purposes, (...) including commercial purposes, in contexts that have nothing to do with science, such as music, television, cinema, circus, house decoration, food, and other unexpected domains. Proposed by Gerald Holton, thematic analysis is a useful tool for studying cases like this, because it identifies and describes elements that cross and connect all areas of knowledge and culture in general and thus can help to understand the reception, appropriation and use of certain ideas in different but contemporary disciplinary and cultural contexts, which may be involved in intellectual fashions and in styles of thought of one particular time. (shrink)

Empathy is an important human ability associated with successful social interaction. It is currently unclear how to optimally measure individual differences in empathic processing. Although the Big Five model of personality is an effective model to explain individual differences in human experience and behavior, its relation to measures of empathy is currently not well understood. Therefore, the present study was designed to investigate the relationship between the Big Five personality concept and two commonly used measures for empathy (Empathy (...) Quotient (EQ), Interpersonal Reactivity Index (IRI)) in four samples from China, Germany, Spain and the United States of America. This approach was designed to advance the way the Big Five personality model can be used to measure empathy. We found evidence of medium effect sizes for associations between personality and empathy, with agreeableness and conscientiousness as the most important predictors of affective and cognitive empathy (measured by the respective IRI subscales) as well as a for a one-dimensional empathy score (measured by the EQ). Empathy in a fictional context was most closely related to openness to experience while personal distress was first of all related to neuroticism. In terms of culture, we did not observe any distinct pattern concerning cultural differences. These results support the cross-cultural applicability of the Empathy Quotient and the Interpersonal Reactivity Index and indicate structurally similar associations between personality and empathy across cultures. (shrink)

According to the working definition of the International Big History Association, ‘Big History seeks to understand the integrated history of the Cosmos, Earth, Life and Humanity, using the best available empirical evidence and scholarly methods’. In recent years Big History has been developing very fast indeed. Big History courses are taught in the schools and universities of several dozen countries. Hundreds of researchers are involved in studying and teaching Big History. The unique approach of Big History, the interdisciplinary genre of (...) history that deals with the grand narrative of 13.8 billion years, has opened up a vast amount of research agendas. Big History brings together constantly updated information from the scientific disciplines and merges it with the contemplative realms of philosophy and the humanities. It also provides a connection between the past, present, and future. Big History is a colossal and extremely heterogeneous field of research encompassing all the forms of existence and all timescales. Unsurprisingly, Big History may be presented in very different aspects and facets. In this volume the Big History is presented and discussed in three different ways. In its first part, Big History is explored in terms of methodology, theories of knowledge, as well as showcasing the personal approach of scholars to Big History. The second section comprises such articles that could clarify Big History's main trends and laws. The third part of this book explores the nature of teaching Big History as well as profiling a number of educational methods. This volume will be useful both for those who study interdisciplinary macroproblems and for specialists working in focused directions, as well as for those who are interested in evolutionary issues of Astrophysics, Geology, Biology, History, Anthropology, Linguistics and other areas of study. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Ideas 62.3 (2001) 401-423 [Access article in PDF] Petrarch and the Genealogy of Asceticism W. Scott Blanchard The morality of thought lies in a procedure that is neither entrenched nor detached. --Theodor Adorno Perhaps no author within or outside of the canon of Western literature wrote as extensively on the topic of solitude as did Francesco Petrarch. While many of our modern associations (...) class='Hi'>with the term may find some of their origins traceable as far back as Petrarch's career, the term "solitude" carried with it much different associations in his century than it does for us today, influenced as we are by the Romantic tradition and especially by Wordsworth's absorption with the idea of solitude as an ideal state for self-conscious reflection on the individual's personal history and its meaning. No less than three of Petrarch's major prose works--the De otio religioso, the De vita solitaria, and the Secretum--confront the topic of solitude directly, and we can also point to many letters, poems, and portions of his treatises that either directly or indirectly reflect Petrarch's virtual obsession with solitude. In Petrarch we are confronted with an author who was at once the most politically connected intellectual of his century--we are even tempted to call him a "public intellectual"--and yet who constantly invoked his desire for solitude, for an escape from the many distractions and seductions that the cities and courts of his society offered. For Petrarch these were invariably places where desire lurked and power held sway, so that the life of solitude was often invoked as an alternative--a counter-cultural locus, perhaps--where freedom from temptation and subjection was imagined as an escape from the negotium of worldly life. There is much in Petrarch's writings on the solitary life that is wishful and that we might characterize as merely compensatory in a life that was otherwise quite active and engaged, but there is also a [End Page 401] strain of thought in these works that indicates a certain intransigence beneath Petrarch's overdetermined attachment to the idea, if not the practice, of withdrawal and detachment. An inquiry into Petrarch's idealization of the solitary life may even yield a somewhat reactionary aspect of his complex mind, a conservative strain in an author who was in almost every other way the literary herald of a humanism that was at the center of the cultural avant-garde of the Trecento. Is the Petrarch that in so many accounts of his character is construed as the "first modern man" actually something else, a reluctant ascetic holdover from the Middle Ages? How did Petrarch use his unique understanding of the life of solitude, of ascesis, as a pose from which to construct his sense of himself as an author and intellectual? Or are we simply confronted in the figure of a worldly and an ascetic Petrarch with yet another set of contradictions so appropriate to the "immensely complex" author whose poetic signature was the oxymoron? 1"Asceticism" and "solitude" are of course not synonymous terms, but any examination of a number of Petrarch's works as they fall within what might be called a genealogy of asceticism must recognize from the start that Petrarch's brand of asceticism was somewhat unique, especially insofar as it was deeply influenced by ancient Stoicism as well as by his reading in authors from the early Christian era. The most useful expression for our purposes may be the medieval concept of the "contemplative life," since much of the analysis in what follows will focus on how Petrarch often used his self-proclaimed pose of detachment and withdrawal as a technique for carrying on what were otherwise quite engaged dialogues with those worldly formations of power and authority that are normally conceived of as belonging to the "active" sphere of human existence. 2 For despite Petrarch's participation in or association with a number of political and civic ventures during his long and productive career, he likely never would have freely chosen... (shrink)

BackgroundSleep, physical activity, and diet have been associated with mental health and well-being individually in young adults. However, which of these “big three” health behaviors most strongly predicts mental health and well-being, and their higher-order relationships in predictive models, is less known. This study investigated the differential and higher-order associations between sleep, physical activity, and dietary factors as predictors of mental health and well-being in young adults.MethodIn a cross-sectional survey design, 1,111 young adults ages 18–25 from New (...) Zealand and the United States answered an online survey measuring typical sleep quantity and quality; physical activity; and consumption of raw and processed fruit and vegetables, fast food, sweets, and soda, along with extensive covariates and the outcome measures of depressive symptoms [measured by the Center for Epidemiological Depression Scale ] and well-being.ResultsControlling for covariates, sleep quality was the strongest predictor of depressive symptoms and well-being, followed by sleep quantity and physical activity. Only one dietary factor—raw fruit and vegetable consumption—predicted greater well-being but not depressive symptoms when controlling for covariates. There were some higher-order interactions among health behaviors in predicting the outcomes, but these did not survive cross-validation.ConclusionSleep quality is an important predictor of mental health and well-being in young adults, whereas physical activity and diet are secondary but still significant factors. Although strictly correlational, these patterns suggest that future interventions could prioritize sleep quality to maximize mental health and well-being in young adults. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Ideas and Forms of Tragedy from Aristotle to the Middle AgesRichard J. UtzIdeas and Forms of Tragedy from Aristotle to the Middle Ages, by Henry Ansgar Kelly; xvii & 257 pp. Cambridge: Cambridge University Press, 1993, $59.95.If H. A. Kelly had wanted to sing the tune of Norman Cantor’s recent book on nineteenth- and twentieth-century medievalists, he could have called his study “Inventing Tragedy.” However, besides a certain (...) revisionistic attitude, there are no correspondences between the hasty, essayistic Inventing the Middle Ages (1991) and the scholarly, thoroughly philological Ideas and Forms of Tragedy. Where Cantor attempts to convince his readers that the various critical appropriations of the Middle Ages say more about the cultures of their modern reinventors than about the subject of their researches, Kelly is positive that sound source study and textual criticism can provide secure data for a more accurate application of perhaps the most famous of all genre terms to respective historical authors and individual plays. Thus, Kelly considers his book to be a necessary critical corrective of faulty and preconceived (modern) ideas about classical and medieval notions of tragedy. His methodological insistence on a purely philological investigation is responsible for some of the [End Page 253] outstanding virtues of this investigation such as authority, exactitude, and scholarliness; at the same time it is also the cause for the omission of questions essential to a study which purports to present an account not only of the forms but also the “ideas” of tragedy from classical antiquity through late medieval times.Chapters one and two examine various ideas and practices associated with tragedy in ancient Greece and Rome. This concise survey should become assigned reading for students of literary drama because it debunks the belief that the term tragedy conjures up a uniform idea, one that has been relatively constant throughout the ages and that can be attributed to Aristotle’s discussion of the best kind of tragedy in his Poetics. Kelly demonstrates how Aristotle’s broad definition of the term (any serious story, even with a happy ending) was transformed in late antiquity to mean a story ending in irremediable misfortune.Chapter three studies the semantic shifts the word tragedy underwent in the early Middle Ages. Kelly establishes convincingly that the various early medieval lexicographers and commentators (the most intriguing discussions include Isidore of Seville, Remigius of Auxerre, and Papias) knew much less about tragedy and had a much less unified idea of tragedy than is assumed by many modern-day scholars of drama. A vague knowledge of the genre also characterizes the twelfth century (chapter four), when—with the exception of John of Salisbury—creative mélanges of authentic classical traits and postclassical distortions dominated.The fifth chapter demonstrates that most commentators in the high Middle Ages, despite the reception of Aristotle directly from the Greek or through Arabic intermediaries, vary widely on the meanings they attach to the word “tragedy.” Most of them, such as John Garland, even consider it an empty, obsolete genre, one practiced only by very few poets of classical antiquity. Only Dante Aligheri believed that tragedy was a current genre and that he had made his contribution to it.The study concludes by surveying the developments in fourteenth- and fifteenth-century England, France, Italy, and Spain. Kelly argues that in spite of the greatly increased currency of ideas of tragedy in the later Middle Ages, other genres (vitae of famous men or saints, exempla, complaints) negotiated stories of disaster and death. It seems problematic, however, that Kelly does not further investigate any of the cultural ramifications for and the “ideas” behind the existence and nature of these other genres and the coeval absence of (Aristotelian) tragedy. While he rightly states that medieval vitae, exempla, and planctus all do without discussions of the empathic sorrow for the misfortune of others which characterizes Aristotle’s (and Chaucer’s) ideas of tragedy, his exclusively philological approach—one concerned with sources and textual traditions but not with society or mentalities—makes him circumnavigate essential deliberations about the causes for these conspicuous medieval notions. [End Page 254] Thus, Kelly’s book does not even attempt to answer the... (shrink)

Mental accounting is a concept associated with the work of Richard Thaler. According to Thaler, people think of value in relative rather than absolute terms. They derive pleasure not just from an object’s value, but also the quality of the deal – its transaction utility (Thaler, 1985). In addition, humans often fail to fully consider opportunity costs (tradeoffs) and are susceptible to the sunk cost fallacy. Why are people willing to spend more when they pay with a (...) credit card than cash (Prelec & Simester, 2001)? Why would more individuals spend $10 on a theater ticket if they had just lost a $10 bill than if they had to replace a lost ticket worth $10 (Kahneman & Tversky, 1984)? Why are people more likely to spend a small inheritance and invest a large one (Thaler, 1985)? According to the theory of mental accounting, people treat money differently, depending on factors such as the money’s origin and intended use, rather than thinking of it in terms of the “bottom line” as in formal accounting (Thaler, 1999). An important term underlying the theory is fungibility, the fact that all money is interchangable and has no labels. In mental accounting, people treat assets as less fungible than they really are. Even seasoned investors are susceptible to this bias when they view recent gains as disposable “house money” (Thaler & Johnson, 1990) that can be used in high-risk investments. In doing so, they make decisions on each mental account separately, losing out the big picture of the portfolio. (See also partitioning and pain of paying for ideas related to mental accounting.) . (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

This essay focuses on the concept of consciousness in C. S. Peirce’s work, revealing how its ways of being are associated with the three Peircean phenomenological categories. In this article, I intend to reflect on the heuristic power of the mind, namely, its ability to bring about new ideas, which, within Peirce’s logic of inquiry, is called by the well-known term of abduction. The abductive logical step promotes a synthesis of signs that constitutes a logical structure (...) capable of proposing a new mediation or representation of a new phenomenon. I make use of a metaphorical passage from Peirce not only to give the title to this essay, but also to highlight the importance of the first category as a sort of synechistic envelopment of an unprecedented logical structure of signs that composes a new synthesis. Two continua intertwine themselves, namely, those of the first and third categories, to account for what appears as a fact of the world in the theater of secondness. The essay also seeks to bring to light the core realism of Peirce’s philosophy, the genetic aspect of this bottomless lake, through its cosmology, where the generalization of forms and the acquisition of habits of reality are the proper ground of his Objective Idealism. One of the heuristic aspect of the lake metaphor is a sort of invitation to extend the concept of synthesis from the realm of logical structures to that one of arts, which in this essay will remain as a suggestion for a further reflection. (shrink)

This review assesses the strengths and weaknesses of Peter Thomas’s long-awaited study ofThe Prison Notebooks, based on his extensive research and philological reconstruction of the critical edition. I distinguish three senses in which the ‘moment’ in the book’s title can be understood: as the historical moment around 1932 in which Gramsci proposed the outline of his distinct brand of the philosophy of praxis; as the moment or momentum that still lies in wait for a future research programme in Marxist (...) philosophy; and as a methodological principle for understanding the dialectic as a theory in which entities such as state and civil society, but also coercion and consent, far from allowing the kind of Eurocommunist or post-Marxist instrumentalisations in which they are seen as part of a chain of binaries, are actually moments of a unified larger structure that in Gramsci’s work comes to be associated with the idea of the integral state. This impressive reconstruction of Gramsci’s notebooks, however, also reveals some major lacunae, above all, in terms of the lack of attention given to Gramscian developments in the non-European world, in places such as India or Latin America. This omission is all the more surprising given the longstanding tradition, particularly in Latin America, of viewing Gramsci as a theorist of the integral state more so than of hegemony. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Theory of International Bioethics: Multiculturalism, Postmodernism, and the Bankruptcy of Fundamentalism 1Robert Baker (bio)AbstractThis first of two articles analyzing the justifiability of international bioethical codes and of cross-cultural moral judgments reviews “moral fundamentalism,” the theory that cross-cultural moral judgments and international bioethical codes are justified by certain “basic” or “fundamental” moral principles that are universally accepted in all cultures and eras. Initially propounded by the judges at the (...) 1947 Nuremberg Tribunal, moral fundamentalism has become the received justification of international bioethics, and of cross-temporal and cross-cultural moral judgments. Yet today we are said to live in a multicultural and postmodern world. This article assesses the challenges that multiculturalism and postmodernism pose to fundamentalism and concludes that these challenges render the position philosophically untenable, thereby undermining the received conception of the foundations of international bioethics. The second article, which follows, offers an alternative model—a model of negotiated moral order—as a viable justification for international bioethics and for transcultural and transtemporal moral judgments.Man in the Twentieth Century can not be circumscribed by the standards of any single culture.American Anthropological Association (1948) in a statement officially denouncing the 1948 United Nation’s Declaration of Human Rights.Recently... so-called “liberal” medicine has revived the old rights of a clinic understood in terms of a special contract, a tacit pact made between one man and another. This patient gaze has even been attributed the power of assuming [a role in clinical decision making].Miracles are not so easy to come by....Michel Foucault (1975, p. 5) [End Page 201]An Overview of the AnalysisInternational bioethics originated in the trauma of the Holocaust, specifically, in the 1946–1947 Nuremberg “Doctors Trial” when a tribunal of three American judges convicted Nazi medical researchers of “crimes against humanity.” In justifying their judgment, the Nuremberg Tribunal cited 10 principles for morally permissible research, which, they claimed, were based on “fundamental” principles that civilized societies “all agree” upon and accept as the foundations of their “moral, ethical, and legal” norms. Foremost among the principles was one stating that morally permissible human experiments require the informed voluntary consent of the subject. The Nuremberg judgment soon became associated with the ideal of human rights declared in the 1948 United Nations Charter. These two ideas—fundamental principles of morality and human rights—have been linked in all major formulations of international bioethics promulgated in the past 50 years, including the Council of Europe’s 1997 Convention for the Protection of Human Rights and Dignity of the Human Being with Regard to the Application of Biology and Biomedicine (Council of Europe 1997; Dommel and Alexander 1997). In this paper, I explore the received justification for international bioethics—the idea that it is grounded in fundamental principles accepted in all societies—tracing it from its initial, almost off-hand, promulgation by the Nuremberg Tribunal, through its more thoughtful development by such bioethicists as Ruth Macklin, to its more complex use by the President’s Advisory Committee on Human Radiation Experiments.After a brief review of the evolution of the received justification, I discuss the viability of this justification in the face of the critique implicit in two important intellectual movements: multiculturalism and postmodernism. In the international context, multiculturalism asserts the claim that there are no common moral principles shared by all cultures. Postmodernism asserts a similar claim against all universal standards, moral and nonmoral. In the 1990s, bioethicists have attempted to respond to these claims in various ways. These responses are documented, analyzed, and then shown to be “bankrupt,” in the sense that they undercut the most important objective of moral fundamentalism: the justification of transcultural moral judgments, such as the condemnation of the Nazi doctors.A second article, which follows the present one in the same issue of the Kennedy Institute of Ethics Journal, revisits the contractarian tradition [End Page 202] of Hobbes and Locke, as it has been reinterpreted by David Gauthier (1986), John Rawls (1971, 1993), and Robert Nozick (1974), to develop the idea of negotiated moral order as the basis of international bioethics. When conceptualized as a negotiated moral order, international bioethics can accept the genuine insights... (shrink)

Big Ideas for Little Kids includes everything a teacher, a parent, or a college student needs to teach philosophy to elementary school children from picture books. Written in a clear and accessible style, the book explains why it is important to allow young children access to philosophy during primary-school education. Wartenberg also gives advice on how to construct a "learner-centered" classroom, in which children discuss philosophical issues with one another as they respond to open-ended questions by saying whether they (...) agree or disagree with what others have said. (shrink)

Given the wide range of mythical/occult lore, stage legerdemain, and popular fantasy-based fictional stereotypes that have long been associated with the term magic in human culture, it is quite possible that some academically-minded readers may initially be put off by the title of this book. But these are not the kinds of magic that Dean Radin is talking about. Rather, he is subtly alluding to a certain class of seemingly extraordinary human experiences and abilities for which the (...) exact underlying physical and biological mechanisms are not too well understood as of yet – namely, the experiences and abilities that may be classed as psychic (or psi). He focuses on examining three general sub-classes which, in keeping with the theme of this book, are labeled in the parlance of magic: force of will (referring to psychokinesis, aka. mind-matter interaction), divination (referring to extrasensory perception), and theurgy (referring to experiences related to survival after death). Yet even with such clarification being made from the outset, there might still be readers who would wonder whether it is even a good idea to discuss psi phenomena in conjunction with magic, as some parapsychologists may be reminded of the effort once made by psychologist (and noted skeptic) James Alcock (1981) to portray an association between the two as being something fanciful and not fitting with the pursuit of science in his book Parapsychology: Science or Magic? Arguing on the basis of its seeming incompatibility with mainstream science, Alcock implied that psi is something that could be seen as being akin to occult conjuring, where one is able to spontaneously gain certain knowledge or mentally bring about certain event outcomes at will, without any apparent logic or reason. And as psychologist and psi researcher John Palmer (1983) had pointed out in his critical review of the book, Alcock even went on to imply that parapsychologists tend to act more like occult magicians than scientists, claiming that they are motivated by a predisposed belief in psi rather than an objective search for facts and data-driven theory. In light of such blatant accusations being made in the past, one might figure that parapsychologists would be wary of their subject matter being discussed or referred to in relation to magic again, in any shape or form. (shrink)

We designed a new protocol requiring French adult participants to group a large number of Munsell colour chips into three or four groups. On one, relativist, view, participants would be expected to rely on their colour lexicon in such a task. In this framework, the resulting groups should be more similar to French colour categories than to other languages categories. On another, universalist, view, participants would be expected to rely on universal features of perception. In this second framework, the (...) resulting groups should match colour categories of three and four basic terms languages. In this work, we first collected data to build an accurate map of French colour terms categories. We went on testing how native French speakers spontaneously sorted a set of randomly presented coloured chips and, in line with the relativist prediction, we found that the resulting colour groups were more similar to French colour categories than to three and four basic terms languages. However, the same results were obtained in a verbal interference condition, suggesting that participants rely on language specific and nevertheless perceptual, colour categories. Collectively, these results suggest that the universalist/relativist dichotomy is a too narrow one. (shrink)

In his Kant on Laws, Eric Watkins presents an account of reason on which the principles of specification and continuity are regulative instructions to search for different kinds of the unconditioned. I suggest that we correct Watkins’ account in two ways. First, we need to complete Watkins’ claim to the plurality of the unconditioned: reason aims for three kinds of the unconditioned, associated with the lowest, next and highest concepts. Second, we need to look beyond reason’s search (...) for the unconditioned in order to properly understand the nature of the aim of reason. I argue that we construe reason’s aim as the systematic unity of cognition considered as a whole or, in Kant’s teleological terms, as the realization of an ‘idea’, or a ‘purposive unity’. (shrink)

Lockdowns and related policies of behavioral and economic restriction introduced in response to the COVID-19 pandemic are criticized, drawing on three sets of ideas and arguments that are organized in accordance with the likely degree of controversy associated with their guiding assumptions. The first set of arguments makes use of cost–benefit reasoning within a broadly utilitarian framework, emphasizing uncertainty, the role of worst-case scenarios, and the need to consider at least the medium term as well (...) as immediate effects. The second draws on assumptions about the political value of basic liberties. The third draws on ideas about the roles of different stages within human life. (shrink)

Among the quantificational notions neglected by classical logic are "many," "few," and "nearly all." Despite the apparent vagueness associated with these terms in ordinary discourse, in specific contexts we can and do draw strict inferences from statements in which they occur. In this pioneering work, Altham has attempted to uncover something of the formal logic that justifies such inferences. He begins by showing the mutual interdefinability of the three terms. If negation and any one of them are (...) taken as primitive, the other two are definable in terms of these. Selecting as his basic semantic notion the idea of a manifold or many-membered-set, he shows it is only necessary to fix upon a number n, greater than one, to represent the least number of elements to constitute a specific manifold and then one can construct a natural deductive system which uses the standard predicate logic. He develops at great length a weak system that yields principles of inference which are valid in every non-empty domain and in which the classical predicate logic appears as a limiting case. One point that emerges is that the three plurality operators may all be exhibited as involving a double quantification not characteristic of "some," "none," or "all." Next, two stronger systems are developed more briefly which are valid only in many-membered domains. The strongest can represent the largest set of informal arguments and seems to be the most natural of the three. Nevertheless, since these three systems admittedly do not give an exhaustive account of the use of these quantifiers in informal discourse, Altham explains three further systems which correspond more closely to the natural language use of these terms. Finally an appendix indicates what modifications would be required for an intuitionistic logic like Heyting's or the minimal logic of Kolmogorov-Johansson. The text is clearly written and requires no greater logical sophistication to understand than would be needed to follow Lemmon's Beginning Logic or Mates' Elementary Logic.--A. B. W. (shrink)

continent. 2.2 (2012): 66–75 ~*~ We’re Doomed. Pessimism is the night-side of thought, a melodrama of the futility of the brain, a poetry written in the graveyard of philosophy. Pessimism is a lyrical failure of philosophical thinking, each attempt at clear and coherent thought, sullen and submerged in the hidden joy of its own futility. The closest pessimism comes to philosophical argument is the droll and laconic “We’ll never make it,” or simply: “We’re doomed.” Every effort doomed to failure, every (...) project doomed to incompletion, every life doomed to be unlived, every thought doomed to be unthought. Pessimism is the lowest form of philosophy, frequently disparaged and dismissed, merely the symptom of a bad attitude. No one ever needs pessimism, in the way that one needs optimism to inspire one to great heights and to pick oneself up, in the way one needs constructive criticism, advice and feedback, inspirational books or a pat on the back. No one needs pessimism, though I like to imagine the idea of a pessimist activism. No one needs pessimism, and yet everyone—without exception—has, at some point in their lives, had to confront pessimism, if not as a philosophy then as a grievance—against one’s self or others, against one’s surroundings or one’s life, against the state of things or the world in general. There is little redemption for pessimism, and no consolation prize. Ultimately, pessimism is weary of everything and of itself. Pessimism is the philosophical form of disenchantment—disenchantment as chanting, a chant, a mantra, a solitary, monophonic voice rendered insignificant by the intimate immensity surrounding it. In pessimism, the first axiom is a long, low, funereal sigh. ~*~ We’re Still Doomed. No one has time for pessimism. After all, there are only so many hours in a day. Whatever our temperament, happy or sad, engaged or disengaged, we know pessimism when we hear it. The pessimist is usually understood as the complainer, forever pointing out what is wrong with the world without ever once offering a solution. But more often than not pessimists are the quietest of philosophers, submerging their own sighs within the lethargy of discontent. What little sound it makes is of interest to no one—“I’ve heard it all before,” “tell me something I don’t know,” sound and fury, signifying nothing. In raising problems without solutions, in posing questions without answers, in retreating to the hermetic, cavernous abode of complaint, pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. Pessimism fails to live up to the most basic tenet of philosophy—the “as if.” Think as if it will be helpful, act as if it will make a difference, speak as if there is something to say, live as if you are not, in fact, being lived by some murmuring non-entity both shadowy and muddied. Had it more self-assurance and better social skills, pessimism would turn its disenchantment into a religion, possibly calling itself The Great Refusal. But there is a negation in pessimism that refuses even such a Refusal, an awareness that, from the start, it has already failed, and that the culmination of all that is, is that all is for naught. Pessimism tries very hard to present itself in the low, sustained tones of a Requiem Mass, or the tectonic rumbling of Tibetan chant. But it frequently lets loose dissonant notes at once plaintive and pathetic. Often, its voice cracks, its weighty words abruptly reduced to mere shards of guttural sound. ~*~ Maybe It’s Not So Bad, After All. If we know pessimism when we hear it, this is because we’ve heard it all before—and we didn’t need to hear it in the first place. Life is hard enough. What you need is a change of attitude, a new outlook, a shift in perspective... a cup of coffee. If we have no ears for pessimism, this is because it is always reducible to something as reliably mutable as a voice. If pessimism is so frequently disparaged, it is because it brings everyone down, determined as it is to view each day as a bad day, if only by virtue of the fact that it is not yet a bad day. For pessimism the world is brimming with negative possibility, the collision of a bad mood with an impassive world. In fact, pessimism is the result of a confusion between the world and a statement about the world, a confusion that also prevents it from fully entering the hallowed halls of philosophy. If pessimism is so often dismissed, this is because it is often impossible to separate a “bad mood” from a philosophical proposition (and do not all philosophies stem from a bad mood?) The very term “pessimism” suggests a school of thought, a movement, even a community. But pessimism always has a membership of one—maybe two. Ideally, of course, it would have a membership of none, with only a scribbled, illegible note left behind by someone long forgotten. But this seems unrealistic, though one can always hope. ~*~ Anatomy of Pessimism. Though it may locate itself at the margins of philosophy, pessimism is as much subject to philosophical analysis as any other form of thought. Pessimism’s lyricism of failure gives it the structure of music. What time is to the music of sorrow, reason is to a philosophy of the worst. Pessimism’s two major keys are moral and metaphysical pessimism, its subjective and objective poles, an attitude towards the world and a claim about the world. For moral pessimism, it is better not to have been born at all; for metaphysical pessimism, this is the worst of all possible worlds. For moral pessimism the problem is the solipsism of human beings, the world made in our own image, a world-for-us. For metaphysical pessimism, the problem is the solipsism of the world, objected and projected as a world-in-itself. Both moral and metaphysical pessimism are compromised philosophically; moral pessimism by its failure to locate the human within a larger context, and metaphysical pessimism by its failure to recognize the complicity in the very claim of realism. This is how pessimism makes its music of the worst, a generalized misanthropy without the anthropos . Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. ~*~ Melancholy of Anatomy. There is a logic of pessimism that is fundamental to its suspicion of philosophical system. Pessimism involves a statement about a condition . In pessimism each statement boils down to an affirmation or a negation, just as any condition boils down to the best or the worst. With Schopenhauer, that arch-pessimist, the thinker for whom the philosopher and the curmudgeon perfectly overlap, we see a no-saying to the worst, a no-saying that secretly covets a yes-saying (through asceticism, mysticism, quietism), even if this hidden yes-saying is a horizon at the limits of comprehension. With Nietzsche comes the pronouncement of a Dionysian pessimism, a pessimism of strength or joy, a yes-saying to the worst, a yes-saying to this world as it is. And with Cioran yet another variation, futile yet lyrical, a no-saying to the worst, and a further no-saying to the possibility of any other world, in here or out there. With Cioran one approaches, but never reaches, an absolute no-saying, a studied abandonment of pessimism itself. The logic of pessimism moves through three refusals: a no-saying to the worst (refusal of the world-for-us, or Schopenhauer’s tears); a yes-saying to the worst (refusal of the world-in-itself, or Nietzsche’s laughter); and a no-saying to the for-us and the in-itself (a double refusal, or Cioran’s sleep). Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? ~*~ Cosmic Pessimism. Both moral and metaphysical pessimism point to another kind, a pessimism that is neither subjective nor objective, neither for-us nor in-itself, and instead a pessimism of the world-without-us. We could call this a cosmic pessimism ... but this sounds too majestic, too full of wonder, too much the bitter aftertaste of the Great Beyond. Words falter. And so do ideas. And so we have a cosmic pessimism, a pessimism that is first and last a pessimism about cosmos , about the necessity and possibility of order. The contours of cosmic pessimism are a drastic scaling-up or scaling-down of the human point of view, the unhuman orientation of deep space and deep time, and all of this shadowed by an impasse, a primordial insignificance, the impossibility of ever adequately accounting for one’s relationship to thought—all that remains of pessimism is the desiderata of affects—agonistic, impassive, defiant, reclusive, filled with sorrow and flailing at that architectonic chess match called philosophy, a flailing that pessimism tries to raise to the level of an art form (though what usually results is slapstick). ~*~ Song of Futility. An ethics of futility pervades pessimism. Futility, however, is different from fatality, and different again from simple failure (though failure is never simple). Failure is a breakage within the heart of relations, a fissure between cause and effect, a fissure hastily covered over by trying and trying again. With failure, there is always plenty of blame to go around; it’s not my fault, it’s a technical difficulty, it’s a miscommunication. For the pessimist, failure is a question of “when,” not “if”—failure as a metaphysical principle. Everything withers and passes into an obscurity blacker than night, everything from the melodramatic decline of a person’s life to the banal flickering moments that constitute each day. Everything that is done undone, everything said or known destined for a kind of stellar oblivion. When scaled up in this way, failure becomes fatality. Fatality is the hermeticism of cause and effect. In fatality, everything you do, whatever you do, always leads to a certain end, and ultimately to the end—though that end, or the means to that end, remain shrouded in obscurity. Nothing you do makes a difference because everything you do makes a difference. Hence the effects of your actions are hidden from you, even as you deceive yourself into thinking that, at last, this time you will outwit the order of things. By having a goal, planning ahead, and thinking things through carefully, we attempt, in a daily Prometheanism, to turn fatality to our advantage, to gain a glimpse of an order that seems buried deeper and deeper in the fabric of the universe. But even fatality has its comforts. The chain of cause and effect may be hidden from us, but that’s just because disorder is the order we don’t yet see; it’s just complex, distributed, and requires advanced mathematics. Fatality still clings to the sufficiency of everything that exists... When fatality relinquishes even this idea, it becomes futility. Futility arises out of the grim suspicion that, behind the shroud of causality we drape over the world, there is only the indifference of what exists or doesn’t exist; whatever you do ultimately leads to no end, an irrevocable chasm between thought and world. Futility transforms the act of thinking into a zero-sum game. ~*~ Song of the Worst. At the center of pessimism lies the term pessimus , “the worst,” a term as relative as it is absolute. The worst is about as bad as it gets, “the worst” as “the best” in disguise, shrouded by the passage of time or the twists and turns of fortune. For the pessimist, “the worst” is the propensity for suffering that gradually occludes each living moment, until it eclipses it entirely, overlapping perfectly in death... which, for the pessimist, is no longer “the worst.” Pessimism is marked by an unwillingness to move beyond “the worst,” something only partially attributable to a lack in motivation. In pessimism “the worst” is the ground that gives way beneath every existent—things could be worse, and , things could be better. “The worst” invariably implies a value judgment, one made based on scant evidence and little experience; in this way, pessimism’s greatest nemesis is its moral orientation. Pessimism’s propositions have all the gravitas of a bad joke. Perhaps this is why the true optimists are the most severe pessimists—they are optimists that have run out of options. They are almost ecstatically inundated by the worst. Such an optimism is the only possible outcome of a prolonged period of suffering, physical or metaphysical, intellectual or spiritual. But does this not also describe all the trials and tribulations of each day—in short, of “life?” It seems that sooner or later we are all doomed to become optimists of this sort (the most depressing of thoughts...) ~*~ Song of Doom. Rather than serving as a cause for despair, gloom and doom are the forms of consolation for any pessimist philosophy. Neither quite affects nor quite concepts, gloom and doom transform pessimism into a mortification of philosophy. Doom is not just the sense that all things will turn out badly, but that all things inevitably come to an end, irrespective of whether or not they really do come to an end. What emerges from doom is a sense of the unhuman as an attractor, a horizon towards which the human is fatally drawn. Doom is humanity given over to unhumanity in an act of crystalline self-abnegation. Gloom is not simply the anxiety that precedes doom. Gloom is literally atmospheric, climate as much as impression, and if people are also gloomy, this is simply the by-product of an anodyne atmosphere that only incidentally involves human beings. Gloom is more climatological than psychological, the stuff of dim, hazy, overcast skies, of ruins and overgrown tombs, of a misty, lethargic fog that moves with the same languorousness as our own crouched and sullen listening to a disinterested world. In a sense, gloom is the counterpoint to doom—what futility is to the former, fatality is to the latter. Doom is marked by temporality—all things precariously drawn to their end—whereas gloom is the austerity of stillness, all things sad, static, and suspended, a meandering smoke hovering over cold lichen stones and damp fir trees. If doom is the terror of temporality and death, then gloom is the horror of a hovering stasis that is life. At times I like to imagine that this realization alone is the thread that connects the charnel ground Aghori and the graveyard poets. ~*~ Song of Spite. There is an intolerance in pessimism that knows no bounds. In pessimism spite begins by fixing on a particular object of spite—someone one hardly knows, or someone one knows too well; a spite for this person or a spite for all of humanity; a spectacular or a banal spite; a spite for a noisy neighbor, a yapping dog, a battalion of strollers, the meandering idiot walking in front of you on their smart phone, large loud celebrations, traumatic injustices anywhere in the world regurgitated as media blitz, spite for the self-absorbed and overly performative people talking way too loud at the table next to you, technical difficulties and troubleshooting, the reduction of everything to branding, spite of the refusal to admit one’s own errors, of self-help books, of people who know absolutely everything and make sure to tell you, of all people, all living beings, all things, the world, the spiteful planet, the inanity of existence... Spite is the motor of pessimism because it is so egalitarian, so expansive, it runs amok, stumbling across intuitions that can only half-heartedly be called philosophical. Spite lacks the confidence and the clarity of hatred, but it also lacks the almost cordial judgment of dislike. For the pessimist, the smallest detail can be an indication of a metaphysical futility so vast and funereal that it eclipses pessimism itself—a spite that pessimism carefully places beyond the horizon of intelligibility, like the experience of dusk, or like the phrase, “it is raining jewels and daggers.” ~*~ Song of Sleep. A paraphrase of Schopenhauer: what death is for the organism, sleep is for the individual. Pessimists sleep not because they are depressed, but because for them sleep is a form of ascetic practice. Sleep is the askesis of pessimism. If, while sleeping, we have a bad dream, we abruptly wake up, and suddenly the horrors of the night vanish. There is no reason to think that the same does not happen with the bad dream we call “life.” ~*~ Song of Sorrow. Nietzsche, commenting on pessimism, once castigated Schopenhauer for taking things too lightly. He writes: ...Schopenhauer, though a pessimist, really —played the flute. Every day, after dinner: one should read his biography on that. And incidentally: a pessimist, one who denies God and the world but comes to a stop before morality—who affirms morality and plays the flute... what? Is that really—a pessimist? We know that Schopenhauer did possess a collection of instruments, and we also know that Nietzsche himself composed music. There is no reason to think that either of them would ever banish music from the Republic of philosophy. But Nietzsche’s jibes at Schopenhauer are as much about music as they are about pessimism. For the pessimist who says no to everything and yet finds comfort in music, the no-saying of pessimism can only be a weak way of saying yes—the weightiest statement undercut by the flightiest of replies. The least that Schopenhauer could’ve done is to play the bass. I’m not a big fan of the flute, or, for that matter, wind instruments generally. But what Nietzsche forgets is the role that the flute has historically played in Greek tragedy. In tragedy, the flute ( aulos ) is not an instrument of levity and joy, but of solitude and sorrow. The Greek aulos not only expresses the grief of tragic loss, but it does so in a way that renders weeping and singing inseparable from each other. The classicist Nicole Loraux calls this the mourning voice . Set apart from the more official civic rituals of funerary mourning, the mourning voice of Greek tragedy constantly threatens to dissolve song into wailing, music into moaning, and the voice into a primordial, disarticulate anti-music. The mourning voice delineates all the forms of suffering—tears, weeping, sobbing, wailing, moaning, and the convulsions of thought reduced to an elemental unintelligibility. In the collapsed space between the voice that speaks and the voice that sings, pessimism discovers its mourning voice. Pessimism: the failure of sound and sense, the disarticulation of phone and logos . Have we rescued Schopenhauer from Nietzsche? Probably not. Perhaps Schopenhauer played the flute to remind himself of the real function of the mourning voice—sorrow, sighs, and moaning rendered indistinguishable from music, the crumbling of the human into the unhuman. Failure par excellence of pessimism. ~*~ Song of Nothing. In Buddhist thought, the First Noble Truth of existence is encapsulated in the Pali term dukkha , conventionally translated as “suffering,” “sorrow,” or “misery.” The Buddhist teachings are clear, however, that this is an objective claim, and not simply one point of view among others. Existence is suffering and sorrow—and yet this is not, the teachings tell us, a pessimistic attitude. It is likely that Schopenhauer, reading the Buddhist texts available to him, recognized some filiation with the concept of dukkha . But dukkha is a multi-faceted term. There is, certainly, dukkha in the usual sense of the suffering, strife, and loss associated with living a life. But this is, in turn, dependent on the finitude and temporality of dukkha , existence as determined by impermanence and imperfection. And this ultimately points to the way in which both suffering and finitude are grounded by the paradoxical groundlessness of dukkha as a metaphysical principle—the insubstantiality and the emptiness of all that is. Beyond what is worse to me, beyond a world ordered for the worst, there is the emptiness of dukkha as an impersonal suffering... the tears of the cosmos. In this context, it is easy to see how Schopenhauer’s pessimism attempts to compress all the aspects of dukkha into a nothingness at the core of existence, a Willlessness coursing through the Will. Though one thing for certain is that with Schopenhauer we do not find the “ever-smiling” countenance of Buddhism—or do we? The texts of the Pali Canon also contain lists of the different types of happiness—including the happiness of renunciation and the strange happiness of detachment. But Buddhism considers even the different types of happiness as part of dukkha , in this final sense of nothingness or emptiness. Perhaps Schopenhauer understood Buddhism better than he is usually given credit for. Thus the experiment of Schopenhauer’s philosophy—the point at which a Western pessimus and an Eastern dukkha overlap or exchange glances. Empty sorrow, a lyricism of indifference. The result is a strange, and ultimately untenable, nocturnal form of Buddhism. ~*~ Cioran once called music a “physics of tears.” If this is true, then perhaps metaphysics is its commentary. Or its apology. ~*~ Pessimism would be more mystical were it not for its defeatism. Mysticism is much too proactive for the pessimist, and pessimism too impassive even for the mystic. At the same time, there is something enviable about mysticism—despite its sufferings. There is a sense in which pessimists are really failed mystics. ~*~ You, the Night, and the Music. In a suggestive passage, Schopenhauer once noted that, “music is the melody to which the world is the text." Given Schopenhauer’s view on life—that life is suffering, that human life is absurd, that the nothingness before my birth is equal to the nothingness after my death—given all this, one wonders what kind of music Schopenhauer had in mind when he described music as the melody to which the world is text—was it opera, a Requiem Mass, a madrigal, or perhaps a drinking song? Or something like Eine kleine Nachtmusik , a little night music for the twilight of thought, a sullen nocturne for the night-side of logic, an era of sad wings sung by a solitary banshee. Perhaps the music Schopenhauer had in mind is music eliminated to non-music. A whisper would suffice. Perhaps a sigh of fatigue or resignation, perhaps a moan of despair or sorrow. Perhaps a sound just articulate enough that it could be heard to dissipate. ~*~ Teach me to laugh through tears. ~*~ Pessimism always falls short of being philosophical. My back aches, my knees hurt, I couldn’t sleep last night, I’m stressed-out, and I think I’m finally coming down with something. Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique. We didn’t really think we could figure it out, did we? It was just passing time, taking a piss, something to do, a bold gesture put forth in all its fragility, according to rules that we have agreed to forget that we made up in the first place. Every thought marked by a shadowy incomprehension that precedes it, and a futility that undermines it. That pessimism speaks, in whatever voice, is the singing testimony to this futility and this incomprehension—take a chance and step outside, lose some sleep and say you tried... ~*~ Is there a music of pessimism? And would such a music be audible? ~*~ The impact of music on a person compels them to put their experience into words. When this fails, the result is a faltering of thought and language that is itself a kind of music. Cioran writes: “Music is everything. God himself is nothing more than an acoustic hallucination.” ~*~ If a thinker like Schopenhauer has any redeeming qualities, it is that he identified the great lie of Western culture—the preference for existence over non-existence. As he notes: “If we knocked on the graves and asked the dead whether they would like to rise again, they would shake their heads.” In Western cultures it is commonly accepted that one celebrates birth and mourns death. But there must be a mistake here. Wouldn’t it make more sense to mourn birth and celebrate death? Strange though, because the mourning of birth would, presumably, last the entirety of that person’s life, so that mourning and living would the be same thing. ~*~ To the musical idea of the harmony of the universe corresponds the philosophical principle of sufficient reason. Like the music of mourning, pessimism gives voice to the inevitable breakdown of word and song. In this way, music is the overtone of thought. ~*~ The Patron Saints of Pessimism. The patron saints of pessimism watch over suffering. Laconic and sullen, the patron saints of pessimism never seem to do a good job at protecting, interceding, or advocating for those who suffer. Perhaps they need us more than we need them. Lest we forget, there do exist patron saints of philosophy, but their stories are not happy ones. There is, for instance, the fourth century Saint Catherine of Alexandria, or Catherine of the Wheel, named after the torture device used on her. A precocious fourteen year old scholar, Catherine was subject to continual persecution. After all forms of torture failed—including the “breaking wheel”—the emperor finally settled for her decapitation, a violent yet appropriate reminder of the protector of philosophers. There are also patron saints of music and musicians, but theirs too are sad stories. In the second century, Saint Cecilia was also subject to persecution and torture. As she knelt to receive the blade that would separate her head from her body, she ardently sang a song to God. It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. Does pessimism not deserve its own patron saints, even if they are unworthy of martyrdom? But in our search, even the most ardent nay-sayers frequently lapse into brief moments of enthusiasm—Pascal’s love of solitude, Leopardi’s love of poetry, Schopenhauer’s love of music, Nietzsche’s love of Schopenhauer, and so on. Should one then focus on individual works of pessimism? We could include Kierkegaard’s trilogy of horror— Sickness Unto Death , The Concept of Dread , and Fear and Trembling —but all these are undermined by their fabricated and unreliable authors. Besides, how can one separate the pessimist from the optimist in works like Unamuno’s The Tragic Sense of Life , Shestov’s Postetas Clavium , or Edgar Saltus’ under-read The Philosophy of Disenchantment ? Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete—witness Cioran’s trajectory, from his first book, On the Heights of Despair , to the last unpublished notebooks of acrid and taut aphorisms. And this is to say nothing of literary pessimism, from Goethe’s sorrowful Werther, to Dostoevsky’s underground man, to Pessoa’s disquiet scribbler; Baudelaire’s spleen and ennui, the mystical Satanism of Huysmans and Strindberg, the hauntologies of Mário de Sá-Carniero, Izumi Kyoka, H.P. Lovecraft, grumpy old Beckett... even the great pessimist comedians. All that remains are singular, perhaps anomalous statements of pessimism, a litany of quotes and citations crammed into fortune cookies. Patron saints are traditionally named after a locale, either a place of birth or of a mystical experience. Perhaps the better approach is to focus on the places where pessimists were forced to live out their pessimism—Schopenhauer facing an empty Berlin lecture hall, Nietzsche mute and convalescent at the home of his sister, Wittgenstein the relinquished professor and solitary gardener, Cioran grappling with Alzheimer’s in his tiny writing alcove in the Latin Quarter. ~*~ There’s a ghost that grows inside of me, damaged in the making, and there’s a hunt sprung from necessity, elliptical and drowned. Where the moving quiet of our insomnia offers up each thought, there’s a luminous field of grey inertia, and obsidian dreams burnt all the way down. ~*~ If pessimism has any pedagogical value, it is that the failure of pessimism as a philosophy is inextricably tied to the failure of pessimism as voice. I read the following, from Shestov’s The Apotheosis of Groundlessness : When a person is young he writes because it seems to him he has discovered a new almighty truth which he must make haste to impart to forlorn humankind. Later, becoming more modest, he begins to doubt his truths: and then he tries to convince himself. A few more years go by, and he knows he was mistaken all round, so there is no need to convince himself. Nevertheless he continues to write, because he is not fit for any other work, and to be accounted a superfluous person is so horrible. (shrink)

In this article we show that it is possible to completely classify the degrees of r.e. bases of r.e. vector spaces in terms of weak truth table degrees. The ideas extend to classify the degrees of complements and splittings. Several ramifications of the classification are discussed, together with an analysis of the structure of the degrees of pairs of r.e. summands of r.e. spaces.

We designed a new protocol requiring French adult participants to group a large number of Munsell colour chips into three or four groups. On one, relativist, view, participants would be expected to rely on their colour lexicon in such a task. In this [ramework, the resulting groups should be more similar to French colour categories than to other languages categories. On another, universalist, view, participants would be expected to rely on universal features of perception. In this second framework, the (...) resulting groups should match colour categories of three and four basic terms languages. In this work, we first collected data to build an accurate map of French colour terms categories (Experiment 1). We went on testing how native French speakers spontaneously sorted a set of randomly presented coloured chips and, in line with the relativist prediction, we found that the resulting colour groups were more similar to French colour categories than to three and four basic terms languages (Experiment 2). However, the same results were obtained in a verbal interference condition (Experiment 3), suggesting that participants rely on language specific and nevertheless perceptual, colour categories. Collectively, these results suggest that the universalist/relativist dichotomy is a too narrow one. (shrink)

With the improvement of the material standard of living, the demand of the people for spiritual culture continues to increase. In terms of tourism, people have gradually shifted from simple tourism needs to integrated tourism needs. Tourism has become an effective way for people to expand their horizons and enrich their spiritual world. Tourism is one of the first industries to apply network technology. After long-term exploration and innovation, tourism e-commerce has developed rapidly. Coupled with the advent (...) of the era of big data, the concept of customized tourism has gradually entered people’s lives. This paper mainly introduces the research on the impact of e-commerce tourism on custom tourism in the EBD and intends to provide some ideas and directions for the good development of custom tourism. This paper proposes a research strategy on the impact of tourism e-commerce on customized tourism in the EBD, including related theoretical research methods, random forest algorithms, support vector machine classification algorithms, and Bayesian estimation algorithms, which are used to customize tourism e-commerce in the EBD, and research experiment on the impact of tourism. The experimental results show that 79.84% of customers are willing to purchase related products again after experiencing travel customization services using big data technology. By using the various characteristics of tourism big data for data mining and classification, it provides users with personalized travel search services. At the same time, big data technology can provide basic technical support for customized tourism development, which shows that it can also provide customized services for users. (shrink)

Alfred North Whitehead in his book Process and Reality describes the history of the universe in terms of a process of ‘creative advance into novelty.’ This advance is produced by a collection of happenings called ‘actual occasions’, or ‘actual entities’. Each actual entity has an associated actual world, and it arises from its own peculiar actual world. (PR 284). Two occasions are termed ‘contemporary’ if neither lies in the actual world of the other. A key issue is whether the (...) words in Process and Reality commit Whitehead to the relativity-theory idea that, at least in our present epoch, the creative advance into novelty is not serially ordered, or whether, alternatively, the logical developments in Part IV entail, at a deep metaphysical level, that the facts specified by two contemporary occasions become fixed and settled in some definite order. Irresolution on this basic question renders Whitehead’s theory obscure and plagued with controversy. I argue, in opposition to another paper in this issue, that Whitehead endorses the relativistic viewpoint, and consistently adheres to it. This makes Whitehead’s theory compatible with relativistic quantum theory. Combining Whitehead’s relativistic process theory with relativistic quantum field theory is therefore possible, and it holds the promise of producing a rationally coherent understanding far richer than what is provided by either theory alone of the relationships between the physically described aspects of the universe and human knowledge and intentions. (shrink)

Starting from a nonlinear relativistic Klein-Gordon equation derived from the stochastic interpretation of quantum mechanics (proposed by Bohm-Vigier, (1) Nelson, (2) de Broglie, (3) Guerra et al. (4) ), one can construct joint wave and particle, soliton-like solutions, which follow the average de Broglie-Bohm (5) real trajectories associated with linear solutions of the usual Schrödinger and Klein-Gordon equations.

In lieu of an abstract, here is a brief excerpt of the content:Parenting Children With Autism Spectrum Disorders Through the Transition to AdulthoodAnonymous One, Anonymous Two, Lorri Centineo, Anonymous Three, Virginia Clapp, Catherine Cornell, Nancy Coughlin, David McDonald, Mark Osteen, Laura Shumaker, Julie Van der Poel, Anonymous FourMy Son's Life with Autistic Spectrum DisorderAnonymous OneThis is the story of how my son, David, has tried to become independent. David is now 25–years–old. His immediate family is his dad, (...) a brother (age 22) and myself (his mother). He was diagnosed with an autism spectrum disorder (ASD) when he was 13. We looked up all the information and decided not to make a big deal of it. Looking back, he displayed all the classic signs of a high functioning autistic disorder. Would he have been diagnosed with the new DSM 5 guidelines? He probably would have. His life would be much, much different if he had been diagnosed at an early age.I'll start with David at age 13 when he was able to harness his big interest in computer science into a career for himself. He was expelled from middle school for threatening some kid that had been picking on him all year. He had a meltdown and wasn't able to communicate his side of the story and that was it.During the summer of that year he took classes in computer engineering (Microsoft) and became an engineer when he was 13. At that time it was quite an accomplishment because he was the youngest person in the United States to do so at such a young age. (By the way, the administration of the school that expelled him sent him a congratulatory card when he was written up in the paper).His father and uncle are in business running a computer company so David had a ready–made job waiting for him when he graduated from high school and was able to keep it during difficult times. David finished high school (mainstreamed special education as emotionally disturbed) and he also received another engineering certification (Cisco).I have to mention here that I truly did not understand what it was like for my son until one day when he was in high school, as I was lecturing him again for some stupid reason, he said, "You don't know how hard it is for me to not sit in a corner and rock every day." Think about that. ASD individuals get up and keep going every day when they know they are going to be misunderstood and picked on. They all deserve a medal for bravery.David became really upset that he had never had a date and that girls were not even interested in talking to him. He started cutting himself and shaving his head. That got him some attention from the stoner group. He had someone to sit with at lunch anyhow. Parents, I think it's better to have no friends than the wrong friends. They introduced him to drugs.We did not mention any trouble David was having to any relatives. We had lived 800 miles from our families in a very unspoiled part of northern America. In hindsight this was not good either. [End Page 151]Another thing, and I think every parent will agree with this—teachers, school staff, health care industry staff, doctors and every one that comes into contact with an ASD individual—take the time to get to know them. It may be difficult and some may appear non–caring and rude. You must overlook this and look to the person underneath. They are great people. They have been through stuff and it means so much to them. Like I said—parents, you know this. Please remember it when times get tough.During David's senior year he started work release so he could start earning money to buy a car and move out as soon as he turned 18. Things were made easy for David since the company was owned by his father and his uncle and I worked there also. David enjoyed the work but had the occasional meltdown and had difficulties fitting in with other employees. He wasn't able to communicate... (shrink)

In the ḥadīth sources it is being conveyed that the companions (ṣaḥāba) refrained from asking questions to the Prophet. This situation is generally associated with the verse of sūrat al-Māʾida 5:101. An-Navvās b. Samʿān (d. 50/670), Abū Umāma al-Bāhilī (d. 86/705) and Anas b. Mālik (d. 93/711-12) are among the companions who consider this situation as the ban on the asking questions. The concern that asking questions may cause additional obligations that were not presumed to be obligatory also (...) attracts attention in these records. Keeping all numerous questions addressed to the Prophet in mind we may ask if there is a Prophetic prohibition on asking questions. We will seek an answer to this question, which constitutes the main axis of this article, especially in the framework of the narrations mentioned among the reasons of the al-Māʾida 101. We will evaluate the information concerned in their historical context and internal coherence inductively. Our investigation differs in this respect from the investigations, which dealt with the disapproval of excessive and unnecessary questions. As a result of our research, we think that it is possible to talk about a ban on asking questions about religious issues in the last three years of the Medina period. We will first discuss the dating and nature of this ban, from which only Bedouin and visitors who come to Madina were excluded. Then, we especially will evaluate the theological consequences of answer of the Prophet, which mentioned in the same context, of whether the pilgrimage is religious duty for every year. In the last part of the article, the prohibition of asking questions will be discussed in the light of Hans-Georg Gadamer’s principle “Der hermeneutische Vorrang der Frage”, which deals with the effect of the questions on the direction and nature of the answer.Summary: It is reported in Qurʾān and Ḥadīth that the Prophet Muḥammad (PBUH) was asked a lot of questions and he responded based on the revealed knowledge or his own. He did not like the questions which remain outside of the daily religious life like the questions whether he is able to know the end of the world or to show miracle. There are some reports which covey that the Prophet frowned upon some questions because they could cause new assignments or lead to complicate the existing ones. The Companions like an-Nawwās b- Samʿān (d. 50/670), Abū Umāma al-Bāhilī (d. 86/705) and Anas b. Mālik (d. 93/711-12) have been describing this situation as the ban of asking of religious implications.This issue which companions formulated exactly as the ban of the asking questions was regarded in research until now just as the depreciation of the Prophet upon the unnecessary questions. In this interpretation the idea played a role that the ban of the asking may not conform to the religious pedagogic of the Prophet and the real existence of a lot of asked questions contradict that. Therefore the imperative “do not ask” in al-Māʾida 5:101 (O believers, do not ask about things which, if made known to you, may vex you) were interpreted not as the prohibition of the asking questions in real sense, but as just the depreciation of the unnecessary questions.We argue that it is possible to talk about a prohibition of the asking questions in real sense. We are of the view that the asking to religious matters was prohibited in the last years of the Medina period. In a time of Madina period when the fundamental principles of Islam emerged the questions of companions let the Prophet think that they may lead to additional religious obligations. Therefore the Prophet warned his companions in these words: “Do not ask me about the details of the things which I do not mention to you” and “Allāh Taʿālā has remained silent about some things, out of compassion for you, not forgetfulness so do not seek after them.”The imperative “do not ask” in al-Māʾida 5:101 has to been understood in the light of the Prophet’s advice as quoted above. According to the expressions of the companions reported in hadith collections, it is obvious that the imperative “do not ask” signifies not only “do not ask unnecessary questions”, but “do not ask questions related to theology matters in general”.Anas b. Mālik served the Prophet nine or ten years and was not criticised by the Prophet anytime. A companion like Anas cannot have refrained from the asking questions because they may be unnecessary. Anas interpreted “ do not ask” in al-Māʾida 5:101 in words: “We were forbidden in the Qurʾān that we ask the Prophet anything". Anas’s observation reveals that the companions considered the “do not ask” in al-Māʾida 5:101 as a general prohibition for the questions to religious issue.According to our research it seems this ban was promulgated in last three years of Medina Period, and Bedouin and visitors were excluded. Al-Nawwās b. Samʿān noticed that the ban of the asking questions was only for the residents in Medina: “I was in Medina one year. The reason why I did not stay in Medina was my wish to ask the Prophet a religious issue. So, whoever stayed in Medina was not permitted to ask the Prophet questions.” Abū Umāma al-Bāhilī interpreted the ban of the asking in al-Māʾida 5:101 as a general ban. He reported that the companions give a garment (burda) as gift to a Bedouin in order to let him ask the Prophet questions. The ban on asking questions in Medina was not related to unnecessary questions. It was indeed related to the questions that might have caused addition to already well-defined obligatory rulings in Islam. Accordingly, the questions became unnecessary because they were asked in the time of revelation. With the ban of the asking the Prophet questions accentuated that God and his Messenger are aware what necessary and what was not. It means that God can intervene if it is necessary. For that they do not need ask the Prophet. Aṭ-Ṭabarī, al-Qurṭubī, en-Nawawī, Ibn RaJab el-Ḥanbalī and Ibn Ḥajar al-ʿAsqalānī are the scholars who interpreted the ban of asking in this general sense.We especially will evaluate the theological consequences of the Prophet’s response, as reported in the sources: “ If I said yes, the pilgrimage will be a religious duty for every year.” Here one may not misconstrue that the Prophet could determine the religious obligations arbitrarily. He meant that the believers have to practice only that which were revealed to them. The Prophet wanted to teach his followers the principle that became essential rule of Islamic jurisprudence: “What is not forbidden is permitted”.The Prophet did not perform tarāwīḥ-prayer in congregation in the month of fasting due to the apprehension that it might become obligatory for the believers and they would not be able to follow it. In this human reaction of the Prophet we see that the Prophet did not consider himself as the founder of the Islamic norms. In this context the following questions are important: Does God consider the human questions when making something obligatory? Is God influenceable in terms of His orders? Ibn Ḥajar observes: The scholars of Ahl al-Sunnah accept the causality in terms of the Islamic norms. Accordingly something can become a religious norm because the humans asked about that. But God’s decision does not depend on the humans. God can consider human questions, if He so wills. (shrink)

In one of their arguments against the radical neuron doctrine, Gold & Stoljar (G&S) use the idea that, in certain situations, equivalent terms may not be substitutable into statements that regard properties of the objects to which the terms refer. This device allows G&S to refute the necessity of the conclusion that “the science of the mind equals the science of the brain” even though they take as a premise that the mind equals the brain. I argue, however, that this (...) practice leaves the meaning of the “science of the mind” and the “science of the brain” indeterminate. (shrink)

Context is a concept used by philosophers and scientists with many different definitions. Since Dummett we speak of "context principle" in Frege and Wittgenstein: "an expression has a meaning only in the context of a sentence". The context principle finds an extension in some of Wittgenstein's ideas, especially in his famous passage where he says that "to understand a sentence is to understand a language". Given that Wittgenstein believes that "the" language does not exist but only language games exist, (...) we should conclude that he is speaking of the need to consider any sentence always in the context of a language game1. This general attitude is certainly attuned with the contemporary tendency to place contextual restrictions to the interpretations of our sentences. However we find so many kinds and forms of restrictions that this general attitude is not enough to give us a viable tool to find an order in the web of so many different theories of context. To look for an order or, at least a clarification, we may start with two contrasting paradigms of theories: the "objective" theory of contexts, where context is a set of features of the world, and the "subjective" theories of context, where context is the cognitive background of a speaker or agent in respect to a situation2. We have here not only two different ways of using the term "context" but also two different conceptions of semantics and philosophy. The different conceptions are normally associated, respectively, with the classical paradigm of model theoretic semantics (Kaplan, Lewis Stalnaker) on one hand and with the A.I. paradigm (McCarthy, Buvac, Giunchiglia) on the other hand. For sake of simplicity I will restrict my attention3 mainly to Kaplan 1989 and to McCarthy 1993 and Giunchiglia 1993. The two different conceptions can be summarised with the following schema: a) context as: set of features of the world.. (shrink)