One of the annoying habits of philosophers is to substitute without warning a normative for a descriptive theory of the topic they are discussing—that is, in what purports to be a statement of how the subject actually presents itself they tell us instead how it ought to present itself. Current treatments of the elusive topic “meaning” seem to me to supply capital instances of this vice. Defenders of a positivist or an operational theory of meaning often give us no hint (...) that their conclusions are conclusions about how the meaning of words ought to be interpreted, not about how, by and large, it is interpreted. Without such a hint their readers naturally suppose that it is the latter problem with which they are concerned, but this is rarely the case; were it so, emphasis could hardly fail to fall on determinants of meaning that are too often neglected by philosophical analysts. (shrink)

When I agreed to lecture to-night I stipulated that I might be allowed to interpret the subject announced so as to let my treatment relate less to the subject in general than to some particular aspects which happen to have been interesting me lately. Professor Whitehead, Sir Arthur Eddington, and Sir James Jeans have given to the world brilliant accounts of the present position of physics in relation to mathematics and philosophy. What I have to say bears to their writings, (...) the humble relation of an example to a piece of book-work, or of an application of a theorem to the theorem itself. (shrink)

The line of thought from which contemporary Social Science has come forth was occupied with problems of public policy in a way which has since become very much less prominent in the work of social scientists. The classic figures of social thought —Aristotle, Plato, Adam Smith, Montesquieu, Jeremy Bentham, James and John Stuart Mill, Ricardo, Hobbes and Locke, Burke, Machiavelli and Hegel—were all involved in the consideration of the fundmental problems of policy from the point of view of the man (...) who had to exercise power and to make practical decisions. Even where they themselves lived in remoteness from practical affairs the clarification of the standards for the judgment and guidance of public policy was always close to the centre of their attention. The politician's problems, reduced to fundamentals, were their problems. The problem of maintaining order through the prince's exercise of power was the point of departure of classical political philosophy; it was extended by modern liberalism to the maintenance of liberty in a framework of order. Political philosophy was regarded by those who professed it, as a means of enlightening rulers—and citizens—as to the right ends and the approximate means. The great ancestor of modern empirical social research, Sir William Petty, who regarded his task as the quantitative matter-of-fact description of what existed, viewed his problem as set by the prince's need to safeguard and maximise his power. Early economic theory accepted the same task. Even after mercantalism gave way to liberalism, economic theory was still intended to be a guide to policy. (shrink)

Since it is only natural that lovers of a great poet's work should seek to defend their favourite from the charge of plagiarism, most of the scholars who have discussed the problem of the relationship between the Medeas of Neophron and Euripides have, whether consciously or unconsciously, approached their task in no very impartial spirit. Yet the prejudice against acknowledging Euripides' indebtedness to his predecessor is an unreasonable one, for a great tragedy or a great work of art of any (...) kind must be aesthetically judged without regard to its forerunners. For instance, we do not think any the worse of Antony and Cleopatra or of its author when we notice that ‘The barge she sat in, like a burnish'd throne’, etc., and many other fine passages in that play are taken almost verbatim from Sir Thomas North. If we bear in mind then that whatever the result of our inquiry it will not affect adversely the reputation of Euripides' great work, we cannot fail to be impressed by the tenuous nature of the arguments by which scholars have convinced themselves of the chronological priority of Euripides' Medea as against Neophron's. (shrink)

continent. 2.2 (2012): 76–81 Comments on Eugene Thacker’s “Cosmic Pessimism” Nicola Masciandaro Anything you look forward to will destroy you, as it already has. —Vernon Howard In pessimism, the first axiom is a long, low, funereal sigh. The cosmicity of the sigh resides in its profound negative singularity. Moving via endless auto-releasement, it achieves the remote. “ Oltre la spera che piú larga gira / passa ’l sospiro ch’esce del mio core ” [Beyond the sphere that circles widest / penetrates (...) the sigh that issues from my heart]. 1 The axiomatic sigh of the pessimist is in a way the pure word of philosophy, a thought that thinks without you, speaks where you are not. The live pneumatic form of the soul’s eventual exit from the dead body’s mouth, the sigh restores consciousness to the funeral of being, to the passing away that is existence. Pessimism speaks in piercing aphorisms because first it sighs. “Beyond the sphere passeth the arrow of our sigh. Hafiz! Silence.” 2 … pessimism is guilty of that most inexcusable of Occidental crimes—the crime of not pretending it’s for real. To the pessimist, the ‘real’ world—the world on whose behalf we are expected to wake up in the morning—is a ceaseless index of its own unreality. The pessimist’s day is not an illumined space for the advancement of experience and action, but a permanently and inescapably reflective zone, the vast interior of a mirror where each thing is only insofar as it is, at best, a false image of itself. Within this speculative situation, inside the doubleness of the mirror, pessimism splits into two paths, false and true, one that tries to fix pessimism (establish a relation with the mirror) and decides in favor of the apparent real, and another that totally falls for pessimism (enters the mirror) and communes with the greater reality of the unreal. These two paths are distinguished by their relation to pessimism’s guilt vis-à-vis the world’s reality-project. The first form, that which remains pessimism for the world and puts on a smiling face, stays guilty to itself (i.e. unconscious) and thus turns hypocritical, becoming at once the pessimism of the commoner who really just wants things to be better for himself and the pessimism of the elite who wants to critically refashion reality in his own image. The general form of this worldly, hypocritical pessimism is the impulse to ‘make the world a better place’, which is the global mask under which the world is diurnally made worse. The second form, that which follows pessimism away from the world and ceases to put on a smiling face, refuses guiltiness as itself theessential Occidental mode of pretense and turns honest, becoming at once the intelligent pessimism required of all ordinary action and the radical pessimism necessary for self-knowledge: seeing that no one is capable of doing good. The general form of this universal, honest pessimism is the impulse not to worry, to give up and embrace dereliction, which is the only real way the world is actually improved. Where worldly pessimism is the engine productive of interminably warring secular and sacred religions (good-projects), universal pessimism strives hopelessly for the paradise of a supremely instantiated pessimus: things are getting so bad that there is no longer any time for them to get worse; things are so constantly-instantly worst that this is BEST. Cosmic pessimism is the mode of universal pessimism which can yet discourse with the world, which has not chosen silence and can spread the inconceivably BAD NEWS in an orderly form ( kosmos ) that the world can understand (if it wanted to). … the result of a confusion between the world and a statement about the world. That is what the world is (the result of a confusion between the world and a statement about the world). … a generalized misanthropy without the anthropos. Pessimism crystallizes around this futility—it is its amor fati , rendered as musical form. Pessimism’s love of fate is a blind love, a love of the blindness of being human in a cosmos conceived around the human’s eclipse, a heavy levitation in the contradictory space between the inescapability of its having been and the impossibility of its will-be. Pessimism’s song of futility is a sensible way of loving fate, with a minimum of eros, by means of a kind of matrimonial love of the fatal. As music, pessimism stays open to the irreparable and the inexorable without the binding of affirmation, in the apparent absence of the radical, infinitely surplus will that absolute amor fati seems to require. Crying, laughing, sleeping—what other responses are adequate to a life that is so indifferent? “Unless a man aspires to the impossible, the possible that he achieves will scarcely be worth the trouble of his achieving it. We should aspire to the impossible, to absolute and infinite perfection [….] The apocatastasis is more than a mystical dream: it is a norm of action, it is a beacon for high deeds [….] For true charity is a species of invasion [….] It is not charity to rock and lull our fellow men to sleep in the inertia and heaviness of matter, but rather to arouse them to anguish and torment of spirit.” 3 … the impossibility of ever adequately accounting for one’s relationship to thought. “The paroxysm of interior experience leads you to regions where danger is absolute, because life which self-consciously actualizes its roots in experience can only negate itself [….] There are no arguments [….] On the heights of despair, the passion for the absurd is the only thing that can still throw a demonic light on chaos [….] I live because the mountains do not laugh and the worms do not sing .” 4 It took three attempts before she was fully decapitated, all the while she continued, perhaps miraculously, to sing. According to the earliest account of Cecilia’s martyrdom, the beheading turns out worse. After not severing her head in three strokes, “the cruel executioner left her half dead” (seminecem eam cruentus carnifex dereliquit). 5 Cecilia’s effortlessly powerful endurance of the three strokes—a fitting icon for pessimism as an art of dereliction—demonstrates the “passivity and absence of effort [….] in which divine transcendence is dissolved.” 6 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. Like words from a pre-waking dream. There is no reason to think that they are not. NOTES 1. Dante Alighieri. Vita Nuova . ed. and trans. Dino S. Cervigni and Edward Vasta. Notre Dame: University of Notre Dame Press. 1995. 41:10. 2. Hafiz of Shiraz. The Divan . trans. H. Wilberforce Clarke. London: Octagon Press. 1974. 10.9. 3. Miguel de Unamuno. The Tragic Sense of Life in Men and Nations . trans. Anthony Kerrigan. Princeton: Princeton University Press. 1972. 305-6. 4. E.M. Cioran. On the Heights of Despair . trans. Ilinca Zarifopol-Johnston. Chicago: University of Chicago Press. 1992. 9-10. 5. Giacomo Laderchi. S. Caeciliae Virg[inis] et Mart[yris] Acta. . . Rome. 1723. 38. 6. Georges Bataille. On Nietzsche . trans. Bruce Boone. London: Continuum. 2004. 135. See Nicola Masciandaro. “ Half Dead: Parsing Cecilia .” A Commentary on Eugene Thacker’s "Cosmic Pessimism" Gary J. Shipley Pessimism is the refusal to seek distraction, the refusal to remodel failure into a platform for further (doomed) possibilities, the refusal of comfort, the acceptance of the sickness of healthy bodies, the cup of life overflowing with cold vomit. If, as Ligotti suggests when discussing Invasion of the Body Snatchers , 1 humans prefer the anxieties of their familiar human lives to the contentment of an alien one, then the pessimist, we could argue, represents some perverted combination of the two, preferring (presuming he has a choice) the defamiliarization of human life to the contentment of its unquestioned mundanity. The quasi-religious state of mind that Wittgenstein would mention on occasion, that of “feeling absolutely safe,” 2 is a state the pessimist could only imagine being approximated by death, or perhaps some annihilative opiate-induced stupor. This Wittgensteinian commingling of certainty and faith looks every bit the futile gesture, a mere rephrasing of collapse or partial collapse. The only certainty open to the pessimist is that of the toxic formula of life itself—a formula known and lacuna-free. Certainty, far from being the gateway to deliverance, becomes the definitive impediment; and the possibility of salvation, as long as it remains, becomes crucially reliant on postulations of ignorance, epistemic gaps, a perennial incompleteness: “the perfect safety of wooed death […] the warm bath of physical dissolution, the universal unknown engulfing the miniscule unknown.” 3 The height of Leibniz’s Panglossian insanity nurtured the idea that our knowing everything—via the universal calculus—could be accurately described a triumph, as opposed to a nightmare in which our every futility is laid bare. Stagnancy and boredom are perhaps two of the greatest ills of Western civilisation, and the most potent pessimism tells you that you’re stuck with both. The most we can hope for, by way of salvation, is to throw open our despair to the unknown. The fact that Schopenhauer’s pessimism stopped short of morality and allowed him to play the flute, as Nietzsche complained, highlights the predicament of a man who despite having adorned nothingness with a smiling face still found himself alive. The demand here is that it be felt: a cross-contamination of intellect and emotion. The safety net of numerous parentheses makes for a failed philosophy, rather than a philosophy of failure. Depressives make bad pessimists, because, unless they choose to die, living will always infect them with necessities of hope, forcing them to find something, anything (all the various “as ifs”) to make existence tolerable. For as Cioran observed, while “[d]epressions pay attention to life, they are the eyes of the devil, poisoned arrows which wound mortally any zest and love of life. Without them we know little, but with them, we cannot live.” 4 And even when cured of our depressions we’ll find ourselves consumed, eaten alive by the hyper-clinical (borderline autistic) mania that replaces them: a predicament captured all too clearly in the microscriptual fictions of Robert Walser, where spectral men and women stifle their depressive madness with protective comas of detail, their failed assimilations buried beneath thick crusts of remote data. Like Beckett’s Malone their stories may have ended, but cruelly their lives have not. Pessimism is an extraneous burden (a purposeless weight) that makes everything else harder to carry, while at the same time scooping it out and making it lighter. If pessimism had a sound it would be the harsh non-noise of tinnitus—the way that every person would hear themselves if they refused their distractions long enough to listen: a lungless scream from the extrasolar nothing of the self. The music of pessimism—if indeed we can imagine such a thing—is the reverberating echo of the world’s last sound, conjectured but never heard, audible only in its being listened for. The one consolation of this hollow paradox of audibility being, that “he will be least afraid of becoming nothing in death who has recognized that he is already nothing now.” 5 The pessimist suffers a derangement of the real, a labyrinthitis at the nucleus of his being: he’s the stumbling ghost relentlessly surprised that others can see him. If Cioran’s refusal is manifested in sleep (when even saying ‘no’ is too much of a commitment), then Pessoa’s resides in the dreams inside that sleep. Pessoa chooses to exploit the fact that he’s being “lived by some murmuring non-entity both shadowy and muddied” 6 by growing more voids to live him. His is a Gnostic breed of sleep, “sleeping as if the universe were a mistake,” 7 a sleep that dreams through Thacker’s cosmic pessimism (“a pessimism of the world-without-us.”, “the unhuman orientation of deep space and deep time” 8 ), through the critical error of there being anything at all when there could be nothing. The metaphysical pessimist is someone who, however well life treats them, still desires to wake from it, as from the poisonous air of a bad dream. Pessimism is a paradox of age, being simultaneously young and old; its youth residing in a refusal to accept the authority of existence (its rich history, its inherent beneficence), a refusal to “get over” the horror of what it sees with its perpetually fresh eyes, and its maturity in the unceremonious disposal of the philosophical playthings (those futile architectures) of adolescence. As Thacker remarks: “Pessimism abjures all pretenses towards system—towards the purity of analysis and the dignity of critique.” 9 A sentiment shared with Pessoa, who duly categorizes those that choose to enact this futile struggle: “The creators of metaphysical systems and of psychological explanations are still in the primary stage of suffering.” 10 If the pessimist has shared a womb with anyone, it’s with the mystic and not the philosopher. As Schopenhauer tells us: “The mystic is opposed to the philosopher by the fact that he begins from within, whereas the philosopher begins from without. […] But nothing of this is communicable except the assertions that we have to accept on his word; consequently he is unable to convince.” 11 The crucial difference between the mystic and the pessimist is not the latter’s impassivity and defeatism, but his unwillingness/inability to contain in any way the spread of his voracious analyticity, his denial of incompleteness, his exhaustive devotion to failure. The truth of our predicament, though heard, is destined to remain unprocessed. Like the revelations of B.S. Johnson’s Haakon (“We rot and there’s nothing that can stop it / Can’t you feel the shaking horror of that?” 12 ) the pessimist’s truths are somehow too obvious to listen to, as if something inside us were saying, “Of course, but haven’t we gotten over that?” Pessimism is simple and ugly, and has no desire to make itself more complex or more attractive. The true moral pessimist knows that the Utilitarian’s accounts will always be in the red. He can see that for all his computational containments, his only honest path is a negative one, and that such a path has but one logical destination: that of wholesale human oblivion. Thacker notes how at the core of pessimism lies the notion of “the worst,” through which death is demoted by the all-pervasive suffering of a life that easily eclipses its threat. And so with doom made preferable to gloom, death begins to glint with promise, “like beauty passing through a nightmare.” 13 But even among pessimists suicide is, for the most part, thought to be an error. Schopenhauer, for instance, regarded suicide a mistake grounded in some fundamentally naïve disappointment or other. Pessoa too thought suicide an onerous escape tactic: “To die is to become completely other. That’s why suicide is a cowardice: it’s to surrender ourselves completely to life.” 14 There is a call here to be accepting of and creative with the puppetry of your being, an insistence that it’s somehow a blunder to attempt to hide in death from the horrors you find inlife. 15 Tied up with this perseverance is the slippery notion of the good death, for maybe, as Blanchot warns, suicide is rarely something we can hope to get right, for the simple reason that “you cannot make of death an object of the will.” 16 “Even in cases where the entire corpus of an author is pessimistic, the project always seems incomplete,” 17 and this is not simply because the project itself belies something yet to be disclosed, but because the project itself is a thing waiting. It waits on a cure it knows will not come, but for which it cannot do anything (as long as it continues to do anything) but wait. NOTES 1. See Thomas Ligotti. The Conspiracy Against the Human Race . New York: Hippocampus Press. 2010. 91. 2. Ludwig Wittgenstein. “A Lecture on Ethics.” Philosophical Review . (74) 1. 1965. 8. 3. Vladimir Nabokov. Pale Fire . New York: Vintage. 1989. 221. 4. E. M. Cioran. The Book of Delusions . trans. Camelia Elias. Hyperion. 5.1. (2010): 75. 5. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 609. 6. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 67. 7. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 35. 8. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 68. 9. Ibid. 73. 10. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 341. 11. Arthur Schopenhauer. The World as Will and Representation. vol. 2 . trans. E .F J. Payne. New York: Dover. 1966. 610-11. 12. B.S Johnson. “You’re Human Like the Rest of Them.” in Jonathan Coe. Like a Fiery Elephant: The Story of B.S. Johnson . London: Picador. 2004. 177. 13. Fernando Pessoa. The Book of Disquiet . trans. Richard Zenith. London: Penguin. 2002. 415. 14. Ibid. 199. 15. “Suicide is, after all, the opposite of the poem.” Anne Sexton. No Evil Star: Selected Essays, Interviews and Prose . ed. Steven Gould Axelrod. Ann Arbor: University of Michigan Press. 1985. 92. 16. Maurice Blanchot. The Space of Literature . trans. Ann Smock. Lincoln: University of Nebraska Press. 1989. 105. 17. Eugene Thacker. “Cosmic Pessimism.” continent. . 2.2 (2012): 75. (shrink)

When I agreed to lecture to-night I stipulated that I might be allowed to interpret the subject announced so as to let my treatment relate less to the subject in general than to some particular aspects which happen to have been interesting me lately. Professor Whitehead, Sir Arthur Eddington, and Sir James Jeans have given to the world brilliant accounts of the present position of physics in relation to mathematics and philosophy. What I have to say bears to their writings, (...) the humble relation of an example to a piece of book-work, or of an application of a theorem to the theorem itself. (shrink)

Sir Francis Galton writes: “Those who find a difficulty in understanding how a feebly felt mental action can vanquish a strong desire, will find the difficulty vanish if they consent to assume a physiological and not a psychical standpoint. The gain is as great as viewing the planetary system after the fashion of Copernicus, instead of that of Ptolemy. There is nothing contrary to experience in supposing that conflicting physiological actions may be perceived with a distinctness quite disproportionate to their (...) real efficacy. We may compare the conflict between faintly perceived activities of one kind and clearly perceived activities of another kind, to that between troops dressed in a uniform scarcely distinguishable from the background with others clad in staring scarlet. We must be content to admit that our consciousness has a very inexact cognisance of the physiological battles in our brain, and that the mystery why apparently weak motives of one class should invariably get the better of apparently strong motives of another class, lies wholly in the word ‘apparently’. In short, that the appearances of their relative strength are deceptive”. (shrink)

Everyone interested in Arabic and Persian literature, in Islam and in comparative religion, regrets the death of Arthur J. Arberry, Sir Thomas Adams's Professor of Arabic in the University of Cambridge. Arberry combined rare human qualities and exceptional professional attainment, and this enabled him to make a unique contribution both to learning and to mutual understanding between East and West. He had a deep sense of vocation, which he brought to his unremitting labours as a skilled editor of texts, especially (...) in the field of Islamic mysticism, and as an imaginative translator of these texts of the Koran and of Arabic and Persian poetry, and as a sympathetic interpreter of Sūfism. (shrink)

Et si le bonheur n'était pas vraiment fait pour nous? Si nous ne l'avions inventé que comme un idéal nécessaire et inaccessible? Nécessaire, car il est l'horizon en fonction duquel nous nous orientons dans l'existence, mais inaccessible car, comme tout horizon, il s'éloigne d'autant qu'on s'en approche. Telle est la thèse défendue dans ce livre qui n'est en rien pessimiste. Le bonheur y est présenté comme un horizon inaccessible, mais sa poursuite est appréhendée comme la source de toutes nos joies. (...) Parce que l'être humain est désir, il se satisfait plus de la joie que du bonheur. La joie exprime la force de la vie, tandis que le bonheur perçu comme accord avec soi a quelque chose à voir avec la mort. Cette philosophie de la joie et du bonheur est présentée tout au long d'un parcours qui, sans se vouloir exhaustif, convoque différents penseurs qui se sont interrogés sur la condition humaine et la possibilité pour l'être humain d'accéder à la vie heureuse."--Page 4 of cover. (shrink)

In the past decade, the notion of a neural correlate of consciousness has become a focal point for scientific research on consciousness. A growing number of investigators believe that the first step toward a science of consciousness is to discover the neural correlates of consciousness. Indeed, Francis Crick has gone so far as to proclaim that ‘we need to discover the neural correlates of consciousness. For this task the primate visual system seems especially attractive. No longer need one spend time (...) attempting to endure the tedium of philosophers perpetually disagreeing with each other. Consciousness is now largely a scientific problem’. Yet the question of what it means to be a neural correlate of consciousness is actually far from straightforward, for it involves fundamental empirical, methodological, and philosophical issues about the nature of consciousness and its relationship to the brain. Even if one assumes, as we do, that states of consciousness causally depend on states of the brain, one can nevertheless wonder in what sense there is, or could be, such a thing as a neural correlate of consciousness. (shrink)

ASPECTS OF THE NOVEL is a unique attempt to examine the novel afresh, rejecting the traditional methods of classification by chronology or subject-matter. Forster pares down the novel to its essential elements as he sees them: story, people, plot, fantasy, prophecy, pattern and rhythm. He illustrates each aspect with examples from their greatest exponents, not hesitating as he does so to pass controversial judgement on the works of, among others, Sir Walter Scott, Charles Dickens and Henry James. Full of Forster's (...) renowned wit and perceptiveness, ASPECTS OF THE NOVEL offers a rare insight into the art of fiction from one of our greatest novelists. 'His is a book to encourage dreaming.' Virginia Woolf. (shrink)

It has been argued repeatedly that the modern study of social and cultural evolution took its inspiration and form from Charles Darwin's Origin of Species and Descent of Man. In 1920, Robert H. Lowie observed that it was after evolutionary principles had been accepted in biology that they were applied to social phenomena, and that Lewis Henry Morgan was among the first to make the application. Sir James George Frazer, at about the same time, dated the birth of anthropology from (...) the promulgation of the evolution theory of Darwin and Wallace in 1859 and maintained that “this conception of evolution … supplies a basis for the modern science of anthropology.” Harry Elmer Barnes similarly traced the development of anthropology from the theory of organic evolution and advised the student that he “need not concern himself with the history of method in sociology before the entry of Darwinian concepts.”. (shrink)

The locus classicus for Plutarch's own views on his methods is in the Alexander He has begun by asking for the indulgence of his readers if they do not find all the exploits of Alexander and Caesar recounted by the biographer or if they discover him not reporting some famous incident in detail (); and he goes on to compare his own search for evidence which will indicate the kind of soul, with the activity of the painter, who, in order (...) to create a likeness, concentrates on the eyes and pays little attention to the other parts. Commentators and critics have been right to take this as a key text for the purpose of understanding Plutarch's attitude towards his biographical work; nevertheless there are other passages in the Lives where we can at least glimpse his attitude to his subject, and we can only see the Alexander-remarks in correct perspective if we take these other passages into account. I propose therefore, starting with the Alexander, to see how far these critical remarks apply to Plutarch's theory and practice elsewhere in the Lives. (shrink)

According to the Ars Amatoria the notorious rape took place on the occasion of a primitive dramatic entertainment staged in a theatre, in which the seats and furnishings were also primitive. There is no time for a description of the arts of the performers—a tibicen and a ludius—before the Romans, impatient for action, receive their signal from Romulus. Nor is there any mention of a god in whose honour the entertainment had been provided.

We introduce a multimodal logic for order of magnitude reasoning which considers a new logic-based alternative to the notion of closeness, we provide an axiom system and prove its soundness and completeness.