Theories of skill acquisition have made radically different predictions about the role of general problem‐solving methods in acquiring rules that promote effective transfer to new problems. Under one view, methods that focus on reaching specific goals, such as means‐ends analysis, are assumed to provide the basis for efficient knowledge compilation (Anderson, 1987), whereas under an alternative view such methods are believed to disrupt rule induction (Sweller, 1988). We suggest that the role of general methods in learning varies with both the (...) specificity of the problem solver's goal and the systematicity of the strategies used for testing hypotheses about rules. In the absence of a specific goal people are more likely to use a rule‐induction learning strategy, whereas provision of a specific goal fosters use of difference reduction, which tends to be a non‐rule‐induction strategy. We performed two experiments to investigate the impact of goal specificity and systematicity of rule‐induction strategies in learning and transfer within a complex dynamic system. The results of Experiment 1 indicated that during free exploration of a problem space, greater learning occurred if participants adopted more systematic strategies for rule induction, and that participants come to favor such strategies. Experiment 2 revealed that participants who were provided with a specific goal performed well on the initial problem but were impaired on a transfer test using a similar problem with a different goal. Instruction on a systematic rule‐induction strategy facilitated solution for both the initial and transfer problems, but participants' use of this strategy declined if they had a specific goal. Our results support Sweller's (1988) proposal that general problemsolving methods applied to a specific goal foster acquisition of knowledge about an isolated solution path but do not provide an effective way of learning the overall structure of a problem space. We interpret these results in terms of dualspace theories of search through problem space. (shrink)

This article addresses the ability of Parallel Distributed Processing (PDP) networks to generate stagewise cognitive development in accordance with Piaget's theory of cognitive epigenesis. We carried out a replication study of the simulation experiments by McClelland (1989) and McClelland and Jenkins (1991) in which a PDP network learns to solve balance scale problems. In objective tests motivated from catastrophe theory, a mathematical theory of transitions in epigenetical systems, no evidence for stage transitions in network performance was found. It is concluded (...) that PDP networks lack the ability to recover the positive outcomes of analogous catastrophe analyses of real cognitive developmental data. In an attempt to further characterize the learning behaviour of PDP networks, we carried out a second simulation study using the discrimination‐shift paradigm. The results thus obtained indicate that PDP learning is compatible with the learning of stimulus‐response relationships, not with the acquisition of mediating rules such as conceived in (neo‐)Piagetian theory. In closing, we speculate about the feasibility of simulating stagewise development with alternative network architectures. (shrink)

In the two-envelope problem, a reasoner is offered two envelopes, one containing exactly twice the money in the other. After observing the amount in one envelope, it can be traded for the unseen contents of the other. It appears that it should not matter whether the envelope is traded, but recent mathematical analyses have shown that gains could be made if trading was a probabilistic function of amount observed. As a problem with a purely probabilistic solution, it provides a potentially (...) interesting way to test people's consistency with probabilistic models. Three experiments did this by varying the size of both the observed and maximum amounts, and their possible distribution. The results showed that trading decisions were affected by where the observed amount in the opened envelope fell in the distribution, though its size did not always do so. This suggests that participants’ trade decisions could be affected by the perceived probabilities of different observed amounts, which is consistent with the pro.. (shrink)

One of the most influential studies in all expertise research is de Groot’s (1946) study of chess players, which suggested that pattern recognition, rather than search, was the key determinant of expertise. Many changes have occurred in the chess world since de Groot’s study, leading some authors to argue that the cognitive mechanisms underlying expertise have also changed. We decided to replicate de Groot’s study to empirically test these claims and to examine whether the trends in the data have changed (...) over time. Six Grandmasters, five International Masters, six Experts, and five Class A players completed the think-aloud procedure for two chess positions. Findings indicate that Grandmasters and International Masters search more quickly than Experts and Class A players, and that both groups today search substantially faster than players in previous studies. The findings, however, support de Groot’s overall conclusions and are consistent with predictions made by pattern recognition models. (shrink)

The importance of this collection of writings of William James lies in the fact that it has been arranged to provide a systematic introduction to his major philosophical discoveries, and precisely to those doctrines and theories that are of most burning current interest. William James: The Essential Writings is a series of philosophical arguments on some of the most “obscure and head-cracking problems” in contemporary philosophy; the relation of thought to its object; the interrelationships between meaning and truth; the levels (...) and structures of experience; the degrees of reality; the nature of the embodied self; the relation of ethics, aesthetics, and religious experience to man’s strenuously and “heroically” active nature; and, above all, the structurization of the experienced life-world as the validating ground and origin of all theory; Bruce Wilshire has provided an introduction to William James’s thought on these and other related points which is at once both substantial and subtle. (shrink)

The importance of this collection of writings of William James lies in the fact that it has been arranged to provide a systematic introduction to his major philosophical discoveries, and precisely to those doctrines and theories that are of most burning current interest. William James: The Essential Writings is a series of philosophical arguments on some of the most "obscure and head-cracking problems" in contemporary philosophy; the relation of thought to its object; the interrelationships between meaning and truth; the levels (...) and structures of experience; the degrees of reality; the nature of the embodied self; the relation of ethics, aesthetics, and religious experience to man's strenuously and "heroically" active nature; and, above all, the structurization of the experienced life-world as the validating ground and origin of all theory; Bruce Wilshire has provided an introduction to William James's thought on these and other related points which is at once both substantial and subtle. (shrink)

Joann Starr, a Roman Catholic nun, and Bruce Zawacki, a burn surgeon, met 22 years ago in the Los Angeles County, University of Southern California Burn Center in the roles of a patient and her physician struggling over issues of autonomy and informed consent. After recovery, she remained a nun and has become a patient advocate and doctoral candidate in bioethics. He remained a burn surgeon and has become a bioethics teacher and author. Although they live in distant locations, (...) they maintain their friendship and frequently discuss their shared experience. Recently they met to reflect on the events, lessons, and meanings of their original encounter. (shrink)

Robert Coover’s Novel, The Public Buming, merges fantasy, history, and popular myth to respond to the American Cold War culture surrounding the trial of Ethal and Julius Rosenberg. While serving as a postmodern response to, and rewrite of, the Cold War ideological narratives, Coover’s novel also raises theoretical and practical questions concerning the author’s agency in the twentieth century. This article makes use of the language theories of Bruce Andrews, Mikhail Bakhtin, and Charles Peirce to consider how Coover’s fiction (...) addresses the conflict between the public and private self, authorial discourse and collective ideological discourse. Coover’s novel reflects on these tensions, foregrounding the erosion of an autonomous concept of self and a Romantic notion of autotelic creation. At the same time, it employs a range of strategies (recovery of alternative voices, dismantling of polarities, rewriting) as a form of resistance against the monologic narratives of the Cold War.Le roman de Robert Coover, The Public Buming, combine I’imaginaire, I’histoire, et le mythe populaire pour repondre ala culture de la guerre froide américaine dans laquelle baigne le procès d’Ethal et de Julius Rosenberg. Bien qu’il serve de reponse aux narrations ideologiques de la guerre froide et de réécriture de celles-ci, le roman de Coover soulève aussi des questions théoriques et pratiques relativement à I’action de I’auteur au vingtième siècle. Le présent article utilise les théories du langage de Bruce Andrews, Mikhail Bakhtin, et Charles Peirce afin d’analyser la façon dont le roman-fiction de Coover aborde le conflit entre le soi public et privé et entre le discours de I’auteur et le discours idéologique collectif. Le roman de Coover médite sur ces tensions en mettant I’accent sur I’erosion du concept autonome de soi et de la notion romantique de création autotélique. À la même occasion, il emploie un éventail de stratégies (recouvrement de contre-voix, démantèlement des polarités, réécriture) en tant que résistances aux narrations monoloqigues de la guerre froide. (shrink)

Robert Coover’s Novel, The Public Buming, merges fantasy, history, and popular myth to respond to the American Cold War culture surrounding the trial of Ethal and Julius Rosenberg. While serving as a postmodern response to, and rewrite of, the Cold War ideological narratives, Coover’s novel also raises theoretical and practical questions concerning the author’s agency in the twentieth century. This article makes use of the language theories of Bruce Andrews, Mikhail Bakhtin, and Charles Peirce to consider how Coover’s fiction (...) addresses the conflict between the public and private self, authorial discourse and collective ideological discourse. Coover’s novel reflects on these tensions, foregrounding the erosion of an autonomous concept of self and a Romantic notion of autotelic creation. At the same time, it employs a range of strategies (recovery of alternative voices, dismantling of polarities, rewriting) as a form of resistance against the monologic narratives of the Cold War.Le roman de Robert Coover, The Public Buming, combine I’imaginaire, I’histoire, et le mythe populaire pour repondre ala culture de la guerre froide américaine dans laquelle baigne le procès d’Ethal et de Julius Rosenberg. Bien qu’il serve de reponse aux narrations ideologiques de la guerre froide et de réécriture de celles-ci, le roman de Coover soulève aussi des questions théoriques et pratiques relativement à I’action de I’auteur au vingtième siècle. Le présent article utilise les théories du langage de Bruce Andrews, Mikhail Bakhtin, et Charles Peirce afin d’analyser la façon dont le roman-fiction de Coover aborde le conflit entre le soi public et privé et entre le discours de I’auteur et le discours idéologique collectif. Le roman de Coover médite sur ces tensions en mettant I’accent sur I’erosion du concept autonome de soi et de la notion romantique de création autotélique. À la même occasion, il emploie un éventail de stratégies (recouvrement de contre-voix, démantèlement des polarités, réécriture) en tant que résistances aux narrations monoloqigues de la guerre froide. (shrink)

This article addresses the relationship between the ethics underpinning leadership and change. It examines the developments in leadership and change over the last three decades and their ethical implications. It adopts a consequentialist perspective on ethics and uses this to explore different approaches to leadership and change. In particular, the article focuses on individual (egoistic) consequentialism and utilitarian consequentialism. The article argues that all leadership styles and all approaches to change are rooted in a set of values, some of which (...) are more likely to lead to ethical outcomes than others. It also argues that all stakeholders in an organisation have a role to play in ensuring ethical outcomes. It concludes that in order to achieve sustainable and beneficial change, those who promote and adopt particular approaches to leadership and change must provide greater ethical clarity about the approaches they are championing. (shrink)

Philosophy long sought to set knowledge on a firm foundation, through derivation of indubitable truths by infallible rules. For want of such truths and rules, the enterprise foundered. Nevertheless, foundationalism's heirs continue their forbears' quest, seeking security against epistemic misfortune, while their detractors typically espouse unbridled coherentism or facile relativism. Maintaining that neither stance is tenable, Catherine Elgin devises a via media between the absolute and the arbitrary, reconceiving the nature, goals, and methods of epistemology. In Considered Judgment, she argues (...) for a reconception that takes reflective equilibrium as the standard of rational acceptability. A system of thought is in reflective equilibrium when its components are reasonable in light of one another, and the account they comprise is reasonable in light of our antecedent convictions about the subject it concerns.Many epistemologists now concede that certainty is a chimerical goal. But they continue to accept the traditional conception of epistemology's problematic. Elgin suggests that in abandoning the quest for certainty we gain opportunities for a broader epistemological purview--one that comprehends the arts and does justice to the sciences. She contends that metaphor, fiction, emotion, and exemplification often advance understanding in science as well as in art. The range of epistemology is broader and more variegated than is usually recognized. Tenable systems of thought are neither absolute nor arbitrary. Although they afford no guarantees, they are good in the way of belief. (shrink)

Evidence and theory ranging from traditional philosophy to contemporary cognitive research support the hypothesis that consciousness has a two-part structure: a focused region of articulated experience surrounded by a field of relatively unarticulated, vague experience.William James developed an especially useful phenomenological analysis of this "fringe" of consciousness, but its relation to, and potential value for, the study of cognition has not been explored. I propose strengthening James′ work on the fringe with a functional analysis: fringe experiences work to radically condense (...) context information in consciousness; are vague because a more explicit representation of context information would overwhelm consciousness′ limited articulation capacity; help mediate retrieval functions in consciousness; and contain a subset of monitoring and control experiences that cannot be elaborated in focal attention and are "ineffable." In general, the phenomenology of the fringe is a consequence of its cognitive functions, constrained by consciousness′ limited articulation capacity. Crucial to monitoring and control is the feeling of "rightness." Rightness functions as a summary index of cognitive integration, representing, in the fringe, the degree of positive fit between a given conscious content and its parallel, unconsciously encoded context. Rightness appears analogous to the connectionist metric of global network integration, known variously as goodness-of-fit, harmony, or minimum energy. (shrink)

The essays in this book discuss the originally proposed Baldwin effect, how it was modified over time, and its possible contribution to contemporary empirical...

This comprehensively updated and expanded revision of the successful second edition continues to provide detailed coverage of the ever-growing range of research topics in vision. In Part I, the treatment of visual physiology has been extensively revised with an updated account of retinal processing, a new section explaining the principles of spatial and temporal filtering which underlie discussions in later chapters, and an up-to-date account of the primate visual pathway. Part II contains four largely new chapters which cover recent psychophysical (...) evidence and computational model of early vision: edge detection, perceptual grouping, depth perception, and motion perception. The models discussed are extensively integrated with physiological evidence. All other chapters in Parts II, III, and IV have also been thoroughly updated. (shrink)

In Inhabiting the Earth Foltz undertakes the first sustained analysis of how Heidegger's thought can contribute to environmental ethics and to the more broadly conceived field of environmental philosophy. Through a comprehensive study of the status of "nature" and related concepts such as "earth" in the thought of Martin Heidegger, Foltz attempts to show how Heidegger's understanding of the natural environment and our relation to it offer a more promising basis for environmental philosophy than others that have so far been (...) put forward. Indeed, Dr. Foltz finds that to ecofeminism and social ecology, whose prescriptions are based on historically oriented etiologies of domination and oppression, Heidegger's work offers what is arguably the first comprehensive and nonreductive philosophy of history since Hegel that can embrace both nature and humanity in one narrative, and the first since Augustine that can do this while granting to nature a messure of selfstanding. But it is probably for the environmental philosophies of deep ecology, bioregionalism, and ecological holism that Heidegger's work has the most immediate, as well as the most extensive implications, because it is to them that it has the most affinity. Finally, as a corrective and a major challenge to deep ecology, which has tended to valorize the scientific approach to nature, Heidegger's work provides a sophisticated basis for showing the primacy of the poetic in the task of learning to inhabit the earth rightly. (shrink)

Non-sensory experiences represent almost all context information in consciousness. They condition most aspects of conscious cognition including voluntary retrieval, perception, monitoring, problem solving, emotion, evaluation, meaning recognition. Many peculiar aspects of non-sensory qualia (e.g., they resist being 'grasped' by an act of attention) are explained as adaptations shaped by the cognitive functions they serve. The most important nonsensory experience is coherence or "rightness." Rightness represents degrees of context fit among contents in consciousness, and between conscious and non-conscious processes. Rightness (not (...) familiarity) is the feeling-of-knowing in implicit cognition. The experience of rightness suggests that neural mechanisms "compute" signals indicating the global dynamics of network integration. (shrink)

The Great Psychotherapy Debate: Models, Methods, and Findings comprehensively reviews the research on psychotherapy to dispute the commonly held view that the benefits of psychotherapy are derived from the specific ingredients contained in a given treatment (medical model). The author reviews the literature related to the absolute efficacy of psychotherapy, the relative efficacy of various treatments, the specificity of ingredients contained in established therapies, effects due to common factors, such as the working alliance, adherence and allegiance to the therapeutic protocol, (...) and effects that are produced by different therapists. In each case, the evidence convincingly corroborates the contextual model and disconfirms the prevailing medical model. (shrink)

Prabhpal Singh has recently defended a relational account of the difference in moral status between fetuses and newborns as a way of explaining why abortion is permissible and infanticide is not. He claims that only a newborn can stand in a parent–child relation, not a fetus, and this relation has a moral dimension that bestows moral value. We challenge Singh’s reasoning, arguing that the case he presents is unconvincing. We suggest that the parent–child relation is better understood as an extension (...) of an existing relationship formed during the gestational period. The change in this relation at birth is not sufficient to justify the radical change in moral status required to rule out infanticide while accepting the permissibility of abortion. Given that the moral status of orphans is also problematic under Singh’s account, we conclude that Singh has not shown that a newborn has greater moral worth than a fetus. (shrink)

Pro-life advocates commonly argue that fetuses have the moral status of persons, and an accompanying right to life, a view most pro-choice advocates deny. A difficulty for this pro-life position has been Judith Jarvis Thomson’s violinist analogy, in which she argues that even if the fetus is a person, abortion is often permissible because a pregnant woman is not obliged to continue to offer her body as life support. Here, we outline the moral theories underlying public health ethics, and examine (...) the COVID-19 pandemic as an example of public health considerations overriding individual rights. We argue that if fetuses are regarded as persons, then abortion is of such prevalence in society that it also constitutes a significant public health crisis. We show that on public health considerations, we are justified in overriding individual rights to bodily autonomy by prohibiting abortion. We conclude that in a society that values public health, abortion can only be tolerated if fetuses are not regarded as persons. (shrink)

Neoliberalism is invariably presented as a governing regime of market and competition-based systems rather than as a set of migratory practices that are re-setting the ethical standards of the academy. This article seeks to explore the way in which neoliberalism is shifting the prevailing values of the academy by drawing on two illustrations: the death of disinterestedness and the obfuscation of authorship. While there was never a golden age when norms such as disinterestedness were universally practiced they represented widely accepted (...) aesthetic ideals associated with academic life. By contrast, neoliberal academics embrace a new set of assumptions and norms that stand in sharp relief to many of the values that were previously espoused. Practices that might have been regarded as ethically dubious by earlier generations of academics, such as grantsmanship, self-justificatory expressions of interestedness and tangential claims to authorship, are now regarded as legitimate and positive virtues in a more aggressive age of hyper-performativity. (shrink)

In two recent papers, Christian List and Philip Pettit have argued that there is a problem in the aggregation of reasoned judgements that is akin to the aggregation of the preference problem in social choice theory. 1 Indeed, List and Pettit prove a new general impossibility theorem for the aggregation of judgements, and provide a propositional interpretation of the social choice problem that suggests it is a special case of their impossibility result. 2 Specifically, they show that no judgement aggregation (...) function for a group is possible if the group seeks to satisfy certain `minimal conditions' designed to ensure that the function is both responsive to the individually rational views of its members and collectively rational in the set of judgements it holds. In this article, I resist the List and Pettit claim that there is the same propensity for collective irrationality or incoherence in the aggregation of reasoned judgements as there is in the aggregation of preference. I argue that reason, because it has a logical structure that is lacking in mere preference, has the effect of giving priority to some aggregations over others, a priority that is not permitted by one of the conditions imposed by List and Pettit. This avoids the incoherence that would otherwise exist if these different aggregations, not consistent with one another, were to compete at the same level of priority. The priority of some aggregations is particularly apparent, I shall argue, if one views the aggregation of judgements through the lens of common law decision-making. Key Words: social choice • judgement • Condorcet jury theorem • collective rationality • public reason • doctrinal paradox • discursive dilemma. (shrink)

This paper reports an analysis of the content of the codes of ethics of 15 professional business organizations in the United States, representing the broad range of disciplines found in business. The analysis was conducted to identify common ethical issues faced by business professionals. It was also structured to highlight ethical issues that are either unique to or of particular importance for business professionals. No attempt is made to make value judgments about either the codes of ethics studied or of (...) their content. General ethical values identified include honesty and integrity, general legal compliance, discreditable or harmful acts, and obligations related to social values. More business-specific issues include confidentiality, responsibilities to employers/clients, obligations to the profession, independence and objectivity, and business-specific legal and technical compliance issues. (shrink)

I argue that the atheological claim that the existence of pain and suffering either contradicts or makes improbable God's existence or his possession of certain critical properties cannot be sustained. The construction of a theodicy for both moral and natural evils is the focus of the central part of the book. In the final chapters I analyze the concept of the best possible world and the properties of goodness and omnipotence insofar as they are predicated of God.

Forces including extreme economic inequality, cultural polarization, and the monetizing and privatizing of persons as commodities are undermining the forms of moral recognition and mutuality upon which democratic practices and institutions depend. These underlying factors, together with more direct modes of political corruption, manipulation, and authoritarian nationalism, are undoing Western democracies. This essay identifies and explores some vital underpinnings of democratic citizenship and civic learning that remain open to revitalization and repair. Building care structures and practices from the ground up (...) and developing inclusive and egalitarian modes of solidarity in a pluralistic society are the focus of discussion. The essay argues that solidarity and care are essential relationships and practices of moral recognition upon which democratic political agency and freedom rest. The social‐relational lifeworld and the democratic lifeworld are interdependent. Democratic citizenship is itself a relational practice that supports other practices. Democratic governance properly carried out fosters an underlying social solidarity and care and in turn draws moral and political legitimacy upward from them. (shrink)

In this paper I consider several versions of the argument from evil against the existence of a God who is omniscient, omnipotent and wholly good and raise some objections to them. Then I offer my own version of the argument from evil that says that if God exists, nothing happens that he should have prevented from happening and that he should have prevented the brutal rape and murder of a certain little girl if he exists. Since it was not prevented, (...) God does not exist. My conclusion rests on the claim that no outweighing good was served by allowing that murder, or any other instance of comparable evil, to occur. I take up the objection that my argument moves illicitly from apparently pointless suffering to the claim that there is reason to believe that there is pointless suffering. I offer an example to show that the existence of apparently pointless suffering counts to some extent against the existence of God and to show that no basic belief that God exists that rests on certain sorts of grounds can remain justified in the face of apparently pointless suffering. (shrink)

A great deal of interest in codes of ethics exists in both the business community and the academic community. Within the academic community, this interest has given rise to a number of studies of codes of ethics. Many of these studies have focused on the content of various codes.One important way the study of codes of ethics can be advanced is by applying formal tools of analysis to codes of ethics. An understanding of important dimensions that may differ across codes (...) of ethics, a common terminology to describe these dimensions, and a means to measure these dimensions will facilitate applying such tools. They will also facilitate discussion, enable comparisons, and advance our understanding of codes of ethics. The present paper describes a classification scheme to use in studying codes of ethics. This scheme uses six important dimensions to distinguish among codes of ethics: length, focus, level of detail, shape, thematic content, and tone. The paper also introduces metrics that can be used to measure the dimensions. (shrink)

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

Can we legitimately speak of ethicsexperts? Recent literature in philosophy and medical ethics addresses this important question but does not offer a satisfactory answer. Part of the problem is the absence of an examination of what it means to be an expert in general. I therefore begin by reviewing my analysis of expertise which appeared earlier in this journal. We speak of two kinds of experts: persons whose expertise is in virtue of what theyknow (epistemic expertise), or what theydo (performative (...) expertise). Applying this analysis to the domain of ethics, I argue that we may speak of ethical expertise in three epistemic senses: a) expertise indescriptive ethics, b) expertise inmetaethics, c) expertise innormative ethics, and in a performative sense: d) expertise inliving a good life. I conclude with a brief description of some social roles of ethics experts. (shrink)

Due to COVID-19’s strain on health systems across the globe, triage protocols determine how to allocate scarce medical resources with the worthy goal of maximising the number of lives saved. However, due to racial biases and long-standing health inequities, the common method of ranking patients based on impersonal numeric representations of their morbidity is associated with disproportionately pronounced racial disparities. In response, policymakers have issued statements of solidarity. However, translating support into responsive COVID-19 policy is rife with complexity. Triage does (...) not easily lend itself to race-based exceptions. Reordering triage queues based on an individual patient’s racial affiliation has been considered but may be divisive and difficult to implement. And while COVID-19 hospital policies may be presented as rigidly focused on saving the most lives, many make exceptions for those deemed worthy by policymakers such as front-line healthcare workers, older physicians, pregnant women and patients with disabilities. These exceptions demonstrate creativity and ingenuity—hallmarks of policymakers’ abilities to flexibly respond to urgent societal concerns—which should also be extended to patients of colour. This paper dismantles common arguments against the confrontation of racial inequity within COVID-19 triage protocols, highlights concerns related to existing proposals and proposes a new paradigm to increase equity when allocating scarce COVID-19 resources. (shrink)

The Darwinian concept of natural selection was conceived within a set of Newtonian background assumptions about systems dynamics. Mendelian genetics at first did not sit well with the gradualist assumptions of the Darwinian theory. Eventually, however, Mendelism and Darwinism were fused by reformulating natural selection in statistical terms. This reflected a shift to a more probabilistic set of background assumptions based upon Boltzmannian systems dynamics. Recent developments in molecular genetics and paleontology have put pressure on Darwinism once again. Current work (...) on self-organizing systems may provide a stimulus not only for increased problem solving within the Darwinian tradition, especially with respect to origins of life, developmental genetics, phylogenetic pattern, and energy-flow ecology, but for deeper understanding of the very phenomenon of natural selection itself. Since self-organizational phenomena depend deeply on stochastic processes, self-organizational systems dynamics advance the probability revolution. In our view, natural selection is an emergent phenomenon of physical and chemical selection. These developments suggest that natural selection may be grounded in physical law more deeply than is allowed by advocates of the autonomy of biology, while still making it possible to deny, with autonomists, that evolutionary explanations can be modeled in terms of a deductive relationship between laws and cases. We explore the relationship between, chance, self-organization, and selection as sources of order in biological systems in order to make these points. (shrink)

This collection brings together previously unpublished works by well-known philosophers on the philosophy of action, the metaphysics of causality, and the philosophy of psychology. Nine of the essays directly discuss Donald Davidson's work on these topics, while three others challenge a Davidsonian approach through discussion of independent but related issues. These essays are followed by replies from Davidson, including a previously unpublished essay, "Adverbs of Action.".

The alleged conflict between religion and science most pointedly focuses on what it is to be human. Western philosophical thought regarding this has progressed through three broad stages: mind/body dualism, Neo-Darwinism, and most recently strong artificial intelligence (AI). I trace these views with respect to their relation to Christian views of humans, suggesting that while the first two might be compatible with Christian thought, strong AI presents serious challenges to a Christian understanding of personhood, including our freedom to choose, moral (...) choice itself, self-consciousness, and the relevance of God to our beginning, being, and ending. (shrink)