This article addresses the ethics of betel nut use in Taiwan. It first presents scientific facts about the betel quid and its consumption and the generally accepted negative health consequences associated with its use: oral and esophageal cancer, coronary artery disease, metabolic diseases, and adverse effects in pregnancy. It then analyzes the cultural background and economic factors contributing to its popularity in Asia. The governmental and institutional attempts to curb betel nut cultivation, distribution, and sales are also described. Finally, the (...) article analyzes the bioethical implications of this often-ignored subject from the perspectives of human dignity, the good of health, vulnerable groups, cultural diversity, informed consent, and ethical blind spots. (shrink)

The ethics of betel nut use in Taiwan are examined in this article. It first presents scientific facts about the betel quid, its consumption and negative health consequences and then analyses the cultural background and economic factors contributing to its popularity in Asia. Governmental and institutional attempts to curb betel nut cultivation, distribution and sales are also described. Finally, the bioethical implications of this often ignored subject are considered.

This essay is an occasion to discuss the critical trajectories of a now common field of enquiry concerned with the impact of biomediatic technologies on politics and culture. Thacker's book The Global Genome importantly sits between debates about biopower as the governance of life and biopolitics as the transformation of what life can be. In particular, the book advances the hypothesis that as information produces `life itself', so it has become central to a political economy of excess and surplus value. (...) In other words, information does not dematerialize biology. Bioinformatics and biotech informationalize the living and rematerialize biology. As biotech becomes central to biopower, the global genome comes to reigning profit, labour, racism, biocolonialism, biosecurity, and bioart. However, Thacker's reliance on a bio-ontology of life grounding all relations of power leaves no space for process-events to break the chain of life's perpetual reproduction. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Bonaventure's Reductio of the Nine Choirs of Angels:How Bonaventure Compressed Two Monumental Traditions into Nine Words and Nine Short PhrasesRandall B. Smith"There is probably no better illustration in medieval thought of how the genius of the symbolic imagination also involves deep speculative insight." So wrote Bernard McGinn of Bonaventure's Itinerarium mentis in deum in The Flowering of Mysticism: Men and Woman in the New Mysticism, 1200–1350.1 There is no (...) question that the Itinerarium is a book suffused with symbolic imagery; so much so, in fact, that it can sometimes seem to lapse into a confusing jumble.Certainly there are many sections of the Itinerarium that have baffled readers over the years, often because Bonaventure's use of imagery is so unique and creative and the truths he is attempting to enunciate are so far beyond our normal ways of thinking about God. But there is a short passage in chapter 4 of the Itinerarium that seems to defy interpretation precisely because of what one might describe as an almost austere terseness and brevity. The point Bonaventure wishes to make is one he communicates in little more than a list of nine words and nine short, parallel phrases.The passage I have in mind is this one in Itinerarium 4.4.When these things have been accomplished, and our spirit has been brought into conformity with the heavenly Jerusalem, it is ordered [End Page 583] hierarchically so that it can ascend upward. For no one enters into that city unless that city has first descended into the person's heart by means of grace, as John sees in his Apocalypse. It descends into the heart when our spirit has been made hierarchical by the reformation of the image, by means of the theological virtues, the enjoyment of the spiritual senses, and the ecstasy of rapture; for it has been purged, illumined and brought to perfection.In this way our spirit is adorned with nine orderly levels when within it the following are found in an appropriate order: announcing, dictating, leading, ordering, strengthening, commanding, receiving, revealing, and anointing. These correspond to the nine choirs of angels. The first three of the foregoing levels in the human mind relate to nature; the next three relate to work; and the final three relate to grace. When it has attained these, the soul, by entering into itself, enters into the heavenly Jerusalem where, as it considers the choirs of angels, it sees in them the God who dwells in them and who works in all their operations.Therefore, Bernard says to Pope Eugene that "God loves in the Seraphim as charity; knows in the Cherubim as truth; sits in the Thrones as justice; reigns in the Dominations as majesty; rules in the Principalities as a guiding principle; protects in the Powers as salvation; is at work in the Virtues as strength; reveals in the Archangels as light; assists in the Angels as kindness." From all this, God is seen as all in all when we contemplate God in our minds where God dwells through the gifts of the most generous charity.2Notice in the passage I have quoted above that Bonaventure says our spirit must be "brought into conformity with the heavenly Jerusalem," and that this requires it be "ordered hierarchically so that it can ascend upward." This serves as a transition into a rather odd pair of lists—one with nine words and the other with nine short, parallel phrases—that Bonaventure associates with the nine angelic choirs. These two lists of the nine choirs of angels do not, however, correspond exactly with one [End Page 584] another, for reasons I will explain below. And although these two lists of the nine ranks of angels in the angelic hierarchy take up just a few lines in Bonaventure's text, there is a lot of background information we will need to fill in to provide the necessary context to appreciate them. Indeed, as we will see, in this short passage, Bonaventure was able using the methods of the thirteenth-century sermo modernus style to reduce two monumental commentary traditions regarding the nine choirs of angels—one that... (shrink)

This book examines the social and philosophical attitudes in Western culture that relate to the environment including aesthetics, wildlife, and land use. Both the historical significance and a framework for further discussions of environmental ethics are discussed in the book.

The psychoanalytical case history was in many ways the pivot point of John Forrester’s reflections on case-based reasoning. Yet the Freudian case is not without its own textual forebears. This article closely analyses texts from two earlier case-writing traditions in order to elucidate some of the negotiations by which the case history as a textual form came to articulate the mode of reasoning that we now call ‘thinking in cases’. It reads Eugène Azam’s 1876 observation of Félida X and her (...) ‘double personality’—the case that brought both Azam and Félida to prominence in late 19th-century French science—against a medico-surgical case penned by the Bordeaux physician in the same decade. While the stylistics of Azam’s medical case mirror its epistemic underpinnings in the ‘vertical’ logics of positivist science, the multiple narratives interwoven in Félida’s case grant both Azam and his patient the role of knowledge-making actors in the text. This narrative transformation chimes with the way Azam reasons ‘horizontally’ from particulars to Félida’s singular condition, but sits in tension with his choice to structure the observation along a ‘vertical’ axis. Between the two, we glimpse the emergence of the psychological observation as a mode of writing and thus of thinking in cases. (shrink)

Linguistics. Artificial intelligence. Related fields. Computation.

Professional environmental ethics arose directly out of the interest in the environment created by Earth Day in 1970. At that time many environmentalists, primarily because they had read Aldo Leopold’s essay, “The Land Ethic,” were convinced that the foundations of environmental problems were philosophical. Moreover, these environmentalists were dissatisfied with the instrumental arguments based on human use and benefit—which they felt compelled to invoke in defense of nature—because they thought these arguments were part of the problem. Wanting to counter instrumental (...) arguments in some way with non- or even anti-instrumental arguments, and unable to think of anything else to say, they began wistfully suggesting that perhaps nature had or ought to have rights. When professional environmental ethics came into its own in the early 1980s, rights for nature were one of the first subjects to be debated in detail. Unfortunately, however, no one could come up with a theory to support such rights attributions. Nevertheless, because rights had been invoked by environmentalists to challenge the preeminent role of instrumental value arguments, and because the field of environmental ethics developed in support of environmental concerns and arguments, environmental ethicists turned to an examination of noninstrumental or intrinsic value arguments for the preservation of nature. (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)

The concepts of self-interest and self-love feature prominently in both The Theory of Moral Sentiments and The Wealth of Nations. Various notions of self-preservation, self-interest, and self-love are distinguished, and it is shown how self-love functions less as a motive than as an orientation. Although self-love may corrupt moral perception, the impartial spectator serves as an antidote. Smith’s conception of self-interest in The Wealth of Nations is a broad one and not inconsistent with the moral psychology of The Theory of (...) Moral Sentiments. That the virtue of benevolence features less in The Wealth of Nations than The Theory of Moral Sentiments is not surprising given Smith’s overall account of sympathetic interaction, as well as the threshold of knowledge required for benevolent action. The chapter closes with a summary consideration of prudence, a virtue grounded in self-interest, and an examination of the status of ambition. (shrink)

Preliminaries: Marx, Marxism and Ethics the relationship between Marxism and ethics is often alluded to and rarely explored. The disputes that surround it ...

This study investigated students’ perceptions of ethical organizational climates, attitudes towards ethical issues, and the perceived relationship between ethical behavior and success in business organizations. Comparisons were made between the attitudes of these future managers with previously published studies of Russian managers’ attitudes. A survey of 100 business students in three Moscow universities showed that their attitudes toward ethical behavior were more negative than those of Russian managers. No significant differences were found in the perceptions or attitudes of students who (...) had attended an ethics course and those that did not. The implications for both managers and researchers were reported. (shrink)

Paper edition (unseen), $14.95. Annotation copyrighted by Book News, Inc., Portland, OR.

The concept of business ethics has continued to remain a major item on the agenda of corporate America for the last twenty years. Regrettably, this longevity of interest has not been matched by equal attention to the pedagogical methods and techniques used to address these issues. The current mode of teaching business ethics generally involves reliance on “war stories,” case studies, andseminars. Today’s dynamic environment creates pressures for higher levels of ethical behavior by business. Many ethical challenges faced by contemporary (...) managers are not easily resolved by existing guidelines, and require managers to expand their scope of analysis in attempting to arrive at satisfactory resolutions. Literature can be an especially alternative source of insights, as authors are able to highlight behaviors that may not be available from traditional sources. Historically, the use of literature in examining business ethics has been focused primarily on novels such as The Jungle, Babbit, and The Great Gatsby. Plays are more useful than novels in attempting to inculcate moral and ethical values since they more sharply address the interactions of characters, and the reader becomes more involved in their situations. The plays selected for analysis, Henrik Ibsen’s An Enemy of the People, Arthur Miller’s Death of a Salesman, and David Mamet’s Glengarry Glen Ross, have intense plots and characters and allow the reader to observe a wide range motives, emotions, and traits. This untraditional approach to teaching business ethics enhances the ability to relate to the increasingly complex ethical issues facing the individual and the organization. (shrink)

Multi-level selection can be understood via the Price equation or contextual analysis, which offer incompatible statistical decompositions of evolutionary change into components of group and individual selection. Okasha argued that each approach suffers from problem cases. I introduce further problem cases for the Price approach, arguing that it is appropriate for MLS 2 group selection but not MLS 1. I also show that the problem cases Okasha raises for contextual analysis can be resolved. For some such cases, however, it emerges (...) that there is no determinate answer to the question of how much of the total selective effect was due to group selection compared to individual selection. This suggests that when there is interaction between the effect of group character and individual character, one cannot separate selection into distinct ‘levels’ at all. (shrink)

This chapter compares Lotze’s, Lipps’, and Voigtländer’s notion of feelings of self-worth in order to carve out the specific and genuine aspects of Voigtländer’s understanding of self-feeling, as developed in her dissertation. Three lines of thinking important to her approach to the constitution of self-feeling are identified. While primarily sitting on an axis that stretches from the post-romantic Lotze via the descriptive psychologist Lipps to what is later understood as phenomenological philosophy, traces of two other major traditions can be discovered (...) in her proposal: (a) romantic psychology of the unconscious as found, for instance, in C. G. Carus, and (b), Nietzsche’s genealogical psychology of value. Both these traditions would later inspire biologistic versions of German Lebensphilosophie. By relying on them, it is argued, Voigtländer’s notion of self-feeling shows affinities with those vitalist approaches that fueled racist and eugenic ideologies in National Socialism. Given this, her theory of self-feeling in her dissertation from 1910 turns out to be fairly compatible with her later engagement in the fields of eugenics and membership in the NSDAP. Although her account of self-feeling is unique and interesting, therefore, it is finally suggested that Voigtländer’s proposal should be read with due caution. (shrink)

John Passmore has claimed that American environmental attitudes are incompatible with Western traditions and Western civilization: they arose out of a Romantic transvaluation of values in the eighteenth and nineteenth centuries, and today are defensible only in terms of antiscientific nature mysticism and Oriental religions. I argue that these attitudes developed out of an intricate interplay between Western science and art over the last three centuries, and are, therefore, of Western, not Eastern, origin. Moreover, they are apart of scientific and (...) aesthetic changes so broad and fundamental that, despite Passmore’s prediction that they are unlikely to survive into the twenty-first century, they cannot be regarded lightly as a passing fad, and probably have already found a permanent place in Western thought and values. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Engaging the Doctrine of Israel: A Christian Israelology in Dialogue with Ongoing Judaism by Matthew LeveringJustin Schembri O.P.Engaging the Doctrine of Israel: A Christian Israelology in Dialogue with Ongoing Judaism by Matthew Levering (Eugene, OR: Cascade, 2021), 547 pp.Engaging the Doctrine of Israel not only presents an interesting take on an old and complex problem but also is intriguing in its basic thesis and overall development. In (...) this book, Levering attempts, and succeeds, to marry a scripturally grounded dialogue with ongoing Judaism with the necessary presuppositions of Christian dogmatics. He does so in order to understand the central realities of God's biblical people Israel and to shine a light on how these realities must inform Christian thought (3).Such a volume fills a gap in research, since Christian dogmatic studies [End Page 1437] often suffer a lack of appreciating just how important understanding "Israel's covenantal life" is for Christian doctrine (3). Thus, while Levering tells us that this book is "the dogmatic sequel" to his Engaging the Doctrine of Marriage (1), the content of the book cannot be divorced from its scriptural foundation, nor from a contemporary dialogue with Israel.After an ample introduction (1–47), Levering begins his treatment of the matter by explaining the necessary hermeneutical framework in which such an engagement can take place (48–109). This foundational chapter not only provides the grounding for the chapters that follow but also examines the pitfalls to avoid in dialoging with ongoing Israel. In particular, Levering finds a balance in the need for both Christians and Jews to retain core beliefs and a recognition that both sides have suffered from unnecessary and painful biases that have hurt dialogue in the past (52–53).Since Levering is writing from the point of view of a Christian, he is right to point out that a healthy and fruitful dialogue with Judaism in the present moment requires both a solid foundation in Christian doctrine and an acknowledgement of how the New Testament has been misused to reject and subject the Jewish people to injustice over the centuries. Thus, in agreement with the author, I too think that Christian–Jewish dialogue plays a vital role not only in healing such biases but also in bridging needless gaps between the two groups (108–109).This crucial chapter is followed by an examination of six different areas (110–443) in which Levering engages with Israel's doctrine through a Christian lens. In each case, a similar format is found in the sense that Levering first introduces the topic and then engages with different Jewish and Christian scholars in order to elicit a more robust space for dialogue to happen. Each topic of study, then, is brought to a conclusion wherein Levering explicates both the pitfalls to be avoided and what truth can Christians glean.The first area to be discussed is creation (110–46). In this chapter, Levering examines why is it important for both Jews and Christians alike to affirm that omnipotent God created creation ex nihilo. The author is right to point out that if God did not create creation out of nothing, then God is not omnipotent but rather merely a "powerful finite being" (111).While I would have like to see a more robust exegetical analysis on Gen 1:1–2 (especially with regards to bǝrē'šît, since it is not so certain that this prepositional phrase should be interpreted temporally), the author is right to move beyond the metaphysical question of creation ex nihilo, to point out that creation is "also rooted in God's speaking, and thus his Word," since creation must be understood as the way in which God establishes "a dialogic communion" (124) with creation. After all, it is the Word which is [End Page 1438] fundamental; God speaks and practically invites creation to take its place amongst the grooves that God has made.What is more is that this Word, as Levering acknowledges, is both divine and human, since it is the Word of God written in human language. Thus, in Scripture, we cannot escape the "divine–human collaboration" (145) that is willed by... (shrink)

Although Adam Ferguson is regarded typically as a secular thinker, the larger frame of this thought may reflect his theism. After recounting, in summary fashion, elements of Ferguson's life, the paper sets forth his embrace of standard doctrines of eighteenth-century natural theology, including the metaphysical basis between mind, activity, and moral happiness, as well as Ferguson's treatment of an important theme of Christian belief – human sinfulness. Turning to Ferguson's moral theory, it is argued that energetic and moralized activity, vigour, (...) may be less an expression of ‘civic humanism’ than of Ferguson's practical experience within the Scottish Church. More important, the very idea of vigorous exertion manifests, in Ferguson's own view, the human reflection of the Divine. Even if Ferguson remains a secular thinker, there is reason to regard him as a man whose thought bears the marks of religious belief and institutional practice. (shrink)

Teaching ethics poses a dilemma for professors of business. First, they have little or no formal training in ethics. Second, they have established ethical values that they may not want to impose upon their students. What is needed is a well-recognized, yet non-sectarian model to facilitate the clarification of ethical questions. Gestalt theory offers such a framework. Four Gestalt principles facilitate ethical clarification and another four Gestalt principles anesthetize ethical clarification. This article examines each principle, illustrates that principle through current (...) business examples, and offers exercises for developing each principle. (shrink)

The Hardy–Weinberg equilibrium has been argued by Sober, Stephens and others to represent the zero-force state for evolutionary biology understood as a theory of forces. I investigate what it means for a model to involve forces, developing an explicit account by defining what the zero-force state is in a general theoretical context. I use this account to show that Hardy–Weinberg equilibrium is not the zero-force state in biology even in the contexts in which it applies, and argue based on this (...) that drift should not be understood as an evolutionary force. (shrink)

A Thousand Plateaus is the engaging and influential second part of Capitalism and Schizophrenia, the remarkable collaborative project written by the philosopher Gilles Deleuze and the psychoanalyst Félix Guattari. This hugely important text is a work of staggering complexity that made a major contribution to contemporary Continental philosophy, yet remains distinctly challenging for readers in a number of disciplines. Deleuze and Guattari's 'A Thousand Plateaus': A Reader's Guide offers a concise and accessible introduction to this extremely important and yet challenging (...) work. Written specifically to meet the needs of students coming to Deleuze and Guattari for the first time, the book offers guidance on: - Philosophical and historical context - Key themes - Reading the text - Reception and influence - Further reading. (shrink)

This essay presents and analyzes the recent work of four prominent contemporary Jewish ethicists: Eugene Borowitz, David Novak, Byron Sherwin, and Walter Wurzburger. These authors are united in their affirmation of covenant as the central category of Jewish moral obligation and their concern to construct a Jewish ethic out of the classical sources of Judaism. Yet, as an individual analysis of their books will show, they adopt markedly different views of the authority of traditional Jewish law , the respective (...) roles of individual and community in moral deliberation, and the degree to which changing historical circumstances alter moral truths. (shrink)

John Passmore has claimed that American environmental attitudes are incompatible with Western traditions and Western civilization: they arose out of a Romantic transvaluation of values in the eighteenth and nineteenth centuries, and today are defensible only in terms of antiscientific nature mysticism and Oriental religions. I argue that these attitudes developed out of an intricate interplay between Western science and art over the last three centuries, and are, therefore, of Western, not Eastern, origin. Moreover, they are apart of scientific and (...) aesthetic changes so broad and fundamental that, despite Passmore’s prediction that they are unlikely to survive into the twenty-first century, they cannot be regarded lightly as a passing fad, and probably have already found a permanent place in Western thought and values. (shrink)

Large-scale weapons systems have increasingly become part of a patronage system justified by claims about national defense. American politics tends to proceed by distribution, redistribution, and compromise. The disjunction between the "virtually" autonomous processes of worldwide weapons innovation and American incrementalism lead to a potentially disastrous situation. This situation is characterized by potential chaos in the integration of complex, interdependent combat and communication systems as well as a mindless arms race that seems to defy political control. A modest proposal is (...) made to suggest a potential bureaucratic change agent. (shrink)

Informed consent is one of the most important ethical and legal principles in the United States, including Texas, and reflects a profound respect for individuals and their ability to make decisions in their own best interest. It is also a critical underpinning of medical practice, although how it is actually carried out has not been well studied. A survey was conducted in the private practices and a hospital in the Texas Medical Center in Houston, Texas to ascertain how physicians, patients (...) and patient's family members perceive and demonstrate the elements of informed consent. In-depth interviews of twelve physicians, three patients and three family members were carried out. For physicians, consent was an explicit and implicit aspect of virtually all medical practice. Physicians would seek patient input concerning medical decisions whenever possible and might also discuss care choices with families. However, they often made decisions based upon what they perceived as the patient's best interests. Patients expected the physician to involve them in the decision process, but whether they turned to family members, or even others to assist them, varied considerably. Although Texas physicians respect the competent patient as the primary decision maker, they may bypass a formal surrogate decision maker to gain input from others, including their own view of what is in the patient's best interest. (shrink)

Environmentalists in the United States are often confronted by rural landowners who feel that they have the right to do whatever they want with their land regardless of the consequences for other human beings or of the damage to the environment. This attitude is traced from its origins in ancient German and Saxon land use practices into the political writings of Thomas Jefferson where it was fused togetherwith John Locke’s theory of property. This view of land and property rights was (...) most influential in the late nineteenth century after the passage of the Homestead Act in 1862 when it was used in the arguments opposing national parks and nature preservation. Today it remains a formidable obstacle to planning and zoning in rural areas, despite unstated underlying assumptions which are either outdated or false. (shrink)

Dreaming is a communicative activity between the most sensitive archive of the enregistered experience of life on the earth, the brain, and the most plastic medium for the discovery and practice of meaning, the mind or culture. Both love and war have been made on the basis of dreams, not to mention scientific discoveries. In ancient Greece dreams were medicinal parts of curative sleeping or "incubation" rites in the temple of Aesculapius, and many psychoanalytic physicians today still consider dreams as (...) possessing therapeutic potential. The ethnographic literature gives ample testimony to the great significance accorded to dreams by all of the world cultures. Dreams form a rich store of ethnographic evidence, and their indigenous interpretations can often illuminate the central issues and conflicts of a people otherwise hidden from obvious view. Given these facts, plus the physiological facts that the dream process itself involves deeply-rooted material brain functions, and that rapid eye movement, or REM, sleep, which is the key indicator of human dreaming, is shared by all mammals, it remains strange how little attention is given to dreaming as a formative aspect of human evolution and culture. -/- This essay addresses dreaming as a formative aspect of human evolution and culture by viewing dreaming as a borderland between biology and culture, a thoroughly social, yet private experience. Dreaming not only highlights the "cultic" roots of culture—the spontaneous impulse to meaning—but also illustrates one of the ways in which the technics of the biosocial human body itself form the primary source of culture. I show why dreaming, although private, is a thoroughly cultural, biological, communicative activity. -/- Culture and biology are often treated by social scientists as though they were oil and water, not to be mixed. I should inform the culture theorist at the start that I am fully aware of the assumed nature-culture dichotomy, and that I reject it. I do so not because I am a sociobiologist, quite the contrary, rather because I am a semiotician, and my studies of signs have led me toward a critical reconstruction of the concepts of nature and culture. In what follows I beg the reader's patience, since I will draw from diverse materials and project some speculative hypotheses in places in order to make my argument. -/- . (shrink)

The materialist interpretation of history dogmatically resolves all histories into one. Marx and Engels themselves thought philosophy progresses toward the ultimate truth of Marxism, and implicitly held all historical positions interesting since their development reveals contradictions generated by inadequacies. Bolshevik Marxism's official ideology does not include philosophy's dissolution. Marxist definitions of philosophy emphasizing correct conclusions neglect distinctively philosophical argument and method. The recent Soviet view of philosophy's history has changed from the history of superstructure to the history of conflicting materialist (...) and idealist theories, thereby conceding the centrality of philosophical ideas rather than trying to reduce them to class or economic interests. (shrink)

Host‐pathogen arms race is a universal, central aspect of the evolution of life. Most organisms evolved several distinct yet interacting strategies of anti‐pathogen defense including resistance to parasite invasion, innate and adaptive immunity, and programmed cell death (PCD). The PCD is the means of last resort, a suicidal response to infection that is activated when resistance and immunity fail. An infected cell faces a decision between active defense and altruistic suicide or dormancy induction, depending on whether immunity is “deemed” capable (...) of preventing parasite reproduction and consequent infection of other cells. In bacteria and archaea, immunity genes typically colocalize with PCD modules, such as toxins‐antitoxins, suggestive of immunity‐PCD coupling, likely mediated by shared proteins that sense damage and “predict” the outcome of infections. In type VI CRISPR‐Cas systems, the same enzyme that inactivates the target RNA might execute cell suicide, in a case of ultimate integration of immunity and PCD. (shrink)