I will discuss some aspects of the concept of “point” in quantum gravity, using mainly the tool of noncommutative geometry. I will argue that at Planck’s distances the very concept of point may lose its meaning. I will then show how, using the spectral action and a high momenta expansion, the connections between points, as probed by boson propagators, vanish. This discussion follows closely.

This essay concerns the dignity of nonhuman animals. It is composed of three sections. The first recounts my experience of a Moscow Circus performance and records some of my thoughts, feelings, and observations of this circus' famous bears. As is obvious from that account, the performance and presentation of the bears seemed to me to be undignified in a nontrivial, that is, morally objectionable sense of the word. The second section of the essay tries to specify that sense, to identify (...) the wrong(s) with these sorts of undignified performances, by developing a moral sense of dignity that might extend, generally, to nonhuman animals. I believe that the setting of this performance and my own frame of mind—the fact that it took place in Moscow and in the midst of my exposure to sites and stories of communist oppression—helped me to see the oppression of human and nonhuman animals as linked and the performance as a performance of power relations. The third section of the essay explores these power relations from an ecofeminist perspective through the circus' depiction of the 'momma bear.'. (shrink)

: This essay concerns the dignity of nonhuman animals. It is composed of three sections. The first recounts my experience of a Moscow Circus performance and records some of my thoughts, feelings, and observations of this circus' famous bears. As is obvious from that account, the performance and presentation of the bears seemed to me to be undignified in a nontrivial, that is, morally objectionable sense of the word. The second section of the essay tries to specify that sense, to (...) identify the wrong(s) with these sorts of undignified performances, by developing a moral sense of dignity that might extend, generally, to nonhuman animals. I believe that the setting of this performance and my own frame of mind—the fact that it took place in Moscow and in the midst of my exposure to sites and stories of communist oppression—helped me to see the oppression of human and nonhuman animals as linked and the performance as a performance of power relations. The third section of the essay explores these power relations from an ecofeminist perspective through the circus' depiction of the 'momma bear.'. (shrink)

Connects the work of Merleau-Ponty to environmental studies.

_Philosophically explores the topic of emotional depth._.

: This essay relates scenes from Beauvoir's novels to her views of female eroticism and frigidity in The Second Sex. Expressions of frigidity signal unjust power relations in Beauvoir's literature. She constructs frigidity as a symbolic means of rejecting dominance in heterosexual relations. Thus frigidity need not be interpreted, as it sometimes is, as a form of bad faith. The essay concludes with some thoughts on the relevance of Beauvoir's view of frigidity to contemporary feminism.

A power of attorney for healthcare (POAHC) form gives designated individuals legal status to make healthcare decisions when patients are unable to convey their decisions to medical staff. Completion of a POAHC form is crucial in the provision of comprehensive healthcare, since it helps to ensure that patients’ interests, values, and preferences are represented in decisions about their medical treatment. Because increasing numbers of people suffer from debilitating illness and cognitive deficits, healthcare systems may be called upon to navigate the (...) complexities of patients’ care without clear directives from the patients themselves. Hence, the healthcare industry encourages all individuals to complete a POAHC form to ensure that persons who have the patients’ trust are able to act as their surrogate decision makers. However, sometimes POAHC agents, even when they are patients’ trusted agents, lack the capacity to make fully informed decisions that are in the patients’ best interests. We describe designated surrogate decision makers who have impaired or diminished judgment capacity as incapacitated surrogates. Decision making that is obviously flawed or questionable is a significant impediment to providing timely and appropriate care to patients. Moreover, failure to redress these issues in a timely and efficient manner can result in significant costs to an institution and a diminished quality of patient care. The authors offer a legal, ethical, and interdisciplinary framework to help navigate cases of incapacitated surrogates. (shrink)

This article's purpose is to show how heidegger and merleau-Ponty re-Visioned aesthetic linearity and to relate this re-Visioning through the lines of language to generations of newly-Significant 'lines of thought'. By delineating their different senses and functions, I distinguish (what I refer to as) "in-Lines" from outlines, Establishing that the former is a primary mode and arguing that the latter's limited and restrictive connotations fails to appreciate the 'opening' of creative significance apparent in the phenomenon of linearity. From these considerations, (...) I also construct a defense of heidegger's thesis that the nature of art is, Broadly speaking, Language itself. (shrink)

This paper explores the presence of late medieval ius commune in Grotius’s thought on the use of force in internal strife and war, based on De iure belli ac pacis. To this end, it examines Grotius’s use of ius commune sources, and considers some similar sources, which he does not actually cite, but which relate to his discussion. By clarifying Grotius’s selection and use of ius commune sources, the paper intends to contribute to the achievement of a double aim: firstly, (...) to determine the place of rebellion and civil war in De iure belli ac pacis, especially in relation to war; and, secondly, to assess Grotius’s approach to the two former issues, particularly with regard to the criteria by which a distinction between rebellion and civil war can be drawn, and to the effects of this distinction. (shrink)

O artigo apresenta uma investigação, no âmago do pensamento de Nicolau Maquiavel, sobre o papel que os conflitos romanos ocorridos entre nobres e plebe tiveram para que a República de Roma se tornasse uma potência militar. O entrechoque de desejos de grandes e povo foi responsável por promover naquela cidade um autêntico vivere civile e libero, mas também foi a principal causa de sua expansão político-militar. Aqui, buscaremos elucidar os motivos que alçaram Roma àquela grandeza. Em um primeiro lugar, as (...) dissensões ocasionaram o aperfeiçoamento constitucional das instituições romanas, encaminhando-as rumo a um estado republicano de governo misto. Com a instituição dos Tribunos da Plebe, o povo alcançava seu reconhecimento político, possibilitando que os exércitos fossem formados pelos próprios cidadãos advindos da plebe. Em segundo lugar, a regulação institucional dos conflitos e o anseio expansionista de Roma foram a razão pela qual a "guarda da liberdade" havia sido confiada à plebe, promovendo um governo popular, medida que permitiu que a República se voltasse para campanhas expansionistas em direção a conquista do império. Em terceiro lugar, reconhecer o conflito e institucionalizá-lo foi um meio para precaver-se dos caprichos da fortuna. Dessa forma, regular institucionalmente os eventos que atribulam a ordem política interna significava dar garantias para que os confrontos externos fossem bem-sucedidos. (shrink)

This paper focuses on the disturbing mixture of fantasy with reality in the massacre at Columbine, where the perpetrators appear to have made a game or 'fun' of their killing Because of the deception involved and despite their immersion in violent media, I argue that they could not have been totally confused about the difference between play and actual violence. Huizinga's notion of play and Merleau-Ponty's reversibility thesis are applied to the situation.

The High Line – a public park on a repurposed railway track in New York City – first opened to the public in 2009, and has been increasingly celebrated as a model public space, and as a democratic project directed by community. Artistic and amateur photographic practices have significantly informed the High Line’s design, landscaping, publicity, urban policy, use and constellations of community. This photo-conceptual essay critically considers the constitutive function of the photographic image, as photography produces, interpellates and defines (...) the public and public sphere of the High Line. However, these imaging practices have also taken increasingly regulated form, and endorse conservative forms of community, personhood and publicness. The new park’s imaging practices may be understood as supplementary to neoliberal forms of property accumulation, in fact diminishing public space even as they purport to represent it. Drawing from the historical avant-garde, feminist critiques of representation and anti-capitalist urban theory, the following photographic series critiques the High Line’s photographic apparatus, from within a practice of photography, and from a position within the field of contemporary art. (shrink)

This essay relates scenes from Beauvoir's novels to her views of female eroticism and frigidity in The Second Sex. Expressions of frigidity signal unjust power relations in Beauvoir's literature. She constructs frigidity as a symbolic means of rejecting dominance in heterosexual relations. Thus frigidity need not be interpreted, as it sometimes is, as a form of bad faith. The essay concludes with some thoughts on the relevance of Beauvoir's view of frigidity to contemporary feminism.

This essay relates scenes from Beauvoir's novels to her views of female eroticism and frigidity in The Second Sex. Expressions of frigidity signal unjust power relations in Beauvoir's literature. She constructs frigidity as a symbolic means of rejecting dominance in heterosexual relations. Thus frigidity need not be interpreted, as it sometimes is, as a form of bad faith. The essay concludes with some thoughts on the relevance of Beauvoir's view of frigidity to contemporary feminism.

This essay relates scenes from Beauvoir's novels to her views of female eroticism and frigidity in The Second Sex. Expressions of frigidity signal unjust power relations in Beauvoir's literature. She constructs frigidity as a symbolic means of rejecting dominance in heterosexual relations. Thus frigidity need not be interpreted, as it sometimes is, as a form of bad faith. The essay concludes with some thoughts on the relevance of Beauvoir's view of frigidity to contemporary feminism.

This article examines questions of trust in cinema through the lens of Shutter Island (Martin Scorsese, 2010). With its self-referential allusion to the mechanical “eye” of a camera, a stage-managed fantasy embedded within its plot and image of a dark lighthouse, Shutter Island explores its spectators' and its own cinematic sense of suspicion. The plot revolves around a protagonist who has locked himself out of certain memories and into a fantasy world. The article links pathological and therapeutic aspects of trust (...) with interpersonal and institutional trust issues in ways that blur distinctions between trusting others and trusting oneself, and shows how reliant each is on the other. Construing trust as a type of participant attitude and highlighting techniques used to render it cinematically, the article tracks its emergence and erosion, both in terms of the diegesis and its bearing on film spectatorship. As a post-classical commentary on film-making, Shutter Island is viewed as intricately exemplifying what Robert Sinnerbrink (2016) describes as an action-driven film with “a highly reflective consciousness of cinematic spectatorship” (p. 70), as well as what Thomas Elsaesser (2009) describes as a “mind-game film”. To make sense of its ending, which may strike viewers as baffling and unnerving, and show how the protagonist's seemingly irrational decision is part of its film-philosophical point, traumatic disturbances in subjectivity and “monstrosities” depicted in the film are linked to Jean Epstein's notion of “something monstrous” in cinematic imagery. The protagonist's deliberately chosen fate is interpreted as a reparative gesture, expressing a desire for psychological healing and a way of helping him to marshal and recover a semblance of moral order and integrity under demoralizing circumstances. (shrink)

La metodologia empirica di Christian Wolff -- Vernunft und Erfahrung. Zur Entwicklung der empirischen Methodologie in der Rationalistischen Tradition des 17. und 18. Jahrhunderts -- Wahrscheinlichkeit und wahrscheinliches Wissen in der Philosophie von Christian Wolff -- Wolff, Bolzano e la probabilita -- Fondamento razionale e fondamento empirico della dimonstrazione: un'alternativa sei-settecentesca -- Christian Wolff e l'ermeneutica filosofica dell'Illuminismo tedesco -- Le origini dell'ermeneutica filosofica -- Teoria e critica della ragione nella filosofia di Christian Wolff -- Proposizioni indubitate e giudizi sintetici (...) a priori -- Rezenzionen. (shrink)