This chapter sketches a reconstruction of the concept of hidden inwardness that argues that the concept refers to ethico-religious characters that are expressed in deeds and words, rather than a private inner world. By relying on the distinction between morality and legality, I argue that “hidden inwardness” is not compatible with all kinds of behavior and that it is better described negatively than positively. The concept of hidden inwardness need therefore not be as problematic as is often (...) assumed, since it mainly involves the idea that we do not know hearts and minds. Still, Kierkegaard’s later works use “hidden inwardness” in a different manner than the earlier pseudonymous writings. However, I argue that this change in use of the term involves more a change of emphasis, which prevents misuses of “hidden inwardness,” than any significant change of theoretical position. Finally, I show that “hidden inwardness” sheds light on the controversial theses “Subjectivity is truth” and “Subjectivity is untruth” in Concluding Unscientific Postscript. (shrink)

Medieval philosophy is primarily associated today with university-based disputations and the authorities cited in those disputations. In their own time, however, scholastic debates were recognized as just one part of wide-ranging philosophical and theological discussions. A Hidden Wisdom breaks new ground by drawing attention to another crucial component of these conversations: the Christian contemplative tradition. The thirteenth–fifteenth centuries in particular saw a dramatic increase in the production and consumption of mystical and contemplative literature in the ‘Christian West’, by laypeople (...) as well as religious scholars, women as well as men. A Hidden Wisdom focuses on five topics of particular interest to both scholastics and contemplatives in this period—namely, self-knowledge, reason and its limits, love and the will, persons, and immortality and the afterlife. This focus centers on the (often overlooked) contributions of medieval women and demonstrates that when we reunite scholasticism with its contemplative counterpart, we gain not only a more accurate understanding of the scope of medieval Christian philosophy and theology but also an increased awareness of a deeply practical tradition that builds up as well as tears down, generates as well as deconstructs. The book’s treatment of topics and figures is meant to be representative rather than exhaustive—a tasting menu rather than a comprehensive study. The choice of topics offers a series of ‘hooks’ for philosophers to connect their own interests to issues central to medieval contemplative philosophy, while also providing medievalists in other disciplines a fresh lens through which to view these texts. (shrink)

Considering everything from Nike ads, emaciated models, and surgically altered breasts to the culture wars and the O.J. Simpson trial, Susan Bordo deciphers the hidden life of cultural images and the impact they have on our lives. She builds on the provocative themes introduced in her acclaimed work _Unbearable Weight_—which explores the social and political underpinnings of women's obsession with bodily image—to offer a singularly readable and perceptive interpretation of our image-saturated culture. As it becomes increasingly difficult to distinguish (...) between appearance and reality, she argues, we need to rehabilitate the notion that not all versions of reality are equally trustworthy. Bordo writes with deep compassion, unnerving honesty, and bracing intelligence. Looking to the body and bodily practices as a concrete arena where cultural fantasies and anxieties are played out, she examines the mystique and the reality of empowerment through cosmetic surgery. Her brilliant discussion of sexual harassment reflects on the Clarence Thomas/Anita Hill controversy as well as the film _Disclosure_. She suggests that sexuality, although one of the mediums of harassment, is not its essence, and she calls for the recasting of harassers as bullies rather than sex fiends. Bordo also challenges the continuing marginalization of feminist thought, in particular the failure to read feminist work as cultural criticism. Finally, in a powerful and moving essay called "Missing Kitchens"—written in collaboration with her two sisters—Bordo explores notions of bodies, place, and space through a recreation of the topographies of her childhood. Throughout these essays, Bordo avoids dogma and easy caricature. Consistently, and on many levels, she demonstrates the profound relationship between our lives and our theories, our feelings and our thoughts. (shrink)

This is a forthcoming section for the book "Theism and Atheism: Opposing Arguments in Philosophy", edited by Graham Oppy, Gregory Dawes, Evan Fales, Joseph Koterski, Mashhad Al-Allaf, Robert Fastiggi, and David Shatz. I was asked to write a brief essay on divine hiddenness and divine inscrutability. I argue that theism is trapped between two opposite poles. On one end, we encounter an argument developed by John Schellenberg. God is understood as a being who, in virtue of God's perfect love, would (...) have relationship with any of Her creatures who are open to loving relationship with God. If so, we would not expect there to exist non-resistant non-believers. Yet there are non-resistant non-believers. So, this sort of God does not exist. On the other pole, God is completely incomprehensible. But if God is incomprehensible, then this leads to a series of theological problems. For example, if God is incomprehensible, then it is difficult to understand how any human could rationally endorse God's existence. I argue that both poles are problematic for the theist and that it is difficult to see how to construct a road through the middle that would not inherit the problems of either pole. (shrink)

This new series brings together a number of great academic works from the archives of Oxford University Press. Reissued in a uniform series design in Spring 2000, Oxford Scholarly classics will enable libraries, scholars, and students to gain fresh access to some of the finest scholarship ofthe last century.

In this paper, a novel no-equilibrium 5D memristive hyperchaotic system is proposed, which is achieved by introducing an ideal flux-controlled memristor model and two constant terms into an improved 4D self-excited hyperchaotic system. The system parameters-dependent and memristor initial conditions-dependent dynamical characteristics of the proposed memristive hyperchaotic system are investigated in terms of phase portrait, Lyapunov exponent spectrum, bifurcation diagram, Poincaré map, and time series. Then, the hidden dynamic attractors such as periodic, quasiperiodic, chaotic, and hyperchaotic attractors are (...) found under the variation of its system parameters. Meanwhile, the most striking phenomena of hidden extreme multistability, transient hyperchaotic behavior, and offset boosting control are revealed for appropriate sets of the memristor and other initial conditions. Finally, a hardware electronic circuit is designed, and the experimental results are well consistent with the numerical simulations, which demonstrate the feasibility of this novel 5D memristive hyperchaotic system. (shrink)

Written at the end of the 1960s, this book introduces a whole series of themes. problems and perplexities which have come to obsess Don Cupitt permanently. However at that stage he was still ready to align himself with that mainstream of theological writing which almost identifies orthodox faith with the quest for objectivity, whereas now he is not. In the case of God the considerations that were leading him to question received assumptions had to do with the problem of (...) analogy and the dynamics of the spiritual life. In the case of Christ they had to do with the resurrection. Above all it was hard to take a realist view of the 'Christ' of present experience. `Somehow I felt that the notion that faith is a matter of intuitive acquaintance with an invisible person, inside one's head or behind the scenes, is epistemologically and psychologically deeply wrong. No satisfactory sense can be made of it. In fact I think it has only developed since the seventeenth century and is an aberration, the chief symptom of modern Christianity's dangerous slide into irrationalism and the cult mentality. This book fires the opening shots in a struggle to check that slide and restore rationality to the spiritual life.' Don Cupitt is a Fellow of Emmanuel College, Cambridge. (shrink)

Multivariate pattern analysis can reveal new information from neuroimaging data to illuminate human cognition and its disturbances. Here, we develop a methodological approach, based on multivariate statistical/machine learning and time series analysis, to discern cognitive processing stages from functional magnetic resonance imaging (fMRI) blood oxygenation level dependent (BOLD) time series. We apply this method to data recorded from a group of healthy adults whilst performing a virtual reality version of the delayed win-shift radial arm maze (RAM) task. This (...) task has been frequently used to study working memory and decision making in rodents. Using linear classifiers and multivariate test statistics in conjunction with time series bootstraps, we show that different cognitive stages of the task, as defined by the experimenter, namely, the encoding/retrieval, choice, reward and delay stages, can be statistically discriminated from the BOLD time series in brain areas relevant for decision making and working memory. Discrimination of these task stages was significantly reduced during poor behavioral performance in dorsolateral prefrontal cortex (DLPFC), but not in the primary visual cortex (V1). Experimenter-defined dissection of time series into class labels based on task structure was confirmed by an unsupervised, bottom-up approach based on Hidden Markov Models. Furthermore, we show that different groupings of recorded time points into cognitive event classes can be used to test hypotheses about the specific cognitive role of a given brain region during task execution. We found that whilst the DLPFC strongly differentiated between task stages associated with different memory loads, but not between different visual-spatial aspects, the reverse was true for V1. Our methodology illustrates how different aspects of cognitive information processing during one and the same task can be separated and attributed to specific brain regions based on information contained in multivariate patterns of voxel activity. (shrink)

In this article we focus on how the language of developmental psychology shapes our conceptualisations and understandings of childrearing and of the parent-child relationship. By analysing some examples of contemporary research, policy and popular literature on parenting and parenting support in the UK and Flanders, we explore some of the ways in which normative assumptions about parenthood and upbringing are imported into these areas through the language of developmental psychology. We go on to address the particular attraction of developmental psychology (...) in the field of parenting and upbringing within our current cultural context. Drawing on the work of (among others) Zygmunt Bauman, we will show how developmental psychology, as one of the instruments that contributes to a breaking down of our existential condition into a series of well-defined, and thus apparently manageable, tasks and categories, displaces rather than confronts the possibly limitless depth of the enormity of the reality of ‘being a parent’. (shrink)

Heidegger scholars have sometimes assumed that Heidegger’s experience of thinking was unprecedented and that the peculiarity of his idiom was related to the novelty of that experience. Reinhard May’s study suggests that Heidegger’s thought is fundamentally indebted to his early familiarity with Zen Buddhist ideas and to his reading of Taoist classics, including the Tao te Ching of Lao Tse and the works of Chuang Zu, in German translations Heidegger knew by Victor von Strauss, Martin Buber and Richard Wilhelm, and, (...) later, to his contact with Chinese and Japanese philosophers studying in Germany with Rickert, Husserl and Heidegger himself. Many European artists and intellectuals were engrossed by East Asian ideas, of course, but May’s conclusion is that Heidegger was in a sense a Taoist philosopher, and that the peculiarities of his philosophy are the same as those which inhere in East Asian philosophy, which prizes silence and rejects the hegemony of Western logic. While Heidegger’s appreciation for East Asian philosophy and his influence on modern Japanese thinkers have been noted often enough, the suggestion that the heart of Heidegger’s thought was profoundly oriented in the early 1920s by Taoist and Zen Buddhist ideas is provocative. The translator, Graham Parkes, who has supplemented his translation with an essay detailing Heidegger’s contact with Japanese philosophers, was among the first to suggest a deeper connection between Heidegger and East Asian philosophy in a series of essays he edited on Heidegger and Asian Thought, which includes contributions by Japanese and Chinese philosophers who knew Heidegger and were in contact with him for many years. (shrink)

This paper proposes a personalized music recommendation method based on multidimensional time-series analysis, which can improve the effect of music recommendation by using user’s midterm behavior reasonably. This method uses the theme model to express each song as the probability of belonging to several hidden themes, then models the user’s behavior as multidimensional time series, and analyzes the series so as to better predict the use of music users’ behavior preference and give reasonable recommendations. Then, a (...) music recommendation method is proposed, which integrates the long-term, medium-term, and real-time behaviors of users and considers the dynamic adjustment of the influence weight of the three behaviors so as to further improve the effect of music recommendation by adopting the advanced long short time memory technology. Through the implementation of the prototype system, the feasibility of the proposed method is preliminarily verified. (shrink)

What is pedagogy, exactly? Merriam-Webster defines it simply as “the art, science, or profession of teaching.” In contemporary academic discourse, however, pedagogy is generally left undefined — with its apparent implicit meanings ranging anywhere from a specific “model for teaching” (e.g., behaviorist or progressivist instruction) to a broadly political philosophy of education in general (most famously, a “pedagogy of the oppressed”). In this paper, Norm Friesen and Hanno Su follow the Continental pedagogical tradition in giving pedagogy a general but explicit (...) definition. They do so by looking at how pedagogy arises both in everyday life and in school as unavoidably ethical activity undertaken primarily for the sake of the young person or child. Such activities, the authors maintain, are structured not so much by processes, methods, and outcomes, but by irresolvable oppositions and the tensions between them. They illustrate this inductively through a series of images and examples — moving gradually from ones involving parenting and early childhood to ones from elementary and secondary schooling. In this way, Friesen and Su show that pedagogy is not so much one or more ideologically focused or evidence-based instructional or psychological approaches to be mastered by a professional or teaching specialist. It is instead an independent but ethically informed practical perspective — one that can (and has) been extended to form a distinctively pedagogical theory and discipline. As such, it is something that is not only a part of our everyday life and culture, but arguably of all human cultures. (shrink)

The economic crisis in Europe exposes the European Union’s political fragility. How a polity made of very different states can live up to the motto “Europe united in diversity” is difficult to envisage in practice. In this paper I attempt an “exegesis”—a critical explanation or interpretation of a series of published pieces (“the Series”) which explores, first, if European unity is desirable at all. Second, it presents a new methodology—analogical hermeneutics—used throughout the Series to approach the problem (...) of unity. Third, it conceptualises the source of unity as political identity. Fourth, it advances that the vehicle to share such identity is an analogical language: the political culture of human rights. Fifth, it submits the conditions under which such political culture could ground political identity through an open public sphere. Finally, it presents a way in which solidarity can grow as the increasingly diverse citizens of the European Union interact with each other. Even though the economic crisis can be solved by means of sound economic strategy (which is not the main object of my work), any successful economic strategy requires—as a precondition—a certain degree of political unity (the central concern of my research). (shrink)

Literary difficulties vary. Certain genres are "easier" than others. And a knowledge of the historical process, involving what is called convention certainly seems to make difficult works easier. Such is the case of courtly lyrics. They are "simple" and essentially conventional; a reader knows what to expect in them. But the problem of literary difficulties remains there too. The essential difficulties of courtly lyrics are under the surface. They become apparent to a more careful, more thoughtful reader. The realization that (...) such difficulties exist is the first step toward studying them, and only through studying them can we appreciate the real aesthetic wealth of courtly poetry and, I believe, of most of the poetry of other ages and other cultures. Peter F. Dembowski is the author of La Chronique de Robert Clari: Etude de la langue et du style and the editor of critical editions of Old French chansons de geste. His recent edition of all known Old and Middle French versions of the Life of Saint Mary of Egypt appears in the series, Publications françaises et romanes. (shrink)

"The United States today is a suburban nation that thinks of race as an urban issue, and often assumes that it has been largely solved,” write the editors of this groundbreaking and passionately argued book. They show that the locus of racial and ethnic transformation is now clearly suburban and illustrate patterns of demographic change in the suburbs with a series of rich case studies. The book concludes by considering what kinds of strategies school officials and community leaders can (...) pursue at all levels to improve opportunities for suburban low-income students and students of color, and what ways address the challenges associated with demographic change. (shrink)

We present a general theory of series-parallel mental architectures with selectively influenced stochastically non-independent components. A mental architecture is a hypothetical network of processes aimed at performing a task, of which we only observe the overall time it takes under variable parameters of the task. It is usually assumed that the network contains several processes selectively influenced by different experimental factors, and then the question is asked as to how these processes are arranged within the network, e.g., whether they (...) are concurrent or sequential. One way of doing this is to consider the distribution functions for the overall processing time and compute certain linear combinations thereof (interaction contrasts). The theory of selective influences in psychology can be viewed as a special application of the interdisciplinary theory of (non)contextuality having its origins and main applications in quantum theory. In particular, lack of contextuality is equivalent to the existence of a “hidden” random entity of which all the random variables in play are functions. Consequently, for any given value of this common random entity, the processing times and their compositions (minima, maxima, or sums) become deterministic quantities. These quantities, in turn, can be treated as random variables with (shifted) Heaviside distribution functions, for which one can easily compute various linear combinations across different treatments, including interaction contrasts. This mathematical fact leads to a simple method, more general than the previously used ones, to investigate and characterize the interaction contrast for different types of series-parallel architectures. (shrink)

A series of imitation games involving 3-participant (simultaneous comparison of two hidden entities) and 2-participant (direct interrogation of a hidden entity) were conducted at Bletchley Park on the 100th anniversary of Alan Turing’s birth: 23 June 2012. From the ongoing analysis of over 150 games involving (expert and non-expert, males and females, adults and child) judges, machines and hidden humans (foils for the machines), we present six particular conversations that took place between human judges and a (...) hidden entity that produced unexpected results. From this sample we focus on features of Turing’s machine intelligence test that the mathematician/code breaker did not consider in his examination for machine thinking: the subjective nature of attributing intelligence to another mind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Vagaries and Vicissitudes of WarRichard W Sams III remember standing in the kitchen of our home on Camp Pendleton—a United States Marine Corps base in Southern California—listening to National Public Radio (NPR) and doing dishes in the fall of 2002. President Bush announced to the world that he was considering a pre-emptive invasion of Iraq on the pretext of Saddam Hussein harboring weapons of mass destruction (WMD). (...) Three months later, as a Navy Family Physician, I deployed with a surgical company in support of Operation Iraqi Freedom. Reflecting on the situation with a like-minded close friend, I was not sure— would this be a just war? A necessary war? In my mind, it did not rise to the level of conscientious objection, yet the rightness of invading another country with all the anticipated death and destruction was not clear.En route to Kuwait, we laid over in Spain. While fixed to a TV in a holding area, I watched the Secretary of State make a case to the United Nations (UN) and the world that removing Hussein from power would protect us from mobile anthrax labs that could kill tens of thousands. I thought to myself, Either he is absolutely right, and we are protecting our country and the rest of the free world, or he is terribly mistaken and we are embarking on a disaster.As we trained, prepared, and waited in our tents to invade, we listened to the news on “Voice of America” with a hand crank radio. Thousands of citizens from nations around the world protested. Pope John Paul II, a man well acquainted with the tragedy of war, even spoke out about the planned invasion. “War is not inevitable. It is always a defeat for humanity.” He admonished our leaders that war needed to be the very last option. As a man of faith, I was troubled by his resolute, thoughtful opposition to the crusade I was embarking on. As the day of the invasion approached, scud missiles flew over our camp and we scurried into bunkers, day and night, with our gas masks donned to protect us from possible WMD attacks. In March, with the announcement of a “shock and awe” missile attack on Hussein’s palace, the invasion commenced.Within a day of flying by helicopter into enemy territory to set up a surgical company, the fog of war set in. A series of mass casualties streamed in from nearby Nasiriya. We received dozens of injured enemy combatants and American soldiers. Most troubling were the civilians. An entire extended family fleeing for their lives stumbled into an Iraqi minefield meant for us: a mother dead, the men with shrapnel wounds, and an aunt lost both of her legs. Then there was the little boy. By doctrine, our leaders reassured us we would not care for children. Yet, out of instinct, the field corpsmen scooped up all injured, including children, and [End Page 170] brought them to us. The five-year-old’s legs were blown to bits. We had no pediatric supplies. The anesthesiologist heroically intubated the child’s tiny airway with a urinary catheter and placed an adult IV. The surgeons corrected the wounds the best they could. Hours later, in futility, we performed chest compressions on his tiny mangled body.A day later, the worst sandstorm in a decade struck the area. We struggled to keep the patient-filled tents erect. A Marine appeared on the scene out of the darkness (you could not see beyond your nose in the storm) exclaiming we were going to condition one—lock and load our weapons due to an imminent threat. As healthcare professionals, Geneva Conventions dictated we were to use weapons only in self-defense. We chambered our 9-millimeter pistols to defend our patients and ourselves while Marines formed a defensive perimeter. I thought to myself, Great I’m gonna be shot up and die during a freaking sandstorm in Iraq. Hours later, we were told to stand down. The threat was not from approaching enemy combatants but from shepherds running from the crossfire. I had a small nervous breakdown, sleep deprived and under duress... (shrink)

In this article, a new adaptive fuzzy wavelet neural network model is proposed for nonlinear function approximation problems. The AFWNN model is based on the traditional Takagi-Sugeno-Kang fuzzy system. Specifically, this model replaces the membership functions of fuzzy rules with wavelet basis functions, which are known to have time and frequency localization properties, i.e., they can approximate patterns both in the time and frequency domains. The structure of the AFWNN model is derived from that of the adaptive neuro-fuzzy inference system. (...) However, the AFWNN improves over the ANFIS by replacing Gaussian functions in the hidden layer with wavelet basis functions. The AFWNN model is trained using a gradient-based optimization algorithm. The AFWNN is then tested on three function approximation problems of time series prediction. For certain types of nonlinear time series, for instance fractal processes, the AFWNN is found to be substantially more accurate than alternative methods. (shrink)

Life is better at the beach--but you already knew that. Escape with a beach read focused on the beauty of God's seaside wonders. The stunning photography and devotions will take you right to the water's edge, where God's voice is often clearer than ever. Devotions from the Beach is a beautiful gift with: 100 devotions focused on the beach Gorgeous photography Life parallels with elements of the shore Messages of hope, comfort, strength, and rest This beautiful book gives you a (...) front-row seat to God's majestic creation. So breathe deeply and open your heart and soul to the One who shaped it all. Devotions from the Beach is the perfect gift for every beach lover, women who appreciate gentle reminders of days at the beach and the call of God's love, and anyone who finds peace standing beside the ocean. Other books in the Devotions from… series include Devotions from the Mountains, Devotions from the Lake, Devotions from the Front Porch, Devotions from the Kitchen Table, and Devotions from the Garden. (shrink)

Following a series of textual gestures which suggest that Schelling is the culmination of the German Idealist tradition, this essay is an attempt to articulate the ambiguity of the Hegel-Schelling relationship in Slavoj Žižek's work and its productive potential. Characterizing his own dialectical materialism again and again as Hegelian, but never a Schellingian project, Žižek often belies the central role played by late Schelling of the Freiheitsschrift and the Weltalter in the self-unfolding logic of the tradition. But why is (...) there such an oscillation? Describing the Grundlogik of German Idealism as the radical ontological incompletion of reality announced by the abyss of freedom of the Kantian subject, Žižek's own philosophy suggests that neither Hegel nor Schelling were able of themselves to fully articulate the consequences of the deadlock of freedom. Yet, what I argue is that it is only by an implicit retroactive reconstruction of the inner logic of post-Kantian philosophy, an aprés-coup unearthing of philosophical possibilities hidden within these two thinkers made possible by psychoanalysis, that Žižek is able to present his reading of the radical nature of subjectivity in German Idealism. By unpacking this latent reconstruction I will not only demonstrate the consistency and comprehensiveness that a Žižekian reading of the history of German Idealism can display but also the complex intertwining of Schellingian ontology and Hegelian logic at the core of Žižek's own parallax ontology. (shrink)

In a brilliant series of essays, the distinguished philosopher D. Z. Phillips explores the alternatives for faith after foundationalism. A significant exploration of post-foundationalist thought in its own right, Faith After Foundationalism is also an important evaluation and critique of the theological implications of the views of Alvin Plantinga, Richard Rorty, George Lindbeck, and Peter Berger.Phillips’s own position is that one must resist the philosopher’s tendency to turn religious mystery into epistemological mystery. To understand how religious concepts are formed (...) is to understand that to speak of God as “beyond mortal telling” is not to confess a failure of language. God’s hiddenness is part of our concept of him—a reflection of the mystery of human life as it is lived. Faith After Foundationalism will be essential reading for philosophers of religion and theologians, as well as for students of contemporary epistemology. (shrink)

Toward the end of Light in August, in the climactic scene in Chapter 1 where the authorities of justice pursue the elusive Joe Christmas through the streets of Jefferson, William Faulkner introduces a new character, Percy Grimm, a twenty-five-year-old captain in the State National Guard who has relentlessly acquired the rank of a special deputy for the search. As the town closes for the weekend, Grimm keeps vigil at a downtown store where other townsfolk have begun a poker game to (...) stay awake through the night as the search goes on. In their zeal to uphold law and justice, his men revel in their fantastic make-believe that they are doing the work of “a hidden and unsleeping and omnipotent eye watching the doings of men.” The poker game goes on through Saturday night until Christmas is spotted and given chase. As Grimm runs through the streets after the fleeing man, Faulkner presents to us the deputy's stream of thought from an omniscient point of view: “There was nothing vengeful about him either, no fury, no outrage. He was moving again almost before he had stopped, with that lean, swift, blind obedience to whatever Player moved him on the Board” (437). Through the rest of the chapter, Grimm, who has not participated in the poker game at all, thinks and acts as if he is engaged in a chess game, not as a player but as the stake or the pawn in a board game in which Jefferson is the board on which he and Christmas are being moved from place to place by two larger forces, he by the benevolent Providence and Christmas by the powers opposed to God. Finally, when Christmas is cornered and fatally shot in Reverend Hightower's kitchen, this fantasized game seems to end. (shrink)

In the past, pigs were kept near their guardians' homes, ate leftovers from their guardians' kitchens and enjoyed a generally close relationship with humans. The closeness of the relationship, combined with its ultimate end in the killing of the pig, led to a sense of shame . This shame manifested itself in negative expressions about pigs within the English language, which remain to this day. However, the relationship between humans and pigs is becoming increasingly distant, with decisions affecting pigs' lives (...) made in the offices of agricultural industry executives far from the intensive farms on which the pigs live. The new relationship has led to the evolution of a new discourse about pigs, that of the modern pork industry. Because of its technical and scientific nature, this new discourse does not contain the explicit insults of mainstream discourse.Yet, embedded within it are a series of implicit ideological assumptions designed to justify the confinement and exploitation of pigs in high intensity farms. This paper investigates the discourses surrounding pigs in both mainstream culture and the pork industry and discusses attempts to challenge these discourses. (shrink)

Object Lessons is a series of short, beautifully designed books about the hidden lives of ordinary things. A 3-year-old asks her physician father about his job, and his inability to provide a succinct and accurate answer inspires a critical look at the profession of modern medicine. In sorting through how patients, insurance companies, advertising agencies, filmmakers, and comedians misconstrue a doctor's role, Andrew Bomback, M.D., realizes that even doctors struggle to define their profession. As the author attempts to (...) unravel how much of doctoring is role-playing, artifice, and bluffing, he examines the career of his father, a legendary pediatrician on the verge of retirement, and the health of his infant son, who is suffering from a vague assortment of gastrointestinal symptoms. At turns serious, comedic, analytical, and confessional, Doctor offers an unflinching look at what it means to be a physician today. Object Lessons is published in partnership with an essay series in The Atlantic. (shrink)

Much insect sounding is beyond the limits of typical human hearing ability. This sonic separation is exacerbated by a socialized narrative of fear and avoidance of insects in many western societies. With the use of audio technologies to expand our senses, we can embrace opportunities to get to know sensory and communicative insect sound-worlds beyond our own. Ecological sound art – sound art that has an environmentalist intent – is a tangible and accessible means of listening to these sounds. In (...) the series Built Hidden Soundscapes, the primary author (Schonberg) composes imagined soundscapes existing solely of sounds that are beyond the limits of typical human hearing ability. In this article we introduce two compositions in this series, Reserva Florestal Adolpho Ducke and Pipeline Road. These compositions offer a temporary expansion of our aural senses that can increase listeners’ awareness of cryptic insect existences/ecologies. We suggest that this listening practice might prompt future auralization (sounding or hearing in the mind) of insect sound for the listener. (shrink)

Participants watched themselves in a mirror while another person behind them, hidden from view, extended hands forward on each side where participants’ hands would normally appear. The hands performed a series of movements. When participants could hear instructions previewing each movement, they reported an enhanced feeling of controlling the hands. Hearing instructions for the movements also enhanced skin conductance responses when a rubber band was snapped on the other’s wrist after the movements. Such vicarious agency was not felt (...) when the instructions followed the movements, and participants’ own covert movement mimicry was not essential to the influence of previews on reported control. (shrink)

With slogans such as ‘Tell the stories hidden in your data’ and ‘From data to clear, insightful content – Wordsmith automatically generates narratives on a massive scale that sound like a person crafted each one’, a series of companies currently market themselves on the ability to turn data into stories through Natural Language Generation techniques. The data interpretation and knowledge production process is here automated, while at the same time hailing narrativity as a fundamental human ability of meaning-making. (...) Reading both the marketing rhetoric and the functionality of the automated narrative services through narrative theory allows for a contextualization of the rhetoric flourishing in Big Data discourse. Building upon case material obtained from companies such as Arria NLG, Automated Insights, Narrativa, Narrative Science, and Yseop, this article argues that what might be seen as a ‘re-turn’ of narrative as a form of knowledge production that can make sense of large data sets inscribes itself in – but also rearticulates – an ongoing debate about what narrative entails. Methodological considerations are thus raised on the one hand about the insights to be gained for critical data studies by turning to literary theory, and on the other hand about how automated technologies may inform our understanding of narrative as a faculty of human meaning-making. (shrink)

Western thought since the seventeenth century has been dominated by methodological solipsism (Krieger, 1991). The famous sound-bite of René Descartes 'cogito, ergo sum': 'I think, therefore I am', became the starting point for most discourse on the nature of things. This dictum does not advocate idealism. It does not assert that everything is necessarily a construct of the human mind. But it assumes that the world of things and beings is surveyed and interpreted from the point of view of a (...) single individual. Nowhere is this stance more entrenched than in the philosophy of science. To a remarkable degree the scientist is represented as studying the natural world as if alone in it, served only by mindless assistants who might as well be replaced by machines. Scientific theories are presented as systems of thought conjured up and tested by that same individual in a further series of single-headed operations. Research results are formulated and treated philosophically as the independent findings of lone explorers, each reporting the evidence of their own eyes and their rational inferences concerning the hidden mechanisms by which these personal percepts might be generated. Our epistemological role models are Robinson Crusoe and Sherlock Holmes, self-sufficient intellectuals to whom their human companions, Friday and Watson, are mere stooges. (shrink)

An examination of the relation between war and politics, by one of the twentieth century’s most influential thinkers From 1971 until 1984 at the College de France, Michel Foucault gave a series of lectures ranging freely and conversationally over the range of his research. In Society Must Be Defended , Foucault deals with the emergence in the early seventeenth century of a new understanding of war as the permanent basis of all institutions of power, a hidden presence within (...) society that could be deciphered by an historical analysis. Tracing this development, Foucault outlines the genealogy of power and knowledge that had become his dominant concern. (shrink)

This paper addresses the meaning and importance of Alexandre Morujão’s work for the reception of husserlian phenomenology in the Portuguese university. It gives also an overall view of his philosophical activity and interests, either as a university professor and researcher, or as a translator of philosophical works. The paper tracks also some of philosophical influences, sometimes hidden in the author’s published works, such as the influence of the Spanish philosopher Ortega y Gassett. Regarding phenomenology (and especially husserlian phenomenology), the (...) paper shows that Alexandre Morujão’s work tried to highlight the following three main themes: 1) the radical character of phenomenological attitude, as the science of origins and as a unitary theoretical connection of propositions grounded in ultimate evidences· 2) the ensuing radical awareness of the phenomenological Ego, not only as a pole of identity but above all as a set of habits, i.e. a series of synthesis passively persisting in his own personal life; 3) the relation of transcendental subjectivity to the life-world, as the world of intuition and immediate experience, and the ultimate ground of meaning. (shrink)

The fall of the Berlin Wall marked the end of the Cold War but also the rise of a melancholic vision of history as a series of losses. For the political left, the cause lost was communism, and this trauma determined how leftists wrote the next chapter in their political struggle and how they have thought about their past since. Throughout the twentieth century, argues Left-Wing Melancholia, from classical Marxism to psychoanalysis to the advent of critical theory, a culture (...) of defeat and its emotional overlay of melancholy have characterized the leftist understanding of the political in history and in theoretical critique. Drawing on a vast and diverse archive in theory, testimony, and image and on such thinkers as Karl Marx, Walter Benjamin, Theodor W. Adorno, and others, the intellectual historian Enzo Traverso explores the varying nature of left melancholy as it has manifested in a feeling of guilt for not sufficiently challenging authority, in a fear of surrendering in disarray and resignation, in mourning the human costs of the past, and in a sense of failure for not realizing utopian aspirations. Yet hidden within this melancholic tradition are the resources for a renewed challenge to prevailing regimes of historicity, a passion that has the power to reignite the dialectic of revolutionary thought. (shrink)

A Lacanian approach to murder scene investigation. What if Jacques Lacan—the brilliant and eccentric Parisian psychoanalyst—had worked as a police detective, applying his theories to solve crimes? This may conjure up a mental film clip starring Peter Sellers in a trench coat, but in Lacan at the Scene, Henry Bond makes a serious and provocative claim: that apparently impenetrable events of violent death can be more effectively unraveled with Lacan's theory of psychoanalysis than with elaborate, technologically advanced forensic tools. Bond's (...) exposition on murder expands and develops a resolutely Žižekian approach. Seeking out radical and unexpected readings, Bond unpacks his material utilizing Lacan's neurosis-psychosis-perversion grid. Bond places Lacan at the crime scene and builds his argument through a series of archival crime scene photographs from the 1950s—the period when Lacan was developing his influential theories. It is not the horror of the ravished and mutilated corpses that draws his attention; instead, he interrogates seemingly minor details from the everyday, isolating and rephotographing what at first seems insignificant: a single high heeled shoe on a kitchen table, for example, or carefully folded clothes placed over a chair. From these mundane details he carefully builds a robust and comprehensive manual for Lacanian crime investigation that can stand beside the FBI's standard-issue Crime Classification Manual. (shrink)

Composed more than 2,000 years ago during a turbulent period of Chinese history, the Dao de jing set forth an alternative vision of reality in a world torn apart by violence and betrayal. Daoism, as this subtle but enduring philosophy came to be known, offers a comprehensive view of experience grounded in a full understanding of the wonders hidden in the ordinary. Now in this luminous new translation, based on the recently discovered ancient bamboo scrolls, China scholars Roger T. (...) Ames and David L. Hall bring the timeless wisdom of the Dao de jing into our contemporary world. Though attributed to Laozi, “the Old Master,” the Dao de jing is, in fact, of unknown authorship and may well have originated in an oral tradition four hundred years before the time of Christ. Eschewing philosophical dogma, the Dao de jing set forth a series of maxims that outlined a new perspective on reality and invited readers to embark on a regimen of self-cultivation. In the Daoist world view, each particular element in our experience sends out an endless series of ripples throughout the cosmos. The unstated goal of the Dao de jing is self-transformation–the attainment of personal excellence that flows from the world and back into it. Responding to the teachings of Confucius, the Dao de jing revitalizes moral behavior by recommending a spontaneity made possible by the cultivated “habits” of the individual. In this elegant volume, Ames and Hall feature the original Chinese texts of the Dao de jing and translate them into crisp, chiseled English that reads like poetry. Each of the eighty-one brief chapters is followed by clear, thought-provoking commentary exploring the layers of meaning in the text. The book’s extensive introduction is a model of accessible scholarship in which Ames and Hall consider the origin of the text, place the emergence of Daoist philosophy in its historical and political context, and outline its central tenets. The Dao de jing is a work of timeless wisdom and beauty, as vital today as it was in ancient China. This new version will stand as both a compelling introduction to the complexities of Daoist thought and as the classic modern English translation. (shrink)

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

Two essential components make up the semantic information that was used to pinpoint the video events. They consist of: (a) A spatial component of a video frame, such as the scenery, visible people, and visible objects. (b) A temporal component that is represented by a series of video frames across time, such as the actions of a character or the movements of an object. The video's audio, video, and text components are examined in order to provide the higher-level semantic (...) data. The semantic structure of the movie is discovered using a variety of cues from many modalities, such as auditory and visual elements, bridging the gap between high level semantic notions and low level qualities. A video contains three distinct modalities. The three are as follows: (1) Visual modality, which refers to the scene seen in the video; (2) Auditory modality, which refers to spoken words, background music, and other noises; and (3) Textual modality, which refers to written materials that describe the subject matter of the movie. There are numerous video databases and a sizable amount of video data in general. Even while there are tools for maintaining and exploring these collections, many decision-making applications increasingly require tools to extract the critical information hidden in the video data. (shrink)

This paper is a fragment of the book “Kaja od Radosława, czyli historia Hubalowego Krzyża”, which was published by Warszawskie Wydawnictwo Literackie Muza in 2006. It will be published by the American publisher The Military History Press under the title “Kaia Savior of the Hubal Cross”. Covering a century of Polish history, it is full of tragic and compelling events. Such historic events as Polish life in Siberia, Warsaw before the war, the German occupation, the Warsaw Uprising, life in Ostaszków, (...) and the rebuilding of Warsaw are included.The hero Kaia is a woman, christened Cesaria, whose father was expelled to Siberia in 1905 for conspiring against the tsar. Kaia spent her early childhood there, and the family lived near the mountain Altaj. A chapter shows how the Polish community lived there, organized their daily lives, etc. In 1922, the family returned to free Poland, the train trip back taking almost a year. This ordeal is highlighted as a series of stops sometimes lasting for weeks because of heavy snow accumulation, the men shoveling a pathway for the train to pass through, many deaths occurring from the frigid cold with the “caboose” used as a mortuary for Poles to be returned to their homeland for burial. Kaia entered the school system, was eventually educated as an architect, and then World War II started. She lived under the German occupation for the first few years, and later became a conspirator by helping the underground movement. She joined the Armia Krajowa in 1942. At considerable risk, her apartment became a meeting place for the conspirators.After Hubal’s death, one of his couriers gave Kaia the Hubal Cross Virtuti Militari. The cross was with her for the ensuing 50 years. During the Warsaw Uprising, in which she was a courier, she carried the cross around her neck. Many times, she had to travel via the Warsaw underground sewer system. Twice, she was wounded. After the Warsaw Uprising collapsed, she went to the east territory to look for her mother. She was captured by the Russian NKVD in Białystok and sent to Ostaszków. An interesting scene describes one of many interrogations: the Russian interrogator asks if she knows about the cross. Her reply causes a puzzled look on his face. The cross was never discovered (she had hidden it in a specially made shoe). Protection of the Virtuti Militari Cross, which at first had been a challenge to Kaia to survive the Uprising and Russian imprisonment, later became a symbol of courage and determination of the Polish people. In 1946, Kaia returned to Poland very ill and weighing only 38 kg (83.6 pounds). Eventually recovering her health, she worked as an architect involved in the rebuilding of Warsaw totally decimated by the Germans.In the Warsaw Uprising chapter, Kaia’s diary is included, and the book relates the scenes and events that she described. One such experience is most moving. It was a quiet moment, i.e. the shooting had subsided. On a warm beautiful August night, she was sitting, enjoying the quiet alone when, a young man sat down next to her. He was a colleague from architectural school. Together, a few months earlier, they had attended a university ball, and Kaia remembered him as always being funny and amusing. Then, she noticed he was missing one eye and part of his chin. He returned her gaze and jokingly said, “I still have one eye left”. And then, he quietly sang a popular song that they had danced the waltz to… “Not to be in love on such a beautiful night is a sin”… Kaia had to be in the same mood as he was and smiled. A few days later, half of his body was covered in ruins…he could not be helped. His death lasted several days, and he is buried in Powązki Cemetery, like many soldiers of the Uprising. (shrink)

Four-month-old infants sometimes can perceive the unity of a partly hidden object. In each of a series of experiments, infants were habituated to one object whose top and bottom were visible but whose center was occluded by a nearer object. They were then tested with a fully visible continuous object and with two fully visible object pieces with a gap where the occluder had been. Pattems of dishabituation suggested that infants perceive the boundaries of a partly hidden (...) object by analyzing the movements of its surfaces: infants perceived a connected object when its ends moved in a common translation behind the occluder. Infants do not appear to perceive a connected object by analyzing the colors and forms of surfaces: they did not perceive a connected object when its visible parts were stationary, its color was homogeneous, its edges were aligned, and its shape was simple and regular. These findings do not support the thesis, from gestalt psychology, that object perception first arises as a consequence of a tendency to perceive the simplest, most regular configuration, or the Piagetian thesis that object perception depends on the prior coordination of action. Perception of objects may depend on an inherent conception of what an object is. (shrink)

"Initium ut esset, creatus est homo": Iris Murdoch on Authority and Creativity In 1970 the British novelist and philosopher Iris Murdoch published both her thirteenth novel, A Fairly Honourable Defeat, and her best known work of philosophy, The Sovereignty of Good. Given the proximity of these publication dates, it does not surprise that there are many points of comparison between these two works. The novel features, for instance, a character writing a work of moral philosophy not unlike Murdoch's own The (...) Sovereignty of Good, while another character exemplifies her moral philosophy in his life.This article proposes a reading of the novel as a critical commentary on the philosophical work, focusing on the tension between creation and authority. While Murdoch considers humans to be first and foremost creative, she is at the same time wary of the misleading nature of any act of creation. For Murdoch, any creator and any creation—a beautiful picture as well as a watertight theory—may transmit a certain authority, and that authority may get in the way of acknowledging reality. It thus hinders the moral life, which for Murdoch should be thought of as a life of attention—to reality and ultimately to the Good—rather than a series of wilful creations and actions.A Fairly Honourable Defeat queries the possibility and danger of creation, through different characters as well as through images of cleanliness and messiness. Thus, the character whose book of moral philosophy is challenged and who is found wanting when putting his ideas to practice, likes ‘to get things clear’. Another character, whose interferences create the novel's drama, has a self-confessed ‘passion for cleanliness and order’. The saint of the story, in contrast, does not interfere unless by necessity, and resides in one of the filthiest kitchens in the history of literature. Yet, none of the main characters exemplifies a solution to the tension between creation and authority found in Murdoch's philosophy. An indication of a solution is found in a minor character, and in his creations of outrageous bunches of flowers, unusual meals, and absurd interiors. Yet, its location in a subplot suggests that this solution is not in any way final. It is concluded that any final solution should not be expected, not in the least because of the pervasive nature of the tension between creation and authority, which goes well beyond Murdoch's own authorship. (shrink)

Friedrich Nietzsche is one of the most elusive thinkers in the philosophical tradition. His highly unusual style and insistence on what remains hidden or unsaid in his writing make pinning him to a particular position tricky. Nonetheless, certain readings of his work have become standard and influential. In this major new interpretation of Nietzsche’s work, Robert B. Pippin challenges various traditional views of Nietzsche, taking him at his word when he says that his writing can best be understood as (...) a kind of psychology. Pippin traces this idea of Nietzsche as a psychologist to his admiration for the French moralists: La Rochefoucauld, Pascal, Stendhal, and especially Montaigne. In distinction from philosophers, Pippin shows, these writers avoided grand metaphysical theories in favor of reflections on life as lived and experienced. Aligning himself with this project, Nietzsche sought to make psychology “the queen of the sciences” and the “path to the fundamental problems.” Pippin contends that Nietzsche’s singular prose was an essential part of this goal, and so he organizes the book around four of Nietzsche’s most important images and metaphors: that truth could be a woman, that a science could be gay, that God could have died, and that an agent is as much one with his act as lightning is with its flash. Expanded from a series of lectures Pippin delivered at the Collège de France, _Nietzsche, Psychology, and First Philosophy_ offers a brilliant, novel, and accessible reading of this seminal thinker. (shrink)

The calamitous warnings of climate science have been latched onto by a growing roster of biotech start-up companies who propose to invent lab-generated meat alternatives to the ecologically disastrous livestock industry. They use solutionist hype to promote ‘sustainable’, ‘eco-friendly’, ‘cruelty-free’, ‘clean meat’. This moralized marketing, however, masks a continued reliance on animal agriculture. The fact remains that mammalian cells and tissues are grown in vitro using foetal calf serum, a blood-derived nutrient. Is it really possible to grow meat without banking (...) on the bodies of nonhuman others? Might there be more tasteful material? In Bioart Kitchen: Art, Feminism and Technoscience, Lindsay Kelley asks, ‘[h]‌ow do technologies taste?’ This article proposes one answer to her prompt, centred on a technofeminist contextualization of the research-creation project, Mooncalf (2019–present). Mooncalf is a series of wet lab experiments and artistic outputs that showcase the potential viability of human menstrual serum for culturing mammalian tissue. These experiments present a direct provocation that problematizes the cellular agriculture industry as it pertains to the production of ‘clean meat’ and instead works towards a proof-of-concept ‘unclean’ meat prototype. Mooncalf is a symbolic precursor or speculative promise meant to facilitate a ‘cultural taste’ for feminist biotechnologies. (shrink)

The automation of many repetitive or dangerous human activities yields numerous advantages. In order to automate a physical task that requires a finite series of sequential steps, the translation of those steps in terms of a computational procedure is often required. Even apparently menial tasks like following a cooking recipe may involve complex operations that can’t be perfectly described in formal terms. Recently, several studies have explored the possibility to model cooking recipes as a computational procedure based on a (...) set of instructions. This vision is the foundation for the construction of robotics kitchen, as Moley. These kitchen robots have shown promising results. Moley, for instance, is the very first example of a new generation of bioinspired robotics, based on the reproduction of particular movement, cooking, through artificial arms and hands. It is entirely different from the current appliances present in our domestic domain because Moley is able to manipulate ingredients and interact with kitchen equipment in order to prepare a dish autonomously. Nonetheless, they have also shown several limitations. In particular, Moley is an entirely autonomous robot in a structured environment in which it knows precisely the object position and manipulates the ingredients based on a list of instructions and a training phase made by Machine Learning. In this contribution we contend that these limitations arise from an essential mismatch between computational procedures, as originally described by Turing in his seminal 1936 paper, and recipes. Computational procedures have been originally created to observe and modify formal symbols with formal operators. Thus, they are independent from time and they are ideally executed in a closed environment, in which the computer directly produces all the relevant changes required to produce the intended result. Recipes, instead, are followed in an open environment, in which, while time goes by, changes happen independently from the cook’s intervention: the cook puts the butter on the pan, starts the fire and then waits until the butter is melted. To operate effectively in the open environment a kitchen robot must couple computational procedures with sensors, e.g a sensor which provides a time signal. These sensors are de facto oracles for the procedures and yet are required to bridge the gap from the formal to the physical world. (shrink)

The past forty years or so have witnessed a renaissance in the philosophy of religion. New tools (modal logic, probability theory, and so on) and new historical research have prompted many thinkers to take a fresh look at old topics (God’s existence, the problem of evil, faith and reason, and the like). Moreover, sophisticated examinations of contentious new issues, such as the problem of religious diversity or the role of emotions and other non-evidential factors in shaping rationally held religious beliefs, (...) have also emerged. Addressing the need for an authoritative reference work to make sense of this rapidly growing and ever more complex corpus of scholarly literature, Philosophy of Religion is a new title in the Routledge Major Works series, Critical Concepts in Philosophy. Edited by a leading scholar, it is a four-volume collection which brings together key examples of the most important recent work, together with carefully selected historical pieces needed to understand them. Volume I focuses on concepts of the divine while Volume II explores arguments for and against the existence of a divine reality, with special attention to the problem of evil, the problem of divine hiddenness, and the case for naturalism. Volume III and the first part of Volume IV are devoted to broadly epistemic issues: the cognitive value of religious experience; the proper role of evidence in the formation of religious belief; the nature of justified religious belief; and pragmatic arguments for religious belief. The remainder of Volume IV introduces some of the best recent work on religious diversity, tolerance, and the public role of religion in a pluralistic society. The Philosophy of Religion is fully indexed and has a comprehensive introduction, newly written by the editor, which places the material in its historical and intellectual context. It is an essential work of reference and is destined to be valued by scholars and students as a vital one-stop research resource. Available now at a special introductory price. This price is applicable until 3 months after publication. For more information, please contact us ( [email protected] ). (shrink)

John von Neumann (1903-1957) was undoubtedly one of the scientific geniuses of the 20th century. The main fields to which he contributed include various disciplines of pure and applied mathematics, mathematical and theoretical physics, logic, theoretical computer science, and computer architecture. Von Neumann was also actively involved in politics and science management and he had a major impact on US government decisions during, and especially after, the Second World War. There exist several popular books on his personality and various collections (...) focusing on his achievements in mathematics, computer science, and economy. Strangely enough, to date no detailed appraisal of his seminal contributions to the mathematical foundations of quantum physics has appeared. Von Neumann's theory of measurement and his critique of hidden variables became the touchstone of most debates in the foundations of quantum mechanics. Today, his name also figures most prominently in the mathematically rigorous branches of contemporary quantum mechanics of large systems and quantum field theory. And finally - as one of his last lectures, published in this volume for the first time, shows - he considered the relation of quantum logic and quantum mechanical probability as his most important problem for the second half of the twentieth century. The present volume embraces both historical and systematic analyses of his methodology of mathematical physics, and of the various aspects of his work in the foundations of quantum physics, such as theory of measurement, quantum logic, and quantum mechanical entropy. The volume is rounded off by previously unpublished letters and lectures documenting von Neumann's thinking about quantum theory after his 1932 Mathematical Foundations of Quantum Mechanics. The general part of the Yearbook contains papers emerging from the Institute's annual lecture series and reviews of important publications of philosophy of science and its history. (shrink)

Charles Peirce’s Illustrations of the Logic of Science is an early work in the philosophy of science and the official birthplace of pragmatism. It contains Peirce’s two most influential papers: “The Fixation of Belief” and “How to Make Our Ideas Clear,” as well as discussions on the theory of probability, the ground of induction, the relation between science and religion, and the logic of abduction. Unsatisfied with the result and driven by a constant, almost feverish urge to improve his work, (...) Peirce spent considerable time and effort revising these papers. After the turn of the century these efforts gained significant momentum when Peirce sought to establish his role in the development of pragmatism while distancing himself from the more popular versions that had become current. The present edition brings together the original series as it appeared in Popular Science Monthly and a selection of Peirce’s later revisions, many of which remained hidden in the mass of messy manuscripts that were left behind after his death in 1914. (shrink)

The Cratylus begins with a paradox; it ends with a paradox; and it has a paradox in between. But this disturbing characteristic of the dialogue has been overshadowed, not to say ignored, in the literature. For commentators have seen it as their task to discover exactly what theory of language Plato himself, despite his declared perplexity, intends to adopt as he rejects the alternatives of Hermogenes and Cratylus. A common view, then, has been to suppose that the πορίαι of the (...) dialogue are mere camouflage for the hidden dogma, whatever that may be. A favoured candidate, of course, has been the theory of transcendent forms, in some preliminary version. As a consequence, the dialogue has often been seen as a precursor to the great metaphysical works of Plato's middle period such as the Phaedo or the Republic. Not so, I shall argue. My case is that this dialogue centres upon a series of paradoxes which are both powerful and unsettling. Their final effect is to attack the theory of forms, not to defend it. They are, I suggest, genuine proposals of philosophical difficulty, rather than mere artifice to disguise an idealist truth. As such, they belong, and may clearly be seen to belong, with works of the critical period which subject the theory of forms to scrutiny. Thus the πορίαι of the Cratylus have their counterparts in the Parmenides, the Theaetetus and the Sophist. I propose, then, that the dialogue was written during the late, critical period of Plato's philosophical activity. (shrink)

The continuous increase of carbon emissions is a serious challenge all over the world, and many countries are striving to solve this problem. Since 2020, a widespread lockdown in the country to prevent the spread of COVID-19 escalated, severely restricting the movement of people and unnecessary economic activities, which unexpectedly reduced carbon emissions. This paper aims to analyze the carbon emissions data of 30 provinces in the 2020 and provide references for reducing emissions with epidemic lockdown measures. Based on the (...) method of time series visualization, we transform the time series data into complex networks to find out the hidden information in these data. We found that the lockdown would bring about a short-term decrease in carbon emissions, and most provinces have a short time point of impact, which is closely related to the level of economic development and industrial structure. The current results provide some insights into the evolution of carbon emissions under COVID-19 blockade measures and valuable insights into energy conservation and response to the energy crisis in the post-epidemic era. (shrink)

The Sentimental Life of International Law is about our age-old longing for a decent international society and the ways of seeing, being, and speaking that might help us achieve that aim. This book asks how international lawyers might engage in a professional practice that has become, to adapt a title of Janet Malcolm's, both difficult and impossible. It suggests that international lawyers are disabled by the governing idioms of international lawyering, and proposes that they may be re-enabled by speaking different (...) sorts of international law, or by speaking international law in different sorts of ways. In this methodologically diverse and unusually personal account, Gerry Simpson brings to the surface international law's hidden literary prose and offers a critical and redemptive account of the field. He does so in a series of chapters on international law's bathetic underpinnings, its friendly relations, the neurotic foundations of its underlying social order, its screened-off comic dispositions, its anti-method, and the life-worlds of its practitioners. Finally, the book closes with a chapter in which international law is re-envisioned through the practice of gardening. All of this is put forward as a contribution to the project of making international law, again, a compelling language for our times. (shrink)

This article argues that Maurice Blanchot is a significant presence in Bernard Stiegler's Technics and Time series. The article first sets out Stiegler's invocation of the Blanchotian ‘change of epoch’ in the first volume, which attempts to situate Blanchot within the horizon of technics. I argue Blanchot's disaster is a hidden element in Stiegler's play on the motifs of the star and catastrophe. The article then traces how these motifs emerge in the second and third volumes, in which (...) the technical forms of photography and cinema become more important and where the motifs are woven together through reference to works by Roland Barthes, D. W. Winnicott and Federico Fellini. Stiegler filters these references to apparently disparate figures through Blanchot's analyses of writing and temporality. Tracing both overt and unacknowledged references to Blanchot in Stiegler's text, I conclude that Stiegler's use of Blanchot destabilizes his conceptions of time and epochality. (shrink)