The microbiota-gut-brain axis field is at an exciting stage, but the most recent developments in microbiota research still have to find their way into MGB studies. Here we outline the standards for microbiome data generation, the appropriate statistical techniques, and the covariates that should be included in MGB studies to optimize discovery and translation to clinical applications.

"The Symons Medal—one of Canada's most prestigious honours—recognizes an individual who has made an exceptional contribution to Canadian life. The 2020 Symons Medal was awarded to Mr. Bob Rae, P.C., C.C., O.Ont, Q.C. Mr. Rae is the 20th Medallist in this series, following a formidable line of recipients. Hon. Rae's lecture is Learning from The Past, Imagining the Future: Reflections from a Political Life. Throughout the address, published in a bilingual book format, he explores such themes as Canada's improbable origins (...) as a nation; post-war emergence onto the global stage; active membership within the United Nations; and the significance of the ever-evolving Canadian constitution—a "living tree document." Welcoming remarks were made by the Honourable Premier Dennis King, while the official response was delivered by the Honourable Roy Romanow, PC, OC, SOM, QC. Hon. Rae is the 2020 recipient in part for his many years of work on humanitarian issues, most recently the Rohingya Refugee crisis, as well as his time focusing on indigenous issues and his decades of public service and teaching. He has always been deeply involved in the political life of Canada—as MP, former premier of Ontario, and interim leader of the federal Liberal Party. The Symons Medal and Lecture Series is named in honour of Professor Thomas H.B. Symons, a long-time supporter of Confederation Centre and a Board Governor. Held each fall, the medal ceremony and its associated lecture offer a national platform for an eminent Canadian to discuss the nation’s current state, shared histories, and future prospects using themes related to their professional pursuits. The award is presented at Confederation Centre of the Arts—Canada’s living monument to Canadian Confederation—in honour of the meetings of the Fathers of Confederation, who first gathered at Province House National Historic Site in the fall of 1864."--. (shrink)

A first in English, this book engages with the ways in which Hegel and Sartre answer the difficult questions: What is it to be human? What place do we have in the world? How should we live? What can we be?

The book presents a new logical framework to capture the meaning of sentences in conversation. It is based on a richer notion of meaning than traditional approaches, and allows for an integrated treatment of statements and questions. The first part of the book presents the framework in detail, while the second demonstrates its many benefits.

Prince of Networks is the rst treatment of Bruno Latour speci cally as a philosopher. Part One covers four key works that display Latour’s underrated contributions to metaphysics: Irreductions, Science in Action, We Have Never Been Modern, and Pandora’s Hope. Harman contends that Latour is one of the central gures of contemporary philosophy, with a highly original ontology centred in four key concepts: actants, irreduction, translation, and alliance.

This paper is devoted to the formulation and investigation of a dynamic semantic interpretation of the language of first-order predicate logic. The resulting system, which will be referred to as ‘dynamic predicate logic’, is intended as a first step towards a compositional, non-representational theory of discourse semantics. In the last decade, various theories of discourse semantics have emerged within the paradigm of model-theoretic semantics. A common feature of these theories is a tendency to do away with the principle of compositionality, (...) a principle which, implicitly or explicitly, has dominated semantics since the days of Frege. Therefore the question naturally arises whether non-compositionality is in any way a necessary feature of discourse semantics. Since we subscribe to the interpretation of compositionality as constituting primarily a methodological principle, we consider this to be a methodological rather than an empirical question. As a consequence, the emphasis in the present paper lies on developing an alternative compositional semantics of discourse, which is empirically equivalent to its non-compositional brethren, but which differs from them in a principled methodological way. Hence, no attempts are made to improve on existing theories empirically. Nevertheless, as we indicate in section 5, the development of a compositional alternative may in the end have empirical consequences, too. First of all, it can be argued that the dynamic view on interpretation developed in this paper suggests natural and relatively easy to formulate extensions which enable one to deal with a wider range of phenomena than can be dealt with in existing theories. Moreover, the various approaches to the model-theoretic semantics of discourse that have been developed during the last decade, have constituted a ‘fresh start’ in the sense that much of what had been accomplished before was ignored, at least for a start. Of course, this is a justified strategy if one feels one is trying to develop a radically different approach to recalcitrant problems. However, there comes a time when such new approaches have to be compared with the older one, and when an assessment of the pros and cons of each has to be made. One of the main problems in semantics today, we feel, is that a semantic theory such as Montague grammar, and an approach like Kamp’s discourse representation theory, are hard to compare, let alone that it is possible to unify their insights and results.. (shrink)

Vier opstellen over de grondslagen van de wijsgerige dialektiek.

Starting at the beginning: what's so good about being good? -- Theological ethics: where does morality come from? -- Cultural views of morality: why can't we make up our own moral rules for ourselves? -- Making ethical decisions: when I'm in a moral dilemma, what do I do? -- Abortion: how can you say that a pregnant seventeen-year-old, for whom having the baby will ruin her life, is doing something wrong by having an abortion? -- Reproductive technologies: what do you (...) say to infertile couples about the hi-tech ways to have a baby? -- Genetics and biotechnology: what do you tell couples who want to use biotechnology to produce designer children? -- Death, dying, and assisted suicide: don't people have a fundamental right to die? -- Capital punishment: isn't the death penalty a barbaric holdover from uncivilized cultures that should be done away with today? -- War and morality: in view of the Bible's teaching to love your enemies, why isn't every Christian a pacifist? -- Sexual ethics: shouldn't people be able to love and have sex with whomever they choose? -- Christian ethics, economics, and the workplace: how does my work connect to my spiritual life and my service to God? (shrink)

The twenty-first century is teeming with larger-than-life threats to our larger-than-life existence, such as famine, war, natural disasters and climate change, viruses, incurable disease, etc. At stake is the future of the human species as a whole. But it is not just external threats that herald the prospective end of humanity. We also face the general exhaustion of many of our earlier and more comfortable modes of philosophy. This is arguably a much graver threat. It is this gloomy atmosphere that (...) the philosophy of antinatalism taps into. Antinatalism is the philosophical view according to which human reproduction should be brought to a halt for any of a variety of reasons. It will be argued here, however, that we can only come to the antinatalist conclusion when we affirm that humankind (somehow) represents a very persistent anomaly in the universe at large. Otherwise, we could simply resort to (much) less radical steps than the ones advocated by antinatalism. Based on this, an important distinction will be made between reactionary (or activist) antinatalism and its more philosophical, so-called originary, counterpart. Ultimately, against recent attempts that push for a moderate embrace of antinatalism, the present work makes a strong case for it. It is argued that this is warranted by the very writings most usually associated with this radical philosophical position. (shrink)

This paper presents an analysis of wh-complements in Montague Grammar. We will be concerned primarily with semantics, though some remarks on syntax are made in Section 4. Questions and wh-comple ments in Montague Grammar have been studied in Hamblin (1976), Bennett (1979), Karttunen (1977) and Hauser (1978) among others. These proposals will not be discussed explicitly, but some differences with Karttunen's analysis will be pointed out along the way.

Kant argued that we have no knowledge of things in themselves, no knowledge of the intrinsic properties of things, a thesis that is not idealism but epistemic humility. David Lewis agrees (in 'Ramseyan Humility'), but for Ramseyan reasons rather than Kantian. I compare the doctrines of Ramseyan and Kantian humility, and argue that Lewis's contextualist strategy for rescuing knowledge from the sceptic (proposed elsewhere) should also rescue knowledge of things in themselves. The rescue would not be complete: for knowledge of (...) things in themselves would remain elusive. (shrink)

Bespreking van enkele spraakmakende ideeën-romans geschreven tegen het einde van de 19e en begin van de 20e eeuw, o.a. van Dostojevski, Thomas Mann, Proust en Hermann Broch.

What is the point of language? If we begin with that abstract question, we may be tempted towards a high-minded answer: “People say things to get other people to come to know things that they didn't know before” (Stalnaker, 2002, 703). The point is truth, knowledge, communication. If we begin with a concrete question, “What has language to do with race?” we find a different point: to attack, spread hatred, create racial hierarchy. The mere practice of racial categorization is controversial: (...) are race terms natural or social kind terms? What does categorization do to the categorized? (Outlaw, 1990; Omi and Winant, 1994; Appiah, 1996; Andreason, 1998; Kitcher, 1999; Zack, 2002; Haslanger, 2008; Glasgow, 2009). But there is worse than mere categorization to contend with. (shrink)

Bayesian networks (BN) and argumentation diagrams (AD) are two predominant approaches to legal evidential reasoning, that are often treated as alternatives to one another. This paper argues that they are, instead, complimentary and proposes the beginnings of a method to employ them in such a manner. The Bayesian approach tends to be used as a means to analyse the findings of forensic scientists. As such, it constitutes a means to perform evidential reasoning. The design of Bayesian networks that accurately and (...) comprehensively represent the relationships between investigative hypotheses and evidence remains difficult and sometimes contentious, however. Argumentation diagrams are representations of reasoning, and are used as a means to scrutinise reasoning (among other applications). In evidential reasoning, they tend to be used to represent and scrutinise the way humans reason about evidence. This paper examines how argumentation diagrams can be used to scrutinise Bayesian evidential reasoning by developing a method to extract argument diagrams from BN. (shrink)

Explores the place of intellectual virtues and vices in a social world. Chapters are divided into four sections: Foundational Issues; Individual Virtues; Collective Virtues; and Methods and Measurements.

This chapter sets forth a general theory of gender stratification. While both biological and ideological variables are taken into account, the emphasis is structural: It is proposed that the major independent variable affecting sexual inequality is each sex's economic power, understood as relative control over the means of production and allocation of surplus. For women, relative economic power is seen as varying-and not always in the same direction-at a variety of micro- and macrolevels, ranging from the household to the state. (...) A series of propositions links the antecedents of women's relative economic power, the interrelationship between economic and other forms of power, and the forms of privilege and opportunity into which each gender can translate its relative power. (shrink)

How is it possible that modern scholars have labeled Maximus of Tyre, a second-century CE performer of philosophical orations as a sophist or a 'half-philosopher', while his own self-presentation is that of a genuinme philosopher? If we take Maximus' claim to phislophical authority seriously, his case can deepen our understanding of the dynamic nature of Imperial philosophy. Through a discursive analysis of twelve Imperial intellectuals alongside Maximus' dialexies, the author proposes an interpretative framework to assess the purpose behind the representation (...) of philosophy, rhetoric, and sophistry in Maximus' oeuvre. This is thus as yet the first book-length attempt at situating the historical communication process implicit in the surviving Maximean texts in the concurrent context of the Imperial intellectual world. (shrink)

We're in an ethical mess! -- Is there a moral law we can know? -- If we know what's right, can we do it? -- What does it mean to be human? -- Ethics in the marketplace -- Ethics in public life.

Codes of conduct are the main tools to privately regulate worker rights in global value chains. Scholars have shown that while codes may improve outcome standards (such as occupational health and safety), they have had limited impact on process rights (such as freedom of association and collective bargaining). Scholars have, though, only provided vague or general explanations for this empirical finding. We address this shortcoming by providing a holistic and detailed explanation, and argue that codes, in their current form, have (...) limited impact on trade union rights due to (i) buyers paying lip service to trade union rights, (ii) workers being treated as passive objects of regulation in codes of conduct, (iii) auditing being unable to detect and remediate violations of trade union rights, (iv) codes emphasizing parallel means of organizing, (v) suppliers having limited incentives for compliance, and (vi) codes being unable to open up space for union organizing when leveraged in grassroots struggles. Our arguments suggest that there is no quick fix for codes’ limited impact on trade union rights, and that codes, in their current form, have limited potential to improve trade union rights. We conclude by discussing ways in which codes of conduct, and private regulation of worker rights more generally, could be transformed to more effectively address trade union rights. (shrink)

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

The idea that two objects can coincide—by sharing all their proper parts, or matter—yet be non-identical, results in the “Problem of Coincident Objects”: in what relation do objects stand if they are not identical but share all their proper parts? One solution is to introduce material constitution. In this paper, I argue that this is ad hoc since, first, this solution cannot be generalized to solve similar problems, and, second, there are pseudo cases of coincidence that should not trigger the (...) introduction of material constitution and these cannot be distinguished in any principled way from the allegedly real cases of coincidence. (shrink)

Scholarly discourse on “disruptive technologies” has been strongly influenced by disruptive innovation theory. This theory is tailored for analyzing disruptions in markets and business. It is of limited use, however, in analyzing the broader social, moral and existential dynamics of technosocial disruption. Yet these broader dynamics should be of great scholarly concern, both in coming to terms with technological disruptions of the past and those of our current age. Technologies can disrupt social relations, institutions, epistemic paradigms, foundational concepts, values, and (...) even the nature of human cognition and experience – domains of disruption that are largely neglected in existing discourse on disruptive technologies. Accordingly, this paper seeks to reorient scholarly discussion around a broader notion of technosocial disruption. This broader notion raises three foundational questions. First, how can technosocial disruption be conceptualized in a way that clearly sets it apart from the disruptive innovation framework? Secondly, how does the notion of technosocial disruption relate to the concordant notions of “disruptor” and “disruptiveness”? Thirdly, can we advance criteria to assess the “degree of social disruptiveness” of different technologies? The paper clarifies these questions and proposes an answer to each of them. In doing so, it advances “technosocial disruption” as a key analysandum for future scholarship on the interactions between technology and society. (shrink)

Human papillomavirus (HPV) is one of the most common sexually transmitted infections. It is a leading cause of cervical cancer in women but the virus is increasingly being linked to several other cancers in men and women alike. Since the introduction of safe and effective but also expensive vaccines, many developed countries have implemented selective vaccination programs for girls. Some however argue that these programs should be expanded to include boys, since (1) HPV constitutes non-negligible health risks for boys as (...) well and (2) protected boys will indirectly also protect girls. In this paper we approach this discussion from an ethical perspective. First, on which moral grounds can one justify not reimbursing vaccination for the male sex? We develop an ethical framework to evaluate selective vaccination programs and conclude that, in the case of HPV, efficiency needs to be balanced against non-stigmatization, non-discrimination and justice. Second, if vaccination programs were to be expanded to boys as well, do the latter then also have a moral duty to become immunized? Two arguments in favor of such a moral duty are well known in vaccination ethics: the duty not to harm others and to contribute to the public good of public health. However, we argue that these are not particularly convincing in the context of HPV. In contrast, we believe a third, more powerful but also more controversial argument is possible. In our view, the sexual mode of transmission of HPV constitutes an additional reason to believe that boys in fact may have a moral obligation to accept vaccination. (shrink)

Zes bijdragen tot de theorie van het dialectisch materialisme.

This paper is about a topic in the semantics of interrogatives.1 In what follows a number of assumptions figure at the background which, though intuitively appealing, have not gone unchallenged, and it seems therefore only fair to draw the reader’s attention to them at the outset. The first assumption concerns a very global intuition about the kind of semantic objects that we associate with interrogatives. The intuition is that there is an intimate relationship between interrogatives and their answers: an interrogative (...) determines what counts as an answer.2 Given a certain, independently motivated, view on what constitutes the meaning of an answer, this intuition, in return, determines what constitutes the meaning of an interrogative. For example, starting from the observation that answers are true or false in situations, we may be led to the view that answers express propositions, i.e., objects which determine a truth value in a situation. Given that much, our basic intuition says that interrogatives are to be associated with objects which determine propositions. Such objects will be referred to as ‘questions’ in what follows. Notice that all this is largely framework independent: we have made no assumptions yet about what situations, propositions, and questions are, we have only related them in a certain systematic way. In fact we will use a more or less standard, but certainly not uncontroversial, specification in what follows: situations are identified with (total) possible worlds; propositions with sets of worlds; and questions with equivalence relations on the set of worlds. The second assumption that plays a role in what follows is of a more linguistic nature. Interrogatives typically occur in two ways: as independent expressions, and as complements of certain verbs. The assumption is that these two ways of occurring are systematically related, not just syntactically but also semantically.3 Notice that the exact nature of this relationship is underdeter.. (shrink)

Rae Langton offers a new interpretation and defense of Kant's doctrine of things in themselves. Kant distinguishes things in themselves from phenomena, and in so doing he makes a metaphysical distinction between intrinsic and relational properties of substances. Langton argues that his claim that we have no knowledge of things in themselves is not idealism, but epistemic humility: we have no knowledge of the intrinsic properties of substances. This interpretation vindicates Kant's scientific realism, and shows his primary/secondary quality distinction to (...) be superior even to modern-day competitors. And it answers the famous charge that Kant's tale of things in themselves is one that makes itself untellable. (shrink)

When the likelihood ratio approach is employed for evidential reasoning in law, it is often necessary to employ subjective probabilities, which are probabilities derived from the opinions and judgement of a human. At least three concerns arise from the use of subjective probabilities in legal applications. Firstly, human beliefs concerning probabilities can be vague, ambiguous and inaccurate. Secondly, the impact of this vagueness, ambiguity and inaccuracy on the outcome of a probabilistic analysis is not necessarily fully understood. Thirdly, the provenance (...) of subjective probabilities and the associated potential sources of vagueness, ambiguity and inaccuracy tend to be poorly understood, making it difficult for the outcome of probabilistic reasoning to be explained and validated, which is crucial in legal applications. The former two concerns have been addressed by a wide body of research in AI. The latter, however, has received little attention. This paper presents a novel approach to employ argumentation to reason about probability distributions in probabilistic models. It introduces a range of argumentation schemes and corresponding sets of critical questions for the construction and validation of argument models that define sets of probability distributions. By means of an extended example, the paper demonstrates how the approach, argumentation schemes and critical questions can be employed for the development of models and their validation in legal applications of the likelihood ratio approach to evidential reasoning. (shrink)

The mereological predicate ‘is part of’ can be used to define the predicate ‘is identical with’. I argue that this entails that mereological theories can be ideologically simpler than nihilistic theories that do not use the notion of parthood—contrary to what has been argued by Ted Sider. Moreover, if one accepts an extensional mereology, there are good philosophical reasons apart from ideological simplicity to give a mereological definition of identity.

In the present version of these lecture notes only a number of typos and a few glaring mistakes have been corrected. Thanks to Paul Dekker for his help in this respect. No attempt has been been made to update the original text or to incorporate new insights and approaches. For a more recent overview, see our ‘Questions’ in the Handbook of Logic and Language (edited by Johan van Benthem and Alice ter Meulen, Elsevier, 1997).

In debates about the metaphysics of material objects examples of colocated objects are commonly taken to be examples of coincidence too. But the argument that colocation is best understood as involving coincidence is never spelled out. This paper shows under what conditions colocation entails coincidence and argues that the entailment depends on a principle that actually rules out certain forms of colocation. This undermines the argument from colocation to coincidence.

This paper presents three claims concerning boundaries, dependence and parthood. The claims are intuitively plausible, but cannot, at face value, all be true on pain of contradiction. Each of the three claims is shown to be more plausible than its converse and some solutions to the puzzle are presented.

Over the course of human history there appears to have been a global shift in moral values towards a broadly ‘liberal’ orientation. Huemer argues that this shift better accords with a realist than an antirealist metaethics: it is best explained by the discovery of mind-independent truths through intuition. In this article I argue, contra Huemer, that the historical data are better explained assuming the truth of moral antirealism. Realism does not fit the data as well as Huemer suggests, whereas antirealists (...) have underappreciated resources to explain the relevant historical dynamics. These resources include an appeal to socialization, to technological and economical convergences, to lessons learned from history, to changes induced by consistency reasoning and to the social function of moral norms in overcoming some of the cooperation problems that globalizing societies face. I point out that the realist’s explanans has multiple shortcomings, that the antirealist’s explanans has several explanatory virtues, and conclude that the latter provides a superior account of the historical shift towards liberal values. (shrink)

Volume 20, Issue 9, September 2020, Page 58-60.

Volume 20, Issue 3, March 2020, Page 79-81.

Research on behavioral ethics is thriving and intends to offer advice that can be used by practitioners to improve the practice of ethics management. However, three barriers prevent this research from generating genuinely useful advice. It does not sufficiently focus on interventions that can be directly designed by management. The typical research designs used in behavioral ethics research require such a reduction of complexity that the resulting findings are not very useful for practitioners. Worse still, attempts to make behavioral ethics (...) research more useful by formulating simple recommendations are potentially very damaging. In response to these limitations, this article proposes to complement the current behavioral ethics research agenda that takes an ‘explanatory science’ approach with a research agenda that uses a ‘design science’ approach. Proposed by Joan van Aken and building on earlier work by Herbert Simon, this approach aims to develop field-tested ‘design propositions’ that present often complex but useful recommendations for practitioners. Using a ‘CIMO-logic’, these propositions specify how an ‘intervention’ can generate very different ‘outcomes’ through various ‘mechanisms’, depending on the ‘context’. An illustration and a discussion of the contours of this new research agenda for ethics management demonstrate its advantages as well as its feasibility. The article concludes with a reflection on the feasibility of embracing complexity without drowning in a sea of complicated contingencies and without being paralyzed by the awareness that all interventions can have both desirable and undesirable effects. (shrink)

The Western philosophic tradition has tended to tie the question of action to that of freedom, with the relationship structured around the free will/determinism opposition. In contrast, I show that in Being and Nothingness, Sartre offers a stringent and radical critique of these approaches. I briefly outline the conceptual parameters of Sartre’s early ontology, before showing that he rejects the free will tradition because of its underlying conception of freedom and insistence that action is reflective and will-based. According to Sartre, (...) consciousness is not a sum of parts, with one aspect (will) guiding the rest. Consciousness is a differentiated whole, divided between reflective and pre-reflective levels. Will is tied to the reflective level of consciousness and so cannot be said to be foundational given that reflectivity depends upon pre-reflectivity. Instead, it is an expressive effect of consciousness’s spontaneous, pre-reflective, projection of itself towards a particular end and value. (shrink)