The sensitivity condition on knowledge says that one knows that P only if one would not believe that P if P were false. Difficulties for this condition are now well documented. Keith DeRose has recently suggested a revised sensitivity condition that is designed to avoid some of these difficulties. We argue, however, that there are decisive objections to DeRose’s revised condition. Yet rather than simply abandoning his proposed condition, we uncover a rationale for its adoption, a rationale which suggests a (...) further revision that avoids our objections as well as others. The payoff is considerable: along the way to our revision, we learn lessons about the epistemic significance of certain explanatory relations, about how we ought to envisage epistemic closure principles, and about the epistemic significance of methods of belief formation. (shrink)

Western Political Thought in Dialogue with Asia is a unique collection of essays that examines the exchange of political ideas between Western Europe and Asia from the Middle Ages to the early twentieth century. The contributors to the volume call for globalizing the scope of research and teaching in the history of political thought.

Epistemological contextualists maintain that the truth-conditions of sentences of the form 'S knows that P' vary according to the context in which they're uttered, where this variation is due to the semantics of 'knows'. Among the linguistic data that have been offered in support of contextualism are several everyday cases. We argue that these cases fail to support contextualism and that they instead support epistemological invariantism—the thesis that the truth-conditions of 'S knows that P' do not vary according to the (...) context of their utterance. (shrink)

The evolution of complex life forms, such as multicellular organisms, is the result of a number of evolutionary transitions in individuality (ETIs). Several attempts have been made to explain their origins, many of which have been internalist (i.e., based largely on internal properties of these life form's ancestors). Here, we show how an externalist perspective, via the ecological scaffolding model in which properties of complex life forms arise from an external scaffold, can shed new light on the question of ETIs. (...) Ultimately, we anticipate progress in the field will occur by recognizing the importance of both the internalist and externalist modes of explanation for ETIs. We illustrate this by considering an extension of the ecological scaffolding model by niche construction in which particles modify the environment which later becomes the scaffold giving rise to collective-level individuality. (shrink)

Children’s cognitive and language development is a central aspect of human development and has wide and long-standing impact. The parent-infant relationship is the chief arena for the infant to learn about the world. Studies reveal associations between quality of parental care and children’s cognitive and language development when the former is measured as maternal sensitivity. Nonetheless, the extent to which parental mentalizing – a parent’s understanding of the thoughts, feelings, and attitudes of a child, and presumed to underlie sensitivity – (...) contributes to children’s cognitive development and functioning, has yet to be thoroughly investigated. According to the epistemic trust theory, high mentalizing parents often use ostensive cues, which signal to the infant that they are perceived and treated as unique subjective beings. By doing so, parents foster epistemic trust in their infants, allowing the infant to use the parents a reliable source of knowledge to learn from. Until recently, parental mentalizing has been limited to verbal approaches and measurement. This is a substantial limitation of the construct as we know that understanding of intentionality is both non-verbal and verbal. In this investigation we employed both verbal and non-verbal, body-based, approaches to parental mentalizing, to examine whether parental mentalizing in a clinical sample predicts children’s cognitive and language development 12 months later. Findings from a longitudinal intervention study of 39 mothers and their infants revealed that parental embodied mentalizing in infancy significantly predicted language development 12 months later and marginally predicted child cognitive development. Importantly, PEM explained unique variance in the child’s cognitive and linguistic capacities over and above maternal emotional availability, child interactive behavior, parental reflective functioning, depression, ethnicity, education, marital status, and number of other children. The theoretical, empirical, and clinical implications of these findings are discussed. (shrink)

This introduction by leading scholar Peter Trawny is the first to tackle the Black Notebooks, whose recent publication revealed the extent of Heidegger's anti-Semitism. Trawny directly confronts the most problematic aspects of Heidegger's thought, also fully surveying his work, from early writings to his magnum opus, Being and Time.

Niels Bohr famously argued that a consistent understanding of quantum mechanics requires a new epistemic framework, which he named complementarity . This position asserts that even in the context of quantum theory, classical concepts must be used to understand and communicate measurement results. The apparent conflict between certain classical descriptions is avoided by recognizing that their application now crucially depends on the measurement context. ;Recently it has been argued that a new form of complementarity can provide a solution to the (...) so-called information loss paradox. Stephen Hawking argues that the evolution of black holes cannot be described by standard unitary quantum evolution, because such evolution always preserves information, while the evaporation of a black hole will imply that any information that fell into it is irrevocably lost---hence a "paradox." Some researchers in quantum gravity have argued that this paradox can be resolved if one interprets certain seemingly incompatible descriptions of events around black holes as instead being complementary. ;In this dissertation I assess the extent to which this black hole complementarity can be undergirded by Bohr's account of the limitations of classical concepts. I begin by offering an interpretation of Bohr's complementarity and the role that it plays in his philosophy of quantum theory. After clarifying the nature of classical concepts, I offer an account of the limitations these concepts face, and argue that Bohr's appeal to disturbance is best understood as referring to these conceptual limits. ;Following preparatory chapters on issues in quantum field theory and black hole mechanics, I offer an analysis of the information loss paradox and various responses to it. I consider the three most prominent accounts of black hole complementarity and argue that they fail to offer sufficient justification for the proposed incompatibility between descriptions. ;The lesson that emerges from this dissertation is that we have as much to learn from the limitations facing our scientific descriptions as we do from the successes they enjoy. Because all of our scientific theories offer at best limited, effective accounts of the world, an important part of our interpretive efforts will be assessing the borders of these domains of description. (shrink)

According to color realism, object colors are mind-independent properties that cover surfaces or permeate volumes of objects. In recent years, some color scientists and a growing number of philosophers have opposed this view on the grounds that realism about color cannot accommodate the apparent unitary/binary structure of the hues. For example, Larry Hardin asserts, the unitary-binary structure of the colors as we experience them corresponds to no known physical structure lying outside nervous systems that is causally involved in the perception (...) of color. This makes it very difficult to subscribe to a color realism that is supposed to be about red, green, blue, black, and white—that is, the colors with which we are perceptually acquainted.1 Similarly, Evan Thompson says. (shrink)

A proper understanding of black hole complementarity as a response to the information loss paradox requires recognizing the essential role played by arguments for the applicability and limitations of effective semiclassical theories. I argue that this perspective sheds important light on the arguments advanced by Susskind, Thorlacius, and Uglum—although ultimately I argue that their position is unsatisfactory. I also consider the argument offered by ’t Hooft for the breakdown of microcausality around black holes, and conclude that it relies (...) on a mistaken treatment of measurement collapse. There is, however, a legitimate argumentative role for black hole complementarity, exemplified by the position of Kiem, Verlinde, and Verlinde, that calls for a more subtle analysis of the limitations facing our effective theories. (shrink)

Belot, Earman, and Ruetsche (1999) dismiss the black hole remnant proposal as an inadequate response to the Hawking information loss paradox. I argue that their criticisms are misplaced and that, properly understood, remnants do offer a substantial reply to the argument against the possibility of unitary evolution in spacetimes that contain evaporating black holes. The key to understanding these proposals lies in recognizing that the question of where and how our current theories break down is at the heart (...) of these debates in quantum gravity. I also argue that the controversial nature of assessing the limits of general relativity and quantum field theory illustrates the significance of attempts to establish the proper borders of our effective theories. (shrink)

Belot, Earman, and Ruetsche dismiss the black hole remnant proposal as an inadequate response to the Hawking information loss paradox. I argue that their criticisms are misplaced and that, properly understood, remnants do offer a substantial reply to the argument against the possibility of unitary evolution in spacetimes that contain evaporating black holes. The key to understanding these proposals lies in recognizing that the question of where and how our current theories break down is at the heart of (...) these debates in quantum gravity. I also argue that the controversial nature of assessing the limits of general relativity and quantum field theory illustrates the significance of attempts to establish the proper borders of our effective theories. (shrink)

Many contemporary philosophers argue that assertion is governed by an epistemic norm. In particular, many defend the knowledge account of assertion, which says that one should assert only what one knows. Here, I defend a non‐normative alternative to the knowledge account that I call the repK account of assertion. According to the repK account, assertion represents knowledge, but it is not governed by a constitutive epistemic rule. I show that the repK account offers a more straightforward interpretation of the conversational (...) patterns and intuitions that motivate the knowledge account. It does so in terms of ordinary normative principles that philosophers already accept, none of which are constitutive to assertion. I then contend that the repK account is preferable to the knowledge account because it is simpler, its implications are less contentious, and it avoids a problem for normative accounts of assertion recently raised by Peter Pagin. I also argue that the repK account offers a satisfying explanation of selfless assertion, a counterexample to the knowledge account posed by Jennifer Lackey. (shrink)

Peter Carruthers argues that the global workspace theory implies there are no facts of the matter about animal consciousness. The argument is easily extended to other cognitive theories of consciousness, posing a general problem for consciousness studies. But the argument proves too much, for it also implies that there are no facts of the matter about human consciousness. A key assumption of the argument is that scientific theories of consciousness must explain away the explanatory gap. I criticize this assumption (...) and point to an alternative strategy for defending scientific theories of consciousness, one that better reflects the ongoing scientific practice. I argue there are introspectable inferential connections from phenomenal concepts to functional concepts that scientists can use to individuate the global workspace in terms of capacities that animals and humans share. (shrink)

Review of: Religion of the Field Negro: On Black Secularism and Black Theology.

In recent years a number of oppressed groups have campaigned vigorously for equality. The classic instance is the Black Liberation movement, which demands an end to the prejudice and discrimination that has made blacks second-class citizens. The immediate appeal of the black liberation movement and its initial, if limited, success made it a model for other oppressed groups to follow. We became familiar with liberation movements for Spanish-Americans, gay people, and a variety of other minorities. When a majority (...) group—women—began their campaign, some thought we had come to the end of the road. Discrimination on the basis of sex, it has been said, is the last universally accepted form of discrimination, practiced without secrecy or pretense even in those liberal circles that have long prided themselves on their freedom from prejudice against racial minorities. (shrink)

Presentations of black hole complementarity by van Dongen and de Haro, as well as by 't Hooft, suffer from a mistaken claim that interactions between matter falling into a black hole and the emitted Hawking-like radiation should lead to a failure of commutativity between space-like-related observables localized inside and outside the black hole. I show that this conclusion is not supported by our standard understanding of quantum interactions. We have no reason to believe that near-horizon interactions will (...) threaten microcausality. If these interactions reliably transfer information to the outgoing radiation, then this response to Hawking's information loss argument should amount to a version of the bleaching scenario. I argue that the challenge facing black hole complementarity is that of reconciling this commitment to bleaching with the expectation that the event horizon will be locally unremarkable. This challenge is most promisingly met by proposals that postulate a consistent account of the limitations of our local semi-classical theories, but no support is added to these postulates by appeals to verificationism or to the interactions considered by 't Hooft. (shrink)

Just what is Einstein's Theory of Relativity? The Big Bang Theory? Curvature of Spacetime? What do astronomers mean when they talk of a 'flat universe'? This approachable and authoritative guide to the cosmos answers these questions, and more. Taking advantage of the distinctive Companion format, readers can use the extensive, cross-referenced background chapters as a fascinating and accessible introduction to the current state of cosmological knowledge - or, they can use the convenient A-Z body of entries as a quick reference (...) to a wide range of terms and concepts. Entries include topics such as: Black Hole; Doppler Effect; Fermi, Enrico; Heat Death of the Universe; Life in the Universe; Olber's Paradox; Quantum Field Theory; Supernova; and much more. (shrink)

Just what is Einstein's Theory of Relativity? The Big Bang Theory? Curvature of Spacetime? What do astronomers mean when they talk of a 'flat universe'? This approachable and authoritative guide to the cosmos answers these questions, and more. Taking advantage of the distinctive Companion format, readers can use the extensive, cross-referenced background chapters as a fascinating and accessible introduction to the current state of cosmological knowledge - or, they can use the convenient A-Z body of entries as a quick reference (...) to a wide range of terms and concepts. Entries include topics such as: Black Hole; Doppler Effect; Fermi, Enrico; Heat Death of the Universe; Life in the Universe; Olber's Paradox; Quantum Field Theory; Supernova; and much more. (shrink)

Just what is Einstein's Theory of Relativity? The Big Bang Theory? Curvature of Spacetime? What do astronomers mean when they talk of a 'flat universe'? This approachable and authoritative guide to the cosmos answers these questions, and more. Taking advantage of the distinctive Companion format, readers can use the extensive, cross-referenced background chapters as a fascinating and accessible introduction to the current state of cosmological knowledge - or, they can use the convenient A-Z body of entries as a quick reference (...) to a wide range of terms and concepts. Entries include topics such as: Black Hole; Doppler Effect; Fermi, Enrico; Heat Death of the Universe; Life in the Universe; Olber's Paradox; Quantum Field Theory; Supernova; and much more. (shrink)

According to Hempel's paradox, evidence (E) that an object is a nonblack nonraven confirms the hypothesis (H) that every raven is black. According to the standard Bayesian solution, E does confirm H but only to a minute degree. This solution relies on the almost never explicitly defended assumption that the probability of H should not be affected by evidence that an object is nonblack. I argue that this assumption is implausible, and I propose a way out for Bayesians. Introduction (...) Hempel's paradox, the standard Bayesian solution, and the disputed assumption Attempts to defend the disputed assumption Attempts to refute the disputed assumption A way out for Bayesians Conclusion. (shrink)

London-based company ScanLab Projects is a multi-disciplinary commercial collaboration between architect, artist, coders and designers who utilize technologies surrounding 3D laser scanning in their practice. Inherent in the manner their projects are pitched is through reference to the photographic as technological process. Central to their engagement with the light detection and ranging (LiDAR) scanning apparatus is a consideration of the relationality between virtual or digital object and what could be determined as extrinsic or ‘real’ terrain. In Post-lenticular Landscapes, 2017, ScanLab (...) created a series of LiDAR scans of Yosemite National Park. The landscape, presented as a stereoscopic film work where the spectator flies through an ephemeral black and white point cloud, is contextualized relationally to a certain photo-historical context and lineage: As Yosemite is synonymous with the advent of photographic process through the work of Muybridge, Watkins, Woods and Adams, the work revisits an archetypal image of the American sublime. In this text, I unpack ScanLab’s usage and conceptualization of LiDAR scans referentially to an understanding of the photographic. By considering how ScanLab frames our understanding of the project through the technological apparatus, the text attempts to problematize the scans by reading them through a particular art historic heritage. In this context, I posit alternate ways of reading the work, specifically through reference to the image of Yosemite that has proliferated across the desktops of Apple computers since 2014. Furthermore, through a reading of metonymy in the writing of Eelco Runia, the eerie as understood by Mark Fisher and in relation to Lev Manovich’s description of photorealism, I propose that the future of the mediation and understandings of machinic vision are to be thought with a reconsidered notion of the photographic. (shrink)

The Principal Principle (PP) says that, for any proposition A, given any admissible evidence and the proposition that the chance of A is x%, one's conditional credence in A should be x%. Humean Supervenience (HS) claims that, among possible worlds like ours, no two differ without differing in the spacetime-point-by-spacetime-point arrangement of local properties. David Lewis (1986b, 1994a) has argued that PP contradicts HS, and the validity of his argument has been endorsed by Bigelow et al. (1993), Thau (1994), Hall (...) (1994), Strevens (1995), Ismael (1996), Hoefer (1997), and Black (1998). Against this consensus, I argue that PP might not contradict HS: Lewis's argument is invalid, and every attempt – within a broad class of attempts – to amend the argument fails. (shrink)

Engineering ethics and science and technology studies have until now developed as separate enterprises. The authors argue that they can learn a lot from each other. STS insights can help make engineering ethics open the black box of technology and help discern ethical issues in engineering design. Engineering ethics, on the other hand, might help STS to overcome its normative sterility. The contributions in this special issue show in various ways how the gap between STS and engineering ethics might (...) be overcome. In this editorial introduction, the authors discuss the various contributions briefly and delve into the way the various authors conceptualize the engineering design process and the consequences of those conceptualizations for what ethical issues become visible. They also discuss the implications for the responsibility of engineers for technological development. (shrink)

This essay examines how Michel Henry's and Jean‐Luc Marion's continuation of phenomenology's turn to the invisible relates to painting, aesthetics, and theology. First, it discusses Henry and Marion's redefinition of phenomenality. Second, it explores Henry's “Kandinskian” description of abstract painting as expressing “Life.” Third, it explicates Marion's “Rothkoian” rehabilitation of the idol and renewed zeal for the icon—both phenomena exemplify “givenness.” Fourth, it unpacks my thesis: Henry's phenomenology, theologically applied, exercises an inadequate Kantian apophasis, characterized by a sublime sacrifice of (...) the imagination; although Marion's work sometimes evidences a similar tendency, its prevailing momentum offers theology a fully catholic scope. (shrink)

Freud's analogies were legion: hydraulic pipes, military recruitment, magic writing pads. These and some three hundred others took features of the mind and bound them to far-off scenes – the id only very partially resembles an uncontrollable horse, as Freud took pains to note. But there was one relation between psychic and public act that Freud did not delimit in this way: censorship, the process that checked memories and dreams on their way to the conscious. At first, Freud likened this (...) suppression to the blacking out of texts at the Russian frontier. During the First World War, he suffered, and spoke of suffering under, Viennese postal and newspaper censorship – Freud was forced to leave his envelopes unsealed, and to recode or delete content. Over and over, he registered the power of both internal and public censorship in shared form: distortion, anticipatory deletion, softenings, even revision to hide suppression. Political censorship left its mark as the conflict reshaped his view of the psyche into a society on a war footing, with homunculus-like border guards sifting messages as they made their way – or did not – across a topography of mind. (shrink)

Selon les auteurs le nouveau "College" d'enseignement supérieur devra être petit démocratique, auto-administré et résidentiel ; son but sera de créer une authentique communauté de culture, de connaissances académique et d'économie. Les collèges Ruskin, Bauhaus et Black Mountain sont décrits comme précurseurs.

Located in Kleinbasel close to the Rhine, the Kaskadenkondensator is a place of mediation and experimental, research-and process-based art production with a focus on performance and performative expression. The gallery, founded in 1994, and located on the third floor of the former Sudhaus Warteck Brewery (hence cascade condenser), seeks to develop interactions between artists, theorists and audiences. Eight, maybe, nine or ten 40 litre bags of potting compost lie strewn about the floor of a high-ceilinged white washed hall. Dumped, split (...) open, the soil mixed with iridescent specks of green, blue and red glitter. On the walls hang large black and white photographic images—negative and positive prints barely clean, hardly sharp, scavenged from the world and presented half processed. On a third wall, hangs a framed golden and charcoal surface. Finally, a huge stain of black dye runs down a wall that descends into a sunken quarter of the Kaskadenkondensator gallery space. The results of a collaboration between Oliver Minder and Walter Derungs reflect on themes addressed in the recent Aesthetics in the 21st Century conference held by the department of English, University of Basel. In particular, the joint show questions how an aesthetic experience may be other than a human-world interaction, hinting at the withdrawal and veiling that objects perform, while demanding that different works engage with each other and play out this game under the non-supervisory eyes of a human audience. Things here are becoming—sometimes it’s a movement towards a more complete ontic whole in a projection of finality, other times it’s a dispersal, an atrophy to rather disarrayed entities. Yet, in the moment and place in which the objects are, we take them as here and now. Let’s get to the material of the stuff that Minder and Derungs have assembled. Oliver Minder employs organic materials—potting earth, cuttlefish ink secretion, rice, and insects; yet his works hardly seem natural in the sense of a harmonic relation between material and the form they are constrained into, the objects they are compelled to occupy. For the substrates on, through, or within which these natural materials are mediated are harshly inorganic substances—Plexiglas, safety glass, acrylic resin, boat varnish, spray paint. Minder, thus, generates a conflict within the materiality of his work between two polar opposites—from the human perspective—in the contiguity of materials engaging with each other in a thrown together formation that nonetheless appears to keep the materials and the objects they make in happy accidental relation to each other. Let me expand a little: on the one hand, the things Minder makes query our belief in substance as belonging in a particular domain, an environment suited to precisely that stuff. We are focused on thinking categorically where things belong, both in terms of natural place and natural relations they might extend to each other. Hence, we are driven to think of environment and order. On the other hand, while extracting things from their conventional place and arranging them within awkward constellations that we as observers feel isn’t quite right, Minder manages to persuade the viewer that the materials are nonetheless “doing alright.” So, simultaneous to our awareness of the appropriateness of the world according to our global notions of accord and uniformity, we are forced to accept the local discrepancies of disassociation, inappropriateness and misplacement. The tension between these two vectors generates a vacillation that intensifies Minder’s work. In the Kaskadenkondensator works, then, it is vital to first consider the material of Minder’s works: potting compost—what is it doing here in the first place?—seems to enjoy being “polluted” by sparkly glitter. Glitter has a long history, used in cosmetics by the Egyptians, and in cave paintings, too, earlier made of beetle shells and mica, nowadays glitter is made of plastic cut to minute sizes down to 50 microns. So what’s the point here? Well shiny bits of dust-like material are actually generated from ultra-thin plastic sheets and are normally cut into shapes that fit contiguously on a two-dimensional surface: squares, triangles, hexagons etc. What then appears to be totally random, chaotic decoration, is actually an array of extremely regular identifiable objects. 1 Of course scale has a role to play here. The minuteness of the dimensions means the regularity is beyond our recognition—all we see are the twinkling surfaces of the multi-coloured grains of plastic. In contrast, potting compost, which appears to be unary in its dull unresponsive lumpen disposition, is in fact an amalgam of a variety of organic and inorganic materials: peat, bark, mushroom compost, and sand and perlite, and should perhaps be more proactively exciting to the viewer because of this complexity. Yes; we can (if we care to) identify different textures, different sizes in the mixture of the medium, but I claim that we tend to treat this organic/inorganic assemblage as just a simple substance. Further and crucially important to our consideration here is that the medium is partially contained, but also partially spilling from the split plastic bags in which it is sold in garden centres. That the compost spills out gives it a movement suggesting life; that the bags are cast here and there in a random fashion by Oliver Minder, lying like discarded carcasses, hacked torsos, dismembered bodies, suggests a horrific murder scene, a Tatort. 2 The glitter flourishes in the medium, lies happy and decorative; that is simply what it does, how it is—always already broken, made-for-scattering, designed to be incomplete; the taken-to-be-natural compost, in contrast, cannot rest content but is forced to speak to us metaphorically in its abject overflowing of violence and rupture. While Oliver Minder’s elements in the installation direct our attention to material, Walter Derungs’ works raise questions around seeing and making in photography. There is a simultaneous flicker between the materials and their use in the production of a sense making representation, on the one hand, and on the other the very notion of what is worthy of picturing, framing, representing on the other. Derungs' images are of non-places. Ranging from archaic decaying monster buildings, buildings that have gone far beyond the ravages of a time that we can safely associate with the genteel preservation of a Bernd and Hill Belcher post-industrial decline, to the background “noise” of an urban world that is falling apart, and to which we most of the time seem to pay little attention, and habitually just pass by. In this respect, their non-ness differs somewhat from the conventional association of the term with Marc Augé 3 , where emphasis is on the specifics (if we do care to examine them for their non-placedness) of the spatial or place containment in which movement between multimodal coordinates occurs in supermodern late capitalist post-urban spaces. In other words, we might be in an Augéian non-place and (not) experience—be impervious to—that environment, or we might in Derungs’ manner look out from such a position at the “scenery” around us. I claim scenery, as this is what Derungs seems to do with his partial photography—construct a very purposefully articulated, symmetric, flat world of image. Mostly depopulated, his images construct a space in which the direction of time is uncertain: are these partial structures falling apart, or perhaps terminated in a never-to-be-completed state, or are they a few steps from final completion? Temporal and spatial dimensions figure large in Derungs’ image-making: his world, and perhaps this is in fact the only way for it to be registered photographically, is already image before it is photographed. A key combination of images in this show is a matrix of six black and white negative prints measuring 300 x 215 cm that form the image of a semi-derelict (or is it yet incomplete) church, and adjacent on a perpendicular wall, a single black and white positive print 150 x 250 cm of two bricked-up windows of a late-Victorian industrial building. What are we led to believe that we see here? In the negative print, the conditions of perception 4 are sufficiently reproduced for us to recognise the structure of the building, to distinguish ground and form, to relate some partial elements of narrative, and to recognize symbols such as the alter cross and figure of Christ, a looming crane, a traffic cone, and banks of tiered seating. We piece the image together both from the individual forms which we recognize despite the tonal reversal, and we piece the six prints together as a whole, the matrix of lines between them emphasizing our purview onto the world. While we recognise the forms at work in the image and might possibly relate the negative reversals to other figurations such as Vera Lutter’s camera obscura exposures, we cannot but avoid seeing the partialness of the image in the sponge marks of the developer that was spread by hand across the prints. 5 Derungs’ thus intervenes with our usual conception of photography as the mimetic realist vehicle sine qua non , by exposing the viewer to tonal reversal and incomplete or over developed areas of the print. We thus confront both the idiom of such image making and its raw (chemical) materiality at once in the simultaneity of the recognition of what the image pictures and the recognition that it is in the act of picturing. The church image, taken from the series “BW Negativs 2011,” thus orients us towards how we see things in the world via photographs. The single image of the bricked-up wall presents us with a completely different visuality that relates to a faciality 6 which we cannot easily escape from. We look, or rather try to look with no success, through the face of the windows, through the classic Albertian screen 7 which has already been given to us in the church matrix beside. Yet although we should be able to make more of these concealed windows because they are a positive print, because they are complete, because they approach us on a more realistic scale, reproduced at life size, we cannot. The objects pictured here withdraw from us; furthermore, they merely mock our blindness at not seeing how we look. Blocked up with quite a hint of paned glass behind, one window is blanked out with a white blind, the other simply blankly dark. The apertures look like eyes with teeth in them, or a Dogon mask, or even Man Ray’s Noire et Blanche (1926) if we want to get really perverse. The height of elegant modernist chauvinist beauty thrown against the vacuity of post-industrial decline. Derungs thus catapults us consciously into a world enfolded with and through images, but in such a way that the images themselves become objects that stand resistant to us, impervious to our gaze, indifferent. We—and indeed they—do not attempt to reach out to a real that is beyond, rather the images play in a world that is just theirs, and we can only enter that world if we too submit to their regime: tonal reversal, segmented, partial, inadequate, still, wrenched out of time. In contemplation, in the flood of the image “falling” off the wall, we too become image-object. Perhaps enough has now been said about the works, yet enough can never really be said, we know the image will always exceed the word—let’s accelerate the critique: Derungs’ work continues in a second space partially partitioned from this first room. Opposing three more “BW Negativs” which figure yet more quotidian aspects of the world is Minder’s gold spray paint and cuttlefish secretion mix: things that just shouldn’t work together do in the dialogue between stuff that Derungs and Minder have constructed. Minder makes things; Derungs makes images; together they make objects which inhabit their own world which we can approach and sensually engage with and come to grips with only on those objects’ own terms. This is best summarised by a final work made by Oliver Minder which on a third wall faces these two semi-partitioned spaces. A deep black stain about 100 X 200 cm with streak marks running down a further 2 metres hovers positioned to observe the whole work, and also to be part of this installation, too. This liminal flat suzerain lies in/out of the whole work. The stain of cuttlefish secretion resonates with Derungs’ sponge strokes on the church image; it mirrors the iris of an all-seeing eye; it combines material in situ with the situation itself. Where Minder’s other works have material and medium or substrate upon which the material is exercised, this single black hole is image which sucks everything up into itself. It draws the viewer, who must otherwise look away attentively at the floor work, and imagine horror, or smile at the ironic play of glitter. Look away at the image constructions that suggest how it is we too look to our world. See the play of thing and image in a third area. Or, finally return to the base of the pyramid that triangulates, to realise the stuff-image that unlocks it all for us. Black on white, organic on inorganic, material to substrate, that which in the falling out of one on the other, in its running down the wall simply gives form to both content and expression in one direction, and content and expression to form in another. NOTES In fact, glitter is used as associative forensic evidence: the 20,000 or so varieties are all uniquely identifiable. Joel Sternfeld, Tatorte: Bilder gegen das Vergessen (München: Schirmer/Mosel, 1996). Marc Augé, Non­places: Introduction to an Anthropology of Supermodernity trans. John Howe (London: Verso, 2006). An echo of the uneven paint strokes of light­sensitive chemicals in the paper preparations made by Henry Talbot some 170 years ago in the first sun drawings that also often pictured architectural forms. It was Talbot’s surprising discovery that where a weaker chemical solution was more thinly spread, greater light sensitivity was actualized, yet this virtual image had then to be chemically developed in a second step. Thus, Derungs unevenly finished spongings suggestively trace back to this originary technology (although his sweeps are the stains of uneven development and not those of the initial preparation of light–sensitive material). Umberto Eco, “Critique of the Image” in “Articulations of Cinematic Code” Cinematics 1, 1970. Gilles Deleuze and Felix Guattari, A Thousand Plateaus: Capitalism and Schizophrenia trans. Brian Massumi (Minneapolis: University of Minnesota Press, 2007). Geoffrey Batchen, Burning With Desire: the Conception of Photography (Cambridge, Mass: MIT Press, 1999). (shrink)

A photographer and a geographer explore where the pavement ends. Nevada's enigmatic Black Rock country, despite its apparent silence and isolation, is actually an area where natural forces are ceaselessly restless and life in many forms has endured for millennia. Its haunting landscape has been the focus of study and contemplation by scientists, explorers, outdoors aficionados, and artists. In ""Black Rock,"" photographer Peter Goin and geographer Paul F. Starrs explore this fascinating place from the viewpoints of their (...) respective disciplines. The Black Rock, a desert realm almost the size of Delaware but scarcely a hundred miles north of Reno, embraces mile-high vertical mountains and one of the earth's flattest, most barren salt pans, boiling hot springs and freezing winter cold, plants that have evolved to survive the severest drought and lush pockets of rich grasses. Its bewildering environments startle our senses with a raw physical intensity that comes through in Goin's eloquent photographs and Starrs's richly informed text. We observe the region from numerous perspectives - the Black Rock at ground level, from the skies above, in the geology below; witness the shaping roles of water, wind, and geothermal action in shaping it; and view the effects of human hands, from ancient Native Americans to nineteenth-century explorers, ranchers, and miners, up through the congregants at today's Burning Man festivals. The result is a brilliant duet of visual and literary commentary on a region of stunning paradoxes and constant change and activity, where need and curiosity encounter the daunting, implacable forces of nature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Peter Lamarque TRUTH AND ART IN IRIS MURDOCH'S THE BLACK PRINCE "Art," writes Bradley Pearson, protagonist and narrator in The Black Prince, "is concerned not just primarily but absolutely with truth." Bradley Pearson is also concerned with truth. And understandably so, as he has just taken the rap, and been imprisoned, for a murder he claims he never committed. There are two rather different concerns here (...) with truth: there is the high-minded concern of the artist and there is the more pragmatic concern of the despised and falsely convicted man writing his "apologia." The careful juxtaposition of these two appeals to truth is a central theme in The Black Prince. The bulk of the novel purports to be a first-person narration of events in the later life of Bradley Pearson. Bradley is a writer who has been waiting patiently and silently for the inspiration, "the dark blaze," to produce a great work of art. This "dark blaze" eventually shows itself as the "black Eros," in a passionate but short-lived love affair with the youngJulian Baffin. Bradley is reflecting on these events from his prison cell, guided by his mentor and fellow prisoner, the "editor" P. Loxias (a witty reference to Apollo, god of truth). He sees his art and his love as stemming "from the same source" (p. 172) and, although sensitive to his shortcomings as an artist, he believes that through a divine inspiration he has attained a kind of Platonic tranquillity in the presence of truth and self-knowledge. However, through the device of "postscripts," purportedly written by other characters, we are presented with another picture of him rather different from his own. His former friends, more down to earth, though variously self-interested, depict him as a pitiful, even contemptible, charlatan lost in fantasy and delusion and a suitable case for psychoanalysis. What, then, is the real Bradley Pearson? Is he the pathetic, fantasy-ridden creature of the "postscripts"? Or is he, as he thinks, the great artist inspired by the gods and by Eros who has seen the revelation of truth? 209 2 1 0 Philosophy and Literature By forcing us to raise these questions about the novel, Iris Murdoch, I suggest, is inviting us to reflect on, and relate, two concerns we might have with truth in works of fiction. The first is with truth internal to the novel, truth-within-fiction, which informs us about the fictional characters and events. In The Black Prince, our attention is focused on unravelling and assessing the "truth" of Bradley's account. The second is with truth proper, as it might be revealed through fiction. This is truth not about the fictional world but about the non-fictional real world. It is often maintained that novels can instruct us in acquiring knowledge of the world. This, I suggest, is the type of truth that Bradley, so grandly and solemnly, and frequently, identifies with art. The nature of such truth is the main topic of this article. II What sense can we make of Bradley's repeated claims to the effect that "good art speaks truth" (p. xi)? One answer, reflecting an obvious feature of literary works, is that propositions about the world are often expressed, explicitly, within a fictional context; they might be uttered by one of the characters or directly by the author. The Black Prince offers many such propositions, some of which, on the nature of art, I shall be considering in detail. Examples are plentiful. Thus, Bradley remarks on marriage: "People who boast of happy marriages are, I submit, usually self-deceivers, if not actually liars. The human soul is not framed for continued proximity..." (p. 64). He meditates on love: "The foreverness of real love is one of the reasons why even unrequited love is a source of joy" (pp. 173-74) and discusses jealousy (p. 207). He also reflects on human consciousness and responsibility (p. 155) and on selfishness and goodness: "The burden of genuine goodness is instinctively appreciated as intolerable, and a desire for it would put out of focus the other and ordinary wishes by which one lives" (p. 149). Such explicit propositions carry us beyond the... (shrink)

In 2014, the first three volumes of Heidegger’s Black Notebooks—the personal and philosophical notebooks that he kept during the war years—were published in Germany. These notebooks provide the first textual evidence of anti-Semitism in Heidegger’s philosophy, not simply in passing remarks, but as incorporated into his philosophical and political thinking itself. In Heidegger and the Myth of a Jewish World Conspiracy, Peter Trawny, the editor of those notebooks, offers the first evaluation of Heidegger’s philosophical project in light of (...) the Black Notebooks. While Heidegger’s affiliation with National Socialism is well known, the anti-Semitic dimension of that engagement could not be fully told until now. Trawny traces Heidegger’s development of a grand “narrative” of the history of being, the “being-historical thinking” at the center of Heidegger’s work after Being and Time. Two of the protagonists of this narrative are well known to Heidegger’s readers: the Greeks and the Germans. The world-historical antagonist of this narrative, however, has remained hitherto undisclosed: the Jews, or, more specifically, “world Judaism.” As Trawny shows, world Judaism emerges as a racialized, destructive, and technological threat to the German homeland, indeed, to any homeland whatsoever. Trawny pinpoints recurrent, anti-Semitic themes in the Notebooks, including Heidegger’s adoption of crude cultural stereotypes, his assigning of racial reasons to philosophical decisions, his endorsement of a Jewish “world conspiracy,” and his first published remarks on the extermination camps and gas chambers. Trawny concludes with a thoughtful meditation on how Heidegger’s achievements might still be valued despite these horrifying facets. Unflinching and systematic, this is one of the most important assessments of one of the most important philosophers in our history. (shrink)

Martin Heidegger is widely regarded as one of the most influential philosophers of the twentieth-century, and his seminal text Being and Time is considered one of the most significant texts in contemporary philosophy. Yet his name has also been mired in controversy because of his affiliations with the Nazi regime, his failure to criticize its genocidal politics and his subsequent silence about the holocaust. Now, according to Heidegger's wishes, and to complete the publication of his multi-volume Complete Works, his highly (...) controversial and secret 'Black Notebooks' have been released to the public. These notebooks reveal the extent to which Heidegger's 'personal Nazism' was neither incidental nor opportunistic, but part of his philosophical ethos. So, why would Heidegger, far from destroying them, allow these notebooks, which contain examples of this extreme thinking, to be published? In this revealing new book, Peter Trawny, editor of Heidegger's complete works in German, confronts these questions and, by way of a compelling study of his theoretical work, shows that Heidegger was committed to a conception of freedom that is only beholden to the judgement of the history of being; that is, that to be free means to be free from the prejudices, norms, or mores of one's time. Whoever thinks the truth of being freely exposes themselves to the danger of epochal errancy. For this reason, Heidegger's decision to publish his notebooks, including their anti-Jewish passages, was an exercise of this anarchical freedom. In the course of a wide-ranging discussion of Heidegger's views on truth, ethics, the truth of being, tragedy and his relationship to other figures such as Nietzsche and Schmitt, Trawny provides a compelling argument for why Heidegger wanted the explosive material in his Black Notebooks to be published, whilst also offering an original and provocative interpretation of Heidegger's work. (shrink)

ArgumentIn 1867 Edouard Manet painted the execution of the Mexican emperor Maximilian of Habsburg. Manet broke with the classical tradition of history painting, for he depicted the actual shooting itself instead of choosing moments before or after the execution. Thus, the painting refers to a moment that in real time would have been far too brief to be perceptible. Manet presented a portrait of living actors whose execution has already taken place. This depiction of the imperceptible invites comparison to contemporaneous (...) photographs of extremely short periods of time: attempts to capture flying cannon balls, to take flashlight portraits of patients that would undermine their bodies' reaction time, to visualize the successive stages of a drop falling into water. Like Manet these scientists referred to an “optical unconscious”. A closer look at their work reveals that they dealt with a space of knowledge that went beyond the classical dichotomy between objectivity and imagination, scientific and artistic pictures. (shrink)

This book debates competing approaches to ethical decision-making for members of the armed forces of liberal-democratic states. In this volume, four prominent thinkers propose and debate competing approaches to ethical decision-making for military personnel. Deane-Peter Baker presents and expounds the 'Ethical Triangulation' model, an ethical decision-making method he has employed through much of his career as an applied military ethicist. Rufus Black advocates for a natural law-based approach, one which has heavily influenced the framework formally adopted by the (...) Australian Defence Force. Roger Herbert outlines the 'Moral Deliberation Roadmap', the moral reasoning framework recently adopted by the US Naval Academy. Iain King then sets out a model of quasi-utilitarian decision-making developed in several post-conflict settings and refined at the UK's Royal College of Defence Studies. After the opening chapters in which each author outlines their favoured decision-making approach, the four contributors then evaluate each other's proposals, often critically. Philosopher David Whetham offers some concluding thoughts in which he summarises areas of agreement between the authors, identifies key areas of difference, and suggests directions for future research. This book will be of great interest to students of military ethics, the ethics of war, moral philosophy, and International Relations, as well as military professionals. (shrink)

In the following, I concentrate on the nefarious, harmful and unethical dimensions emerging only slowly as the rather new phenomenon of cryptocurrencies and blockchain at large become visible only gradually. For the positive and pro-social use of cryptocurrencies please refer to the article of Claus Dierksmeier in this issue of HMJ. As there are many different dimensions still unknown, I concentrate on the ethical issues emerging from the secretive nature of cryptocurrencies, less on the environmental carbon footprint or economic implications (...) of volatility also discussed in the literature. Among the most critical issues are black market transactions of weapons used in terrorist attacks, drugs, or childpornography. Additionally, cryptocurrencies are more and more found in blackmailing people and as payment for ransom-ware and other computer viruses. Money laundering also is on the rise via cryptocurrencies. I argue that the nefarious use of cryptocurrencies threatens the prosocial potential of cryptocurrencies and in general makes criminal activity easier for criminals and less likely to track down by legal authorities. In closing, I discuss current debates about emerging regulation presenting an overview of some jurisdictions and the option of regulated central bank issues cryptocurrencies. (shrink)

The notion of time emerged from the observation of celestial phenomena and the construction of calendars. Its development towards ever higher precision went along with qualitative changes, and was shaped by cultural predisposition. With Einstein's theories of relativity at the lastest, special and general, the nature of time was defined in terms of the metric of a four-dimensional space-time which in turn depends on the distribution of matter. However, it should not be ignored that these theories are local in character (...) and that any projection onto the universe as a whole contains unchecked assumptions. This leaves room for a variety of models. This article promotes the picture of a directed time in a matter-filled space with tree structure, branches developing in the neighborhood of dense mass distributions and possibly ending in black holes. German Der Zeitbegriff der Physik hat sich aus Anfängen in der Himmelsbeobachtung und der Konstruktion von Kalendern nicht nur zu immer höherer Präzision entwickelt, sondern er hat mannigfache qualitative Veränderungen erfahren. Dabei hat es immer auch kulturell bedingte Alternativen gegeben. Spätestens mit Einsteins beiden Relativitätstheorien, der speziellen und der allgemeinen, wurde die Natur der Zeit durch die Metrik der vierdimensionalen Raumzeit definiert, die ihrerseits aufs Engste mit der Materieverteilung zusammenhängt. Es sollte aber nicht vergessen werden, dass diese Theorien einen lokalen Charakter haben und jede Projektion auf den Kosmos als Ganzes ungeprüfte Annahmen enthält. Das lässt Raum für unterschiedliche Modelle. Hier wird eine gerichtete Zeit mit Baumstruktur favorisiert, deren Zweige in je einem schwarzen Loch ihr Ende finden. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 11.4 (2001) 391-400 [Access article in PDF] Bioethics Inside the Beltway A Shooting on Capitol Hill: "The Ruby Satellite System," Mental Illness, and Failure of the American Legal System Peter J. Cohen On 24 July 1998, Russell Eugene Weston, Jr., stormed the United States Capitol, forced his way through a security checkpoint, bypassed a metal detector, and entered the office complex of Representative (...) Tom DeLay (R-TX), the House Majority Whip (Weil 1998). During this period of terror, he shot and killed two officers of the Capitol Police and seriously wounded another as they attempted to end his foray. 1 Weston was severely wounded by several Capital police officers and taken into custody. After being treated for his injuries, he was incarcerated in the District of Columbia. 2On 5 May 1999, Weston was transferred to the Federal Correctional Institute in Butner, North Carolina (United States v. Weston, 69 F. Supp. 2d 99 (D.D.C. 1999), 103), where he remains to this day. He has neither been brought to trial nor received appropriate psychiatric therapy, but continues to be warehoused "in solitary confinement under constant observation... in a psychotic state (United States v. Weston, 255 F.3d 873; LEXIS 16851 (U.S. App. 2001b), 3-4 [LEXIS]). I will briefly detail the legal events responsible for this mad situation and suggest alternative actions that should have been taken at the very onset of the case. Early Chronology Although overtly the crime appeared to be senseless and without any conceivable motivation, Weston believed that his acts were justified and necessary. The story he told to the court-appointed forensic psychiatrist, Sally C. Johnson, M.D., 3 was that while working for NASA in the early 1980s, he had developed a "Ruby Satellite System," a powerful machine that could reverse time. With access to this system, nothing was permanent--the user could simply reverse time and exit from the current scene. However, the "System" was now controlled by cannibals who were developing and spreading "Black Heva," the deadliest disease known to [End Page 391] humankind, similar to HIV or the plague. It resulted from human corpses rotting and turning black. Time was running out, and Weston believed he had to return to override the "Ruby Satellite System" in the Capitol so that he could stem the spread of "Black Heva" and prevent world calamity. He believed that if he were tried, convicted, and even executed, he could simply time reverse himself, place himself in a safe within the Capitol, and subsequently resume his life at whatever point he chose (United States v. Weston, 206 F.3d 9 (D.C. Cir. 2000), 19-20).On 22 April 1999, the district court accepted Dr. Johnson's diagnosis that Weston suffered from paranoid schizophrenia, the symptoms of which were so severe that he would be incapable of understanding the proceedings against him and of assisting in his own defense. On this basis, the court had no difficulty in finding him incompetent to stand trial (U.S. v. Weston 1999, 102).At Weston's initial hearing, Dr. Johnson had testified that medication would be efficacious in treating Weston's delusions: [T]he standard of care in someone suffering from this type of symptom picture would be to treat them with medication.... [T]here is a good likelihood that he'll have a positive response, positive in the sense that his symptoms will diminish in response to treatment.... The potential benefits to treating the defendant far outweigh the risks.... (U.S. v. Weston 1999, 108) The defense presented no expert testimony refuting Dr. Johnson's presentation. The district court then ordered that Weston begin receiving medication in order to render him nondangerous and competent for trial (U.S. v. Weston 1999, 108-9). The Problem Weston refused to be medicated! 4 He has continued to claim that the administration of antipsychotic drugs against his will would violate his Fifth Amendment due process liberty interest in avoiding unwanted bodily intrusion and implicated... (shrink)

This controversial book is an impassioned African response to the racial stereotyping of African people and people of African descent by prominent white scholars. It highlights how the media contributes to the growth of racist ideas, particularly in reporting current events in Africa, and demonstrates how some of America’s most revered intellectuals cloak racist ideologies in ostensibly egalitarian discourses. The author seeks to rewrite the image of 'race' in order to show the damage racism can cause serious scholarship.