A number of business ethics theorist have highlighted the potential for economics to contribute to the advancement of business ethics. In response, this article emphasizes the insights of a particular area of economics that could provide such expansion and development. Subjectivist economics may yet provide an effective analytical framework through which to investigate and evaluate business decision making, and hence the ethics of business. Integrating the concepts of uncertainty, time and imagination, subjectivist economic theory contributes to a greater appreciation of (...) economic choice and behaviour. While such notions are often effectively omitted from modern economic analysis to aid formal representation, business ethicists could utilize such concepts more effectively than their colleagues in economic theory. Significantly, the well-known economists who have championed the insights of subjectivist economics have themselves recommended its extension to an analysis of ethics. (shrink)

Sponges branch basally in the metazoan phylogenetic tree and are believed to be composed of four distinct lineages with still uncertain relationships. Indeed, some molecular studies propose that Homoscleromorpha may be a fourth Sponge lineage, distinct from Demospongiae in which they were traditionally classified. They harbour many features that distinguish them from other sponges and are more evocative of those of the eumetazoans. They are notably the only sponges to possess a basement membrane with collagen IV and specialized cell‐junctions, thus (...) possessing true epithelia. Among Homoscleromorphs, we have chosen Oscarella lobularis as a model species. This common and easily accessible sponge is characterized by relatively simple histology and cell composition, absence of skeleton, and strongly pronounced epithelial structure. In this review, we explore the specific features that make O. lobularis a promising homoscleromorph sponge model for evolutionary and developmental researches. (shrink)

John Shelby Spong has recently advocated belief in a ‘God beyond theism’. While rejecting traditional theism, he also distinguishes his position from atheism. He suggests that there is a divine reality, which may be described as ‘being itself’ and which reveals itself in our commitment to unconditional ideals. The paper argues that this notion of God is vacuous, the product of a confused belief that ‘being’ is a characteristic of individual beings which may be universalized. Belief in such a (...) God is also unmotivated, since there exist naturalistic explanations of the phenomena to which the Bishop appeals. (shrink)

Resenha do livro de John Shelby Spong, Um novo cristianismo para um novo mundo.

Journal of Religious Ethics, Volume 49, Issue 2, Page 382-411, June 2021.

The origin and early evolution of animals marks an important event in life's history. This event is historically associated with an important variable in Earth history – oxygen. One view has it that an increase in oceanic oxygen levels at the end of the Neoproterozoic Era (roughly 600 million years ago) allowed animals to become large and leave fossils. How important was oxygen for the process of early animal evolution? New data show that some modern sponges can survive for several (...) weeks at low oxygen levels. Many groups of animals have mechanisms to cope with low oxygen or anoxia, and very often, mitochondria – organelles usually associated with oxygen – are involved in anaerobic energy metabolism in animals. It is a good time to refresh our memory about the anaerobic capacities of mitochondria in modern animals and how that might relate to the ecology of early metazoans. (shrink)

This chapter examines how the borderline cases pointed out by English naturalists and philosophers in the second half of the seventeenth-century call into doubt the common notion of life as a vegetative power. In the first part of this chapter, I focus on Nehemiah Grew’s notions of life and living beings by comparing his plant anatomy, in which he examines the cases of sponges and corals, with his physico-theology. In the second part, I confront Grew’s views on life to those (...) of John Ray and Ralph Cudworth. My aim is threefold. First, I want to show that there was then no agreement on what a “vital phenomenon” is. Second, I want to emphasize the fact that what we would classify today as physical phenomena, such as gravitation, were then regarded as living phenomena. Third, and accordingly, I would like to challenge the view that the English naturalists and philosophers who then developed a physico-theology simply used empirical vital phenomena in order to refute Descartes’ metaphysics. In my view, there were no such things as “empirical vital phenomena.” Indeed, the very identification and description of the phenomena considered as “vital” was a matter of interpretation, and those different authors did not share the same set of assumptions regarding what kinds of beings are alive. At the very least, they do not share the set of assumptions that define what we regard as “vital.”. (shrink)

Sponges are important but often‐neglected organisms. The absence of classical animal traits (nerves, digestive tract, and muscles) makes sponges challenging for non‐specialists to work with and has delayed getting high quality genomic data compared to other invertebrates. Yet analyses of sponge genomes and transcriptomes currently available have radically changed our understanding of animal evolution. Sponges are of prime evolutionary importance as one of the best candidates to form the sister group of all other animals, and genomic data are essential to (...) understand the mechanisms that control animal evolution and diversity. Here we review the most significant outcomes of current genomic and transcriptomic analyses of sponges, and discuss limitations and future directions of sponge transcriptomic and genomic studies. (shrink)

The rainwater system is an important part of the urban infrastructure as well as a key hub for maintaining the dynamic operation of the city and a clear indicator of the level of urban development. With the rapid development of urbanization, the hardened area of roads and residential areas has increased, and the construction of rainwater systems is so far insufficient, causing the urban waterlogging and water pollution problems to become increasingly serious. Accordingly, combined with the “sponge city” construction concept (...) of the six-character policy of “seepage, retention, storage, use, purification, and drainage,” we propose to adopt measures for the local conditions and to reasonably select sponge city engineering measures to increase rainwater utilization, effectively reduce rainwater runoff, and alleviate the city waterlogging and water pollution problems. We used the analytic hierarchy process to evaluate the effect of a sponge city “pocket park” rainwater system in Chaohu City before and after the transformation. The results showed that the pocket park after the renovation was well controlled, the waterlogging was basically eliminated, the water quality pollution was clearly improved, and the ecological environment was significantly improved. (shrink)

Although Caenorhabditis and Drosophila proved invaluable in unraveling the molecular mechanisms of apoptosis, it is now clear that these animals are of limited value for understanding the evolution of apoptotic systems. Whereas data from these invertebrates led to the assumption that the extrinsic apoptotic pathway is restricted to vertebrates, recent data from cnidarians and sponges indicate that this pathway predates bilaterian origins. Here we review the phylogenetic distribution of caspase‐8, the initiator caspase of the extrinsic apoptotic pathway, its paralogs and (...) other components of the network. The ancestral caspase‐8 gave rise to four paralogs early in vertebrate evolution, and these have been maintained in many tetrapods. However, eutherians have lost caspase‐18 and myomorph rodents have lost caspase‐10, these losses suggesting functional redundancy amongst caspase‐8 paralogs. The apoptotic network of the eumetazoan ancestor appears to have been complex and vertebrate like, and is only now being revealed by studying simple animals. (shrink)

Ecological developmental biology (eco‐devo) explores the mechanistic relationships between the processes of individual development and environmental factors. Recent studies imply that some of these relationships have deep evolutionary origins, and may even pre‐date the divergences of the simplest extant animals, including cnidarians and sponges. Development of these early diverging metazoans is often sensitive to environmental factors, and these interactions occur in the context of conserved signaling pathways and mechanisms of tissue homeostasis whose detailed molecular logic remain elusive. Efficient methods for (...) transgenesis in cnidarians together with the ease of experimental manipulation in cnidarians and sponges make them ideal models for understanding causal relationships between environmental factors and developmental mechanisms. Here, we identify major questions at the interface between animal evolution and development and outline a road map for research aimed at identifying the mechanisms that link environmental factors to developmental mechanisms in early diverging metazoans.Also watch the Video Abstract. (shrink)

The catastrophe of the eye -- A new view of seeing -- Applying the new view of seeing -- The illusion of seeing everything -- Some contentious points -- Towards consciousness -- Types of consciousness -- Phenomenal consciousness, raw feel, and why they're hard -- Squeeze a sponge, drive a porsche : a sensorimotor account of feel -- Consciously experiencing a feel -- The sensorimotor approach to color -- Sensory substitution -- The localization of touch -- The phenomenality plot -- (...) Consciousness. (shrink)

Godfrey-Smith’s environmental complexity thesis is most often applied to multicellular animals and the complexity of their macroscopic environments to explain how cognition evolved. We think that the ECT may be less suited to explain the origins of the animal bodily organization, including this organization’s potentiality for dealing with complex macroscopic environments. We argue that acquiring the fundamental sensorimotor features of the animal body may be better explained as a consequence of dealing with internal bodily—rather than environmental complexity. To press and (...) elucidate this option, we develop the notion of an animal sensorimotor organization that derives from an internal coordination account for the evolution of early nervous systems. The ASMO notion is a reply to the question how a collection of single cells can become integrated such that the resulting multicellular organization becomes sensitive to and can manipulate macroscopic features of both the animal body and its environment. In this account, epithelial contractile tissues play the central role in the organization behind complex animal bodies. In this paper, we relate the ASMO concept to recent work on epithelia, which provides empirical evidence that supports central assumptions behind the ASMO notion. Second, we discuss to what extent the notion applies to basic animal architectures, exemplified by sponges and jellyfish. We conclude that the features exhibited by the ASMO are plausibly explained by internal constraints acting on and within this multicellular organization, providing a challenge for the role the ECT plays in this context. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Individuals with trypophobia have an aversion towards clusters of roughly circular shapes, such as those on a sponge or the bubbles on a cup of coffee. It is unclear why the condition exists, given the harmless nature of typical eliciting stimuli. We suggest that aversion to clusters is an evolutionarily prepared response towards a class of stimuli that resemble cues to the presence of parasites and infectious disease. Trypophobia may be an exaggerated and overgeneralised version of this normally adaptive response. (...) Consistent with this explanation, individuals with trypophobia, as well as comparison individuals, reported aversion towards disease-relevant cluster stimuli, but only the trypophobic group reported aversion towards objectively harmless cluster stimuli that had no relevance to disease. For both groups the level of aversion reported was predicted uniquely by a measure of disgust sensitivity. Scaled emotion ratings and open-ended responses revealed that the aversive response was predominantly based on the disease avoidance emotion, disgust. Many open-ended responses also described skin sensations. These findings support the proposal that individuals with trypophobia primarily perceive cluster stimuli as cues to ectoparasites and skin-transmitted pathogens. (shrink)

Airline pilots are attributed ultimate responsibility and final authority over their aircraft to ensure the safety and well-being of all its occupants. Yet, with the advent of automation technologies, a dissonance has emerged in that pilots have lost their actual decision-making authority as well as their ability to act in an adequate fashion towards meeting their responsibilities when unexpected circumstances or emergencies occur. Across the literature in human factor studies, we show how automated algorithmic technologies have wrestled control away from (...) airline pilots. The inter-related ethical and pragmatic consequences resulting from such a dissonance are presented. This includes pilots serving as ‘legal sponges’, being caught in ‘moral crumple zones’, as well as real impacts on safety and well-being of passengers and crew. One potential avenue presented in the literature involves a redistribution of responsibility towards all agential entities within the cockpit system. We discuss the possible pitfalls to this approach, including the reinforcement of pilot skills erosion as well as technology’s own limitations in adaptively dealing with unexpected circumstances. We justify our position by showing how algorithmic technology’s representational frames mask or severely limit the pilots’ natural reflex to ‘practically cope’ and gain an ‘optimal grip’ with a given context/situation at hand. Here, we present the concept of relevant or meaningful control, which pilots, when allowed to develop their natural brain-body reflexes, gain across gradual mastery of the aircraft. Finally, we propose a socio-technical design approach in which pilots can re-appropriate full human meaningful control of the aircraft, thus allowing them to meet their attributed responsibilities. (shrink)

All animals have evolved solutions to manage their genomes, enabling the efficient organization of meters of DNA strands in the nucleus and allowing for nuanced regulation of gene expression while keeping transposable elements suppressed. Epigenetic modifications are central to accomplishing all these. Recent advances in sequencing technologies and the development of techniques that profile epigenetic marks and chromatin accessibility using reagents that can be used in any species has catapulted epigenomic studies in diverse animal species, shedding light on the multitude (...) of epigenomic mechanisms utilized across the evolutionary tree. Now, comparative epigenomics is a rapidly growing field that is uncovering mechanistic aspects of epigenetic modifications and chromatin organization in non‐model invertebrates, ranging from octopus to sponges. This review puts recent discoveries in the epigenetics of non‐model invertebrates in historical context, and describes new insight into the patterning and functions of DNA methylation and other highly conserved epigenetic modifications. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Metazoa: Animal Life and the Birth of the Mind by Peter Godfrey-SmithMichael BrownMetazoa: Animal Life and the Birth of the Mind BY PETER GODFREY-SMITH New York: Farrar, Straus and Giroux, 2020Carrying forward the project he began in Other Minds (2016), Peter Godfrey-Smith aims in Metazoa (2020) to cast light on the problem of consciousness by inviting meditation on the minds of our distant deep-sea cousins. To elaborate on (...) the Nagelian question of what it’s like to be a bat, he asks what it is like to be a crab, a shrimp, or a cephalopod. One will not find here the dense and fine-grain argumentation that is characteristic of academic monographs, but instead a freer exploration of ideas ranging from marine biology, to philosophy of mind, to animal psychology. Godfrey-Smith’s more modest goal is not to argue definitively for a single viewpoint, but to acclimate the reader to the challenging conceptual-shift he calls gradualism—namely, “the idea that in evolution, minds and experience come slowly into view, rather than appearing in a single move” (262).In the place of a barrage of observational data or dense philosophical argumentation, Godfrey-Smith paints a rich picture of the underwater environment, describes his personal interactions with the creatures that live there, and invites the reader to reflect on their activities and the cognition behind them. In this capacity, he walks a fine line—not anthropomorphizing the creatures, but presenting their actions as mentally agnostic as possible—to let the reader consider how much mental unity there might be, or how much self-or other-awareness may or may [End Page 130] not be present behind the beady mollusk eyes. Nevertheless, he strives to acquaint us with creatures we otherwise might not engage with. The several drawings of the animals and settings Godfrey-Smith discusses throughout the book aid this goal, as well as eight pages of vibrant photographs featuring several of the book’s “characters.”Because minds are things formed over time, Godfrey-Smith takes us through the first fossil evidence of animals in the Ediacaran, the appearance of shrimp-like ancestors in the Cambrian, the vast increase in size of the Ordovician, and the appearance of the octopus and dinosaurs of the Mesozoic. Yet, minds also develop under pressure and conditions of their environment, so Godfrey-Smith takes us on his dives to consider what environmental conditions led to the development of these submarine minds. As such, the text inventively winds its way across dimensions of space, time, and a variety of academic disciplines.In advancing the gradualist thesis, Godfrey-Smith entertains the Aristotelian notion of continuity between life and mind, as opposed to Descartes’ firm dualism. In this way, as noted in chapter 2, when a cell establishes its boundaries and controls the traffic of ions in and out, it becomes a kind of self. This leads him to a discussion of the glass sponge, multicellular but structurally simple, and yet a “collector and curator of biological light,” referring to its ability to channel light like a fiber optic cable (47). Chapter 3 considers the cnidarians—corals, in particular—in which the first signs of animal action appear. This action, like grasping, requires the appearance of a nervous system, and this increased complexity seems to give rise to agency, and more particularly, subjecthood. Chapter 4 invites us to consider the crab to guide reflections on early animal sensation. Of particular interest to this investigation are signs of feeling pain, such as the release of painkillers and the tending of wounds. Surprisingly, scientists find such behavior in shrimp. Chapter 5 returns to more philosophical considerations, attempting to stitch up false dichotomies of self-awareness and other-awareness, and activity and passivity, to name a couple. This sets the stage for chapter 6’s examination of the mysterious mix of mental unity and disunity in the octopus. With a decentralized nervous system, each arm seems to have a mind of its own, yet the creature nevertheless acts to unified purposes. Godfrey-Smith considers the resemblance to split-brain cases in humans, and the copresence of unified and disunified experience in... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Chance to CutBruce H. CampbellMy gloved hand reaches for progressively sharper surgical instruments. The prior radiation therapy and recurrent cancer [End Page E3] have made his neck tissues as stiff and hard as an old block of wood; everything appears too dull and feels too dry under the bright operating room lights. I push, dissect, urge, divide, prod, and spread with little effect.The nursing staff keeps to its (...) routine—completing computer entries, retrieving supplies, counting sponges—only intermittently aware that things are not going well at the point of attack. Nondescript music plays softly and the anesthesia machine continues to emit its gentle sounds. The junior resident—assisting me with the first of many neck dissections she will see during her five years of training—grips the retractor as she has been told and dabs the wound periodically to clear any blood or fluid.I glance up to recheck the CT scan. It confirms that this man’s recurrent cancer is just below the next layer of neck muscles. There are also some large blood vessels and major nerves nearby. I am confident, though, that I will be able to expose the mass, protect all of the critical structures, and safely remove the cancer.Curing cancer with surgery is no small feat, mind you. Cancer is, after all, a molecular disease not easily confined to an obvious lump, even though we sometimes refer to a malignant mass being “like a walnut” or “as hard and round as a marble.” The actual disease rests deep inside each cancer cell where the genetic code—the DNA—makes mistake–after–mistake. If cancer is to be cured with a surgical procedure, the surgeon must remove every last cell that is capable of making the same nonsensical, life–threatening error. Given Science’s rudimentary knowledge of cancer cell dynamics and signaling, it’s a miracle that surgery ever works. Yet, we continue to try. And we succeed just often enough to keep on trying.I rearrange the retractors and alter my approach. My mentors would have known what to do next, I imagine. My training included time well–spent with brilliant and technically–gifted surgeons. How would they have approached this case? Their experience and instincts might have told them to open the wound more widely, work the lateral and deep margins first, or position the instruments differently.Perhaps, one of my mentors would have attacked this man’s tumor using the same approach I am attempting but would have known exactly where to exploit some area of weakness that I cannot locate. A few swift, confident moves and he would have held the mass in his hands. “That’s it. We’re done,” he would have said.I met this patient several months ago when his cancer was first discovered and have seen him throughout his course of treatment. Recently, his daughter had accompanied him to the office to review his options. “Treatment has been rugged, Doc,” he reminded me. “The cancer’s still there and they said I can’t get any more radiation. Chemo would only prolong things. I don’t really want surgery, but what choice do I have if I want to be cured?”“Supportive care is an option, but the only curative approach is surgery.”“Well, I’m not ready to quit yet, Doc. I got grand-kids, y’know. I want to watch them grow up.” He nodded to his daughter. “I’m in charge of spoiling her little boys.”The daughter smiled. We crowded around the computer screen to look at the scans. I showed them how the tumor was invading and destroying surrounding structures. I described the surgery and the risks.“There are many things I will not know about your tumor until we are actually in the operating room,” I explained. Surgery in the setting of recurrent disease involves a series of on–the–spot decisions and course corrections. The odds of success are unknowable. “Sometimes, the only way to find out if we can remove the cancer is simply to try.”He took a deep breath and looked at his daughter. “Well then, Doc, if surgery is the only... (shrink)

It is generally believed, that when the surface/volume ratio is high, fractal structure is expected to exist. The branched fractal structure of the lung has been cited as a classical example of this statement. In this short paper I would like to demonstrate that an alternative lung structure (namely sponge-like fractal) is at least as good as, or even better than the branched one, concerning this ratio, therefore, the cause of the lung''s fractality lies elsewhere.

This paper presents experimental evidence in support of the existence of metalinguistic moral encroachment: the influence of the moral consequences of using a word with a given content upon the content of that word. The evidence collected implies that the effect of moral factors upon content is weak. For instance, by changing the moral consequences of the sentence's truth, it was possible to shift judgements about the truth of the sentence "that's a lot of cake", when used to describe two (...) sponge cakes. Similarly, by changing the moral consequences of the sentence's truth, it was possible to shift judgements about the truth of the sentence "the children's hospital is old", when used to describe a 40 year old hospital. The implications of this for Esa Díaz-León’s recent attempt to show how Jennifer Saul can legitimately reject an empirical semantic hypothesis on political grounds are described. Directions for future research are also described. (shrink)

First, a comment on a pessimistic note: Salmon says we can't be sure there is any such thing as inductive inference: in demanding that some explanations have the form of correct inductive inferences, “we may be laying down a requirement which cannot be fulfilled.” To doubt that we can fulfill that requirement is to doubt that we can formalize inductive logic. It may be true, but why begin the fight by throwing in the sponge? It is also true that there (...) are difficulties involved in formalizing acceptance rules for inductive conclusions, but these difficulties may be overcome. It is false to claim that we ‘cannot claim to know exactly’ what these acceptance rules are. Only two years ago I did just that. It was true that my claim was shown to be erroneous a year later, but that fate can befall almost any worthwhile claim. (shrink)

Metazoa are one of the great monophyletic groups of organisms. They comprise several major groups of organisms readily recognizable based on their anatomy. These major groups include the Bilateria (animals with bilateral symmetry), Cnidaria (jellyfish, corals and other closely related animals), Porifera (sponges), Ctenophores (comb jellies) and a phylum currently made up of a single species, the Placozoa. Attempts to systematize the relationships of these major groups as well as to determine relationships within the groups have been made for nearly (...) two centuries. Many of the attempts have led to frustration, because of a lack of resolution between and within groups. Other attempts have led to “a new animal phylogeny”. Now, a study by Dunn et al.,1 using the expresssed sequence tag (EST) approach to obtaining high‐throughput large phylogenetic matrices, presents an “even newer” animal phylogeny. There are two major aspects of this study that should be of interest to the general biological community. First, the methods used by the authors to generate their phylogenetic hypotheses call for close examination. Second, the relationships of animal taxa in their resultant trees also prompt further discussion. BioEssays 30:1043–1047, 2008. © 2008 Wiley Periodicals, Inc. (shrink)

Recent studies challenge the classical view that the origin of animal life was primarily controlled by atmospheric oxygen levels. For example, some modern sponges, representing early‐branching animals, can live under 200 times less oxygen than currently present in the atmosphere – levels commonly thought to have been maintained prior to their origination. Furthermore, it is increasingly argued that the earliest animals, which likely lived in low oxygen environments, played an active role in constructing the well‐oxygenated conditions typical of the modern (...) oceans. Therefore, while oxygen is still relevant to understanding early animal evolution, the relationships between the two might be less straightforward than previously thought. (shrink)

Modern society faces major environmental problems, but there are many difficulties in studying the nature–human relationship from an integral psychosocial perspective. We propose the ecomind sponge conceptual framework, based on the mindsponge theory of information processing. We present a systematic method to examine the nature–human relationship with conceptual frameworks of system boundaries, selective exchange, and adaptive optimization. The theoretical mechanisms were constructed based on principles and new evidence in natural sciences. The core mechanism of ecomindsponge is the subjective sphere of (...) influence, which is the limited mental representation of information received from and processed based on the objective sphere of influence–actual interactions in reality. The subjective sphere is the sum of two sub-spheres: influencing (proactive) and being influenced (reactive). Maladaptation in thinking and behavior of the mind as an information collection-cum-processor results from the deviation of the subjective sphere from reality, which includes two main types: “stupidity” and “delusion”. Using Bayesian Mindsponge Framework (BMF) analytics on a dataset of 535 urban residents, we provide consistent statistical evidence on the proposed properties of subjective spheres. The dynamic framework of ecomindsponge can be used flexibly and practically for environmental research as well as other psychosocial fields. (shrink)

: In Parts of Animals II.10, 655b37-656a8, Aristotle tacitly identifies a group of animals which partake of “ living only”. This paper is an attempt to understand the nature of this group. It is argued that it is possible to make sense of this designation if we consider that some animals, which are solely endowed with the contact senses, do nothing more than mere immediate nutrition by their perceptive nature and have no other action. It is concluded that some of (...) Aristotle ’s merely living animals would be certain kinds of sponge, certain sea anemones and the ascidians among testacea. (shrink)

Multitude of strangely beautiful natural forms: Radiolaria, Foraminifera, Ciliata, diatoms, calcareous sponges, Siphonophora, star corals, starfishes, Protozoa, flagellates, brown seaweed, jellyfishes, sea-lilies, moss animals, sea-urchins, glass sponges, leptomedusae, horny corals, trunkfishes, true sea slugs, anthomedusae horseshoe crabs, sea-cucumbers, octopuses, bats, orchids, sea wasps, seahorse, a dragonfish, a frogfish, much more. All images black-and-white.

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)

Graphical AbstractThis recent meeting covered non-bilaterian (e.g., cnidarians, ctenophores, and sponges) animals broadly, but with emphasis in four areas: 1) New genomic resources and tools for functional studies, 2) advances in developmental and regeneration studies, 3) the evolution and function of nervous systems, 4) symbiosis and the holobiome.

Understanding the events that led to the emergence of the bilaterians is a daunting task, impaired by the huge evolutionary gap separating us from the pre‐Cambrian. During gastrulation, the expression of the transcription factor Brachyury is remarkably well conserved around the blastopore of bilaterians and cnidarians. Only the bilaterian Brachyury proteins, however, share a distinctive N‐terminal sequence not found in outgroups such as cnidarians, sponges or placozoans. We now know that, in vertebrates, this N‐terminal domain confers specific transcriptional activity, by (...) recruiting Smad1, the first identified co‐factor for Brachyury. Smad1 is an effector of the BMP pathway, and has been isolated in bilaterians and cnidarians. Here, I propose that the protein–protein interaction between Brachyury and Smad1 represents an evolutionary novelty of the Urbilateria. The gain of the N‐terminal domain might have been selected to spatially modulate the activity of Brachyury, thereby facilitating the establishment of bilateral symmetry during gastrulation movements. BioEssays 28: 413–420, 2006. © 2006 Wiley Periodicals, Inc. (shrink)

In September of 1869, while studying sponges off the Norwegian island of Gisoe, Ernst Haeckel (1834-1919) discovered a tiny, flagellated ball-shaped organism swimming about in his samples. Appearing first to be the planula larva of an invertebrate marine animal further observation revealed it to be a colony of flagellated cells with a complex life cycle transitioning between multicellular and single-cell stages and several distinct forms of protozoa. Haeckel named it Magosphaera planula (the "magician's ball") and it eventually assumed a central (...) role in his theories of animal evolution, appearing as the modern exemplar of the blastaea stage in his gastraea theory of metazoan evolution. Throughout the latter half of the nineteenth century and into the twentieth it was an object of considerable scientific interest, and yet it was only ever observed by Haeckel himself and then only the once. Eventually it faded altogether from scientific discussion. This paper traces the rise and fall of Magosphaera as an important epistemic object in the theories of Haeckel and other biologists, and an attempt is made to identify what exactly the organism (or organisms!) was that Haeckel observed in the fall of 1869. (shrink)

The brain, rather than being homogeneous, displays an almost infinite topological genus, since it is punctured with a high number of “cavities”. We might think to the brain as a sponge equipped with countless, uniformly placed, holes. Here we show how these holes, termed topological vortexes, stand for nesting, non-concentric brain signal cycles resulting from the activity of inhibitory neurons. Such inhibitory spike activity is inversely correlated with its counterpart, i.e., the excitatory spike activity propagating throughout the whole brain tissue. (...) We illustrate how Pascal’s triangles and linear and nonlinear arithmetic octahedrons are capable of describing the three-dimensional random walks generated by the inhbitory/excitatory activity of the nervous tissue. In case of nonlinear 3D paths, the trajectories of excitatory spiking oscillations can be depicted as the operation of filling the numbers of octahedrons in the form of “islands of numbers”: this leads to excitatory neuronal assemblies, spaced out by empty areas of inhibitory neuronal assemblies. These mathematical procedures allow us to describe the topology of a brain of infinite genus, to represent inhibitory neurons in terms of Betti numbers and to highlight how spike diffusion in neural tissues is generated by the random activation of tiny groups of excitatory neurons. Our approach suggests the existence of a strong mathematical background subtending the intricate oscillatory activity of the central nervous system. (shrink)

Drawing on ancient writers, from Aesop to Ovid, classicist and working farmer, Mark Usher compiles in this book an anthology of Greco-Roman passages illustrating how they thought about animals and illuminating they might help us to rethink our relationships with them. Not many contemporary readers will know, for example, the compelling arguments the second century AD Greek philosopher Porphyry makes for vegetarianism, long before a plant-based diet began to garner headlines. Plutarch's serio-comic exposition of the rationality and inherent dignity of (...) non-human creatures-put on the lips of one of Circe's pigs-is so fresh that it sounds like it was formulated just yesterday. The knowledge the poet Theognis derived from Greek sponge divers about the behavior of octopods rivals our contemporary fascination with the octopus. Aristotle's introduction to the scientific study of animal morphology and behavior remains unparalleled for its elegance and insight, and it represents one of the first forays into natural history writing. Seneca, employing an ingenious etymological pun on the word animal, endeavors to show that we humans are morally inferior to our animal cousins, who instinctively know and are satisfied with their place in Nature. The Greeks and Romans, amidst all their magnificent cultural achievements and reckless, destructive behavior, lived closer than most of us to the perils and prospects of their environments. This afforded them a sensitivity to their environments and, in particular, to their fellow creatures that can perhaps help to disabuse us of our disconnectedness from animal life. This small volume demonstrates how astoundingly relevant the ancients still are in this regard. (shrink)

Bringing Flowers HomeWe try to put a bandage on the wound,offering a vague apology:Forgive me, distant wars, for bringing flowers home.Towers turn out to have been built on sand.Regimes collapse. No use in asking whywe ripped the bandage off that bleeding wound.An earthquake followed by a hurricane,fires, floods: they've passed some of us by.Us. And who is we? And what is home?Last week an enormous yellow moonhung low in a corner of the sky.Beauty is no bandage for the wound,hole in (...) the future much too big to mendor even to imagine, though we tryto camouflage it, bringing flowers home.You said, when we were talking of the end,that no one teaches us to say goodbye,or how to ease the bandage from the wound.Forgive me, death. I brought these flowers home.Moving the PianoCompact, gleaming, black and white,this sturdy Yamaha uprightstood staunchly in one room for yearsuntil, maneuvered through several doorstoday by two young slender menand up a ramp into their van,it ventured briefly out into the world again.The change of space, the space of change:the walls look naked, empty, strange.Heavy has given way to light.Habitual soliditytoo familiar to seeyields to possibilitytoo unfamiliar to see.Late and early, early, late,end, beginning—all are swirledinto a mist that veils the world.The black and white of status quoblends to a color I don't know,transition that I cannot name,but I salute it all the same.Goodbye, piano, and hello.So where is the piano going?Where will it find another life,music and memories unpackedin an unfolding second act?North Carolina, near a riverwhose stream, like time, is always flowing.My son lives there with his wife.Beloved, nothing is forever.You can't step twice into this life.Nap at Stony PointMy cousin and my friendon their respective recent deathbedsslid from my mind. I noticedthe scarlet splash of a cardinal perched on a cannonon a bluff above the Hudson.I lay down on a picnic table,sun on my face, five turkey vulturescircling overhead, and closed my eyes.And when I opened them I felt as pleasedas if I had completed some needful taskinstead of having forgottenhow my friend in January and my cousin in March,both of them alert and wry and tranquil,had faced what each of them clearly saw approaching—more, had recognized and greeted it,instead of ignoring it by looking through it,the way some people, even iftheir office is two doors down the hall,look right through you, pretending not to see you.Or maybe they don't see youany more than one envisions deathon a sunny April afternoon.The Last Lecture HallTheaters that were never ours,classrooms empty and refill.Nor do the trees belong to us.We cross the stage and disappearor venture in among the treesand lose ourselves there.Feverish categories blur.Genre distinctions: what for?The empty theater becomesa lecture hall. A classroom morphsinto a forest murmuringwith voices. Words pelt down like rainor rise like mist and dissipate.The rustling trees swell to a roar.But they were never still.Theater, classroom, maple, fir:feverish categories blur,presences pressing through the veilof the phenomenal;a leopard padding down the aisle.Tiger-masked students fill the seatsof the amphitheater.The old professor, looking outover the upturned faces, said“You are all allegoricalfigures to me. I will not learnyour names.” Did the students laugh?Tragedy, satire, comedy:genres are deciduous.Modes blur, leaves spin and fall.The leaves of memory seemed to makeA mournful rustling in the dark(Longfellow, “The Fire of Driftwood”).Lights go on in the theater.Class is over. We stumble out.The GatesWhen I woke up I had walked through a gate.I looked around the room—trickle or torrent, stepping into time—and bent my head to drink at a black stream.I look around a roomthick with the dust of after and before.Am I meant to drink from this black stream?My lips are dry,thick with the crust of after and before,gate of ivory and gate of horn.My lips are dry, I'm thirsty.Heat, cold, fire, snow, sun.Gate of ivory and gate of horn:to cross a threshold ends one story(firelight; snow squeaking; winter sun)and begins another.To cross a threshold ends one story(ever after? or a transformation?)and begins anotherthere is no law compelling us to enter.Ever after or a transformation.Torrent, trickle: we set foot in time,but there's no law compelling us to enterstory once we've latched the gate of dream.FilamentsYour past is thickening. You can seeits filaments, as carefullyyou begin to part the strands(they're all connected) with both hands,and clear a path. Now warilyenter the web—not all the way,but toward some kind of clarity.We have been rightly taught that wecan't finish, but must do, the work.Partway through the leafy murk,crisscrossing dapple of the trees,so tough and so precarious,you find yourself in the dawn air,the circle's center everywhere.Along the PromenadeReading a book about transitioningin the twenty-first-century meaning of the wordblends with plans for my son's upcoming weddingand scraps of conversation overheardat the Japanese-themed street fair today.Somnambulists along the promenadefloat in the warm currents of Broadway,eat talk look linger in the sun and shade.Then to the park: October leaves still green(climate change or merely Indian summer?).Snatched memories, I catch them on the wing:Samos Septembers, pomegranate tree,lemon tree, okra, a chameleon,the little summer of Saint Dimitri,they called it. All this happened; but to me?Streams of conversation flowing by.The sound artist described his work like this(if work is the right word): “Accidentallyuploading seemingly private messages,”which describes, also, dreams and poetry,the drifting crowd, incessant carousel,city and weather, time and holiday,all lived, palped, tasted, tested, overheard.Somnambulists along the promenadehave set up booths, their dreams... Bookending my dawn dream: symmetricalsoaking sponges dripping... DNA?Destiny, temperament, personality:the cards we're dealt and that we have to play,except we now can change them gradually.Transition: he or she or rather they,constructed, deconstructed, rearranged,the tarot spread of genealogy,inheritance as aleatoric play.We walked west to Eleventh Avenue,drawn by rumors of Ad Reinhardt's blue,which buzzed and throbbed. Stand still: my head was spinning.Allusions to water or to sky,dense, deep, alarming, ending or beginning... I sat awhile and watched the crowd glide by,enchanted promenaders all drawn inon the exhibition's last dayby the silence's cerulean humming.And then they climbed the stairs, and so did we,to lighter textures on an upper floorwhere Ruth Asawa's baskets in midairweightlessly demonstrated gravity,twigs, trees, crowns, bubbles dancing in white space.Next week my class will read “On Being Ill.”“Blogs,” I'll tell them, is the word we nowuse, not “essay,” for the moving mind,that saunterer who takes note and leaves behindand doubles back and ponders and regretsamidst the wash of vision, the flowand tidal pull of what we see and know,what we've dreamed, what we have said and heard,the thrumming colors and the floating crowd,as if the bubbly brew of sunny dayand anxious dreams could somehow all be caughtup in one enormous, one all-encompassing word. (shrink)

This paper investigates the possibility of identifying various ecodomical or constructive possibilities which have the potential to ideologically transform the world at a global scale in the sense that they can promote a set of ideas with positive connotations in dealing with the extremely complex issue of religion. Whether religion is good or bad, positive or negative has nothing to do with this article’s basic methodology which seeks to isolate various theoretical attempts aimed at approaching the issue of religion through (...) a common denominator. For this paper, this common denominator is the human being and, by association, the notion of goodness which will be used in order to demonstrate that, concerning religion, it can provide not only a theoretical framework for positive discussions about religion but also an ecodomic possibility whereby humanity can transform the world into a safer environment for persons of all races and convictions. Four such ecodomical attempts to use the notion of goodness will be analyzed in connection with the reality of religion: John Shelby Spong who promotes goodness in order to free society of religion so for him religion is useless, Ion Bria for whom goodness cannot be detached from religion so religion is vital, Vito Macuso whose conviction is that goodness exists with or without religion so religion is neutral, and Desmond Tutu who believes that goodness can turn religion, any religion for that matter, in a positive reality, so in his understanding religion is positive. (shrink)

A new advanced systems theory concerning the emergent nature of the Social, Consciousness, and Life based on Mathematics and Physical Analogies is presented. This meta-theory concerns the distance between the emergent levels of these phenomena and their ultra-efficacious nature. The theory is based on the distinction between Systems and Meta-systems (organized Openscape environments). We first realize that we can understand the difference between the System and the Meta-system in terms of the relationship between a ‘Whole greater than the sum of (...) the parts’ and a ‘Whole less than the sum of its parts’, i.e., a whole full of holes (like a sponge) that provide niches for systems in the environment. Once we understand this distinction and clarify the nature of the unusual organization of the Meta-system, then it is possible to understand that there is a third possibility which is a whole exactly equal to the sum of its parts that is only supervenient like perfect numbers. In fact, there are three kinds of Special System corresponding to the perfect, amicable, and sociable aliquot numbers. These are all equal to the sum of their parts but with different degrees of differing and deferring in what Jacques Derrida calls “differance”. All other numbers are either excessive (systemic) or deficient (metasystemic) in this regard. The Special Systems are based on various mathematical analogies and some physical analogies. But the most important of the mathematical analogies are the hypercomplex algebras, which include the Complex Numbers, Quaternions, and Octonions, with the Sedenions corresponding to the Emergent Meta-system. However, other analogies are the Hopf fibrations between hyperspheres of various dimensions, nonorientable surfaces, soliton solutions, etc. These Special Systems have a long history within the tradition since they can be traced back to the imaginary cities of Plato. The Emergent Meta-system is a higher order global structure that includes the System with the three Special Systems as a cycle. An example of this from our tradition is in the Monadology of Gottfried Wilhelm von Leibniz. There is a conjunctive relationship between the System schema and the Special Systems that produce the Meta-system schema cycle. The Special Systems are a meta-model for the relationship between the emergent levels of Consciousness (Dissipative Ordering based on the theory of negative entropy of Prigogine), Living (Autopoietic Symbiotic based on the theory of Maturana and Varela), and Social (Reflexive based on the theory of John O’Malley and Barry Sandywell). These different special systems are related to the various existenitals identified by Martin Heidegger in Being and Time and various temporal reference frames identified by Richard M. Pico. We also relate the special systems to morphodynamic and teleodynamic systems of Terrence Deacon in Incomplete Nature to which we add sociodynamic systems to complete the series of Special Systems. (shrink)

God In Us is a radical representation of the Christian faith for the 21st century. Following the example of the Old Testament prophets and the first-century Christians it overturns received ideas about God. God is not an invisible person 'out there' somewhere, but lives in the human heart and mind as 'the sum of all our values and ideals' guiding and inspiring our lives. This new updated edition includes a foreword by Bishop John Shelby Spong and an afterword from (...) the author. (shrink)

Fibril‐forming (fibrillar) collagens are extracellular matrix proteins conserved in all multicellular animals. Vertebrate members of the fibrillar collagen family are essential for the formation of bone and teeth, tissues that characterise vertebrates. The potential role played by fibrillar collagens in vertebrate evolution has not been considered previously largely because the family has been around since the sponge and it was unclear precisely how and when those particular members now found in vertebrates first arose. We present evidence that the classical vertebrate (...) fibrillar collagens share a single common ancestor that arose at the very dawn of the vertebrate world and prior to the associated genome duplication events. Furthermore, we present a model, ‘molecular incest’, that not only accounts for the characteristics of the modern day vertebrate fibrillar collagen family but demonstrates the specific effects genome or gene duplications may have on the evolution of multimeric proteins in general. BioEssays 25:142–151, 2003. © 2003 Wiley Periodicals, Inc. (shrink)

In French schools, La Fontaine is presented as “the height of French culture,” but he was only marginally inspired by French poets. His main sources were Spanish and Italian authors, as well as classics of both the Occident and Orient. In this way La Fontaine exemplifies, for Serres, a general pattern in which “cultures grow at the crossroads of other cultures.” One's identity develops out of numerous contacts with others, by learning from them and assimilating some of their qualities—by being (...) open to, not isolated from, the rest of the world. The non-French genealogy of the fables puts in doubt the entrenched concept of identity as involving separation and isolation.Their genealogy also sets a limit on political and moralistic interpretations of La Fontaine's stories. At school, pupils are taught that the Lion stands for the King, the Fox for the Nobles, the Lamb for the Poor. But is it possible, Serres asks, that so many poets from diverse times and places have been describing “the same society with the same hierarchies submitted to the same laws”? As for moralistic readings, Serres shows that for each fable there is a counterfable in which the winner becomes the loser. The Wolf that eats the Lamb in one fable is killed by the Hunter in another. In “The Two Mules,” the animal loading the salt is murdered by bandits, whereas in “The Ass with a Load of Sponges and the Ass with a Load of Salt,” it is the latter that survives. In other words, the fables illustrate how beings metamorphose into one another: the Wolf (the attacker) can appreciate and play the role of the Lamb (the victim) when chased by the Hunter; salt can lead to death or to freedom, depending on the circumstances. The fables, taken together, offer a collection of behaviors that we, humans and animals, are capable of: our “so-called moralities,” Serres explains, “don't speak about ethics, but about ethology.”The fables offer as well a “palimpsest [that] lies silently in our bodies and our practices.” Serres speculates that the oldest forms of the fables were not spoken, but gesticulated; they mimed animal behaviors. By imitating them, we humans not only learned about the animals we were observing and living with but also about the potentialities of our own bodies. If La Fontaine became the epitome of French culture by assimilating elements of other cultures, then it was by embodying animal behaviors that we became human. (The omnipresence of prepositions in the fables—next to, in front of, under, above—suggests that the body underpins the stories. Those little words, which Serres analyzes minutely in a long chapter, locate each body in relation to those of other beings.)Serres was planning to write a book about La Fontaine as early as 1997. In his notebooks, he scribbled possible titles, all of which are evocative: “Archaeology of Miming,” “Anthropology of Simulation,” “The Fabulous Bodies of Animals,” “The Scale and the Net.” Sadly, he died in 2019 when his work on the manuscript was progressing. He had not yet settled on a definitive title, nor had he decided the order of the chapters and sections. Jean-Charles Darmon, who was allowed to edit the work, faced chapters that were almost completed but others consisting of a single line suggesting a main idea. (The blanks are often about a type of fable never defined or described: “fables of representation.”) In spite of its incompleteness, this book intermingles systematic analysis, textual and historical contextualization, and philosophical speculation—in it, we find the conceptual inventiveness, the lexical and etymological alertness, and above all the joyfulness that characterize the whole of Serres's extraordinary oeuvre. (shrink)

Presenting U.S. history as contested interpretations of compelling problems, this text offers a clear set of principles and strategies, together with case studies and "Mystery Packets" of documentary materials from key periods in American history, that teachers can use with their students to promote and sustain problem-finding and problem-solving in history and social studies classrooms. Structured to encourage new attitudes toward history as hands-on inquiry, conflicting interpretation, and myriad uncertainties, the whole point is to create a user-friendly way of teaching (...) history "as it really is" - with all its problems, issues, unknowns, and value clashes. Students and teachers are invited to think anew as active participants in learning history rather than as passive sponges soaking up pre-arranged and often misrepresented people and events. New in the Second Edition: New chapters on Moundbuilders, and the Origins of Slavery; expanded Gulf of Tonkin chapter now covering the Vietnam and Iraq wars; teaching tips in this edition draw on years of teacher experience in using mysteries in their classrooms since the publication of the first edition. (shrink)

There can be no doubt about the object which Delphis was in the habit of leaving at Simaetha's house. The word λπη is capable of meaning a ladle or jug for wine , and the name is conventionally applied by archaeologists to a particular form of jug, but Delphis did not carry a jug about with him. What he took to the gymnasium or palaestra where he appears to have spent most of his time was the portable flask of oil, (...) carried indeed by others, but, together with sponge and scraper, the regular equipment of the athlete. ὌΟλπις, which appears to be a mere synonym, also has the same two meanings. At Sapph. fr. 51 it is a wine-jug, but at T. 18. 45, where the Spartan girls will make libation of oil at Helen's plane-tree, the silver λπις containing it is no doubt that from which they anoint themselves in their masculine way by the Eurotas. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 24.1 (2004) 241-243 [Access article in PDF] International Conference on Religion and Globalization Ruben Habito Perkins School of Theology The International Conference on Religion and Globalization, with over two hundred participants from thirty-one countries, was hosted by Payap University and its Institute for the Study of Religion and Culture in Chiang Mai, Thailand, from 27 July to 2 August 2003, with the Society for Buddhist-Christian Studies among (...) the several cosponsoring organizations. Other sponsoring and cosponsoring organizations included the United Board for Christian Higher Education in Asia, the International Network of Engaged Buddhists, the Christian Conference of Asia, and the Museum of World Religions. Prof. John Butt, convener of the conference and director of the Institute for the Study of Religion and Culture, with other officials of Payap University, welcomed the delegates at the opening ceremonies on 27 July in a program that included musical and cultural presentations from the riches of the northern Thai heritage.Plenary speakers included Dharma Master Hsin Tao, founder of the Museum of World Religions based in Taipei, Taiwan, who spoke on "Education for Interreligious Understanding in a Global Age." Donald Swearer, of Swarthmore College and Harvard University, spoke on "Religious Identity and Globalization," with a provocative subtitle: "Would Jesus, Buddha, or Mohammed Drive an SUV?" He addressed sociological aspects of religious living in a globalized age, with particular reference to Thai society. Phra Paisan Wisalo, a noted Thai forest monk and ecological activist, spoke on the "Reform of the Thai Sangha in the Light of Global Realities." Dr. Wesley Ariarajah, a Methodist theologian from Sri Lanka who has worked for many years with the World Council of Churches, spoke on "Religious Diversity and Interfaith Relations in a Global Age."The Venerable Dhammananda (formerly known as Dr. Chatsumarn Kabilsingh) was scheduled to give a plenary address on "Women's Experience in Theravada Buddhism," but could not attend due to the untimely death of her beloved mother, the Ven.Voramai Kabilsingh, one of the pioneering twentieth-century bhiksuni s in Thailand. Mae Chee Vimuttiya delivered an address titled "The Tripitaka Answer to the Extremes in the Modern World." Episcopal Bishop John Shelby Spong (ret.) presented an address titled "Transcending the Limits of Religion in Search of the Wonder [End Page 241] of God," and spoke of challenges to Christian faith and life in a postmodern society. Muslim scholar and activist Chandra Muzaffar described the challenges to and prospects for the religions in the wake of the globalizing process in a plenary address titled "Religion and Society in a Global Age." Dr. Muzaffar's presentation succeeded in highlighting key issues faced by those sincerely looking for ways in which religious traditions and communities can contribute to global healing, rather than continue to be part of the problem that divides the human family. Michael von Brueck gave the final plenary address, titled "An Ethics of Justice in a Cross-Cultural Context," suggesting pathways for a hopeful future.In addition to the plenary addresses, there were twelve plenary panels covering various topics. These included "Education for Global Awareness," chaired by Ruben Habito; "Religion and Media in a Global Age," chaired by Louis Gabaude; "Interfaith Dialogue in a Global Age: Personal Testimonies," chaired by Donald Swearer with members from the Interreligious Group for Theological Encounters, better known as the Cobb-Abe group; "Religion and the Globalization of War," chaired by Nancy Martin; "The Shadow of Religion: Killing People and Making Peace," chaired by John Butt; "Women and Spirituality," chaired by Roshan Dhunjibhoy; "The Transformation of Religious Traditions through Global Interreligious Encounter," chaired by JosephRunzo;"Islam,Social Justice,andGlobalization," chairedby Chandra Muzaffar; "Pluralism, Human Rights, and Buddhism," chaired by Michael von Brueck; "Students of Subaltern and Superpower States: Intercultural Communicative Competence via Information Technology," chaired by Daniel Wessner; "Globalization and ReligiousVocation," chaired by Herbert Swanson; and "Contemporary Exemplars of Interreligious Bridge-Building: Thomas Merton and Bede Griffiths," chaired by Douglas Conlan. In addition to the plenary sessions, individual paper sessions were held in three concurrent groups, with more than sixty topics presented by scholars and religious leaders throughout the entire... (shrink)

Contrary to the rarity of totipotent cells in animals, almost every cell formed by a fungus can function as a “stem cell”. The multicellular fruiting bodies of basidiomycete fungi consist of the same kind of filamentous hyphae that form the feeding phase, or mycelium, of the organism, and visible cellular differentiation is almost nonexistent. Mushroom primordia develop from masses of converging hyphae, and the stipe (or stem), cap, and gills are clearly demarcated within the embryonic fruiting body long before the (...) organ expands and unfolds through water uptake and cell wall loosening.aThough frequent references are made to gilled mushrooms in this article, the totipotent nature of fruiting body cells and lack of meristems is also applicable to basidiomycetes that spread their spore‐producing tissues inside tubes (e.g., boletes), over spines and rippled surfaces, or form spores in cavities within the fruiting body. Even in the mature mushroom, every hypha retains its totipotency. Among animals, only sponges exhibit a similar degree of developmental flexibility, which is interesting, because these simple metazoans may be relatively close relatives of fungi. BioEssays 24:949–952, 2002. © 2002 Wiley Periodicals, Inc. (shrink)

There are a lot of expressions of pessimism these days about whether we can save the environment — and thereby ourselves. Some of this pessimism is self-serving, but most of it is quite genuine. People look at the trends, and they despair — or else go into denial. And those who despair will almost invariably point to one factor above all others — the threat of overpopulation. No matter whether we recycle all our waste, switch entirely to non-polluting energy sources, (...) sponge the skies of CFCs and greenhouse emissions, turn the deserts into gardens, and save the rainforests and the poor whales, all these gains will be washed away, these people say, by a surging tide of hungry hominids. My topic today, therefore, is the population boom. I want to consider the following question: is it inevitable that humanity must overwhelm itself in hungry babies? And I shall argue that the answer is a firm no — that while it is possible, and maybe even probable, that this catastrophe will happen, it is not inevitable. First, let’s take a clear-eyed look at some worrisome numbers, so that no one can say we are ignoring the facts. The world population clock has recently clicked over the six billion mark. I myself remember when it passed three billion. That was back around the time when the Beatles were driving teenie-boppers into hysterics; not all that long ago, really. We are currently adding nearly 90 million new hungry mouths every year, roughly three Canadas. Try to imagine the consequences if 90 million immigrants showed up at our borders in one year. In fact, the rate of increase has slowed down a little bit since the sixties and early seventies. Demographic experts are desperately trying to project on the basis of current trends, but the best they can do is to guess that world population will level out around ten billions or so, roughly around 2050. Will we all breathe a sigh of relief at that point, convinced that we have dodged the bullet? The problem is, of course, that it is not clear that we can continue, much longer, to provide even for the present world population, let alone a few billions more, given our current, highly wasteful methods of land use and resource extraction.. (shrink)