The _Platform Sutra_ records the teachings of Hui-neng, the Sixth Patriarch, who is revered as one of the two great figures in the founding of Ch'an Buddhism. This translation is the definitive English version of the eighth-century Ch'an classic. Phillip B. Yampolsky has based his translation on the Tun-huang manuscript, the earliest extant version of the work. A critical edition of the Chinese text is given at the end of the volume. Dr. Yampolsky also furnishes a lengthy and (...) detailed historical introduction which contains much information hitherto unavailable even to scholars, and provides the context essential to an understanding of Hui-neng's work. He gives an account of the history and legends of Ch'an Buddhism, with particular attention to the traditions associated with Hui-neng, quoting or summarizing the most important narratives. He then discusses the various texts of the _Platform Sutra_, and analyzes its contents. (shrink)

The Platform Sutra, which dates back to the seventh century C.E., is one of the classic documents of Chinese philosophy and is the intellectual autobiography of Hui Neng, the Sixth Patriarch of Ch’an Buddhism. In the Platform Sutra, the Sixth Patriarch demonstrates that the spiritual and intellectual problems of consciousness stem from a false adherence to the dualistic standpoint. The Sixth Patriarch utilizes ingenious arguments to demonstrate how one can escape the problems of dualism. (...) An example of a constructive engagement between Chinese philosophy and Searle is to compare and contrast the arguments of Hui Neng with those of Searle. The Sixth Patriarch and Searle both reach a rather similar solution to the problem of dualism—to stop counting. In the case of the Sixth Patriarch, his solution possesses the goal of enabling the reader to achieve a spiritual liberation. Searle, in contrast, addresses the troubling epistemological problems of dualism. Searle proposes a causal monism: he claims consciousness is a state of the brain, that it is caused by processes in the brain, that it is a feature of the brain, and that it is all these at the same time. This article aims to highlight Searle’s arguments and impressive insights; it also aims to show the connection between Searle’s master insight concerning the non-duality of consciousness and the Sixth Patriarch’s realization that the difficulties of understanding consciousness stem from the formulation of the description itself. (shrink)

Readings of the Platform Sūtra. Edited by Morten Schlütter and Stephen F. Teiser. New York: Columbia University Press, 2012. Pp. ix + 220. $27. The Platform Sūtra of the Sixth Patriarch: The Text of the Tun-Huang Manuscript. Translated by Philip B. Yampolsky with a new foreword by Morten Schlütter. New York: Columbia University Press, 2012. Pp. xvi + 220 + 30. $32.

Examining the significance of the General’s enlightenment in the Platform Sutra, this article clarifies the fundamental role that emotions play in the development of one’s spiritual understanding. In order to do so, this article emphasizes that the way to enlightenment implicit in the story of the General and the Master involves first granting negative emotions a means for productive expression. By acting as a preparatory measure for calming the mind and surrendering control over it, human passions become a necessary, antecedent (...) condition to wisdom—a conclusion that this article argues is a major, and sometimes underappreciated, lesson embedded in the teachings of the Sixth Patriarch. (shrink)

This paper takes up Hadot’s call for more comparative work on Buddhism and Philosophy as a Way of Life by comparing Zen Master Hakuin Ekaku’s artwork Pilgrims with the graffiti artist Banksy’s The Street is in Play. Beyond the striking similarities in form and apparent tongue-in-cheek criticism of graffiti, this paper explains the context of Hakuin’s artwork and the text of his painting before exploring the importance of graffiti in the Platform Sutra of the Sixth Patriarch. I argue (...) that by taking up Hadot’s call for more comparative work we find that Hakuin’s Zen bears fruitful points of comparison with Hadot’s account of philosophy as a way of life. Furthermore, a comparison of the two artworks of Banksy and Hakuin helps us better understand both figures via thematic elements of humor and socially disruptive writings. (shrink)

Katelis Viglas’ book: Jeremiah II Tranos. Archbishop of Constantinople, New Rome and Ecumenical Patriarch (1536-1595) is a historical-theological description and analysis of the most important data and facts concerning the life and works of Jeremiah II Tranos, Patriarch of Constantinople in the 16th century. The book consists of a Prologue, which refers to the aim of the treatise and the method followed. In the Introduction there is a general outline of the era of Jeremiah II and its origins, (...) as well as a brief presentation of his contribution to the Greek Genus. The First Chapter is divided into three subchapters. The first subchapter provides a brief overview of the history of the birthplace of Jeremiah II, Anchialos, a city on the shores of the Black Sea, and describes patriarch’s character and education, along with an extensive reference to his teachers. In this subchapter information is included relative to Jeremiah’s life until his ordination as Metropolitan of Larissa. The second subchapter briefly narrates the glorious ordination of Jeremiah II to Patriarch of Constantinople. In the third subchapter of the First Chapter, the three breaks during Jeremiah II’ patriarchate –caused by the selfish ambitions of his competitors, who coveted the patriarchal throne– are recounted. The Second Chapter consists of four subchapters. In the first subchapter there are a brief reference to the life and religious beliefs of the founder of the Reformation, Martin Luther, and the interest and curiosity of the Lutherans in the situation of the Eastern Orthodox Church. The second subchapter of the Second Chapter contains biographical details of the Protestant scholar and philhellene Philip Melanchthon, and a reference to the first contact attempt of Lutherans with the Patriarchate of Constantinople. The third subchapter of the Second Chapter is divided into six other subsections. The first section of the third subchapter describes the way the relationships of the Lutheran theologians of Tubingen with Patriarch Jeremiah II developed and to the starting point of their correspondence. Yet, the Philhellenism of the German Hellenist Martin Crusius and the role he played in the correspondence are highlighted. The second section outlines Jeremiah II’ responses to each article of the Augsburg Confession send to him by the Tubingen theologians. The third section highlights the key points of the reply of the Tubingen theologians to the First Answer from Jeremiah II. The third section refers to the Second Answer from Jeremiah II. In the short fifth section there is a reference to the reply of the Tubingen theologians to the Second and the Third Answer from Jeremiah II. The sixth section provides information related to the publication of that correspondence. In the fourth subchapter of the Second Chapter there are general and evaluative judgments on the correspondence between Jeremiah II and the Tubingen theologians. The Third Chapter is divided into five subchapters. The first subchapter explains the ancient Roman calendars of Numa and Julius Caesar and their shortcomings. The second subchapter presents the findings of these imperfections by various scholars. The third subchapter describes the Gregorian Reform of the calendar. The fourth subchapter analyses the social situation within the Orthodox Church during the Gregorian Reform. The fifth subchapter aims to show the orthodox reaction of Jeremiah II to the Gregorian calendar and its causes. The Fourth Chapter is divided into two subchapters, of which the first is related to Jeremiah’s travels in Poland and the regulation by him of Church life in this country, while the second gives an overview of the circumstances, under which the foundation of the Russian Patriarchate took place. The Fifth Chapter is divided into three subchapters. The first subchapter examines Jeremiah II’s concern on various issues. The second subchapter deals with Jeremiah II’ concern on the education of the Greek Genus. The third subchapter explains the attitude of Jeremiah II towards the Pontifical Greek College in Rome. At the end of the treatise there is an Epilogue, with concluding remarks on the evaluation of the historical figure of Jeremiah II, his spiritual identity and the status of the Orthodox East under his leadership. An extensive Bibliography, a Chronology, an Index of Names, 21 Illustrations and 2 Maps, complete the book. (shrink)

Chinese Buddhist thought is more than a case of “Indianization” or “Sinicization,” and even less, “Distortion.” Chinese Buddhist thought should be grasped, first, in its own terms and only then in terms of the possible influences or confluences that flowed into it. The present article will seek to look into the concept of “Suchness vasana” (perfumation by the Buddhist absolute, Suchness, upon avidya, ignorance) as used by the Huayan school in China. Then it will show how, in the elaboration of (...) this idea, Fazang, the key patriarch of the Huayan school, apparently drew on a mode of thought that is derived from the Yijing, the Book of Changes. It is in the nature of the present article that only the Chinese influence will be underlined and that the Indian contributions to the formation of a theory of a “dynamic Suchness” will only be briefly touched upon. Scholars have long noticed the Daoist influence of Chinese Buddhological thinking, especially within the Ch'an and the Hua-yen circles. However, too often scholars only suggest impressionistic parallels, between, say, the book Laozi and the Platform Sutra of the Sixth Patriarch or between Mencian humanism (“Every man can be Sage Yao and Shun”) and the idea that “Every man can be Buddha.” Such presentations of Chinese influence bypass the various problems involved in the long and thorny history of conflict, compromise, mutual self-discovery, and fertilization between the two cultural traditions. The present article will try to be much more concrete by documenting and analyzing the series of incidents that led to a datable innovation on Fazang's part. (shrink)

As more and more scholars deepened the study of the Dunhuang version of The Platform Sutra of the Sixth Patriarch, many significant research questions were raised. The questions such as when the book was completed, who actually wrote the book, and the historical authenticity of Huineng’s story, especially his identity of the Sixth Patriarch, were extensively discussed and questioned by many scholars. This essay attempts to conduct a more profound analysis and thinking based on the current (...) academic studies with respect to this historical book, and seeks to critically and profoundly rethink the methods of contemporary criticism concerning religious studies. (shrink)

Explore the seminal Platform Sutra, with one of the greatest living Zen masters as a guide. A lodestone of Zen Buddhism, the Platform Sutra presents the life, work, and wisdom of Eno, or Huineng, the fascinating and much-loved seventh-century Sixth Patriarch of Chinese Zen. An illiterate woodcutter who famously attained enlightenment after only hearing a single line of a sutra, and who went on to decisively upstage senior monks with a poem that demonstrated the depth and clarity of (...) his insight, his example has demonstrated to generations of students and spiritual seekers worldwide that enlightenment is attainable regardless of education or social standing. His exhortations to directly perceive one's true nature, right here and now, still reverberate in contemporary Zen. There is no bodhi tree, Nor stand of a mirror bright. Since all is void, Where can the dust alight? Shodo Harada Roshi's fresh reading of the Platform Sutra offers both the history behind the work and the lived experience of its wisdom. In a plain-English, conversational voice, Shodo Harada brings the sutra to life for his students, discussing and explaining its central points chapter by chapter and illustrating it with his own beautiful calligraphy. This is far from a collection of dry lectures; it is an essential Buddhist text brought to life. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Buddhism: Introducing the Buddhist ExperienceDavid L. McMahanBuddhism: Introducing the Buddhist Experience. By Donald W. Mitchell. Oxford: Oxford University Press, 2002. Pp. xvi + 368. Hardcover $55.00. Paper $26.95.The teacher of courses on Buddhism now has an unprecedented number of high-quality introductory texts from which to select, many of which have just been published or revised in the past few years. Thus, the problem becomes which to choose. Donald (...) W. Mitchell's Buddhism: Introducing the Buddhist Experience should be [End Page 268] among the first choices, especially if the course focuses on the doctrinal and textual elements of Buddhism. Those looking for rich descriptions of Buddhism on the ground or detailed analyses of living traditions, however, will either look elsewhere or supplement Mitchell's text with others.The organization of Buddhism is fairly typical of the genre. After an introduction, the chapters are: "The Life of Gautama Buddha," "The Teachings of the Buddha," "The Way of the Elders," "The Great Vehicle," "The Indian Experience of Buddhism," "The Tibetan Experience of Buddhism," "The Chinese Experience of Buddhism," "The Korean Experience of Buddhism," "The Japanese Experience of Buddhism," "Modern Buddhism in Asia," and "Buddhism in the West." Also included are some photographs, maps, a pronunciation guide, and a glossary. The book also features twenty-two boxes with short writings, often autobiographical, by modern Buddhists elucidating some feature of their own understanding or experience of their tradition. Among these are writings by well-known Asian Buddhists such as the Dalai Lama, Dharma Master Sheng Yen, and Sulak Sivaraksa; Western Buddhist teachers like Robert Aitken and Sylvia Boorstein; and scholar-practitioners like Jeffrey Hopkins, Rita Gross, and Kenneth Kenshin Tanaka. Although brief, they successfully bring to life the practice of Buddhism from various inside perspectives.The strongest parts of the text are the explications of Indian Buddhism as presented in sūtras and other primary sources. Here Mitchell presents surprisingly (for an introductory text) rich accounts of the Pāli suttas, Mahāyāna sūtras, and the various philosophical schools. He stays close to the texts and offers coherent accounts of main doctrines, accessible yet nuanced and peppered liberally with quotations from primary sources. Of particular interest is an extended treatment of Buddhaghosa's Visuddhi-magga and accounts of the main themes of important Mahāyāna sūtras: the Perfection of Wisdom sūtras, the Vimalakīrti Sūtra, the Laṅkāvatāra Sūtra, the Lotus Sūtra, and the Sukhāvatī-vyūha Sūtra.The chapters on Tibetan and East Asian Buddhism do not—and, in the limited space allotted, could not—maintain the level of detail provided in the chapters on Indian traditions. Indeed, it seems inevitable that introductory texts must give a sometimes tedious list of schools and figures when addressing these geographical areas. In Mitchell's book, however, even these chapters feature accounts of certain doctrines that go beyond those of most introductory texts. The chapter on Chinese Buddhism, for example, introduces in some depth the intricacies of Ch'ih-i's T'ient'ai doctrine, the visionary extravagance of the Hua-yen school, and the poetic subtleties of Hui-neng's explication of Ch'an in the Platform Sūtra of the Sixth Patriarch.The book's richness in the presentation of doctrines and texts does exact a certain cost in historical nuance. While an introductory text cannot afford space for too much scholarly debate, some historians of Buddhism will likely find unsatisfactory the distinction presented in the introduction between the "vast array of Buddhist religious cultural forms" and its "profound spiritual quest" or "the more fundamental depths of Buddhist experiences" (p. 1). Such language, although widespread, perpetuates the "core philosophy and practice"-versus-"culturally accumulated baggage" [End Page 269] picture of Buddhism constructed by early western Buddhologists, implicitly suggesting that scholars can extract this original tradition from later cultural accretions. Thus, while Mitchell is by no means uncritical in his analysis of traditional historical claims, he sometimes blurs distinctions between these claims and those which can be verified by critical historical study. He presents, for example, a concise account of the scholarly debates surrounding the rise of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Unconventional Guest: Masao Abe’s Dialogue with the American AcademyWilliam R. LaFleurDuring the two years we were together at Princeton I once took Masao Abe to meet my parents, then alive and living in New Jersey. I had told them some things in advance about Abe, about Zen, and about what in Abe’s ways could at times be unconventional. My mother, I knew, would put lots of effort into preparing (...) the Sunday dinner we ate on the day of our visit. At the meal’s conclusion Abe turned to my mother and declared: “Mrs. LaFleur, this meal has been simply outrageous! ” For a moment I thought he might have meant “delicious” and had landed on the wrong word. But then I saw his smiling eyes and mouth. He had meant what he said. Everyone laughed and my mother promptly thanked him for his “compliment.”Being at times a genially unconventional guest, one who also in academic or dialogic contexts would say surprising or even unsettling things, was something at which Abe excelled. He was also unconventional in his teaching. He frustrated us when we expected the usual approach. In the book edited by Donald Mitchell I told how in 1969 at the University of Chicago Abe aggravated those of us graduate students who wanted to do a survey of all of modern Japanese philosophy; Abe forced us to stay with certain sentences in Nishida, wanting our minds to be changed. He would not budge.1Some years later at Princeton he proved to be maddeningly insistent on this. Reading The Platform Sutra of the Sixth Patriarch with graduate students in 1977 who knew some Chinese and Japanese was not for Professor Abe going to be exercise in the usual historico-textual excavation; all that was available, he said, in the introduction and notes to Philip Yampolsky’s translation of that text. He was not interested in an “objectification” that put distance between the voice speaking through the text and the person being addressed by it today. For him the ancient text must read as if written for us and for us today. With Abe as teacher the dialogic mode of the seminar room had to replicate in its own way the lecture hall of the Ta-fan Temple! But graduate students at Princeton, inured as they were to the conventional mode of textual-historical analysis, were made clearly uncomfortable by this. Therefore, hoping I might serve as a mediator, they asked me to ask Abe if we might be more historical and move on more quickly. When, with some trepidation, I transmitted this request [End Page 127] to Abe, he merely chuckled and smiled, leaving me to guess why we should expect no change in his emphasis. What follows is my attempt to unpack what was involved in this... and why it remains relevant today.Even some more recent scholars of East Asian Buddhism in our academy today resemble those graduate students back then in Princeton. They, too, have been suggesting that there was something “behind the times” or in need of being updated in the dialogic teaching mode used so brilliantly by Abe—as well as by Hisamatsu Shin’ichi and D. T. Suzuki. However, there is, I think, something both laughably conventional and arrogantly neocolonialist in these critics’ assumptions. They believe that textual and historicist methods (of which Ideologiekritik is an extension) remain something that the West still needs to teach to the non-West, that these render all other methods outdated and irrelevant, and that they can be deployed to expose what remains flawed in the way that, for instance, Japanese such as Abe study and teach Buddhism and Zen.Ironically, this presumptuous stance itself crumbles under historical and textual analysis—at least when applied to Japan. In various studies, Michael Pye has shown that Tominaga Nakamoto’s studies of Buddhist texts, historical and critical to the core, were done in the early seventeenth century and show a solid tradition of scholarship in this mode arising there without any influence from Europe. As Pye shows, interest in the plurality of religions and an early stage of a “science of religions” were present in Japan... (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

DigiCat Publishing presents to you this special edition of "The Sixth Sense: Its Cultivation and Use" by Charles Henry Brent. DigiCat Publishing considers every written word to be a legacy of humankind. Every DigiCat book has been carefully reproduced for republishing in a new modern format. The books are available in print, as well as ebooks. DigiCat hopes you will treat this work with the acknowledgment and passion it deserves as a classic of world literature.

Enlivening the spirit without overwhelming the mind, the poem Hsin-Hsin Ming, or Song of Trusting the Heart, was written in the sixth century by the third Zen patriarch of China. It is perhaps the most encompassing and profound statement of Zen awareness we have. A beautiful daily meditation guide, the book will become a year-round fixture in readers' lives. These haunting lyrics inspire a peaceful awakening that helps one see through attachments, judgments, and illusions.

In the present paper, on the basis of the theory of production principles and production revolutions, we reveal the interrelation between K-waves and major technological breakthroughs in history and make forecasts about features of the sixth Kondratieff wave in the light of the Cybernetic Revolution that, from our point of view, started in the 1950s. We assume that the sixth K-wave in the 2030s and 2040s will merge with the final phase of the Cybernetic Revolution (which we call (...) a phase of self-regulating systems). This period will be characterized by the breakthrough in medical technologies which will be capable to combine many other technologies into a single complex of MANBRIC-technologies (med-bio-nano-robo-info-cognitive technologies). The article offers some forecasts concerning the development of these technologies. (shrink)

The ‘turgid archaisms’ of Paul the Silentiary's style have ensured that his two hexameter Ekphrases, describing the Emperor Justinian's sixth-century church of S. Sophia in Constantinople and its ambo, have lately attracted little interest, except among art historians who seek to extract nuggets of architectural information. On the other hand, the eighty or so pagan epigrams by Paul which are preserved in the Palatine and Planudean Anthologies have received attention in recent years both because of their literary interest and (...) for the social and historical information which they contain. In my opinion, the much more substantial Ekphrases likewise deserve to be examined as literary and historical documents. The title Ekphrasis disguises the historical interest of the works: unlike the majority of the epigrams, these poems are no mere literary exercises, but official, public works, undoubtedly commissioned by Justinian, and delivered on specific and identifiable occasions. Only the central portion of the major poem describing S. Sophia comprises technical architectural ekphrasis; this is preceded and followed by panegyrical material appropriate to the occasion of recitation which together takes up almost half the total length of the poem . Here the Emperor Justinian, patron of the church, and Eutychius, Patriarch of Constantinople, are praised, and the events leading up to the occasion of the poem sketched. This topical part of the work provides evidence for the ceremonial which accompanied the poem's recitation and demonstrates the type of imperial propaganda pertinent to the end of the reign of Justinian. Moreover, an explanation for a limited number of stylistic flaws in a work which, by contemporary standards at least, is of high literary quality, may lie in the recognition that Paul was obliged to complete his poem in time for a specific occasion. It is with these three occasional aspects of the work that I shall here be concerned. (shrink)

Descartes entitled the Sixth Meditation "The existence of material things, and the real distinction between mind and body." But these topics take up only two paragraphs, about one-third of the way into the Sixth Meditation (which is the longest of the six). The other topics in the Meditation partly pertain to the cognitive faculties that a seeker after knowledge must employ: senses, imagination, and intellect. They also concern the mind–body relation: not only is it to be shown that (...) mind and body are distinct, but also that they are “closely joined” together. The joining of mind to body contributes to explanations of the cognitive faculties, for such a joining is, in Descartes’ view, necessary for the operation of sense and imagination, whereas the exercise of the intellect in the pursuit of metaphysical results -- as in his argument for mind–body distinctness -- takes place without the mind interacting with the body. But this still doesn't account for the most sustained discussion in the Sixth Meditation, which concerns the role of the senses in informing us about the world around us. While the trustworthiness of the senses has been under suspicion up to this point in the Meditations, now the senses are rehabilitated. They can serve to acquaint us with the world of bodies, for the purposes of empirical investigation serving natural philosophy but, more usually, for the practical purpose of informing us of potential benefits and harms in our immediate environment. In this regard, Descartes considers the ways in the senses might be subject to local errors or might, if used inappropriately, draw us into systematic error. But the previous results of the Meditations now offer the means for avoiding such systematic error, and the reflections of the Sixth Meditation can guide us toward practical uses of the senses in ways that reduce error. In the end, the senses are found to be trustworthy for the guidance of action, and this trustworthiness extends even to a qualitative experience such as color, which helps us to discriminate among the bodies that we see. (shrink)

First published in 1889. This re-issues the second, revised edition of 1926. Chuang Tzu was to Lao Tzu, the author of Tao Tê Ching, as Hui-neng, the sixth Patriarch of Zen Buddhism, was to Bodhidharma, and in some respects St.Paul to Jesus; he expanded the original teaching into a system and was thus the founder of Tao-ism. Whereas Lao Tzu was a contemporary of Confucius in the sixth century B.C, Chuang Tzu lived over two hundred years later. (...) He was one of the greatest minds produced by China; philosopher, metaphysician, moralist and poet. It is impossible to understand the spiritual depth of the Tao Tê Ching without the aid of Chuang Tzu. (shrink)

Purpose The purpose of this paper is to demonstrate how some of the information and communication practices of the Tech Media and specifically of Facebook, constitute media corruption. The paper will examine what the professional role of Facebook is regarding its information/communication practices and then demonstrate that Facebook is essentially a media company and not merely a “platform,” therefore liable to the same normative responsibilities as other media companies. Design/methodology/approach Applying the dual obligation information theory, a normative information and communication (...) theory that applies generally to all media companies that disseminate and share information, the paper demonstrates that Facebook’s role of mediating and curating the information of its users places upon it a normative editing responsibility, to ensure both the preventive detection and corrective editing of fake news, as well as other forms of misinformation disseminated on its platform. Finally, applying a philosophical model of media corruption the paper will demonstrate that Facebook’s role in the Cambridge Analytica case was not only unethical but moreover, constituted media corruption. Findings The paper concludes that Facebook’s media corruption illustrated in the Cambridge Analytica case is not a one-off case but the result of a systemic and inherent conflict of interest between its business model of selling users’ information to advertisers and its normative media role rendering the conflict of interest between those two roles conducive to media corruption. Originality/value The paper's originality is twofold. It demonstrates that Facebook is a media company normatively accountable on the basis of an original theory the DOIT and moreover, on the basis of an original media corruption theory its actions in the Cambridge Analytica case constituted media corruption. (shrink)

IN examining Herodotos' account of the Samian tyranny, historians have long been disturbed by two considerations. First, it seems strange that the period of settled tyranny should have begun no earlier than the rise of Polykrates and his two brothers c. 533 B.C., even though Samos was among the most advanced cities in Ionia. Yet it seems equally impossible to revise this accession date in an upward direction, at least by any significant margin. Furthermore, there had been at work in (...) Samos from c. 600 or earlier many of the factors which elsewhere in Ionia did in fact lead to a comparatively stable period of tyranny at that date, for instance at Miletos and Ephesos. Secondly, though Herodotos knows of no tyrant before Polykrates, it has been observed that the policies ascribed to him as characteristic were very largely the continuation of policies initiated a generation or more previously. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Sixth International Buddhist-Christian Conference, August 5–12, 2000Paul IngramThe Sixth International Buddhist-Christian Conference, sponsored by the Society for Buddhist-Christian Studies, will take place at Pacific Lutheran University, Tacoma, Washington, from August 5 to 12, 2000. The Program Committee has approved the general conference theme as “Buddhism, Christianity, and Global Healing.” The conference will follow the structure, with some variations, of the last international conference that met at (...) DePaul University in 1996: morning working group sessions on several themes interrelated with the general conference theme; afternoon sessions devoted to individual papers; and evening plenary sessions.Evening plenary themes and speakers have been identified: Dr. A. T. Ariyaratne and Dr. Cecil Murray (senior pastor of the First AME Church in Los Angeles) will address the topic “The Non-Violent Struggle for Economic and Social Justice”; Sulak Sivaraksa and John B. Cobb Jr. will speak on “Consumerism and Ecology: Buddhist and Christian Perspectives”; Rita Gross and Daniel Maguire will speak on “Buddhism, Christianity, and Issues of Gender”; and Virginia Straus and a Christian speaker yet to be identified will address “The Earth Charter: A Buddhist and Christian Response.”Working Group cochairs and themes have also been identified: Buddhist-Christian Practice and Mind-Body Healing (Venerable Yifa and Mary Jo Meadow); Ecology, Consumerism, and Corporate Consciousness (David Chappell and Donald Mitchell); Gender: Issues of Oppression and Justice (Judith Simmer-Brown and Donald Luck); Buddhist-Christian Dialogue with the Natural Sciences (Ken Tanaka and Nancy Howell); Buddhist-Christian Dialogue on the Earth Charter (Virginia Straus and Jay McDaniel); The Interior Dialogue: Buddhist-Christian Meditative/ Contemplative Practice (Susan Postal and Ruben Habito); and The Role of Orthodoxy/Orthopraxis in Buddhist-Christian Dialogue (Rita Gross and John Keenan).For the first time in the twenty-year history of our international conferences, a special afternoon seminar will be cochaired by Sallie King and Paul Knitter that will focus on specific case studies on particular issues of peace and justice work that are [End Page 179] interrelated with the themes of the plenary sessions and working groups. These sessions will meet in the afternoon throughout the conference week and will involve a presentation in case-study format from a Buddhist and a Christian engaged in a practical way that illustrates the themes of the conference. They will be asked to describe their situation and what they are doing and, particularly, to speak about how Buddhism or Christianity guides them in their work, the problems and successes they have had, their hopes, and their struggles, after which there will be open conversation with those present. Finally, afternoon sessions will be devoted to individual papers and presentations organized around the conference’s themes and other themes that emerge as individual papers are submitted.A preliminary call for papers will be published in the spring 1999 edition of the Society for Buddhist-Christian Studies Newsletter. Individuals who are not members of the society but wish to have a copy of this call for papers may E-mail the editor of the newsletter, Harry Wells, at.The Department of Religion of Pacific Lutheran University, along with its administration, faculty, and staff, are currently working hard to make this conference enjoyable and memorable. Travel, room and board, and other information regarding Tacoma, Pacific Lutheran University, motels, and excursion arrangements will be made available in the fall 1999 edition of the Society for Buddhist-Christian Studies Newsletter. The final call for papers appears on pp. 242–243.Paul IngramPacific Lutheran UniversityCopyright © 1999 The University of Hawai’i Press... (shrink)

This famous decree, which is the earliest Athenian decree preserved on stone, is printed e.g. by Hiller in IG. i. no. i, and with a materially different text by Tod in SGHI. no. II. A small new fragment was published in Hesperia, vii. 264. Restorations continue to differ widely and fundamentally. In Hesperia, x. 301–7, Meritt has discussed recent suggestions, and has submitted his own text on p. 307; on p. 305 is a drawing by Raubitschek of the whole monument (...) on the basis of Meritt's text. (shrink)

Concerns about population ageing apply to both developed and many developing countries and it has turned into a global issue. In the forthcoming decades the population ageing is likely to become one of the most important processes determining the future society characteristics and the direction of technological development. The present paper analyzes some aspects of the population ageing and its important consequences for particular societies and the whole world. Basing on this analysis, we can draw a conclusion that the future (...) technological breakthrough is likely to take place in the 2030s (which we define as the final phase of the Cybernetic Revolution). In the 2020s – 2030s we will expect the upswing of the forthcoming sixth Kondratieff wave, which will introduce the sixth technological paradigm (system). All those revolutionary technological changes will be connected, first of all, with breakthroughs in medicine and related technologies. We also present our ideas about the financial instruments that can help to solve the problem of pension provision for an in-creasing elderly population in the developed countries. We think that a more purposeful use of pension funds' assets together with an allocation (with necessary guarantees) of the latter into education and upgrading skills of young people in developing countries, perhaps, can partially solve the indicated problem in the developed states. (shrink)

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The plague of 541–542 ad started in Pelusium, a town in Egypt, and reached Constantinople in 542 ad. The following series summarizes the event and its repeated appearance until 746 ad.

This famous decree, which is the earliest Athenian decree preserved on stone, is printed e.g. by Hiller in IG. i. no. i, and with a materially different text by Tod in SGHI. no. II. A small new fragment was published in Hesperia, vii. 264. Restorations continue to differ widely and fundamentally. In Hesperia, x. 301–7, Meritt has discussed recent suggestions, and has submitted his own text on p. 307; on p. 305 is a drawing by Raubitschek of the whole monument (...) on the basis of Meritt's text. (shrink)

Scepticism in the Sixth Century? Damascius' Doubts and Solutions Concerning First Principles SARA RAPPE THE Doubts and Solutions Concerning First Principles, an aporetic work of the sixth century Neoplatonist Damascius, is distinguished above all by its dialectical subtlety. Although the Doubts and Solutions belongs to the commentary tradi- tion on Plato's Parmenides, its structure and method make it in many ways unique among such exegetical works. The treatise positions itself, at least in part, as a response to Proclus' (...) metaphysical system. Thus the first principles alluded to in its title refer to a metaphysical structure consisting of five central elements, the Ineffable, the One, and the Noetic Triad, which Damascius both adumbrates in opposition to Proclus' as well as subjects to his own, internal critique. In this article, I will be asking whether or not Damascius' critique of Neoplatonic metaphysics is informed or inspired by ancient Scepticism. No doubt this question catches the reader off guard: if the last exponent of an- cient Scepticism is Sextus Empiricus, how could this sixth-century Neo- platonist Scholarch, the last officially appointed Platonic Successor, revert to a tradition that seemingly disappears for well over three centuries? ~ In what ~As is well known, Damascius modifies Proclus' own exposition of the Parmenidean hypothe- ses, positing a first principle to which he gives the title ~the Ineffable." For those interested in a.. (shrink)

Place is sometimes understood as reinforcing personal and cultural identity in the face of dissipating versions of modernism or postmodernism. However, that identity can also come with a variety of cultural neuroses and manias that are inscribed on place. I consider the ways in which terrorism has become a feature of place, and how we can expect to see the terror of the place in the future. First, we can expect a relative diminishment in 'place-making imagination', the ability to see (...) places as rich, ambiguous, and multi-purposed. Second, we can expect the terror of the place to exhibit itself as an inability to come to terms with the other. Third, we can expect the continuation and development of a triumphalist narrative of place, including a sense of entitlement. Fourth, we can anticipate the death or the fear of the agora, the true 'agoraphobia', as the public space of discourse is closed down, and the private space of patriarchally enforced agreement gains ascendancy. Fifth, we can expect people to regard specific places as having fixed and permanent meanings, and to try to constrain those meanings in such a way as to guarantee that permanence. Sixth, we can expect topophobia, not only the fear of place but also stage fright, as the expression of self on the world stage becomes more and more limited and narrowly focussed. And seventh, we can expect a re-assertion of memory of place, perhaps with a shifted baseline, as the places of terror become exhausted. We can furthermore expect all of these phobias and manias to be rationalized as virtue in a society that cannot deal with the terror of the place. (shrink)