A model \ of ZF is said to be condensable if \\prec _{\mathbb {L}_{{\mathcal {M}}}} {\mathcal {M}}\) for some “ordinal” \, where \:=,\in )^{{\mathcal {M}}}\) and \ is the set of formulae of the infinitary logic \ that appear in the well-founded part of \. The work of Barwise and Schlipf in the 1970s revealed the fact that every countable recursively saturated model of ZF is cofinally condensable \prec _{\mathbb {L}_{{\mathcal {M}}}}{\mathcal {M}}\) for an unbounded collection of \). Moreover, it (...) can be readily shown that any \-nonstandard condensable model of \ is recursively saturated. These considerations provide the context for the following result that answers a question posed to the author by Paul Kindvall Gorbow.Theorem A. Assuming a modest set-theoretic hypothesis, there is a countable model \ of ZFC that is both definably well-founded is in the well-founded part of \}\) and cofinally condensable. We also provide various equivalents of the notion of condensability, including the result below.Theorem B. The following are equivalent for a countable model \ of \: \ is condensable. \ is cofinally condensable. \ is nonstandard and \\prec _{\mathbb {L}_{{\mathcal {M}}}}{\mathcal {M}}\) for an unbounded collection of \. (shrink)

The Axiom of Strong Condensation, first introduced by Woodin in [14], is an abstract version of the Condensation Lemma ofL. In this paper, we construct a set-sized forcing to obtain Strong Condensation forH. As an application, we show that “ZFC + Axiom of Strong Condensation +”is consistent, which answers a question in [14]. As another application, we give a partial answer to a question of Jech by proving that “ZFC + there is a supercompact cardinal + any ideal onω1which is (...) definable overH is not precipitous” is consistent under sufficient large cardinal assumptions. (shrink)

The complexity of aII 4 set of natural numbers is encoded into a linear order to show that the finite condensation of a recursive linear order can beII 2–II 1. A priority argument establishes the same result, and is extended to a complete classification of finite condensations iterated finitely many times.

We generalize ∇(A), which was introduced in [Sch∞], to larger cardinals. For a regular cardinal κ>ℵ0 we denote by ∇ κ (A) the statement that and for all regular θ>κ, is stationary in It was shown in [Sch∞] that can hold in a set-generic extension of L. We here prove that can hold in a set-generic extension of L as well. In both cases we in fact get equiconsistency theorems. This strengthens results of [Rä00] and [Rä01]. is equivalent with the (...) existence of 0#. (shrink)

In the first part of this paper we indicate how Meredith's condensed detachment may be used to give a new proof of Belnap's theorem that if every axiom x of a calculus S has the two-property that every variable which occurs in x occurs exactly twice in x, then every theorem of S is a substitution instance of a theorem of S which has the two-property. In the remainder of the paper we discuss the use of mechanical theorem-provers, based (...) either on condensed detachment or on the resolution rule of J. A. Robinson, to investigate various calculi whose axioms all have the two-property. Particular attention is given to D-groupoids, i.e. sets of formulae which are closed under condensed detachment. (shrink)

We show that transverse phonons in a set of trapped ions under the action of lasers are described by an interacting boson model whose parameters can be externally adjusted. If the radial trapping frequency is large enough, the system is described by a Bose–Hubbard model, in which hopping of the phonons between different ions is provided by the Coulomb interaction. On the other hand, the non-linear terms in the interaction of the ions with a standing-wave provide us with the phonon–phonon (...) interaction. We investigate the possibility of observing several quantum many—body phenomena, including (quasi)Bose–Einstein Condensation as well as a superfluid-Mott insulator quantum phase transition. (shrink)

The Three Papers comprising this series, together with my earlier [34] also published in this journal, constitute an attempt to set out the major issues in the theoretical domain of reduction and to develop a general theory of theory reduction. The fourth paper, [34], though published separately from this trio, is integral to the presentation and should be read in conjunction with these papers. Even so, the presentation is limited in scope – roughly, to intertheoretic reduction among empirical theories – (...) and informal in presentation – not least because a satisfying formal account of theories has yet to be offered. And despite the length, the treatment is still condensed; often corroborating and/or intuitively helpful detail has had to be consigned to footnotes or omitted. I approach the problem from within my own naturalistic realist philosophy of science and formal analysis of abstract hierarchy in theory. The sources for the former are [25], [29], [31], and [32] and those for the latter essentially [27] and [30]. Hierarchical notions played a significant role in the already published [34]. (shrink)

Let X be an infinite internal set in an ω1-saturated nonstandard universe. Then for any coloring of [X] k , such that the equivalence E of having the same color is countably determined and there is no infinite internal subset of [X] k with all its elements of different colors (i.e., E is condensating on X), there exists an infinite internal set Z⊆X such that all the sets in [Z] k have the same color. This Ramsey-type result is obtained (...) as a consequence of a more general one, asserting the existence of infinite internal Q-homogeneous sets for certain Q ⊆ [[X] k ] m , with arbitrary standard k≥ 1, m≥ 2. In the course of the proof certain minimal condensating countably determined sets will be described. (shrink)

We present here an approach to the fine structure of L based solely on elementary model theoretic ideas, and illustrate its use in a proof of Global Square in L. We thereby avoid the Lévy hierarchy of formulas and the subtleties of master codes and projecta, introduced by Jensen [3] in the original form of the theory. Our theory could appropriately be called ”Hyperfine Structure Theory”, as we make use of a hierarchy of structures and hull operations which refines the (...) traditional Lα -or Jα-sequences with their Σn-hull operations.§1. Introduction. In 1938, K. Gödel defined the model L of set theory to show the relative consistency of Cantor's Continuum Hypothesis. L is defined as a unionof initial segments which satisfy: L0 = ∅, Lλ = ∪α<λLα for limit ordinals λ, and, crucially, Lα + 1 = the collection of 1st order definable subsets of Lα. Since every transitive model of set theory must be closed under 1st order definability, L turns out to be the smallest inner model of set theory. Thus it occupies the central place in the set theoretic spectrum of models.The proof of the continuum hypothesis in L is based on the very uniform hierarchical definition of the L-hierarchy. The Condensation Lemma states that if π : M → Lα is an elementary embedding, M transitive, then some ; the lemma can be proved by induction on α. If a real, i.e., a subset of ω, is definable over some Lα,then by a Löwenheim-Skolem argument it is definable over some countable M as above, and hence over some, < ω1. This allows one to list the reals in L in length ω1 and therefore proves the Continuum Hypothesis in L. (shrink)

Study, with text of the Yogasūtra of Patañjali, text on Yoga philosophy.

O objetivo deste artigo é apresentar a analogia básica entre arquitetura e retórica antiga a partir dos tratados De Architectura, de Vitrúvio, e o De Oratore, de Cícero. A analogia se verifica na definição do artífice, dos gêneros e partes das técnicas e dos fins de cada uma delas. Para tanto, tomaram-se como referência as fontes do tratado vitruviano, que menciona a influência de Varrão na gramática, de Lucrécio na filosofia e de Cícero no método oratório. A analogia com Cícero (...) serve tanto para conferir autoridade ao modelo de arquiteto vitruviano quanto para diferenciar a arquitetura das demais ciências, sobretudo a filosofia, objeto de debate na obra ciceroniana. (shrink)

Analogue Gravity Phenomenology is a collection of contributions that cover a vast range of areas in physics, ranging from surface wave propagation in fluids to nonlinear optics. The underlying common aspect of all these topics, and hence the main focus and perspective from which they are explained here, is the attempt to develop analogue models for gravitational systems. The original and main motivation of the field is the verification and study of Hawking radiation from a horizon: the enabling feature is (...) the possibility to generate horizons in the laboratory with a wide range of physical systems that involve a flow of one kind or another. The years around 2010 and onwards witnessed a sudden surge of experimental activity in this expanding field of research. However, building an expertise in analogue gravity requires the researcher to be equipped with a rather broad range of knowledge and interests. The aim of this book is to bring the reader up to date with the latest developments and provide the basic background required in order to appreciate the goals, difficulties and success stories in the field of analogue gravity. Each chapter of the book treats a different topic explained in detail by the major experts for each specific discipline. The first chapters give an overview of black hole spacetimes and Hawking radiation before moving on to describe the large variety of analogue spacetimes that have been proposed and are currently under investigation. This introductory part is then followed by an in-depth description of what are currently the three most promising analogue spacetime settings, namely surface waves in flowing fluids, acoustic oscillations in Bose-Einstein condensates and electromagnetic waves in nonlinear optics. Both theory and experimental endeavours are explained in detail. The final chapters refer to other aspects of analogue gravity beyond the study of Hawking radiation, such as Lorentz invariance violations and Brownian motion in curved spacetimes, before concluding with a return to the origins of the field and a description of the available observational evidence for horizons in astrophysical black holes. (shrink)

An equation proposed by Levy, Perdew and Sahni (Phys. Rev. A 30:2745, 1984) is an orbital-free formulation of density functional theory. However, this equation describes a bosonic system. Here, we analyze on a very fundamental level, how this equation could be extended to yield a formulation for a general fermionic distribution of charge and spin. This analysis starts at the level of single electrons and with the question, how spin actually comes into a charge distribution in a non-relativistic model. To (...) this end we present a space-time model of extended electrons, which is formulated in terms of geometric algebra. Wave properties of the electron are referred to mass density oscillations. We provide a comprehensive and non-statistical interpretation of wavefunctions, referring them to mass density components and internal field components. It is shown that these wavefunctions comply with the Schrödinger equation, for the free electron as well as for the electron in electrostatic and vector potentials. Spin-properties of the electron are referred to intrinsic field components and it is established that a measurement of spin in an external field yields exactly two possible results. However, it is also established that the spin of free electrons is isotropic, and that spin-dynamics of single electrons can be described by a modified Landau-Lifshitz equation. The model agrees with the results of standard theory concerning the hydrogen atom. Finally, we analyze many-electron systems and derive a set of coupled equations suitable to characterize the system without any reference to single electron states. The model is expected to have the greatest impact in condensed matter theory, where it allows to describe an N-electron system by a many-electron wavefunction Ψ of four, instead of 3N variables. The many-body aspect of a system is in this case encoded in a bivector potential. (shrink)

The book offers condensed summaries of twenty-three major models of skill acquisition and expertise development presented by leading researchers during the last half a century of classic and new research. This book presents new researchers in learning, training, cognitive sciences or education disciplines with a big picture starting point for their literature review journey. The book presents an easy to understand taxonomy of twenty-three models which can give new researchers a good bird’s eye view of existing models and theories, (...) based on which they can decide which direction to dig further. The reviews in this book are complemented with over 200 authentic sources which a researcher read for detailed and deeper dive and set the direction for further exploration. This book would also act as an essential reference for training & learning professionals and instructional designers to design research-based training curriculum to develop skills of their staff. (shrink)

(1)In this necessarily condensed account there have been presented the personality systems of James, Freud, and McDougall, the first and the last of these exhibiting certain common factors, with certain extensions peculiar to each system. With the Freudian system these factors vaguely appear, but their form is badlydefined and their delineation incomplete. The criticism of the three systems may be summarised as follows:—that of James is lacking in content, i.e. of the sentiments, while that of McDougall is more in (...) line with a simple self concept than that of a complete personality system and hence is lacking in organisation. That of Freud, while possessing some features in common with that of McDougall appears naive and undeveloped. By combining the systems of the first-mentioned pair, a final system may be obtained, whichmore completely explains personality than any one of them. (2)According to this final system the main features of personality consist of:— (a)A basic system of instincts which tends to operate independently as personality phases; among these first fear, and later, submission and self assertion act as regulative factors. The former of this pair is inhibitive in its general effect on conduct, the latter accentuating it. (b)From a combination of instinctive tendencies focussed upon mental objects the sentiments develop. Like sentiments are grouped into a more or less defined entity styled a social self,this self being a product primarily of a particular environment. More than one social self tends to exist side by side in the same personality, each self retaining a specific set of moral sanctions of its own. Social selves may be independent and contradictory in their “mores” if there exist no overlap of common factors in apperception systems, sentiments and will attitudes. (c)At adolescence a rational process begins. Abstract sentiments and ideal personalities develope, and in place of social authority there is substituted the approbation or disfavour of anideal community existent in the mind of the subject; this forms the background of the promptings of conscience. An ethical code finally emerges whichis more or less universal in its applications. This development may be designated a rational, spiritual, or ethical self, and it acts as a unifying influence upon the social selves by legislating for opposed sanctions, and thus affording a final court of appeal in the case of conflict. Hence it becomes the crowning development of a unified personality. A clarification of the terms “self” and “personality” is thus afforded, whereby the term “self” is regarded as a phase of the latter. (shrink)

Let M be a short extender mouse. We prove that if $E\in M$ and $M\models $ “E is a countably complete short extender whose support is a cardinal $\theta $ and $\mathcal {H}_\theta \subseteq \mathrm {Ult}(V,E)$ ”, then E is in the extender sequence $\mathbb {E}^M$ of M. We also prove other related facts, and use them to establish that if $\kappa $ is an uncountable cardinal of M and $\kappa ^{+M}$ exists in M then $(\mathcal {H}_{\kappa ^+})^M$ satisfies the (...) Axiom of Global Choice. We prove that if M satisfies the Power Set Axiom then $\mathbb {E}^M$ is definable over the universe of M from the parameter $X=\mathbb {E}^M\!\upharpoonright \!\aleph _1^M$, and M satisfies “Every set is $\mathrm {OD}_{\{X\}}$ ”. We also prove various local versions of this fact in which M has a largest cardinal, and a version for generic extensions of M. As a consequence, for example, the minimal proper class mouse with a Woodin limit of Woodin cardinals models “ $V=\mathrm {HOD}$ ”. This adapts to many other similar examples. We also describe a simplified approach to Mitchell–Steel fine structure, which does away with the parameters $u_n$. (shrink)

It is now well-known that Newton–Cartan theory is the correct geometrical setting for modelling the quantum Hall effect. In addition, in recent years edge modes for the Newton–Cartan quantum Hall effect have been derived. However, the existence of these edge modes has, as of yet, been derived using only orthodox methodologies involving the breaking of gauge-invariance; it would be preferable to derive the existence of such edge modes in a gauge-invariant manner. In this article, we employ recent work by Donnelly (...) and Freidel in order to accomplish exactly this task. Our results agree with known physics, but afford greater conceptual insight into the existence of these edge modes: in particular, they connect them to subtle aspects of Newton–Cartan geometry and pave the way for further applications of Newton–Cartan theory in condensed matter physics. (shrink)

Quantum gravity is understood as a theory that, in some sense, unifies general relativity (GR) and quantum theory, and is supposed to replace GR at extremely small distances (high-energies). It may be that quantum gravity represents the breakdown of spacetime geometry described by GR. The relationship between quantum gravity and spacetime has been deemed ``emergence'', and the aim of this thesis is to investigate and explicate this relation. After finding traditional philosophical accounts of emergence to be inappropriate, I develop a (...) new conception of emergence by considering physical case studies including condensed matter physics, hydrodynamics, critical phenomena and quantum field theory understood as effective field theory. This new conception of emergence is unconcerned with the ideas of reduction and derivation (i.e. it holds that we may have emergence with reduction or without it). Instead, a low-energy theory (or model) is understood as emergent from a high-energy theory if it is novel and autonomous compared to the high-energy theory, and the low-energy physics is dependent in a particular, minimal sense on the high-energy physics (this dependence is revealed by the techniques of effective field theory and the renormalisation group). While novelty is construed in a broad sense, the autonomy comes essentially from the underdetermination of the high-energy theory by the low-energy theory, which reflects the minimal way in which the emergent, low-energy theory depends on the high-energy one. It results from the scaling behaviour of the theories and the limiting relations between them, and is demonstrated by the renormalisation group and effective field theory techniques, the idea of universality, and the phenomenon of symmetry-breaking. These ideas are important in exploring the relationship between quantum gravity and GR, where GR is understood as an effective, low-energy theory of quantum gravity. Without experimental data or a theory of quantum gravity, we rely on principles and techniques from other areas of physics to guide the way. As well as considering the idea of emergence appropriate to treating GR as an effective field theory, I investigate the emergence of spacetime (and other aspects of GR) in several concrete approaches to quantum gravity, including examples of the condensed matter approaches, the ``discrete approaches'' (causal set theory, causal dynamical triangulations, quantum causal histories and quantum graphity) and loop quantum gravity. (shrink)

An assessment is offered of the progress that the major approaches to quantum gravity have made towards the goal of constructing a complete and satisfactory theory. The emphasis is on loop quantum gravity and string theory, although other approaches are discussed, including dynamical triangulation models (euclidean and lorentzian) regge calculus models, causal sets, twistor theory, non-commutative geometry and models based on analogies to condensed matter systems. We proceed by listing the questions the theories are expected to be able (...) to answer. We then compile two lists: the first details the actual results so far achieved in each theory, while the second lists conjectures which remain open. By comparing them we can evaluate how far each theory has progressed, and what must still be done before each theory can be considered a satisfactory quantum theory of gravity. We find there has been impressive recent progress on several fronts. At the same time, important issues about loop quantum gravity are so far unresolved, as are key conjectures of string theory. However, there is a reasonable expectation that experimental tests of lorentz invariance at Planck scales may in the near future make it possible to rule out one or more candidate quantum theories of gravity. (shrink)

Global sourcing largely occurs from so-called emerging markets and developing economies. In these contexts, substantial leverage effects for sustainability in supply chains can be expected by reducing adverse impacts on society and minimising related risks. For this ethical end, an adequate understanding of the respective sourcing contexts is fundamental. This case study of South Africa’s mining sector uses institutional theory and the notion of institutional uncertainty to empirically analyse the challenges associated with establishing social sustainability. The case study research is (...) informed by 39 semi-structured interviews with top management representatives and various state and non-state decision makers in SA. Our findings suggest that sustainability in the institutional field is mainly shaped by the Social and Labour Plan institution, induced by state actors and mining companies’ practices. However, four weakening factors were identified that adversely affect this regulative institution, drive institutional uncertainty and allow for mining companies’ gradual decoupling. Contrastingly, complementing pressures of non-state actors limit institutional uncertainty and push toward mainstreaming the stipulations of the institution. This study contributes to the business ethics literature by providing an in-depth exploration of institutional uncertainty’s drivers and barriers within an upstream SC setting and shedding light on multiple actors’ interplay and relevance in sector-wide sustainability. The findings are condensed into three main propositions as well as an analytical framework as a basis for follow-up research. This case study helps practitioners understand and manage complexity that results from actor plurality and institutional uncertainty in EMDEs. (shrink)

This essay presents the early days of human cytogenetics, from the late 1950s until the mid 1970s, as a historical series of images. I propose a chronology moving from photographs of bodies to chromosome sets, to be joined by ultrasound images, which provided a return to bodies, by then focused on the unborn. Images carried ontological significance and, as I will argue, are principal characters in the history of human cytogenetics. Inspired by the historiography of heredity and genetics, studies (...) on visual cultures, the conceptualization of circulation, and the sociology of pregnancy, I suggest that cytogenetics, through its focus on pregnancy, pregnant women, and their offspring, found strategic living materials that stabilized human chromosome studies as a biomedical, post-eugenics practice. The historicity of each path displays a wide circulation of objects, tools, and methods that condensed on images that shared in the centuries-old visual expertise that medicine and botany had manufactured. (shrink)

''As a text in developmental psychology the book is excellent, and this lower-priced paperback version will be snapped up by psychology students.'' -European NeurologyOne of the most dramatic areas of development in early human life is that of vision. Whereas vision plays a relatively minor role in the world of the newborn infant, by 6 months it has assumed the position as a dominant sense and forms the basis of later perceptual, cognitive, and social development. From a world leader in (...) the study of visual development in human infants comes a major new work, condensing a lifetime of work in this area - The developing visual brain. Drawing on over 20 years of cutting edge research in the Visual Develoment Units in Cambridge and University College London, the book provides the definitive account of what we know about the developing visual system, and the problems that can occur during development. The book reviews, evaluates, and sets in context the exciting progress being made in this area, and additionally suggests new areas for research. Written to be accessible for advanced undergraduates, graduate students, and researchers in psychology, the neurosciences, optometry, and visual science, The developing visual brain represents an important new addition to the literature on vision. (shrink)

Following the experimental discovery of the Higgs boson, physicists explained the discovery to the public by appealing to analogies with condensed matter physics. The historical root of these analogies is the analogies to models of superconductivity that inspired the introduction of spontaneous symmetry breaking into particle physics in the early 1960s. We offer a historical and philosophical analysis of the analogies between the Higgs model of the electroweak interaction and the Ginsburg-Landau and Bardeen-Cooper-Schrieffer models of superconductivity, respectively. The conclusion (...) of our analysis is that both sets of analogies are purely formal in virtue of the fact that they are accompanied by substantial physical disanalogies. In particular, the formal analogies do not map the temporal, causal, or modal structures of SSB in superconductivity to temporal, causal, or modal structures in the Higgs model. These substantial physical disanalogies mean that analogies to models of superconductivity cannot supply the basis for the physical interpretation of EW SSB; however, an appreciation of the contrast between the physical interpretations of SSB in superconductivity and the Higgs model does help to clarify some foundational issues. Unlike SSB in superconductivity, SSB in the Higgs sector of the Standard Model is neither a temporal nor a causal process. We discuss the implications for the `eating' metaphor for mass gain in the Higgs model. Furthermore, the distinction between the phenomenological GL model and the dynamical BCS model does not carry over to EW models, which clarifies the desiderata for so-called `dynamical' models of EW SSB. Finally, the development of the Higgs model is an illuminating case study for philosophers of science because it illustrates how purely formal analogies can play a fruitful heuristic role in physics. (shrink)

With regard to current debates on the ethical implementation of AI, especially two demands are linked: the call for explainability and for ultimate human responsibility. In the medical field, both are condensed into the role of one person: It is the physician to whom AI output should be explainable and who should thus bear ultimate responsibility for diagnostic or treatment decisions that are based on such AI output. In this article, we argue that a black box AI indeed creates (...) a rationally irresolvable epistemic situation for the physician involved. Specifically, strange errors that are occasionally made by AI sometimes detach its output from human reasoning. Within this article it is further argued that such an epistemic situation is problematic in the context of ultimate human responsibility. Since said strange errors limit the promises of explainability and the concept of explainability frequently appears irrelevant or insignificant when applied to a diverse set of medical applications, we deem it worthwhile to reconsider the call for ultimate human responsibility. (shrink)

continent. 1.3 (2011): 208-212. … intervals of destructuring paradoxically carry the momentum for the ongoing process by which thought and perception are brought into relation toward transformative action. —Brian Massumi, Parables for the Virtual: Movement, Affect, Sensation 1 Facing a blank canvas or blank page is a moment of pure potential, one that can be enervating or paralyzing. It causes a pause, a hesitation, in anticipation of the moment of inception—even of one that never comes. The implication is that the (...) blank is yours in that moment, and it calls on you to act on it, to think into it, to create on it. Each blank canvas gives you time, of an undefined length, to transform that canvas’ inherent potential into a work. This two-dimensional plane of potential can be projected into a space, which the body can then occupy. When you “destructure” a space in the same way, prepare it to be a blank, much as you build a canvas, you allow your entire body to enter the space of potential, and you rest in anticipation of work, like the hand poised above the page. Artists have found that the deliberate creation of that space of potential through sealing the space and painting it white, thereby erasing details and distractions, can be such a transformative experience as to help define their whole practice. The cessation of distraction, the absence of indicator that a “blanked” workspace provides allows for a new presence of mind, it gives them the room, literally, to move into their work, and from there to move their work into the world. The workspace for the artist, the studio, is often perceived as a lab-like condensation of the gallery or museum, the traditional and idealized white cube. Similarly, with the blank page, a concrete relation between space and time comes forward as the intentional simplification of the architecture changes behavior and perception within the space. The work of “blanking” the studio space is a meditative reduction, an erasure, and in a way, an attempt at drawing away from the world beyond the studio - the sealed space is meant to recede from reality, to become abstracted by its willed lack of details and distractions. Within that space the time for a new beginning is made more present, more attainable, and the focus it fosters becomes another tool to aid creation. At the formative moment of his artistic practice, Tom Friedman used the blank of his studio, saturated in white, sealed off from the world, to fight velocity. He describes how he projected his vision of the end goal, the museum - a place he believes to be defined by slow contemplation - onto his own studio experience. He then sat and reflected on common objects, one by one, framed by the blank box he had created. The domestic objects he brought into the space to study foreshadow his mature works, where often the quotidian object has a single additional element – his intense labor. Friedman makes discrete objects through absurdly intense and focused labor, epitomized, perhaps by his 1,000 hours of Staring , made from 1992-97: Tom Friedman. 1000 Hours of Staring (1992-1997) His labor, to use his own words, is his way to “bring all of who you are to the experience.” Friedman shares his labor, allows the slow, deliberate pace of his work born in the studio to penetrate the museum. Nothing seems effortless, or a gesture, the labor is apparent, displayed, and tangible. He gives us the labor, the personal investment in the physical that saved art for him, that divorced the work from the language he cites as a factor of alienation. When we see his work we do not see words, we see acts, we see objects. He has forced the studio as workspace into the exhibition space, as he stuffs hundreds of more hours of labor into his shows with each new piece, filling the space with material and labor, material and labor – his involvement, his investment, is his gift to us as the viewers, as he introduces the laborious and contemplative pace he feels belongs to the museum. He saves us also from the alienation of language, which first drove him into the sealed studio and away from the discourse of his school. He presents us with his real, the object which stands in stark contrast to the white slate of the studio, the sealed white box he started from, where his individual, self-contained objects begin and end, completed through the intensity of isolation, first of the individual artist, and then of the material he chooses to slowly, slowly, slowly work: Tom Friedman. Untitled (1992) In his in-depth analysis of galleries as a blank white cube, Brian O’Doherty emphasizes the religious connotations implied in the strict laws of the exhibition space and the valuation, aesthetics and elements of control he feels it imposes upon the work. Like Friedman, he recognizes the power of the restricted space – indicating the “perceptual fields of force” – that act on any object introduced into it. Going beyond Friedman’s assessment of the space as highly utilitarian for focusing his perception, O’Doherty emphasizes the rejection of the physical body of the artist or observer, saying that the cube allows for only observation - eyes and mind. He later parallels the picture frame as a psychological container for the artist with the room as the same for the observer. In both cases, this is an emphasis on the alienating nature of the relationship – just as the artist is kept out of the frame by the picture, in the gallery the art forces the body of the spectator out, calling for a self-referential purity. Patrick Ireland. White Cube (1998) O’Doherty makes a point of saying that the installation shot of the gallery without figures is “one of the icons of our visual culture.” In recent years, however, installation shots have begun to include figures, in some cases they are essential to understanding the scale and even the nature of the work, specifically with work that captures the experience of the space and the way that it varies from a white cube. The work of Olafur Eliasson is a case in point, as the Danish artist uses elements of scientific and natural phenomena to alter perception within the controlled gallery environment, tweaking and redirecting O’Doherty’s “perceptual fields of force” to make points about the act of seeing, or seeing yourself seeing, to quote the artist. This indicates a shift in the role of the artwork, not to exclude the body and stand discretely and self-sufficiently, but to include it, to manipulate it and to make the observer aware of the nature of that manipulation and the work’s ability to manipulate. Olafur Eliasson. 360º room for all colours (2002) So though in O’Doherty’s analysis, the intense blankness of the gallery pushed the observer out in favor of the artwork’s isolation, artists can replicate this inhumane sterility in their own workspace to focus their work on the influence of the gallery right from inception. This can be interpreted as an almost opposite understanding of the purpose of sealing and whitewashing the workspace as stated by Friedman. He sought a refuge from the critical language of the art school, and a space that, like the museum, gave him a protracted sense of time, and, he felt, welcomed him in, “to bring all of who you are,” as opposed to O’Doherty’s feeling that the museum was asking you, at least in body, to leave, and allow the work to take on its own life. Friedman does not seem to imply the tension with the cube and critical stance that O’Doherty prioritizes. Where Friedman finds a refuge, O’Doherty defines an opponent. In a third position, Robert Irwin describes his sealed studio space as “the world.” Though he made the same effort as Friedman to seal out all influences and distractions, he implies that he is in dialogue with the world through his own concentration and perception. This is reminiscent of the nature of the monad, as interpreted by Deleuze, a unity that envelops a multiplicity, a sealed container that contains the universe. He went through the same ritual described by Friedman, sealing up the space, painting it white, and then forcing himself to remain inside, staring at his own work, training his concentration relentlessly. But he found that the room became the distraction: …he became aware that a thin crack along the wall a few yards away from the canvas likewise exerted its presence; that when he plastered that crack over and repainted the wall, the canvas itself presented an entirely new aspect.2 The context was in a relentless dialogue with the work, and trying to neutralize that dialogue, to mute the conversation between space and object, became part of his ritual as he “fixed” his space each day in the hope of total concentration on the work. Ultimately, Irwin shaped the trajectory of his art by relinquishing the studio, establishing a post-studio practice, where the work is conceived and created out in the world, in dialogue with the world and reflective of the conditions it finds surrounding it. The white cube failed to ever achieve neutrality, his heightened concentration prevented him from ever neutralizing the space, so, instead of continuing to try to maintain the charade of a perfect blank, he acknowledged the unstoppable voice of place and turned all his efforts onto the object and the world, as a constant dialogue. Some artists push their studio space far from purity, domesticating it like a lair or a living room, and others destroy it, fill it with chaos or detritus, blacken or clutter it so as never to be starting from a blank, and thereby try to avoid the anxiety of facing that void. Similarly artists may never prepare a white canvas, a clean page, a marble block, or other form that is intentionally lacking, in order to try to escape the dialogue with emptiness. But Irwin, like O’Doherty, found an opponent in the white cube, and he learned not to fight it, rather he ended the conflict by making it an ally, an interlocutor, a collaborator. We can vainly strive to start from nothing, to find the lull, the clearing, and to always consider what we do in balance with the empty set. Somehow that intangible cloud of hazy nothingness, that softness of a lapse continually offers a place to bounce off of, to react to, to wrestle with, to rest with, in tension, or a place to begin. Robert Irwin. Excursus: Homage to the Square3 (1998) NOTES 1 Massumi. Parables for the Virtual: Movement, Affect, Sensation. p271. 2 MOMA, NY. Eliasson, 360 ? Room for All Colours . Installation. 2002. (shrink)

In his recent article, ``Self-Consciousness'’, George Bealer has set outa novel and interesting argument against functionalism in the philosophyof mind. I shall attempt to show, however, that Bealer's argument cannotbe sustained.In arguing for this conclusion, I shall be defending three main theses.The first is connected with the problem of defining theoreticalpredicates that occur in theories where the following two features arepresent: first, the theoretical predicate in question occurswithin both extensional and non-extensional contexts; secondly, thetheory in question asserts that the relevant (...) theoretical states enterinto causal relations. What I shall argue is that a Ramsey-styleapproach to the definition of such theoretical terms requires twodistinct quantifiers: one which ranges over concepts, and theother which ranges over properties in the world.My second thesis is a corollary: since the theories on whichBealer is focusing have both of the features just mentioned, and sincethe method that he employs to define theoretical terms in his argumentagainst functionalism does not involve both quantifiers that range overproperties and quantifiers that range over concepts, that method isunsound.My final thesis is that when a sound method is used, Bealer's argumentagainst functionalism no longer goes through.The structure of my discussion is as follows. I begin by setting out twoarguments – the one, a condensed version of Bealer's argument, andthe other, an argument that parallels Bealer's argument very closely.The parallel argument leads to a conclusion, however, that, rather thanbeing merely somewhat surprising, seems very implausible indeed. Forwhat the second argument establishes, if sound, is that there can betheoretical terms that apply to objects by virtue of their first-orderphysical properties, but whose meaning cannot be defined via aRamsey-style approach.Having set out the two parallel arguments, I then go on to focus uponthe second, to determine what is wrong with it. My diagnosis will bethat the problem with the argument arises from the fact that it involvesdefining a theoretical term that occurs both inside and outside ofopaque contexts, for the method employed fails to take into account thefact that the types of entities that are involved in the relevanttruthmakers are different when a sentence occurs within an extensionalcontext from those involved when a sentence occurs within anon-extensional context.I then go on to discuss how one should define a theoretical term thatoccurs within such theories, and I argue that in such a case one needstwo quantifiers, ranging over different types of entities – on theone hand, over properties and relations, and the other, over concepts. Ithen show that, when such an approach is followed, the argument inquestion collapses.I then turn to Bealer's argument against functionalism, and I show,first, that precisely the same method of defining theoretical terms canbe applied there, and, secondly, that, when this is done, it turns outthat that argument is also unsound.Next, I consider two responses that Bealer might make to my argument,and I argue that those responses would not succeed.Finally, I conclude by asking exactly where the problem lies in the caseof Bealer's argument. My answer will be that it is not simply the factthat one is dealing with a theoretical term that occurs in bothextensional and non-extensional contexts. It is rather the combinationof that feature together with the fact that the theory in questionasserts that the relevant type of theoretical state enters into causalrelations. For the first of these features means that the Ramseysentence for the theory must involve quantification over concepts, whilethe presence of the second feature means that the Ramsey sentence mustinvolve quantification over properties in the world, and so no attemptto offer a Ramsey-style account of the meaning of the relevanttheoretical term can succeed unless one employs both quantification overconcepts and quantification over properties. Bealer, however, in hisargument against functionalism, uses a method of defining theoreticalterms that does not involve both types of quantification, and it isprecisely because of this that his argument does not in the end succeed. (shrink)

Reconstruction of the basilica that preceded the present abbey church at Conques lends itself to exploring the notion of “sacred space”. Like its successor, the original basilica, probably built around 900, was dedicated to St Foy and held her remains. Textual evidence, augmented with (albeit scarce) archeological data, enables a reconstruction of what emerges as an unusual building containing a “physical” sacred space clearly conceived as a place into which the whole cult of St Foy could be “condensed”. At (...) the same time, textual evidence, mainly in the Liber miraculorum sanctae Fidis, hints at the existence of a “mental” sacred space in which specific movements performed in venerating the saint, as well as the comings and goings of pilgrims and other worshippers, formed a sacred space that was more fluid but no less central to understanding Conques as a place of devotion. Going farther, the analysis here suggests a notion of “sacred space” that includes the terrain surrounding a place of devotion: once worshippers’ senses of hearing, sight, and touch were activated, the natural setting itself became a place of holiness and protection. (shrink)

Observational indications combined with analyses of analogue and emergent gravity in condensed matter systems support the possibility that there might be two distinct energy scales related to quantum gravity: the scale that sets the onset of quantum gravitational effects $E_{\rm B}$ (related to the Planck scale) and the much higher scale $E_{\rm L}$ signalling the breaking of Lorentz symmetry. We suggest a natural interpretation for these two scales: $E_{\rm L}$ is the energy scale below which a special relativistic (...) spacetime emerges, $E_{\rm B}$ is the scale below which this spacetime geometry becomes curved. This implies that the first ‘quantum’ gravitational effect around $E_{\rm B}$ could simply be that gravity is progressively switched off, leaving an effective Minkowski quantum field theory up to much higher energies of the order of $E_{\rm L}$ . This scenario may have important consequences for gravitational collapse, inasmuch as it opens up new possibilities for the final state of stellar collapse other than an evaporating black hole. (shrink)

Thomas Aquinas, in his commentary on the Metaphysics, offers a faithful rendering of the argument in the course of his almost literal paraphrase; but in the Summa Contra Gentiles, when he undertakes to give "the arguments by which Aristotle sets out to prove the existence of God," the argument from time is strangely omitted. Thomas is not peculiar in this omission. Maimonides before him evinces no recognition of the argument from time, and I am aware of no modern discussion (...) of it. The one directly relevant passage in Book Lambda is certainly exiguous enough, and it might perhaps be suggested that Aristotle himself failed to grasp the argument as independent of the argument from motion. The argument from time is indeed absent from the Physics in anything like its full force, though an abbreviated version of it is peripherally anticipated in chapter 1 of Bk. 8. There being such a meagreness of supporting documentation in the Aristotelian corpus itself, it is not altogether surprising that the key passage--Met. 1071b3-10--should be passed over as merely a highly condensed synopsis of the argument from motion. I am confident, however, that, elliptical as the passage is, it actually uncovers an argument for the prime mover quite distinct from the main argument of the Physics. (shrink)

The Lovász local lemma (LLL) is a technique from combinatorics for proving existential results. There are many different versions of the LLL. One of them, the lefthanded local lemma, is particularly well suited for applications to two player games. There are also constructive and computable versions of the LLL. The chief object of this thesis is to prove an effective version of the lefthanded local lemma and to apply it to effectivise constructions of non-repetitive sequences.The second goal of this thesis (...) is to categorize some classes of cohesive powers. We completely describe both the isomorphism types of cohesive powers of equivalence structures and injection structures, as well as clarify the relationship between these cohesive powers and their original structures. We also describe the finite condensation of cohesive powers of computable copies of the integers as a linear order by cohesive sets whose complement are computably enumerable.Finally, we investigate the possibility of decomposing problems in the Weihrauch degrees into a product of first order part and second order part. We give a preliminary result in this direction.Abstract prepared by Daniel Mourad.E-mail: [email protected]: https://daniel-mourad.scholar.uconn.edu/wp-content/uploads/sites/2530/2023/06/ThesisFinalWithRevisio ns-2.pdf. (shrink)

In this paper, I explore links between the phenomenology-inspired philosophy of emotion, especially discussions of affective intentionality and situated affectivity, and those strands of work in the field of cultural affect studies that take their inspiration fromSpinoza and Deleuze. As bridges between these fields, I propose the concepts ‘disclosive posture’ and ‘affective arrangement’. ‘Disclosive posture’ condenses insights from phenomenological work on affectivity, especially those pertaining to what Heidegger calls Befindlichkeit. ‘Affective arrangement’ is a descendant of Deleuze and Guattari’s term agencement. (...) It refers to heterogeneous ensembles of elements coalescing into a sphere of heightened affective intensity in a local setting. I develop this notion into a tool for analyzing situated affectivity. As it does not yet figure prominently within debates in the philosophy of emotion, I will outline what is meant by ‘affective arrangement’ in some detail. Throughout, I discuss a productive tension between these two conceptual strands. (shrink)

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

El corpuscularismo sirvió a los físicos del XVII para matematizar la naturaleza al considerarla un conjunto de sistemas mecánicos. Pero la discontinuidad del atomismo chocaba con la continuidad de las magnitudes básicas, espacio y el tiempo, y derivadas. En su madurez, Galileo fundió física y matemáticas propo-niendo componer tanto los cuerpos como las magnitudes continuas a base de átomos inextensos (indivisibles). En el proceso inició el análisis de las propiedades de los conjuntos infinitos, pero no logró elaborar un cálculo que (...) le permitiese computar diferentes movimientos acelerados, mientras que en física no resolvió en problema fundamental de la condensación y la rarefacción.Seventeenth century atomism envisioned Nature as a set of mechanical systems to be treated mathematically. But the basic discontinuity of atomic theory of matter appeared inconsistent with the essential continuous character of geometrical magnitudes. In his old age Galileo devised a way to unify mathematics and physics via composing matter and continuous magnitudes out of an infinity of indivisible (atomic) units. Even though he forwarded the analysis of infinite sets, he couldn’t establish a calculus to compute and compare different accelerated motions. In physics he never solved the basic problem of condensation and rarefaction of substances. But the side results were interesting and even fascinating. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Rembrandt and LearningRalph A. Smith (bio)IntroductionIt appears to be a defining characteristic of Rembrandt’s works—as important as the brushstrokes, the underdrawing, the types of ground and the paints used—that they move people exceedingly. [T]hey help us feel something of what the artist may have felt about youth, old age, friendship, isolation, and love.—Anthony Bailey[For] Rembrandt, imperfections are the norm of humanity, which is why he will always speak across (...) centuries to those for whom art might be something other than the quest for ideal form.—Simon SchamaArt can arouse the senses, touch the feelings, and stir the passions. In exercising these formidable powers, the artist should respect certain limits of good taste and moral propriety. Rembrandt possessed unequal skill in depicting the passions in original ways without breaking the code. Well, hardly ever.—Gary SchwartzThe National Endowment for the Humanities (NEH) Rembrandt Project was designed to apply state-of-the-art digital technology to the development of the multiple competencies needed for understanding and appreciating [End Page 101] Rembrandt and his time. As educational consultant to the project, I was given the assignment of conceptualizing a framework that would accommodate and illuminate the project’s purposes. This meant that I not only had to refamiliarize myself with seventeenth-century Dutch art and culture and with the national and state standards for the visual arts but also acquaint myself with the standards for socials studies; both sets of standards occupy a prominent place in the project and are the subject of the third section of this article. The overarching viewpoint from which I approached my assignment, however, was that of the humanities, a topic to which I turn first. Furthermore, since the project’s foremost concern is with masterpieces of the visual arts, I thought it apposite to address briefly some issues in aesthetics, especially those that relate to experiencing artworks appropriately. Having surveyed the project from the perspectives mentioned, I then ask to what extent it was successful in avoiding the pitfalls that often frustrate the implementation of novel ideas and methods.1The HumanitiesThe following interpretation of the humanities is condensed from the writings of two distinguished philosophers, Albert William Levi and Walter Kaufmann, and the historian Paul Gagnon. Levi, an early member of the National Council for the Humanities and for most of his career a distinguished professor of the humanities at Washington University, was once asked to define the essence of the humanities. He replied that the purposes of the humanities are to encourage persons to “to think critically, to communicate successfully, and to walk proudly with [their] tradition.”2 Noteworthy in this terse statement is its emphasis on the procedural aspects of the humanities, that is, their effects on human actions and attitudes. Such emphasis accorded well with the tradition of the Middle Ages, which construed the humanities as skills of organizing and understanding human experience. Levi, however, also acknowledged the Renaissance conception of the humanities as subject matters, thereby paying tribute to the endeavors of Renaissance scholars who devoted themselves to recovering and transmitting the literary texts of antiquity. A strong believer in historical continuity, Levi synthesized the Medieval and Renaissance traditions by proposing that the humanities be understood as skills of communication, continuity, and criticism. These skills have their substantive grounding in languages and literatures, history, and philosophy, the latter conceived as critical reflection.3 After pondering Levi’s interpretation, I added another “c,” the arts of creation, to his troika. Thus, the humanities can be understood as indispensable to human experience because they are the arts of creation, communication, continuity, and criticism.Another view of the purposes of the humanities and their relevance to the project can be found in the writings of the historian Paul Gagnon. He [End Page 102] stressed the importance of preparing the young for citizenship, personal cultivation, and vocation within a curriculum committed to the values of equity and competence.4 Gagnon interpreted the study of history as providing critical checks on reality, imparting insights into the various ways in which persons have used historical knowledge to find their place in the flow of events, and... (shrink)

El corpuscularismo sirvió a los físicos del XVII para matematizar la naturaleza al considerarla un conjunto de sistemas mecánicos. Pero la discontinuidad del atomismo chocaba con la continuidad de las magnitudes básicas, espacio y el tiempo, y derivadas. En su madurez, Galileo fundió física y matemáticas propo-niendo componer tanto los cuerpos como las magnitudes continuas a base de átomos inextensos (indivisibles). En el proceso inició el análisis de las propiedades de los conjuntos infinitos, pero no logró elaborar un cálculo que (...) le permitiese computar diferentes movimientos acelerados, mientras que en física no resolvió en problema fundamental de la condensación y la rarefacción.Seventeenth century atomism envisioned Nature as a set of mechanical systems to be treated mathematically. But the basic discontinuity of atomic theory of matter appeared inconsistent with the essential continuous character of geometrical magnitudes. In his old age Galileo devised a way to unify mathematics and physics via composing matter and continuous magnitudes out of an infinity of indivisible (atomic) units. Even though he forwarded the analysis of infinite sets, he couldn’t establish a calculus to compute and compare different accelerated motions. In physics he never solved the basic problem of condensation and rarefaction of substances. But the side results were interesting and even fascinating. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Breath of Fresh Air:Or, Why the Body is Not Embodied1Tim Ingold (bio)One of the more irritating affectations of much recent writing in the humanities and social sciences is the habit of inserting the word "embodied" in front of the topic in question, as though by doing so the specter of binary thinking could be magically exorcised. Almost anything, it seems, can be embodied–the mind, consciousness, experience, knowledge, skills, (...) practices, the self, meaning. If there is one thing that cannot be embodied, however, it is the body itself. At first glance, the phrase "embodied body" looks like a simple case of tautology, of saying the same thing twice. "How can a body not be embodied?" you will protest. "It's the embodiment that makes it a body!" But on second thought, the matter is not so straightforward. For if the body is the predicate of a process of embodiment–if it comes after embodiment, so to speak–then all the other things we claim can be entered into the process must come before it. Thus, the dualism of mind and body, to take just one example, is still there, just as categorical as it ever was, but it no longer equates to a schism between ideal and material worlds. It is, rather, a matter of separating what is poured into the funnel of embodiment from what is extruded at the other end of it. It is a division between what goes in, and what comes out. Only things that go in can be embodied. The body, since it comes out of the process, cannot.A body, however, if it is to remain alive, has to breathe. Does it make sense, then, to regard breathing as a practice of embodiment, or to add breath to the list of things that can be embodied? That a body breathes goes without saying; that breath is thereby embodied is another matter entirely. Fundamental to breathing is the rhythmic alternation of air going in, and air coming out. Perhaps there's a sense in which breath is embodied on the inhalation, as air is drawn into the oxygenating process essential to bodily metabolism. But the release of air on the exhalation seems like the reverse, since it serves to expel gases–principally carbon dioxide–which in concentration would be lethal. If your body absorbs as you breathe in, it exudes as you breathe out. Embodiment, then, catches only half the picture, minus its complement of vaporization. Likewise, with [End Page 100] the body itself we have only half of the living being: the fleshy part. The other, gaseous part is normally invisible, though under certain conditions it can be seen, for example in a room full of smokers, in which everyone is wreathed in a haze, or when it is very cold, causing the warm, humid air issuing from the lungs to condense into a little cloud. As vaporization appears to be the complement of embodiment, so the cloud, whether of tobacco smoke or condensed moisture, seems to complement the body made up of flesh and blood.In the Western world there is a long tradition of prioritizing body over breath. This is consistent with an ontology of naturalism that tends to put the being of things before their becoming, as though everything there is had already precipitated out into bodies of one form or another, which have then to be set in motion in order to have the effects they do. Among many so-called Indigenous peoples, however, most especially those credited by anthropological observers with an ontology of animism, this priority is reversed. For them the vital complement of the living being wafts in smoke and resonates in song, whereas the bodily complement is but an ephemeral, almost ghostly appearance.2 Although a comparison of Western and animic ontologies might appear to lend support to the thesis of complementarity, pitching western naturalists into a world of bodies and indigenous animists into a world of vapors–both demi-worlds which, if only they could be combined, would make a perfect whole–I shall argue, to the contrary, that with a focus on breath and breathing, the division between the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Buddhist-Christian Studies 20 (2000) 54-59 [Access article in PDF] Buddhist Views on Ritual Pactice Mahayana Buddhist Ritual and Ethical Activity in the World John MakranskyBoston College Society of Buddhist Christian Studies Meeting, Orlando, Florida, November 20, 1998 Contemporary attempts to derive a present-day social ethic from traditional Buddhism usually stem from doctrinal understandings and higher practices of meditation, often overlooking Buddhist ritual practice as a source of ethical formation (...) and expression.Philosophical study of Buddhism alone may leave one's capacity for ethical response untouched. Rigorous contemplative practices of Vipassana, Zen, or higher Tibetan meditation are out of the reach of many. Ritual forms have provided ways for Buddhists from all walks of life to become attuned to the same subtle dimensions of body, speech, and mind that higher Buddhist philosophy and meditation engage. Ritual also serves as means to empower and deepen philosophical inquiry and meditation. We do well not to forget the unique power of Buddhist ritual to include the many (not only the elite) in the most profound dimensions of Buddhist ethical understanding, formation, and expression.The relative obscurity of ritual practice in contemporary consideration of Buddhist social ethics may also obscure from view some of Buddhism's past social-ethical expressions, which have sometimes taken symbolic ritual forms, rather than organized social outreach of the sort we are accustomed to identify as social-ethical activity. Buddhist ritual-contemplative forms have been viewed as ways to perform social service within and through the mythico-magical cosmoses of Asian traditions: cosmoses of buddhas, bodhisattvas, and myriad powerful, sacred beings. Since Asian Buddhists understand these cosmoses to interpenetrate our world, many of their ritual-contemplative practices are intended to perform needed social functions, within a broad context of universal salvation: healing, treating pain, treating mental illness, promoting economic well-being, preventing and assisting in disasters, protecting the helpless, easing the transition of death....Contemporary Buddhist ethics tend to de-emphasize the ritualistic and devotional aspects of Buddhism to newly emphasize material resources and strategies for social transformation which can be related to higher Buddhist philosophy. While this is important, there is a danger that contemporary Buddhists, by reinterpreting practice as social service too exclusively in modern, material terms, may dilute rather than reinforce the ontological and epistemological intuitions of Buddhism, losing touch with time-tested means for persons to actually learn to embody an ultimate source of ethical response that transcends ontological assumptions of modern, secular thought. [End Page 54] By experiencing social service as a natural extension of ritual activity, each element of such service symbolically expresses an ultimate source of ethical response within a path of ultimate transformation, reinforcing rather than diluting the deepest intuitions of Buddhism even as Buddhist practice takes new social-ethical expression in our world.As an example, I will focus on one of the earliest and most popular continually practiced Buddhist rituals of Indo-Tibetan Buddhism: the Bhadracaryapranidhana ("resolution of excellent practice") which appears within the Avatamsaka sutra. This practice, further delineated in treatises ascribed to Nagarjuna, Asan(dot)ga, Vasubandhu, S´antideva and many others, consists of seven ritual activities: bowing, offering, confession, ritual rejoicing, requesting teaching, entreating the buddhas to continually manifest, and dedication of karmic merit.The ritual appears at the end of the Avatamsaka sutra, a scripture thousands of folios long in Tibetan translation. What follows is my own condensed commentary on the first portion of the ritual, which aims to correlate its elements with the fuller context of practice and visionary experience described in the sutra as a whole.The ritual takes place set within the nirvanic realms of infinite buddhas, bodhisattvas, and holy beings whose salvific power and activity penetrate all realms of living beings who remain caught in the sufferings of sam.sara. To enter into the ritual is not merely to visualize these intersecting dimensions of nirvanic and samsaric existence, but to have one's body, speech, and mind symbolically entered into the stream of practice of all buddhas and bodhisattvas past, present, and future, to participate through all senses and movements of thought... (shrink)

The article considers the problem of images and the role they play in our reflection turning to evidence provided by two seemingly very distant theories of mind together with two sorts of corresponding visions: dreams as analyzed by Freud who claimed that they are pictures of our thoughts, and their mechanical counterparts produced by neural networks designed for object recognition and classification. Freud’s theory of dreams has largely been ignored by philosophers interested in cognition, most of whom focused solely on (...) the linguistic incarnation of thoughts, but even though commonly neglected by respectable theories of thinking, dream images may prove to be the key to the black box of thought. As argued in this article, when seen from the right perspective and approached with the right set of questions, oneiric visions yield groundbreaking insights into the mechanism of how concepts and judgments are formed. Support for this conclusion comes from a tradition seemingly remote, if not opposed to psychoanalysis: the mechanical model of the mind conceived by information sciences and embodied in the form of artificial neural nets which mirror the activity of human visual cortex producing visions strikingly similar to those created by the sleeping mind. These purely mechanical, artificial ‘dreams’ constitute byproducts of algorithms designed for object recognition and classification, which, as I shall argue, reveals the true purpose of our own oneiric visual formations. Just like their mechanical counterparts produced by neural networks, condensations and displacements encountered in dreams are in fact visual universals. (shrink)

We contrast person-centered categories with objective categories related to physics: consciousness vs. mechanism, observer vs. observed, agency vs. event causation. semantics vs. syntax, beliefs and desires vs. dispositions. How are these two sets of categories related? This talk will discuss just one such dichotomy: consciousness vs. mechanism. Two extreme views are dualism and reductionism. An intermediate view is emergence. Here, consciousness is part of the natural order (as against dualism), but consciousness is not definable only in terms of physical (...) mass, length, and time (as against reductionism). There are several detailed theories of emergence. One is based on the Great Chain of Being and on organic evolutionary hierarchy. The theory here is based instead on the concept of relational holism in quantum mechanics. The resulting brain model has two interacting systems: a computational system and a quantum system (a Bose-Einstein condensate), perhaps interacting via EEG waves. Thus, we need both person-centered and matter-centered categories to describe human beings. Some possible experimental tests are discussed. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Simone Weil for the Twenty-First Century by Eric O. SpringstedLissa McCulloughSPRINGSTED, Eric O. Simone Weil for the Twenty-First Century. Notre Dame, Ind.: University of Notre Dame Press, 2021. xxi + 264 pp. Cloth, $100.00; paper, $35.00This book proposes taking French philosopher Simone Weil as a polestar to inspire and orient thought in the twenty-first century. It collects revised versions of eleven articles and essays published between 1994 and (...) the present, now organized into a whole with three new framing chapters (1, 3, and 14). Not intended as an introduction to Weil's life and work, nor as a study primarily directed to Weil scholars, the book seeks a broader readership that need not be well versed in her thought. Weil is recommended as a model for leading a thoughtful life of action exemplifying integrity, discipline, and the exercise of attention: "[W]ith Weil it is important to understand not only what she thought but how she thought," as in her own intellectual transformations she "moved from a strict disciplining of the mind to a regime of attentiveness." [End Page 160]A condensed three-page biography is provided for orientation to Weil's life before the reader is launched into the book's two parts, the first focused on philosophical and theological themes, the second on social and societal concerns. Springsted notes that these themes profoundly converge in Weil's later work, describing her political thought as a "retheologization of the space in which we dwell... an attempt to think about the natural life of humankind in supernatural terms while keeping in mind that this relation is often mediated and veiled." Theology concerns itself with "the sense that God communicates Himself and His Holiness," and the appropriate response is an opening up of oneself in order to listen further: "This is what mystery is about; it is not something to be solved, it is not a set of facts, but something that keeps giving itself.... This is not only the biblical worldview; ancient Greeks such as Plato had it too." Even as Weil's thinking on good, beauty, and truth is profoundly inspired by Plato's, dating back more than two millennia, her bold originality and gift for synthesis manages to pull this thinking into our late modern, post-Christian, and indeed anti-Platonic world of novel perplexities, demonstrating how powerfully this handful of essential words (God, truth, justice, love, good) can speak in our day. This is the key value that Weil offers: "Unless human thought finds some way of connecting itself to something bigger than itself, something that gives a sense of value (and this is what the world's beauty does), human thought will lose depth and dimensionality."Speaking in his own voice, the author affirms that "how we look at our problems can be very different if we understand that we have eternal obligations and that humans have an eternal destiny." This quest for ultimate value and sacramental order puts Springsted on the path of "searching for a new Saint Benedict," the formation of moral communities that bring thoughtful attention and practical work together in a communal life oriented to the good—though he admits that such value-community formation is difficult in increasingly pluralistic and divided societies. Partly because Weil tended to accent individualism, there is no easy or short route to apply Weil's insights on a communal level, even as she clearly sought to do so in her final book-length essay, The Need for Roots, written in 1943 just before her death at age thirty-four.To read Weil's final essay is to be struck by her prescience concerning the dominant intellectual-spiritual conundrums we face today, almost a century later, which are keenly analyzed by her far-seeing attention: the quandaries of post-colonial oppression and uprootedness, us-versus-them nationalisms, money-value as erosive force, mendacity and propaganda in politics, cultural vacuity and soullessness even in the nominally religious domain. To take Weil as one's polestar is indeed to be guided by a sharply critical, rarely lucid thinker whose rigorous criticism of social, political, and religious domains challenge the spectrum... (shrink)