Odor and color are strongly associated. Numerous studies demonstrate consistent odor‐color associations, as well as effects of color on odor perception and language. Yet, we know little about how these associations arise. Here, we test whether language is a possible mediator of odor‐color associations, specifically whether odor‐color associations are mediated by implicit odor naming. In two experiments, we used an interference paradigm to prevent the verbalization of odors during an odor‐color matching task. If (...) participants generate color associations subsequent to labeling an odor, interfering with verbalization during the task should affect the ability to make color associations. In Experiment 1, contrary to our hypothesis, verbal interference did not affect odor‐color matches. However, since performance accuracy on the verbal interference task was high, it is possible our task did not sufficiently disrupt verbal processing. In Experiment 2, we, therefore, used an active verbal interference task, and still found no difference across interference conditions. Odor naming accuracy, odor familiarity, and odor pleasantness, however, did predict odor‐color matches. This suggests that although color associations are related to semantic factors, they are not generated by recruiting odor labels in the moment. Overall, our results do not provide evidence that language plays an online role in odor‐color associations, instead, they are consistent with the claim that language may have shaped associations during development. (shrink)

The present account, based on introspective comments, deals with motivation and hedonic tone as subjective factors which affect continuous work at high speeds. Actual introspective reports are given. The earlier papers in the series described the experimental procedure and presented objective data.

The interesting and deep commentaries on our target article reflect the continued high interest in the problem of colour categorisation and naming. Clearly, colour remains for many cognitive science related disciplines a fascinating microworld in which some of the most fundamental issues for cognition and culture can be studied. Although our target article took the stance of practically oriented engineers who are trying to find the best solution for orchestrating the self-organisation of communication systems in artificial agents, most (...) commentators focus on the implications for cognitive science and we will do the same in our reply. (shrink)

As people’s lives get better and better, more and more people choose to travel and with that comes the demand for more transportation. For now, traditional transportation hubs can temporarily meet people’s travel needs. If driven by big data concepts and methods, the various capabilities of high-speed rail transportation hubs will be sublimated, and the regional economy will be in line with the prosperity of this place. Proportionally, railway hubs are extremely attractive to the rapid growth of the (...) regional economy. This paper takes the high-speed railway hub construction model under big data as the research object and verifies the reliability of the research model and the development of economic regions based on the high-speed railway data in recent years as reference parameters. This article selects the panel data of railway transportation and regional economy in China’s provinces for 10 consecutive years from 2011 to 2020. Among them, seven indicators were selected for railway transportation: passenger volume, freight volume, passenger turnover, cargo turnover, number of railway employees, railway transportation industry fixed asset investment and construction scale, and per capita railway network density. In terms of regional economy, six indicators were selected: regional GDP, per capita GDP, per capita investment in fixed assets, per capita total retail sales of consumer goods, per capita investment in imports and exports, and the proportion of the added value of the tertiary industry in GDP. The experimental results prove that each sample is tested in pairs, the standard error level of the mean is 0.002, which is less than 0.05, and high-speed railway construction can finally achieve economic integration. By improving the development of high-speed railways, continuously shortening the distance between time and space, breaking regional trade barriers, and reducing the cost of commodity circulation, industrial interaction and coordinated development between different regions can be effectively promoted. (shrink)

Regarding the continuous development of high-speed trains and the increase of running speeds, the aerodynamic design of high-speed trains has become significantly important, while reduction of drag and noise comprises a significant challenge in order to optimize aerodynamic design of high-speed trains. The design form factor of a high-speed train is highly influenced by aerodynamic aspects including aerodynamic drag, lift force, and noise. With the high-speed train as the object, (...) the paper aims to take bionic concept as the entry point, selecting the hummingbird as the bionic prototype and extracting bionic elements to establish a bionic train model. Then, the finite volume method was used for numerical simulation and analysis of the aerodynamic performance and aerodynamic noise of the bionic high-speed train. Computational results prove that drag and noise of the bionic head type were lower than those of the original train; drag of the head train of the bionic model was reduced by 2.21% in comparison with the original model, while the whole-train drag was reduced by 3.53%, indicating that drag reduction effects are available and implying that the bionic head type could reduce drag and noise. Noise sources of the bionic train are mainly located at positions with easy airflow separation and violent turbulence motion. Large turbulence energy is in bogie areas and mainly exists at the leeward side of the bogie area. Obviously, the bogie area is the major noise source of the train. Aerodynamic noise of the bionic train in far-field comprises a wide-frequency range. Noises were concentrated within 613 Hz~3150 Hz. When the bionic high-speed train ran at 350 km/h, through comparative analysis of total noise levels at observed points of the high-speed train, it is found that this position with the maximum noise level was 25 m away from the head train nose tip, with the maximum value of 88.4 dB. When the bionic train ran at 600 km/h, the maximum sound pressure level at the longitudinal point was 99.7 dB and the average noise level was 96.6 dB. When the running speed increased from 350 km/h to 600 km/h, the maximum noise level increased by 11.3 dB and the average noise level increased by 11.6 dB. Computation results of aerodynamic noise at the point which is 7.5 m away from the rail center show that the maximum aerodynamic noise level existed at the first-end bogie of the head train, while the noise level was larger at the position closer to the ground. (shrink)

This paper gives two complete and elementary proofs that if the speed of light over closed paths has a universal value c, then it is possible to synchronize clocks in such a way that the one-way speed of light is c. The first proof is an elementary version of a recent proof. The second provides high precision experimental evidence that it is possible to synchronize clocks in such a way that the one-way speed of light has (...) a universal value. We also discuss an old incomplete proof by Weyl which is important from an historical perspective. (shrink)

The target article by Leech et al. presents a compelling computational theory of analogy-making. However, there is a key difficulty that persists in theoretical treatments of analogy-making, computational and otherwise: namely, the lack of a detailed account of the neurophysiological mechanisms that give rise to analogy behavior. My commentary explores this issue.

Although taste and smell seem hard to imagine, some people nevertheless report vivid imagery in these sensory modalities. We investigate whether experts are better able to imagine smells and tastes because they have learned the ability, or whether they are better imaginers in the first place, and so become experts. To test this, we first compared a group of wine experts to yoked novices using a battery of questionnaires. We show for the first time that experts report greater vividness of (...) wine imagery, with no difference in vividness across sensory modalities. In contrast, novices had more vivid color imagery than taste or odor imagery for wines. Experts and novices did not differ on other vividness of imagery measures, suggesting a domain‐specific effect of expertise. Critically, in a second study, we followed a group of students commencing a wine course and a group of matched control participants. Students and controls did not differ before the course, but after the wine course students reported more vivid wine imagery. We provide evidence that expertise improves imagery, exemplifying the extent of plasticity of cognition underlying the chemical senses. (shrink)

Three experiments investigated two timed implicit tests of memory—word reading and color naming. Using the study–test procedure, Experiments 1 and 2 showed that studied words caused reliable facilitation in word reading but no interference in color naming relative to unstudied words. Indeed, there was a small amount of facilitation in color naming as well. Experiment 3 further explored the color naming task by alternating shorter study and test intervals and adding control trials (...) consisting of letter strings. Although both studied and unstudied words showed interference relative to the control letter strings, the amounts of interference they showed did not differ. Overall, word reading consistently displayed facilitation whereas color naming never exhibited increased interference due to word priming. Priming appears to be process-specific: It is restricted to facilitating repetition of processing previously applied to a stimulus and does not extend to influencing performance on a different task involving the same studied materials. (shrink)

Community energy based on a mix of distributed technologies offers a serious alternative to the current energy system. The nature of community energy and the role that such initiatives might play in the general fabric of civic life is not, however, well understood. Community energy initiatives might involve only those citizens who prefer to be actively and continuously involved in intense, democratic debate. A more robust conceptualization of community energy might, on the other hand, be guided by Benjamin Barber’s notion (...) of “strong democracy,” in which community energy initiatives would draw upon a much broader citizen base, involving people from many walks of life and from quarters not generally presumed to be part of a sustained democratic process. The history of community energy is explored and a number of case studies are presented to illustrate the problems, prospects, and limitations of a socially and technologically decentralized energy system. (shrink)

Prior to this intervention the site used to be a degraded fiscal property, that functioned as a bus yard, a police legal deposit, and a restaurant parking lot. Underneath it runs the Maldonado stream culvert, covered by a concrete slab at a depth of only -20cm. Next to the site is a 5m high railroad embankment. The plot is strategically located at the end of Juan B. Justo avenue and works as a gateway to the Tres de Febrero park (...) (also known as Bosques de Palermo, the Buenos Aires’s biggest green space designed by Charles Thays in 1875). It is situated in the neighborhood of Palermo, an area that underwent a vertiginous residential and commercial expansion since the late 90´s. -/- The design approach is influenced by the adjacent urban fragments: the grounds of the Sociedad Rural Argentina, the surrounding Avenues Santa Fe-Sarmiento; the opening of Darregueyra street expected for the near future, the implementation of historic preservation guidelines for the Tres de Febrero Park, and the proposal for the development of nearby railroad yards. -/- Specifically, the project seeks to minimize the impact of the fast traffic that runs along Bullrich avenue, improving pedestrian and cycle access to the park. At the same time it defines new landscape features, utilizing the earth made available by the tunneling works of a new subway line. -/- The project comprises the structuring of an existing 800 meter long embankment and the transformation of the sidewalk into a public promenade. This is achieved through a wider sidewalk of 12m on average, which is part of a series of longitudinal stripes ranging from high speed to quiet spaces. The first band of grass and aged tipas (tipuana tipu) buffer pedestrian and cyclist from automotive traffic. Cycle traffic is organized on its own lane. The sidewalk itself contains several bays that act as urban lounges. Next, a continuous concrete bench delimits the beginning of the slope, backed by a stripe of grass that works as a soft extension. Finally, plants for contemplation are arranged as undulating traces. Rhythmic use of retaining gabions defines longitudinal segments of varying slope, unifying the spacial criterion. This series is punctuated by an amphitheater and framed by triangular plazas at the corners. -/- Material choices for hard surfaces are constrained by concerns of durability, low cost, and consistency with other ongoing public works. -/- Hard materials, as well as the plant selection needed to be low-maintenance. The palette was kept to reinforced concrete, granitic slabs, and granite stone in large size –forming retaining gabions- and as loose finishing for pavements. Likewise, the lack of a protective enclosure and of continuous surveillance dictated that urban furniture and fixtures be anti-vandalic. The stealing of these components –from inspection lids, to benches, to plants- is a common problem in urban spaces in many Latin American cities. To prevent this, fixtures must be designed according to precise specifications regarding their weight, fixing and anchoring systems, and mechanical parts. -/- Sidewalks are organized through a 6 meter grid made of granitic white slab, infilled with textured combed nonslip concrete modules. Extended bays and corner squares are finished with white and black slabs respectively. These materials are similar to another used in public spaces under construction, in the believe that it creates a collective identification of themselves along the city. -/- The continuous reinforced concrete bench is 1.10 m wide, in order to allow people to use it in non-conventional ways. Further up on the slope, undulating paths separate plant species and provide access for gardening, but are also open to use by the public. They are paved with 2 meter-long precast concrete slabs (smaller and lighter pieces were avoided to deter robbery). As they reach the gabions they connect with sloping paths covered with loose granitic stones. The gabions themselves allow the creation of varying slopes while contributing to retaining the soil, which is reinforced with geosynthetic fabric in the perimeter to avoid landslides originated by strong rains typical of the region. -/- Urban furniture is featured on the wider bays of the sidewalk and at corner plazas. It includes seats, water fountains, bicycle racks, wastepaper baskets. As a counterpoint to the linear concrete bench, groups of concrete seats are arranged informally. These seats are a reinterpretation of the dynamic BKF chair (also known as Butterfly chair), the classic Argentinean design of the 1930’ by Antonio Bonet, Juan Kurchan, and Jorge Ferrari-Hardoy. A few low concrete tables complete these spaces as authentic urban lounges. Lighting design accompanies the general features of the project and creates a new scenography emphasizing night-time usage. -/- Landscape gardening criteria is set up by a selection of various species of high-resistant pasture (grass). The higher the slope, the higher the grass, increasing the final volumetric result. Based on considering the original tipas line (tipuana tipu, a species from the north of Argentina, yellow flowering) as a vertical wall that frames the view, the horizontal stripes contain a single species each, differing in size, shade and flowering periods –adding, in the middle band, a changing color on the big green plane slope in the same chromatic range. The final configuration of the stripe sequence from bottom to top: bermuda grass, bulbine frutescens, euryops pectinatus. The upper band existing native species is reinforced with new samples: paspalum exaltatum + cortadera selloana and ipomea + thumbergia climbing the railway fence. Each sector between gabions has an automated system of drip irrigation. Near the corner plazas, several palms are planted to provide shade and identity to the street-crossing. -/- The intervention proposes an ambivalent effect on the landscape, trascending the merely ornamental by accompanying the motorist in speed, while conforting the pedestrian with spaces for contemplation and urban relax. (shrink)

So far, color-naming studies have relied on a rather limited set of color stimuli. Most importantly, stimuli have been largely limited to highly saturated colors. Because of this, little is known about how people categorize less saturated colors and, more generally, about the structure of color categories as they extend across all dimensions of color space. This article presents the results from a large Internet-based color-naming study that involved color stimuli ranging across (...) all available chroma levels in Munsell space. These results help answer such questions as how English speakers name a more complex color set, whether English speakers use so-called basic color terms (BCTs) more frequently for more saturated colors, how they use non-BCTs in comparison with BCTs, whether non-BCTs are highly consensual in less saturated parts of the solid, how deep inside color space basic color categories extend, or how they behave on the chroma dimension. (shrink)

Since the publication of Brent Berlin and Paul Kay's Basic color terms in 1969 there has been continuing debate as to whether or not there are linguistic universals in the restricted domain of color naming. In this paper I am primarily concerned with the attempt to explain the existence of basic color terms in languages. That project utilizes psychological and ultimately physiological generalizations in the explanation of linguistic regularities. The main problem with this strategy is that (...) it cannot account for a particular subset of basic color words: words that the Berlin-Kay tradition calls “composite”. The existence of such words does not compromise the claim that there are basic color words. It does suggest that such words—and basic terms in general—require a more complex type of explanatory strategy than much contemporary work on color naming supposes. It is my main contention that the central problems with the Berlin-Kay tradition arise from the difficulty of linking conceptually and empirically disparate domains: linguistic, psychological, physiological. What is needed is not an attempt to reduce color naming to biology or to culture but, rather, an adequate conceptual account of how people may come to have and use basic color terms—an account which stands between the biological and the cultural. (shrink)

This article is a report on ongoing field research and the exponential growth of the environment in which sex workers, prostitutes, call girls, and escorts operate. We look at the complexity of the conditions of such work and consider the socio-psychological and media vectors that make up the context from which its actors and stereotypes emerge. With the explosion of websites offering virtual or real sex, there is also a continuation of oppressive and violent male practices in this sector, restricting (...) the freedom of choice for women who work professionally in this field. These practices reproduce the power relations and the exclusion that has always been present in society, and are also now more diffuse as virtual reality has come to play an important role in social practice. (shrink)

It has often been observed that color is a highly preferred attribute for use in distinguishing descriptions, that is, referring expressions produced with the purpose of identifying an object within a visual scene. However, most of these observations were based on visual displays containing only colors that were maximally different in hue and for which the language of experimentation possessed basic color terms. The experiments described in this paper investigate whether speakers’ preference for color is reduced if (...) the color of the target referent is similar to that of the distractors. Because colors that look similar are often also harder to distinguish linguistically, we also examine the impact of the codability of color values. As a third factor, we investigate the salience of available alternative attributes and its impact on the use of color. The results of our experiments show that, while speakers are indeed less likely to use color when the colors in a display are similar, this effect is mostly due to the difficulty in naming similar colors. Color use for color with a basic color term is affected only when the colors of target and distractors are very similar. The salience of our alternative attribute size, manipulated by varying the difference in size between target and distractors, had no impact on the use of color. (shrink)

In "How to Speak of the Colors", Mark Johnston’s claims that eliminativism would require us to jettison colour discourse. In this paper, I challenge Johnston’s claim. I argue that a particular version of eliminativism, i.e., prescriptive colour fictionalism, allows us to continue employing colour discourse as we have thus far in the absence of colours. In doing so, it employs statistical models in its base discourse to derive high-level statistical constructs that can be linked to the fiction via bridge (...) principles. (shrink)

It has often been observed that color is a highly preferred attribute for use in distinguishing descriptions, that is, referring expressions produced with the purpose of identifying an object within a visual scene. However, most of these observations were based on visual displays containing only colors that were maximally different in hue and for which the language of experimentation possessed basic color terms. The experiments described in this paper investigate whether speakers’ preference for color is reduced if (...) the color of the target referent is similar to that of the distractors. Because colors that look similar are often also harder to distinguish linguistically, we also examine the impact of the codability of color values. As a third factor, we investigate the salience of available alternative attributes and its impact on the use of color. The results of our experiments show that, while speakers are indeed less likely to use color when the colors in a display are similar, this effect is mostly due to the difficulty in naming similar colors. Color use for color with a basic color term is affected only when the colors of target and distractors are very similar (yet still distinguishable). The salience of our alternative attribute size, manipulated by varying the difference in size between target and distractors, had no impact on the use of color. (shrink)

In a series of studies the assumption of a lack of colour concepts in indigenous societies, as proposed by Berlin & Kay (1969) and others, was examined. The research took place in the form of minimally invasive field encounters with indigenous subjects in South East Asia and in India, as well as in West, Central, and South Africa. Subjects were screened for colour blindness with Ishihara- and Pflüger-Trident-Test. Standardised colour tablets had to be designated in the indigenous languages; these terms (...) were later translated by native speakers of the indigenous languages into a European language. The indigenous subjects were able to name the colours presented. Indigenous vs. globalised cultural factors were reflected in the use of reference objects for naming colours. Both metonymical and non-metonymical indigenous colour names did not follow a stage pattern as Berlin & Kay (1969) and others have proposed. The high precision of indigenous colour names corresponds both to the precision of experts’ colour names in the industrial culture, and to the highly precise grammar that characterises indigenous languages. It is concluded that cognitive categorisation of visual perception takes place regardless of the cultural context, and that former misunderstandings resulted from inappropriate methodological designs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Names Alive Are Like the Names in GravesBlack Life and Black Social Death in Terrance Hayes's American Sonnets for My Past and Future AssassinLee Spinks"After blackness was invented / people began seeing ghosts."1One of the most powerful and provoking responses to the political rise of Donald Trump appeared with the 2018 publication of Terrance Hayes's American Sonnets for My Past and Future Assassin. Hayes began writing these poems (...) straight after Trump's remarkable triumph in the 2016 presidential election, and they race to keep pace with the rapidly metastasizing effects of the Trump phenomenon, from his relentless radicalization of the modes and mores of political speech ("Newshounds ponder the tweets of a bullhorn"), his continuous assault on American democratic institutions, and his singular success in marshalling a newly cohesive political constituency seduced by the reactionary allure of resurgent white nationalism or what Hayes caustically calls "a mandate for whiteness, virility, sovereignty / stupidity" (AS: 38).2 As the phrase "mandate for whiteness" suggests, integral to the story of Trump's ascendancy in American Sonnets is another story, a story about race and social authority in the time of Black Lives Matter when blackness remains "the color of this country's current threat / advisory" (AS: 10). At home and abroad the appalling incandescence of Hayes's contemporary American political moment is reflected by the names of its black victims, names like Trayvon Martin, Michael Brown, Tamir Rice, and, perhaps most explosively of all, George Floyd, whose May 2020 police killing on a Minneapolis street reprised such a familiar configuration of racial power that Hayes had already glimpsed its spectral outline two years earlier: "A [End Page 60] brother has to know how to time travel & doctor / himself when a knee or shoe stalls against his neck" (AS: 77).3Without compromising the intensity of Hayes's focus on this contemporary social emergency, I want in what follows to expand our sense of the historical and metaphysical scene of his writing by reading it as an imaginative response to a larger and more fundamental question: What does it mean to live a black life in an antiblack world? I'm moved to do so by the double register of his writing vividly exemplified by the penultimate sonnet in the sequence which memorializes "All the black people I'm tired of losing / All the dead from parts of Florida, Ferguson / Brooklyn, Charleston, Cleveland, Chicago / Baltimore, where the names alive are / Like the names in graves" (AS: 81). What's remarkable, to my mind at least, about the phrase "the names alive are / like the names in graves" is its fusion of a directly contemporary perception of the precariousness of black existence within a culture of white supremacy (the perception that every black life could share the social fate of Tamir Rice at any particular moment) with an encompassing metaphysical vision of blackness as the embodiment of social death and the continuing afterlife of slavery. Paying close attention to several of Hayes's poems, I will trace this double register to explore a number of ideas central to his thinking in American Sonnets including the foundational role of antiblackness in organizing American reality for both black and white identities, the dialectical relationship between antiblackness and the libidinal economy of white supremacy, and the hope of imagining new possibilities of life capable of contesting the antiblack conditions of contemporary social existence.4 In doing so I will place particular emphasis on Hayes's development of a distinctively dialectical and dialogical style of poetic address that reimagines lyric subjectivity as a drama of racial becoming focused on the relationship between black social death and the culture of white supremacy.5Black Social Death and the Libidinal Economy of WhitenessBefore continuing let me briefly develop three ideas above which help shape my reading of American Sonnets: the social life of social death, the continuing afterlife of slavery, and what Hayes calls in my epigraph "the [End Page 61] invention of blackness." The first draws on the Afropessimist radicalization of Orlando Patterson's famous redescription of slavery as social death that sees the slave as a "social nonperson" whose relation to... (shrink)

This article examines the relationship between technology and aesthetics in contemporary Hollywood, using experiments with frame rates and shutter speeds to show how deep, systemic changes in cinematic technologies can alter our relation to the image’s referential functions. For eighty years, cinema’s registration of movement relied upon a standardized frame rate and shutter speed, meaning that cinema’s sense of motion was constant. With the proliferation of ever more powerful digital capture systems, however, these formerly inflexible options are made variable (...) and put into question. By changing the registration of movement, the high frame rate experiments in The Hobbit and the open-shutter cinematography of Miami Vice offer an estranged relation to cinema’s presentation of worldly motion. I argue here that this altered sense of the image’s referentiality is well suited to depictions of our contemporary reality, which, being profoundly bound up in digital technologies, seems similarly disorienting, estranging, and aesthetic. In the first section of the article, I trace out the origins of this style of movement in the logics of the corporate tech industry, which rolls out continual upgrades in audio-visual technologies in order to justify new product lines. According to industry rhetoric, these upgrades ostensibly lead to a heightened sense of realism, but viewer response has been torn over whether this new sense of motion is realistic or unrealistic. In the second section, I closely analyze The Hobbit and the recent work of Michael Mann to show how established film form shifts in relation to this problem in digital cinema’s representation of worldly movement. In The Hobbit’s case, film form is altered in order to assimilate the HFR’s unfamiliar sense of motion, but the cinematography in Miami Vice embraces a productive aesthetic estrangement which is both realistic and hyperaestheticized, leaving the divide between immanent experience and technologized disorientation an open question. (shrink)

This study tested the prediction that dissociative tendencies modulate the impact of a hypnotic induction on cognitive control in different subtypes of highly suggestible individuals. Low suggestible , low dissociative highly suggestible , and high dissociative highly suggestible participants completed the Stroop color-naming task in control and hypnosis conditions. The magnitude of conflict adaptation was used as a measure of cognitive control. LS and LDHS participants displayed marginally superior up-regulation of cognitive control following a hypnotic induction, whereas (...) HDHS participants’ performance declined. These findings indicate that dissociative tendencies modulate the influence of a hypnotic induction on cognitive control in high hypnotic suggestibility and suggest that HS individuals are comprised of distinct subtypes with dissimilar cognitive profiles. (shrink)

The goals of this paper are twofold. First, the paper seeks to show the relevance of French philosopher Simone Weil’s writings on work for contemporary political and social theory. More specifically, by drawing on Weil’s “factory writings”—i.e. the diary she kept during the many months she spent working in factories, and the essays and letters that followed shortly after—the article shows that Weil’s analysis of speed, humiliation and affliction is highly pertinent for reflecting upon the consequences of the increasingly (...) ubiquitous recourse to digital tracking and monitoring tools by today’s employers. Secondly, the paper proposes to read Weil’s account of degradation and affliction in light of the contemporary scholarship on “slow violence”. Inspired by Rob Nixon’s work, this scholarship is interested in forms of harm that are slow-paced, attritional, ‘out of sight’ and intimately tied to our (distracted) attention regimes. As I argue, Weil very lucidly described the paradox at the heart of many types of modern work: namely, that its fast pace causes the slow death of workers’ souls and bodies. Demonstrating the important resonances of Weil’s account of factory life and contemporary suffering in the era of digital surveillance, the paper underlines the significance of Weil’s account of affliction for understanding the depths of the harms caused by these forms of domination. (shrink)

Whether we perceive high-level properties is presently a source of controversy. A promising test case for whether we do is aesthetic perception. Aesthetic properties are distinct from low-level properties, like shape and colour. Moreover, some of them, e.g. being serene and being handsome, are properties we appear to perceive. Aesthetic perception also shares a similarity with gestalt effects, e.g. seeing-as, in that aesthetic properties, like gestalt phenomena, appear to ‘emerge’ from low-level properties. Gestalts effects, of course, are widely observed, (...) which raises the question: do gestalt effects make it plausible that we perceive high-level aesthetic properties? Contra Stokes, this paper argues that they don’t. This is interesting in its own right, but it also points to a more general lesson, namely we should resist the temptation to appeal to gestalt effects to argue for high-level perception. (shrink)

Systems for color naming across languages have been a fascinating topic for decades. Zaslavsky and colleagues challenge Gibson's argument that color names are shaped by patterns of communicative need. Using an information‐theoretic analysis, they show that color naming is shaped by both perceptual structure (as is usually argued) but also by communication need.

This opinion paper takes aim at an error made recently by Clarivate Analytics in which it sent out an email that congratulated academics for becoming exclusive members of academia’s most cited elite, the Highly Cited Researchers. However, that email was sent out to an undisclosed number of non-HCRs, who were offered an apology shortly after, through a bulk mail, which tried to down-play the importance of the error, all the while praising the true HCRs. When Clarivate Analytics senior management was (...) contacted, the company declined to offer an indication of the number of academics who had been contacted and erroneously awarded the HCR status. We believe that this regrettable blunder, together with the opacity offered by the company, fortify the corporate attitude about the value of the journal impact factor, and what it represents, namely a marketing tool that is falsely used to equate citations with quality, worth, or influence. The continued commercialization of metrics such as the JIF is at the heart of their use to assess the “quality” of a researcher, their work, or a journal, and contributes to a great extent to driving scientific activities towards a futile endeavor. (shrink)

This paper explores the implications of some experimental data for views that identify colors with objective physical properties such as reflectance profiles. Those who reject objectivist views often argue from the existence of intersubjective differences in color categorization ; but objectivists have managed to stand their ground by identifying colors with sets or ranges of reflectances individuated by the ways in which they stimulate the visual system. In the interest of moving the debate forward, I provide a new kind (...) of evidence against objectivism. Results of a psycholinguistic experiment reveal hysteresis and enhanced contrast in ordinary speakers’ applications of vague terms. These dynamical patterns are purely psychological and give rise to intra-subjective variation in subjects’ applications of vague predicates; in particular, in the case of color predicates, nothing in the stimulus configuration or the illuminant undergoes any change, the only variable being the order in which stimuli are judged. I hypothesize that these order effects are necessary if vague words are to be applicable to values on dimensions, like color, that admit of continuous change. To the extent that this hypothesis is correct, it suggests that if colors are the properties named by ordinary color predicates, and ordinary color predicates are vague, and the application of vague predicates exhibits the order effects found in the experiment, colours cannot be physical or otherwise objective in nature. (shrink)

This opinion paper takes aim at an error made recently by Clarivate Analytics in which it sent out an email that congratulated academics for becoming exclusive members of academia’s most cited elite, the Highly Cited Researchers. However, that email was sent out to an undisclosed number of non-HCRs, who were offered an apology shortly after, through a bulk mail, which tried to down-play the importance of the error, all the while praising the true HCRs. When Clarivate Analytics senior management was (...) contacted, the company declined to offer an indication of the number of academics who had been contacted and erroneously awarded the HCR status. We believe that this regrettable blunder, together with the opacity offered by the company, fortify the corporate attitude about the value of the journal impact factor, and what it represents, namely a marketing tool that is falsely used to equate citations with quality, worth, or influence. The continued commercialization of metrics such as the JIF is at the heart of their use to assess the “quality” of a researcher, their work, or a journal, and contributes to a great extent to driving scientific activities towards a futile endeavor. (shrink)

Among the high aristocrats of the Carolingian and post-Carolingian world, the naming of children was a serious business—so serious as to be almost immune to fashion and to personal taste. Before the twelfth-century demographic upswing, the number of children in each family who survived childhood and could be counted on to continue the tradition of their parents was small. Many illustrious lines, like that of Gerald of Aurillac or of William the Pious, duke of Aquitaine, died out rapidly; (...) other families, like those of the dukes of Normandy or the counts of Flanders, survived by the skin of their teeth. Therefore, in christening their first legitimate male offspring, early-medieval aristocrats would choose a name designed to underline family continuity, usually the name of the child's paternal grandfather. (shrink)

Everywhere, life seems to be speeding up: we talk of “fast food” and “speed dating.” But what does the phenomenon of social acceleration really entail, and how new is it? While much has been written about our high-speed society in the popular media, serious academic analysis has lagged behind, and what literature there is comes more from Europe than from America. This collection of essays is a first step toward exposing readers on this side of the Atlantic (...) to the importance of this phenomenon and toward developing some preliminary conceptual categories for better understanding it. Among the major questions the volume addresses are these: Is acceleration occurring across all sectors of society and all dimensions of life, or is it affecting some more than others? Where is life not speeding up, and what results from this disparity? What are the fundamental causes of acceleration, as well as its consequences for everyday experience? How does it affect our political and legal institutions? How much speed can we tolerate? The volume tackles these questions in three sections. Part 1 offers a selection of astute early analyses of acceleration as experienced in the late nineteenth and early twentieth centuries. Part 2 samples recent attempts at analyzing social acceleration, including translations of the work of leading European thinkers. Part 3 explores acceleration’s political implications. (shrink)

How to enable the computer to accurately analyze the emotional information and story background of characters in Qin opera is a problem that needs to be studied. To promote the artistic inheritance and cultural emotion color dissemination of Qin opera, an emotion analysis model of Qin opera based on attention residual network is presented. The neural network is improved and optimized from the perspective of the model, learning rate, network layers, and the network itself, and then multi-head attention is (...) added to the ResNet to increase the recognition ability of the model. The convolutional neural network is optimized from the internal depth, and the fitting ability and stability of the model are enhanced through the ResNet model. Combined with the attention mechanism, the expression of each weight information is strengthened. The multi-head attention mechanism is introduced in the model and a multi-head attention ResNet, namely, MHAtt_ResNet, is proposed. The network structure can effectively identify the features of the spectrogram, improve the weight information of spectrogram features, and deepen the relationship between distant information in long-time series. Through experiments, the proposed model has high emotional classification accuracy for Qin opera, and with the increase of the number of data sets, the model will train a better classification effect. (shrink)

"Examines the processes of acceleration in politics, economic, culture, and society at large.

Focused on the field of knowledge lying between digital and analog circuit theory, this new text will help engineers working with digital systems shorten their product development cycles and help fix their latest design problems. The scope of the material covered includes signal reflection, crosstalk, and noise problems which occur in high speed digital machines (above 10 megahertz). This volume will be of practical use to digital logic designers, staff and senior communications scientists, and all those interested in (...) digital design. (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)