Brain activity determines which relations between objects in the environment are perceived as differences and similarities in colour, smell, sound, etc. According to selectionism, brain activity does not create those relations; it only selects which of them are perceptually available to the subject on a given occasion. In effect, selectionism entails that perceptual experience is diaphanous, i.e. that sameness and difference in the phenomenal character of experience is exhausted by sameness and difference in the perceived items. It has been argued (...) that diaphaneity is undermined by phenomenological considerations and empirical evidence. This paper considers five prominent arguments of this sort and shows that none of them succeeds. (shrink)

Emprunte au domaine de la lumiere et assimile au domaine de la pensee, le diaphane designe pour Aristote, son inventeur, une nature commune a tout milieu dans lequel la vue et la visibilite des choses s'achevent en regard recepteur et en image recue du monde diurne. Car, il ne suffit pas qu'il y ait de la lumiere et du solide pour que le monde puisse etre vu dans ses couleurs et connu sous ses formes et ses especes; il faut aussi (...) qu'il y ait du diaphane, c'est-a-dire un tertium quid qui relie les choses entre elles et ouvre a travers lui la porte de la reception sensible et de l'entendement. Des lors, la notion de diaphane en vient a impregner tacitement toute la representation du monde sous son double aspect sensible et intelligible; il s'opere la une veritable mutation du physique au metaphysique. (shrink)

1. Introduction In ‘The Refutation of Idealism’, G.E.Moore observed that, "when we try to introspect the sensation of blue, all we can see is the blue: the other element is as if it were diaphanous" (1922; p.25). Many philosophers, but Gilbert Harman (1990, 1996) in particular, have suggested that this observation forms the basis of an argument against qualia, usually called the argument from diaphanousness or transparency.1 But even its friends concede that it is none too clear what the argument (...) from diaphanousness—as I will call it—is (Tye 2000; p.45).2 The purpose of this paper is to formulate the argument, and to assess its merits. My conclusion will be that qualia realists have little to fear from the argument—provided both qualia and diaphanousness are properly understood. (shrink)

Martin Heidegger und Hans Jantzen gehören zu den wichtigsten Vertretern der Philosophie und Kunstgeschichte des 20. Jahrhunderts. Seit den 1920er bis Ende der 1960er Jahre kritisierten sie vorherrschende, naturwissenschaftlich geprägte Auffassungen des Raums und entwickelten einen neuartigen Begriff. Dieser sogenannte künstlerische Raum sei ein freies Zusammenspiel von materiellen und immateriellen Bestandteilen, das als solches erst in der Wahrnehmung real wird. Die Autorin arbeitet dieses Verständnis heraus und stellt es in einen geistes- und zeitgeschichtlichen Kontext. Neben der Bedeutung der Bestandteile und (...) der Grenze für die Gestalt und die Wirkung des Raums kommt der des Lichts sowie Jantzens Diaphanie-Begriff besondere Aufmerksamkeit zu. Für die erörterte Raumbeschaffenheit werden Anhaltspunkte in der gotischen Kathedrale und in Werken der Bronzezeit, Dorik, Ottonik und Moderne sowie von Kindern und Laien festgestellt. Im Anschluss an zeitgenössische Theorien ergeben sich Übereinstimmungen mit dem Konzept des geopolitischen Groß-raums und einer erdbezogenen Ästhetik. Vor dem Hintergrund des Kunst- und Sprachbegriffs der Epoche wird abschließend Heideggers und Jantzens Ansicht untersucht, alle Kunst sei sprachlich, sowie inwiefern sich diese Sprachlichkeit räumlich manifestiert. Die Zusammenführung von Jantzens Analyse ottonischer Wortbilder mit Heideggers Auslegung moderner Dichtung und Bildkunst zeigt, dass deren Raumbegriff unabhängig von politischen Bezügen bestehen kann. „Bei diesem Buch handelt es sich fraglos um eine kunsthistorisch und philosophisch bedeutsame Untersuchung.“. (shrink)

Naïve Realists think that the ordinary mind-independent objects that we perceive are constitutive of the character of experience. Some understand this in terms of the idea that experience is diaphanous: that the conscious character of a perceptual experience is entirely constituted by its objects. My main goal here is to argue that Naïve Realists should reject this, but I’ll also highlight some suggestions as to how Naïve Realism might be developed in a non-diaphanous direction.

I discuss the main features of Moore’s characterization of consciousness in his well-known 1903 “The Refutation of Idealism” and his little-known 1910 “The Subject-Matter of Psychology.” The presentation is somewhere between an expository exercise in the history of analytical ontology and a philosophical engagement with Moore’s interesting claims. Among other things, I argue that Moore’s famous thesis of the “diaphanousness” of consciousness cannot, contrary to Moore’s own claims, be used to undermine physicalism but in fact can be used to undercut (...) some common arguments against physicalism. (shrink)

A review of Vasiliu's book, Du Diaphane. Aristotle's theory of the transparent is his riposte to the doctrine expressed in Plato's Timaeus that the manifestation of sensible qualities should be explained in terms of the receptacle's participation in the realm of Forms.

Derrida frequently comments on the need to read and reread the texts of the tradition, to be always starting again with them. In On Touching – Jean-Luc Nancy Derrida offers another reading of (he starts again with) Aristotles's De Anima. By paying attention to the play of the palintropic, diaphanous, exactitude and ‘penser’ in Derrida's text, this paper seeks to show how important Aristotle is for Derrida in this book and in any deconstruction of the sense of touch. *.

Because of the gradual aging of the population, hospital facilities for socio-sanitary care of the elderly are quite scarce relative to the very high number of elderly people present in the country. This has pushed a high number of families to privately hire home-care workers. The scientific literature gives a picture of the psycho-physical risks that this type of profession is exposed to; however, there is still a need for a more systemic reflection with regard to representations about their role (...) and competences. The aim of the present study is to outline the representations of the role and the skills it requires from home-care workers’ point of view. We reconstructed how home-care workers perceive and define the profession, and understand the necessary skills required from their point of view. Our results show that the professional profile of home-care workers still remains poorly defined and that professionals themselves struggle to find value and recognition, and to articulate what the skill set they develop is formed of. (shrink)

The Western cultural archetype of Narcissus experiences a significant turning point in the 1400s, thanks to Leon Battista Alberti’s work. Indeed, the myth evolves from being a subject embodying a taboo in the Antiquity to become the glance that generates the image; in so doing this myth assumes the rank of science and philosophy. Alberti does not follow Pliny’s reading of Ovid’s Metamorphosis, but handles Philostratus’s version; with his visual description he represents in the “Eikones” the darting glance towards the (...) water. The rendering of this image anticipates the notion of centric ray, on which Alberti establishes his perspective’s theory based on the diaphanous nature of “velum”. The art of painting is compared to an “open vitreous and translucent window”. Narcissus does not see the water, so to say, but the image, as well as the painting’s observer instantly grasps the iconic value of it, rather than the material support. Because of this immediacy, the art of painting becomes the terrain of revelation: it makes clear the emerging progressive visibility of “something”, thus concurring with philosophy; better, the art of painting overtakes philosophy with the simple representation of polysemous complexities. This is the new art of painting, in which “there is nothing that is not philosophy”. Furthermore, in this synthetic role of representation in which the icon becomes all one with the spectator – in addition to the centric ray and to the orthogonality of the vision, topics already analyzed by the author in previous studies – consists an outstanding resemblance between Alberti and Cusanus. The two philosophers show their synergy in exploring a new anthropology. From this point of view can be read Alberti’s explanation, often misinterpreted, of Narcissus’ transformation into a flower: a synthesis between “imaginatio” and “executio”, or inactiveness versus activeness. Among all Narcissus’ portrayals of that time, it would be useful to consider the Pseudo Boltraffio’s version of London; this rendering applies thematically Alberti’s theory in its essential aspects, introducing it within Leonardo Da Vinci’s circle of artists. (shrink)

Some philosophers have argued recently that introspective evidence provides direct support for an intentionalist theory of visual experience. An intentionalist theory of visual experience treats experience as an intentional state, a state with an intentional content. (I shall use the word ’state’ in a general way, for any kind of mental phenomenon, and here I shall not distinguish states proper from events, though the distinction is important.) Intentionalist theories characteristically say that the phenomenal character of an experience, what it is (...) like to have the experience, is exhausted by its intentional content. Visual experience, and on some views sense-experience generally, does not involve the awareness of ’qualia’, intrinsic, non-intentional features of the experience. According to Gilbert Harman and Michael Tye, support for this view comes from introspecting on experience. Tye describes his ’argument from introspection’ as follows: Standing on the beach in Santa Barbara a couple of summers ago on a bright sunny day, I found myself transfixed by the intense blue of the Pacific Ocean. Was I not here delighting in the phenomenal aspects of my visual experience? And if I was, doesn’t this show that there are visual qualia? I am not convinced. It seems to me that what I found so pleasing in the above instance, what I was focusing on, as it were, were a certain shade and intensity of the colour blue. I experienced blue as a property of the ocean not as a property of my experience. My experience itself certainly wasn’t blue. Rather, it was an experience which represented the ocean as blue. What I was really delighting in, then, were specific aspects of the content of the experience. Tye goes on to suggest that this might have been the sort of thing Moore meant when he said that the sensation of blue is ’diaphanous’, and glosses this as follows: When one tries to focus on it in introspection one cannot help but see right through it so that what one actually ends up attending to is the real colour blue. 1An early version of this paper was presented at the conference, Mental Phenomena III in Dubrovnik, Croatia.. (shrink)

In this essay, I want to take another look at the phenomenon of transparency and its relevance to qualia realism and representationalism. I don’t suppose that what I have to say will cause those who disagree with me to change their minds, but I hope not only to clarify my position and that of others who are on my side of the debate but also to respond to various criticisms and objections that have arisen over the last 10–15 years or (...) so.The transparency thesisI begin with four quotations, two from G. E. Moore, one from Gilbert Harman, and one from an earlier paper of mine:…that which makes the sensation of blue a mental fact seems to escape us; it seems, if I may use a metaphor, to be transparent — we look through it and see nothing but the blue… (Moore 1903, p. 446).When we try to introspect the sensation of blue, all we can see is the blue: the other element is as if it were diaphanous (Moore 1903, p. 450).When Eloise sees a tree before her, the colors she experiences are all experien. (shrink)

Many contemporary theorists charge that naïve realists are incapable of accounting for illusions. Various sophisticated proposals have been ventured to meet this charge. Here, we take a different approach and dispute whether the naïve realist owes any distinctive account of illusion. To this end, we begin with a simple, naïve account of veridical perception. We then examine the case that this account cannot be extended to illusions. By reconstructing an explicit version of this argument, we show that it depends critically (...) on the contention that perceptual experience is diaphanous, or more minimally and precisely, that there can be no difference in phenomenal properties between two experiences without a difference in the scenes presented in those experiences. Finding no good reason to accept this claim, we develop and defend a simple, naïve account of both veridical perception and illusion, here dubbed Simple, Austere Naïve Realism. (shrink)

Images have always stirred ambivalent reactions. Yet whether eliciting fascinated gazes or iconoclastic repulsion from their beholders, they have hardly ever been seen as true sources of knowledge. They were long viewed as mere appearances, placeholders for the things themselves or deceptive illusions. Today, the traditional critique of the spectacle has given way to an unconditional embrace of the visual. However, we still lack a persuasive theoretical account of how images work. -/- Emmanuel Alloa retraces the history of Western attitudes (...) toward the visual to propose a major rethinking of images as irreplaceable agents of our everyday engagement with the world. He examines how ideas of images and their powers have been constructed in Western humanities, art theory, and philosophy, developing a novel genealogy of both visual studies and the concept of the medium. Alloa reconstructs the earliest Western media theory—Aristotle’s concept of the diaphanous milieu of vision—and the significance of its subsequent erasure in the history of science. Ultimately, he argues for a historically informed phenomenology of images and visual media that explains why images are not simply referential depictions, windows onto the world. Instead, images constantly reactivate the power of appearing. As media of visualization, they allow things to appear that could not be visible except in and through these very material devices. (shrink)

G.E. Moore alludes to a notion of consciousness that is diaphanous, elusive to attention, yet detectable. Such a notion, I suggest, approximates what Bina Gupta has called `witness-consciousness'--in particular, the aspect of mode-neutral awareness with intrinsic phenomenal character. This paper offers a detailed definition and defence of the appearance and reality of witness-consciousness. While I claim that witness- consciousness captures the essence of subjectivity, and so must be accounted for in the `hard problem' of consciousness, it is not to be (...) confused with the more commonly defended notion of `for-me-ness'. (shrink)

I interpret the anti-idealist manoeuverings of the second half of Moore's 'The refutation of idealism', material as widely cited for its discussion of 'transparency' and 'diaphanousness' as it is deeply obscure. The centerpiece of these manoeuverings is a phenomenological argument for a relational view of perceptual phenomenal character, on which, roughly, 'that which makes the sensation of blue a mental fact' is a non-intentional relation of conscious awareness, a view close to the opposite of the most characteristic contemporary view going (...) under the transparency rubric. The discussion of transparency and diaphanousness is a sidelight, its principal purpose to shore up the main line of argumentation against criticism; in those passages all Moore argues is that the relation of conscious awareness is not transparent, while acknowledging that it can seem to be. (shrink)

According to a currently popular approach to the analysis of phenomenal character, the phenomenal character of an experience is entirely determined by, and is in fact identical with, the experience's representational content. Two underlying assumptions motivate this approach to phenomenal character: (1) that conscious experiences are diaphanous or transparent, in the sense that it is impossible to discern, via introspection, any intrinsic features of an experience of x that are not experienced as features of x, and (2) that the immediate (...) objects of consciousness are not objects per se, but rather properties. This paper explores these assumptions, advancing the thesis that each is rejectable on phenomenological grounds. (shrink)

According to the transparency thesis, some conscious states are transparent or “diaphanous”. This thesis is often believed to be incompatible with an inner‐awareness account of phenomenal consciousness. In this article, I reject this incompatibility. Instead, I defend a compatibilist approach to transparency. To date, most attempts to do so require a rejection of strong transparency in favor of weak transparency. In this view, transparent states can be attended to by attending (in the right way) to the presented world: that is, (...) they are merely translucent. Here, I first argue that this understanding of transparency is too weak to qualify as a compatibilist view. Drawing on insights from Franz Brentano, I then describe a middle road between strong and weak transparency. The crucial idea is that, although transparent states cannot be attended to, they can be noticed (under suitable conditions). This view, I submit, allows supporters of inner awareness to commit themselves to a more interesting understanding of transparency—moderate transparency—that preserves the initial intuition underlying the transparency metaphor. (shrink)

Emmanuel Alloa: Das durchscheinende Bild. Konturen einer medialen Phänomenologie. Verlag diaphanes, Zürich 2011, 352 S.

El artículo examina dos concepciones de la imagen de la filosofía clásica, para ensayar una relectura de la aparición digital o “imagen-pixel”. De Platón se considera la idea de imagen como symploké de ser y no ser: la imagen, como una piel diáfana que acompaña a las cosas, se desprende, cual fina película, de las cosas mismas y puede ser inscrita sobre una superficie. De Aristóteles se examina el concepto de lo diáfano, una potencia común a todos los cuerpos, la (...) que opera como instancia intermediaria para la emergencia de lo visible. Ambas concepciones ayudan a comprender la radicalidad de la imagen digital, entendida como una modalidad inmanente del ‘aparecer’ que no se inscribe sobre ninguna superficie ni medio, llevándonos a pensar en la figura de un nuevo diáfano hipermedial. This article examines two conceptions around the image of classical philosophy, in order to rehearse a re-reading of the digital appearance or “image-pixel”. From Plato, we consider the idea of the image as symploke of being and not being: the image, as a translucent skin that accompanies all things, comes off, like a fine film, from those same things, and can be inscribed on a surface. From Aristotle, the concept of the diaphanous is examined, a common potency to everything, which operates as an intermediary instance for the emergence of the visible things. Both concepts help to understand the radical nature of the digital image, understood as an immanent modality of the ‘appearance’ that is not inscribed on any surface or support, leading us to think of the figure of a hyper-medial new diaphaneity. (shrink)

In the last of his three Royce Lectures called "Self‑Knowledge and 'Inner Sense'", Sydney Shoemaker attempts to reconcile two commitments: (1) that experiences have "qualia", nonrepresentational features that constitute what it is like to have the experiences, and (2) that perceptual experiences seem "diaphanous", yielding to introspection only the way they represent the environment, not intrinsic or otherwise nonrepresentational qualia. On the idea that we internally sense qualia�that we sense what our experiences are like�one way to explain apparent diaphanousness is (...) to maintain that these qualia are mistakenly "projected" onto the environment, that in perception we erroneously sense qualia as belonging to environmental objects. Shoemaker rejects both the projection view and the existence of inner sense, and develops an alternative reconciliation. I will describe reasons to doubt his positive proposal, and ways to save projection and inner sense from his criticisms. (shrink)

Dass Bilder zwischen dem Regime der Dinge und dem Regime der Zeichen niemals einen angestammten Platz erhielten und nicht Gegenstand einer eigenen Wissenschaft wurden, ist keinem wiedergutzumachenden Vergessen geschuldet, sondern Ausdruck eines anfänglichen Skandalons, das historisch auch die Geburtsstunde der Philosophie einläutete. Bilder lassen sich nicht einmal als reine Erscheinungen absondern, weil in ihnen als Wasserzeichen stets durchscheint, was sie sichtbar werden ließ. An Husserls Grundlegung einer Phänomenologie des Bildes lässt sich das obstinate Unterfangen verfolgen, die Bilderscheinung von jeder medialen (...) Kontamination freizuhalten. Emmanuel Alloas Archäologie der Medienvergessenheit legt jenes Doppelparadigma frei, das die westliche Tradition seit Anbeginn begleitet – Transparenz und Opazität – und sich vor jenen Begriff schiebt, den es zu übersetzen beanspruchte: In der aristotelischen Wahrnehmungstheorie bezeichnet das Diaphane die Fähigkeit eines Mediums, die Form von etwas anzunehmen, ohne es zu sein. Auf unerwartete Weise wird durch Aristoteles’ Lehre vom Diaphanen erhellt, worin die Macht von Bildern liegt. (shrink)

Le monde latin tardo-antique a rencontré des difficultés à s’approprier la diversité des théories visuelles grecques. L’impression reste qu’au brouillage conceptuel s’ajoute l’imprécision lexicale. La synthèse néoplatonicienne qui assimile la lumière platonicienne au diaphane aristotélicien provoque une confusion entre brillance et transparence. Saint Augustin présente la vision comme un acte orienté de l’œil à l’objet. Ensuite apparaît un deuxième mouvement de la vision, de l’objet vers l’œil. Jean Scot Erigène, inspiré par les Pères grecs, ne crée certes pas un lexique (...) scientifique, mais réussit à élaborer un lexique unifié et structuré, entièrement tourné vers l’expression de la théologie du Dieu-lumière. (shrink)

Review of the following books (in German): -/- Michael Ruoff: Foucault-Lexikon, München 2007. Fink/UTB. -/- Clemens Kammler, Rolf Parr und Ulrich Johannes Schneider (Hrsg.): Foucault-Handbuch. Leben – Werk – Wirkung, Stuttgart 2008. Metzler. -/- Paul Veyne: Foucault. Der Philosoph als Samurai, Stuttgart 2009. Reclam. -/- Thomas Lemke: Gouvernementalität und Biopolitik, Wiesbaden 2007. VS Verlag. -/- Patricia Purtschert, Katrin Meyer und Yves Winter (Hrsg.): Gouvernementalität und Sicherheit. Zeitdiagnostische Beiträge im Anschluss an Foucault, Bielefeld 2008. Transcript. -/- Daniel Hechler und Axel Philipps (...) (Hrsg.): Widerstand denken. Michel Foucault und die Grenzen der Macht, Bielefeld 2008. Transcript. -/- Jeffrey T. Nealon: Foucault Beyond Foucault: Power and its Intensifi cations since 1984, Stanford 2008. Stanford University Press. -/- Amy Allen: The Politics of Our Selves: Power, Autonomy, and Gender in Contemporary Critical Theory, New York 2008. Columbia University Press. -/- Wendy Brown: Regulating Aversion: Tolerance in the Age of Identity and Empire, Princeton 2006. Princeton University Press. -/- Giorgio Agamben: Was ist ein Dispositiv?, Zürich-Berlin 2008. Diaphanes. -/- Philipp Sarasin: Darwin und Foucault. Genealogie und Geschichte im Zeitalter der Biologie, Frankfurt/M. 2008. Suhrkamp. (shrink)

Review of the following books: -/- Michael Ruoff: Foucault-Lexikon, München 2007. Fink/UTB. -/- Clemens Kammler, Rolf Parr und Ulrich Johannes Schneider (Hrsg.): Foucault-Handbuch. Leben – Werk – Wirkung, Stuttgart 2008. Metzler. -/- Paul Veyne: Foucault. Der Philosoph als Samurai, Stuttgart 2009. Reclam. -/- Thomas Lemke: Gouvernementalität und Biopolitik, Wiesbaden 2007. VS Verlag. -/- Patricia Purtschert, Katrin Meyer und Yves Winter (Hrsg.): Gouvernementalität und Sicherheit. Zeitdiagnostische Beiträge im Anschluss an Foucault, Bielefeld 2008. Transcript. -/- Daniel Hechler und Axel Philipps (Hrsg.): Widerstand (...) denken. Michel Foucault und die Grenzen der Macht, Bielefeld 2008. Transcript. -/- Jeffrey T. Nealon: Foucault Beyond Foucault: Power and its Intensifi cations since 1984, Stanford 2008. Stanford University Press. -/- Amy Allen: The Politics of Our Selves: Power, Autonomy, and Gender in Contemporary Critical Theory, New York 2008. Columbia University Press. -/- Wendy Brown: Regulating Aversion: Tolerance in the Age of Identity and Empire, Princeton 2006. Princeton University Press. -/- Giorgio Agamben: Was ist ein Dispositiv?, Zürich-Berlin 2008. Diaphanes. -/- Philipp Sarasin: Darwin und Foucault. Genealogie und Geschichte im Zeitalter der Biologie, Frankfurt/M. 2008. Suhrkamp. (shrink)

This introductory chapter gives an overview of the emergent field of Critical Transparency Studies. Moreover, it traces some genealogical lines of how, from the eighteenth century onwards, what was known in Antiquity as an optical and aesthetic phenomenon—diaphaneity—came to stand for central concerns in self-knowledge, morality and politics. Such an analysis of the historical semantics of transparency highlights the irreducible plurality of the phenomenon. Against tendencies of seeing transparency as a means of achieving self-coincidence, unicity and self-stability, the chapter (...) sketches an alternative understanding of transparency as diaphaneity and fleshes out the dynamic, transversal and often conflictual nature of sense, making way for a more comprehensive understanding of the contradictions of social existence. (shrink)

This dissertation attempts to demonstrate that the Platonic thesis that thought is like a dialogue of the soul with itself, in the form it is given in the philosophy of Wilfrid Sellars, is a key to the metaphysics of transcendental subjectivity, and can be used fruitfully as a foil in critically interpreting the classical Cartesian and Kantian texts on the metaphysics of the subject. The metaphor becomes fruitful only when developed in the direction of a functional account of acts of (...) thought, according to which the concepts of intentionality are indifferent as to the material constitution of the items which function in such a manner as to be acts of thought. ;Chapter I demonstrates that although the Platonic thesis appears again and again in ancient and Medieval texts, a functional account is never pursued seriously. The tradition assumes that acts of thought are "diaphanous." Chapter II shows that although there are hints of a functional turn in Descartes' distinction between ideas materialiter and ideas objective, he remains true to the tradition in developing his substance metaphysics of the subject. After a brief look at Leibniz in Chapter III, Chapter IV shows how Kant makes the turn to a functional account of the thinking subject, according to which it is a category mistake to say that the transcendental 'I' is in the world either phenomenally or noumenally. Chapter V shows how Wilfrid Sellars develops the Kantian position by taking up the Platonic thesis and interpreting it in a functional direction. This opens up the way to a positive metaphysics of transcendental subjectivity which is able to do justice to the fact that the subject which constitutes the world is also a subject in the world. (shrink)

This paper asks whether there are grounds for viewing Girard’s work as a tragic vision, and explores the criteria and contexts that might figure in such an investigation. Mimetic anthropology is built on references to the tragic perspective, but its tragic aspect is complex and diaphanous in respect of its structuring and dynamics. Its framework is difficult to explore without engaging with contemporary Christian theological thought—something that significantly affects its implications. As for the latter, the transformative potential of Girard’s tragic (...) anthropology, directly engendered by its critical approach to its own theses, tends to shatter the stability of its assumptions. Therefore, from the earliest interpretations of ancient tragic drama, through the pitfalls of the notion of sacrifice and the dialogue with the philosophy of existence and dramatic theology, all the way to the so‑called apocalyptic phase in Girard’s thought, we can observe shifting relationships between the broadening areas of human failure on the one hand, and the elusive horizon of hope on the other. Within this vision, the last strategy of hope seems to lie in the decision of the individual as a witness to a man‑made apocalypse—and/or the apocalypse itself. (shrink)

Evidence of the intimate linkage of the shaman's song and divinatory procedures may be viewed in the ancient epics. These narrative poems contain structural and thematic elements recognizable from the shaman's song—in particular his or her voyage to the Otherworld and the guidance of oracular powers. In this paper, The Epic of Gilgamesh, Euripedes' Ion, and The Ozidi Saga (a living epic from West Africa) are examined as recuperations of the orally composed and transmitted song of the shaman. I argue (...) that the epics—the origins of which predate their composition in literary form—bear witness to these most ancient and mysterious forms of linguistic expression. As depictions of Otherwordly journeys, they can be viewed through a metaphysic outside of time, rendering divination not only possible but inevitable, and necessitating a language of abstraction, allusion, and ambiguity. Today's experimental poetries may not all partake of a conscious recuperation of shamanic themes and forms, but they share an imaginary (yet not imagined) repositioning of reality, an open questioning of consensus forms of awareness, and an aesthetic shaping of what Jean Gebser calls “Integral Consciousness” (15), the simultaneous integration-disintegration of archaic, mythic, magic, and mental paradigms in an intensification of awareness which sees time as diaphanous, and Mind as a doorway between possibilities. (shrink)

Nature's simplest atom and mother of all matter, hydrogen feeds the stars as well as interlaces the molecules of their biological descendants – to whom it ultimately whispers the secrets of quantum reality. Hydrogen’s most prevalent earthly guise lies within the composition of water. A slight electrical disturbance can split water into hydrogen and oxygen gas, resulting in diaphanous bubble clouds slowly rising towards the liquid’s surface. Though the founding fathers of electrochemistry posited that the mass of liberated bubbles is (...) directly proportional to the input voltage, certain modes of electrolysis release more energy than is spent. One such mode involves water’s Janus-faced capacity to react as either an acid or a base. Emanating from an array of electrodes at the bottom of a water-filled chamber, strings and strata of hydrogen bubbles meticulously trace their emergent surroundings. In addition to eddy formations incited by a bubble's rapid growth and subsequent detachment from the electrode surface, acoustic vibrations permeate the two-phase fluid. As the sonic frequency and amplitude rises, the hydrogen bubbles start to coalesce with one another. When the sound field reaches maximum intensity, it can trap bubbles within its antinodes. The vibrations are generated both by transducers and by the bubbles themselves, which emit frequencies ranging from the audible spectrum to as high as 800 kHz. A white laser sheet scans and illuminates the hydrogen bubble trajectories. Each quivering bubble-lens divides the white light into its constituent spectrum of colors. While scanning, the laser sheet also swiftly pulsates and thereby extends the perceivable resolution of micro-momentary bubble dynamics. Before it even begins to map out its vibratory environment, a bubble goes through various stages of spatio-temporal evolution. During the first phase of growth, a bubble nucleus inflates linearly with time. At the second stage, bubble growth is limited by the diffusion of gas within the liquid, causing its size to increase as the square root of time. The final phase before detachment is limited by the kinetics of dissolved gas production, causing the bubble to grow as the cube root of time.1 Beyond macroscopically observable bubbles, an expanse of nanobubbles hides within the water’s internal architecture. Some researchers presume that these nanobubbles of dissolved gas are the carriers of water’s magnetic ‘memory’, enabling electromagnetic fields to saturate its innards for hours and even days after their initial appearance. In the seas and oceans, the lingering presence of electromagnetic fields photonically imparted by sunlight, triggers the electrolysis responsible for most of the Earth’s hydrogen. An essential form of photosynthesis, solar water splitting is the cleanest and most efficient means imaginable for generating and storing energy. —Evelina Domnitch & Dmitry Gelfand *** Animals and plants are formed in earth and in water because there is water in earth, and there is pneuma in water, and there is soul heat in all pneuma ; so that in a way all things are full of soul. Hence plants and animals quickly form once this gets enclosed; and when this enclosing happens, when the corporeal liquids get heated, a sort of frothy bubble is formed. Now the difference between the various creatures which are produced in this way are due to the stuff which makes up the envelope around the soul-source.2 Throwing light into this pneumatic spray of perdurances, which would otherwise swarm below the threshold of human visibility, Evelina Domnitch and Dmitry Gelfand’s Hydrogeny saturates the viewer’s sensorial space with the nano-architectures of froth. Straddling the cell wall between scientific enquiry and artistic praxis, Hydrogeny , beckons a recasting of Lucretius' clinamen in tune with the technologies of the modern observer. For Lucretius it was the indeterminate swerving of an atomistic layer of reality which accounted for the unpredictability of change and the existence of free will. Taken up by Harold Bloom to describe the swerving of cultural production from that which has already been made, the idea has since been textually redressed by Lacan, Derrida, Serres, Deleuze, Nancy, and Badiou. Here we have been given a kaleidoscopic technique for refining and expanding awareness of our enmeshment with so many nested, atomistic layers of object-bubbles—of things—as Aristotle might say,“full of soul.” The gravitational pull of Hydrogeny ushers a de-centered human spectatorship to the ever more intimate recesses of what media philosopher N. Katherine Hayles calls our capacity for “deep attention.”3 Vaporous attention suspended and re-oriented. Microscopic as these diaphanous waves are, the calling they produce is anything but inconsequential. Evelina Domnitch and Dmitry Gelfand are two-thirds of the Amsterdam-based Art–Science Labratory, Optofonica , an atelier initiated by the Italian interdisciplinary artist TeZ in 2006. Follow more of their work at www.portablepalace.com —Isaac Linder NOTES (1) cf. Brandon, Kelsall, Levine, & Smith. “Interfacial Electrical Properties of Electrogenerated Bubbles.” Journal of Applied Electrochemistry 15 (1985):485-493. (2)Aristotle, On the Generation of Animals, 762a18, tr. A. L. Peck (Cambridge, MA: Loeb Classical Library, 1942). (3)“ My article on hyper and deep attention ,” N. Katherine Hayles, accessed on September 14, 2011. (shrink)

D'Avignon, en cette nuit du 7 mars Cher **** De nouvelles rêveries m'ont porté vers le cœur de mes structures Lorsqu'on s'y projette, on s'y trouve enveloppé du textile qui abrite mais n'enferme Ni toiles, ni filets, ce sont des jerseys lâches, des tulles diaphanes Des interfaces sensibles, qui au vent s'emplissent et se plissent, et qui bruissent aux flux, et qui vibrent à la terre Des mailles qui distillent les rosées, percolent des alcools, infusent la nuit, pénètrent le jour (...) Et qui pourtant, - Résidence numérique — François Villais. (shrink)

Cameron attacks the notion that words and sentences "stand for" thoughts--that thoughts are clothed diaphanously in prose, or attractively in verse. The thesis is that poetry enriches understanding of both oneself and others. A feeling is made available in its personal aspect through representation in a unique, non-paraphraseable poetic. --J. M.