According to the mental continuity claim (MCC), human mental faculties are physical and beneficial to human survival, so they must have evolved gradually from ancestral forms and we should expect to see their precursors across species. Materialism of mind coupled with Darwin’s evolutionary theory leads directly to such claims and even today arguments for animal mental properties are often presented with the MCC as a premise. However, the MCC has been often challenged among contemporary scholars. It is usually (...) argued that only humans use language and that language as such has no precursors in the animal kingdom. Moreover, language is quite often understood as a necessary tool for having representations and forming beliefs. As a consequence, by lacking language animals could not have developed representational systems or beliefs. In response to these worries, we aim to mount a limited defense of the MCC as an empirical hypothesis. First, we will provide a short historical overview of the origins of the MCC and examine some of the motives behind traditional arguments for and against it. Second, we will focus on one particular question, namely whether language as such is necessary for having beliefs. Our goal is to show that there is little reason to think language is necessary for belief. In doing so, we will challenge a view of belief that is widely accepted by those working in animal cognition, namely representational belief, and we will argue that if belief is non-representational, then different research questions and methods are required. We will conclude with an argument that to study the evolution of belief across species, it is essential to begin the study of subjects in their social and ecological environment rather than in contexts that are not ecologically valid along the social and ecological dimensions. Thus, rather than serving as a premise in an argument 3 in favor of animal minds, the MCC can only be defended by empirical investigation, but importantly, empirical investigation of the right sort.. (shrink)

Within the context of the so-called psychedelic renaissance, ketamine (C13H16CINO) has been increasingly used for therapeutic purposes. While ketamine clearly has healing powers, what interests me here is less ketamine for healing than what I will call the possibility of knowledge by ketamine. Drawing upon Deleuze and Guattari's arguments for the centrality of metal and metallurgy as a perspective on matter, I speculate that knowledge by ketamine is not identical with, yet verges on, a kind of becoming-metal of (...) consciousness, and an intuition of what Deleuze and Guattari call a ‘nonorganic life’ proper to matter. Ketamine trips provide vantage, and in some sense experience of that metallic dimension Deleuze and Guattari claim is inherent in all matter, a fluidity and transformability which for them is the basis of a hydraulic as opposed to solid model of matter, and clue to a vitality that supersedes the distinction of life and death. Intuition of the fundamentally hydraulic or metallic nature of matter is essential to what Deleuze and Guattari call a nomadic or ‘minor’ science, one that, because it centres continuous variation rather than discrete form, is capable of challenging the conservative tendencies of ‘major’ or State science. Without making claims for ketamine as in any sense sufficient for a becoming-metal of consciousness, ketamine may be constructively conjugated with other knowledges – knowledge by meditation, by dance, by music, or by martial arts, to name only a few. Such minor sciences of transformation and transmutation remain capable of a negative or corrosive relation to the State, despite the ever-present reality of recapture. (shrink)

This essay examines Hume’s treatment of money in light of his view of the imagination. It begins with his claim that money is distinct from wealth, the latter arising, according to vulgar reasoning, from the power of acquisition that it represents, or, understood philosophically, from the labor that produces it. The salient features that Hume identifies with the imagination are then put forth, namely its power to combine ideas creatively and the principle of easy transition that characterizes its movement (...) among them. Two issues that these features explain are then discussed: first, why people take value to lie in the material of which money is made, and, second, why they assign value to what they take money to represent, namely, wealth. In both cases, the imagination creates a new relation, an illusion or fiction, that cannot be traced directly to experience. In the case of money, the faculty conjoins what is intangible (the power of acquisition) with the physical qualities of specie; in the case of property it produces a causal relation that connects persons with objects to constitute stable possession that constitutes ownership. Hume also appeals to the imagination to explain the rules of property that subsequently develop (present possession, occupation, prescription, and transference). The essay concludes by emphasizing that being based on the imagination is not in itself indicative of any instability in either money or property and the practices they enshrine, a feature they share with other phenomena (such as the self and continued existence) that Hume also traces to the same faculty. (shrink)

Marya Schechtman has raised a series of worries for the Psychological Continuity Theory of personal identity (PCT) stemming out of what Derek Parfit called the ‘Extreme Claim’. This is roughly the claim that theories like it are unable to explain the importance we attach to personal identity. In her recent Staying Alive (2014), she presents further arguments related to this and sets out a new narrative theory, the Person Life View (PLV), which she sees as solving the (...) problems as well as bringing other advantages over the PCT. I look over some of her earlier arguments and responses to them as a way in to the new issues and theory. I argue that the problems for the PCT and advantages that the PLV brings are all merely apparent, and present no reason for giving up the former for the latter. (shrink)

The success or failure of an ineffective assistance of counsel claim turns largely on the testimony of trial counsel. It is therefore common for the government to communicate ex parte with trial co...

The widely accepted “continuing bonds” model of grief tells us that rather than bereavement necessitating the cessation of one’s relationship with the deceased, very often the relationship continues instead in an adapted form. However, this framework appears to conflict with philosophical approaches that treat reciprocity or mutuality of some form as central to loving relationships. Seemingly the dead cannot be active participants, rendering it puzzling how we should understand claims about continued relationships with them. In this article, we resolve this (...) tension by highlighting two fundamental aspects of paradigmatic loving relationships that can, and often do, continue in an adapted form following bereavement: love and mutual shaping of interests, choices, and self-concepts. Attention to these continuing features of relationships helps to capture and clarify the phenomenological and behavioral features of continuing bonds. However, love and mutual shaping must also change in important ways following bereavement. Love becomes unreciprocated, and although the dead continue to shape our interests, choices, and self-concepts, we predominantly shape their legacies and memories in return. These changes place important constraints upon the nature of our interpersonal connections with the dead. (shrink)

How can liberal democracy best be realized in a world fraught with conflicting new forms of identity politics and intensifying conflicts over culture? This book brings unparalleled clarity to the contemporary debate over this question. Maintaining that cultures are themselves torn by conflicts about their own boundaries, Seyla Benhabib challenges the assumption shared by many theorists and activists that cultures are clearly defined wholes. She argues that much debate--including that of "strong" multiculturalism, which sees cultures as distinct pieces of a (...) mosaic--is dominated by this faulty belief, one with grave consequences for how we think injustices among groups should be redressed and human diversity achieved. Benhabib masterfully presents an alternative approach, developing an understanding of cultures as continually creating, re-creating, and renegotiating the imagined boundaries between "us" and "them." Drawing on contemporary cultural politics from Western Europe, Canada, and the United States, Benhabib develops a double-track model of deliberative democracy that permits maximum cultural contestation within the official public sphere as well as in and through social movements and the institutions of civil society. Agreeing with political liberals that constitutional and legal universalism should be preserved at the level of polity, she nonetheless contends that such a model is necessary to resolve multicultural conflicts. Analyzing in detail the transformation of citizenship practices in European Union countries, Benhabib concludes that flexible citizenship, certain kinds of legal pluralism and models of institutional powersharing are quite compatible with deliberative democracy, as long as they are in accord with egalitarian reciprocity, voluntary self-ascription, and freedom of exit and association. The Claims of Culture offers invaluable insight to all those, whether students or scholars, lawyers or policymakers, who strive to bridge the gap between the theory and practice of cultural politics in the twenty-first century. (shrink)

This paper proposes that the meanings of some natural language expressions should be thought of as functions on their own continuations. Continuations are a well-established analytic tool in the theory of programming language semantics; in brief, a continuation is the entire default future of a computation. I show how a continuation-based grammar can unify several aspects of natural language quantification in a new way: merely stating the truth conditions for quantificational expressions in terms of continuations automatically accounts for scope displacement (...) and scope ambiguity. To prove this claim, I exhibit a simple finite context-free grammar with a strictly compositional semantics in which quantificational NPs are interpreted in situ but take semantic scope over larger constituents. There is no Quantifier Raising (nor any use of a level of Logical Form distinct from overt syntax), no Cooper Storage (or similar mechanisms used in many recent HPSG, Categorial, or Type-logical treatments), and no need for type-shifting (as in Hendriks' Flexible Types account). Continuations also provide a natural account of generalized coordination that does not require either type-shifting or type polymorphism. Compositionality issues are discussed in some detail. (shrink)

Continuous deep sedation (CDS) has the effect of making the patient unconscious until death, and that it has this effect is clearly an undesirable aspect of CDS. However, some authors have recently maintained that many physicians do not intend this effect when practicing CDS. According to these authors, CDS is differentiated into two types; in what is called “gradual” CDS (or CDS as a result of proportionate palliative sedation), physicians start with low doses of sedatives and increase them only gradually, (...) whereas in “rapid” CDS (or palliative sedation to unconsciousness), physicians rapidly administer a heavy dose that clearly induces unconsciousness from the beginning. The claim is that the physicians intend permanent unconsciousness only if they rapidly administer a heavy dose, but they do not intend it when the unconsciousness is the result of a gradual increase of sedatives. This paper attempts to refute these claims based on a close examination of the protocol of gradual CDS. If my argument is valid, the doctrine of double effect would not be useful in justifying most, if not all, cases of CDS. (shrink)

The controversy over the equivalence of continuous sedation until death (CSD) and physician-assisted suicide/euthanasia (PAS/E) provides an opportunity to focus on a significant extended use of CSD. This extension, suggested by the equivalence of PAS/E and CSD, is designed to promote additional patient autonomy at the end-of-life. Samuel LiPuma, in his article, “Continuous Sedation Until Death as Physician-Assisted Suicide/Euthanasia: A Conceptual Analysis” claims equivalence between CSD and death; his paper is seminal in the equivalency debate. Critics contend that sedation follows (...) proportionality protocols for which LiPuma’s thesis does not adequately account. Furthermore, sedation may not eliminate consciousness, and as such LiPuma’s contention that CSD is equivalent to neocortical death is suspect. We not only defend the equivalence thesis, but also expand it to include additional moral considerations. First, we explain the equivalence thesis. This is followed by a defense of the thesis against five criticisms. The third section critiques the current use of CSD. Finally, we offer two proposals that, if adopted, would broaden the use of PAS/E and CSD and thereby expand options at the end-of-life. (shrink)

I examine the reasons Aristotle presents in Physics VIII 8 for denying a crucial assumption of Zeno’s dichotomy paradox: that every motion is composed of sub-motions. Aristotle claims that a unified motion is divisible into motions only in potentiality (δυνάμει). If it were actually divided at some point, the mobile would need to have arrived at and then have departed from this point, and that would require some interval of rest. Commentators have generally found Aristotle’s reasoning unconvincing. Against David Bostock (...) and Richard Sorabji, inter alia, I argue that Aristotle offers a plausible and internally consistent response to Zeno. I defend Aristotle’s reasoning by using his discussion of what to say about the mobile at boundary instants, transitions between change and rest. There Aristotle articulates what I call the Changes are Open, Rests are Closed Rule: what is true of something at a boundary instant is what is true of it over the time of its rest. By contrast, predications true of something over its period of change are not true of the thing at either of the boundary instants of that change. I argue that this rule issues from Aristotle’s general understanding of change, as laid out in Phys. III. It also fits well with Phys. VI, where Aristotle maintains that there is a first boundary instant included in the time of rest, but not a “first in which the mobile began to change.” I then show how this rule underlies Aristotle’s argument that a continuous motion cannot be composed of actual sub-motions. Aristotle distinguishes potential middles, points passed through en route to a terminus, from actual middles. The Changes are Open, Rests are Closed Rule only applies to actual middles, because only they are boundaries of change that the mobile must arrive at and then depart from. On my reading, Aristotle argues that the instant of arrival, the first instant at which the mobile has come to be at the actual middle, cannot belong to the time of the subsequent motion. If it did, the mobile would already be moving towards the next terminus and thus, per Phys. VI 6, would have already left. But it cannot have moved away from the midpoint at the very same moment it has arrived there. This means that the instant of arrival must be separated from the time of departure by an interval of rest. I show how Aristotle’s reasoning applies generally to rule out any continuous reflexive motion or continuous complex rectilinear motion. On my interpretation, however, the argument does not apply to every change of direction. When, as in the case of projectile motion, multiple movers and their relative powers explain why the mobile changes directions, distinct sub-motions are not involved. Aristotle holds that such motions cannot be continuous, not because they involve intervals of rest, but because they involve multiple causes of motion. My interpretation of the Changes are Open, Rests are Closed Rule allows us to make better sense of Aristotle’s argument than any previous interpretation. (shrink)

I propose a new guide for assessing claims about what is possible. I offer examples of modal claims that are, in a certain intuitive respect, ?continuous? with one another. I then put forward a general, defeasible principle of modal continuity that can account for our intuitions about those examples. According to this principle, statements that differ by a mere quantitative term don't normally differ with respect to being possibly true. I offer a precise statement of the principle, and then (...) I consider exceptions in an effort to find a more nuanced continuity principle that is more reliable and still sufficiently general. Next, I offer a possible explanation of why modal continuity tends to hold and why exceptions occur where they do. Although my primary purpose is to introduce a new technique for modal reasoning, I showcase the power of the principle by applying it to a philosophical dispute concerning parts and wholes: the principle, if true, reveals a new cost of the thesis that composition is restricted. Furthermore, I point out examples of other philosophical inquiries (in philosophy of mind, metaphysics, and philosophical cosmology) that may benefit from a principle of modal continuity. The principle gives us a new tool for assessing a wide variety of modal claims. (shrink)

En 2014 et en 2015, deux campagnes se sont déroulées pour la continuation de l’étude des vases en métal et des instruments apparentés de Delphes, de 600 av. J.‑C. à l’époque romaine. La recherche, qui a pour but la publication systématique de ce corpus, porte sur des centaines d’objets, dont la plupart inédits. La majorité provient évidemment des sanctuaires d’Apollon et d’Athéna à Marmaria, mais des attestations relèvent aussi des contextes funéraires et domestiques du site. L’activité au mu...

The paper considers and opposes the view that processes are best thought of as continuants, to be differentiated from events mainly by way of the fact that the latter, but not the former, are entities with temporal parts. The motivation for the investigation, though, is not so much the defeat of what is, in any case, a rather implausible claim, as the vindication of some of the ideas and intuitions that the claim is made in order to defend (...) — and the grounding of those ideas and intuitions in a more plausible metaphysics than is provided by the continuant view. It is argued that in addition to a distinction between events and processes there is room and need for a third category, that of the individual process, which can be illuminatingly compared with the idea of a substance. Individual processes indeed share important metaphysical features with substantial continuants, but they do not lack temporal parts. Instead, it is argued that individual processes share with substantial continuants an important property I call ‘modal robustness in virtue of form’. The paper explains what this property is, and further suggests that the category of individual process, thus understood, might be of considerable value to the philosophy of action. (shrink)

Here, I explore a modernist aesthetics of death metal. First, I briefly describe a few themes that characterize some modern art, without any claim that they are necessary, sufficient, or exhaustive. The goal is to obtain a set of themes that might be set against similar themes characteristic of death metal. This is the task in the second half of the paper. In particular, I argue that (some) modernist art and death metal share themes centered on (...) transgressively breaking with the past, pursue their conception of the truth, eliminate elements in their art form to purity them, and attack the art/non-art or music/non-music distinction. I contend that centering on death metal vocals reflects these themes. Death metal growls, like some modernist art, transgresses on past vocal traditions, tells us important truths, eliminates traditional concepts/techniques of signing, and undermines the singing/noise distinction. (shrink)

When it comes to the question of what kind of moral claim an intelligent or autonomous machine might have, one way to answer this is by way of comparison with humans: Is there a fundamental difference between humans and other entities? If so, on what basis, and what are the implications for science and ethics? This question is inherently imprecise, however, because it presupposes that we can readily determine what it means for two types of entities to be sufficiently (...) different—what I will refer to as being “discontinuous”. In this paper, I will sketch a formal characterization of what it means for types of entities to be unique with regard to each other. This expands upon Bruce Mazlish’s initial formulation of what he terms a continuity between humans and machines, Alan Turing’s epistemological approach to the question of machine intelligence, and Sigmund Freud’s notion of scientific revolutions dealing blows to the self-esteem of mankind. I will discuss on what basis we should regard entities as (dis-)continuous, the corresponding moral and scientific implications, as well as an important difference between what I term downgrading and upgrading continuities—a dramatic difference in how two previously discontinuous types of entities might become continuous. All of this will be phrased in terms of which scientific levels of explanation we need to presuppose, in principle or in practice, when we seek to explain a given type of entity. The ultimate purpose is to provide a framework that defines which questions we need to ask if we argue that two types of entities ought (not) to be explained (hence treated) in the same manner, as well as what it takes to reconsider scientific and ethical hierarchies imposed on the natural and artificial world. (shrink)

Commonsense ontology contains both continuants and occurrents, but are continuants necessary? I argue that they are neither occurrents nor easily replaceable by them. The worst problem for continuants is the question in virtue of what a given continuant exists at a given time. For such truthmakers we must have recourse to occurrents, those vital to the continuant at that time. Continuants are, like abstract objects, invariants under equivalences over occurrents. But they are not abstract, and their being invariants enables us (...) to infer both their lack of temporal parts and that non-invariant predications about them must be relativized to times. \\\ [Joseph Melia] In this paper I try to eliminate occurrents from our ontology. I argue against Simons' position that occurrents are needed to supply truthmakers for existential claims about continuants. Nevertheless, those who would eliminate occurrents still need some account of our willingness to assert sentences that logically entail their existence. Though it turns out to be impossible to paraphrase away our reference to occurrents, I show that the truthmakers for such sentences are facts that involve only continuants. This is enough to allow us to regard our ordinary talk about occurrents as fictional. Finally, I argue that a proper conception of the underlying temporal facts about continuants can both avoid the problematic tensed theory of time and the problem of temporary intrinsics. (shrink)

The paper defends the claim that it is metaphysically possible that continuants of at least some kinds can have life-histories that incorporate temporal gaps -- i.e., the continuants can go out of existence and then come into existence again. Opponents of this view have included Graham Nerlich and Bernard Williams, whose writings I discuss.i.

'Modern History' views claim that in order for a trait X to have the proper function F, X must have been recently favored by natural selection for doing F (Griffiths 1992, 1993; Godfrey-Smith 1994). For many traits with prototypical proper functions, however, such recent selection may not have occurred, since traits may have been maintained owing to lack of variation or selection for other effects. I explore this flaw in Modern History accounts and offer an alternative etiological theory, which (...) I call the 'Continuing Usefulness' account. According to my view, a trait has the proper function F if and only if, first, the trait was favored by selection for doing F at some point (perhaps far in the past), and, secondly, the trait has recently contributed to survival and reproduction by doing F. This separates the requirement involving natural selection from the one involving the recent past, two issues that the Modern History account conflates. The clear separation allows a detailed analysis of the causal judgments and form of adaptationism that ground the etiological approach to function. (shrink)

Heidegger’s Kant and the Problem of Metaphysics controversially claims that the A deduction is superior to the B deduction because the imagination, as the“common root” of understanding and sensibility, opens the first Critique to metaphysical ground. Drawing on Dieter Henrich, this paper reinterprets Heidegger’sreading by moving beyond the Analytic and taking the Dialectic into account. This suggests a continuity between the A and B deductions, namely that the imagination, as more than an ontic faculty, remains a basic power that (...) keeps open a metaphysics of being in Kant—a metaphysics whose site is a radicalized unity of transcendental apperception. Revisiting Heidegger in this way shows how Kant is both linked to and differentiated from German Idealism’s debate about the imagination, a position suggested in both Heidegger and recent scholarly discussion. (shrink)

Barnett and Block (J Bus Ethics 18(2):179–194, 2011 ) argue that one cannot distinguish between deposits and loans due to the continuum problem of maturities and because future goods do not exist—both essential characteristics that distinguish deposit from loan contracts. In a similar way but leading to opposite conclusions (Cachanosky, forthcoming) maintains that both maturity mismatching and fractional reserve banking are ethically justified as these contracts are equivalent. We argue herein that the economic and legal differences between genuine deposit and (...) loan contracts are clear. This implies different legal obligations for these contracts, a necessary step in assessing the ethics of both fractional reserve banking and maturity mismatching. While the former is economically, legally, and perhaps most importantly ethically problematic, there are no such troubles with the latter. (shrink)

In the mid-eighteenth century, it was usually taken for granted that all curves described by a single mathematical function were continuous, which meant that they had a shape without bends and a well-defined derivative. In this paper I discuss arguments for this claim made by two authors, Emilie du Châtelet and Roger Boscovich. I show that according to them, the claim follows from the law of continuity, which also applies to natural processes, so that natural processes and (...) mathematical functions have a shared characteristic of being continuous. However, there were certain problems with their argument, and they had to deal with a counterexample, namely a mathematical function that seemed to describe a discontinuous curve. (shrink)

[Peter Simons] Commonsense ontology contains both continuants and occurrents, but are continuants necessary? I argue that they are neither occurrents nor easily replaceable by them. The worst problem for continuants is the question in virtue of what a given continuant exists at a given time. For such truthmakers we must have recourse to occurrents, those vital to the continuant at that time. Continuants are, like abstract objects, invariants under equivalences over occurrents. But they are not abstract, and their being invariants (...) enables us to infer both their lack of temporal parts and that non-invariant predications about them must be relativized to times. \\\ [Joseph Melia] In this paper I try to eliminate occurrents from our ontology. I argue against Simons' position that occurrents are needed to supply truthmakers for existential claims about continuants. Nevertheless, those who would eliminate occurrents still need some account of our willingness to assert sentences that logically entail their existence. Though it turns out to be impossible to paraphrase away our reference to occurrents, I show that the truthmakers for such sentences are facts that involve only continuants. This is enough to allow us to regard our ordinary talk about occurrents as fictional. Finally, I argue that a proper conception of the underlying temporal facts about continuants can both avoid the problematic tensed theory of time and the problem of temporary intrinsics. (shrink)

Structural realists of nearly all stripes endorse the structural continuity claim. Roughly speaking, this is the claim that the structure of successful scientific theories survives theory change because it has latched on to the structure of the world. In this paper I elaborate, elucidate and modify the structural continuity claim and its associated argument. I do so without presupposing a particular conception of structure that favours this or that kind of structural realism. Instead I focus (...) on how structural realists can best account for the neutrally formulated historical facts. The result, I hope, crystallises some of the shared commitments, desiderata and limits of structural realists. (shrink)

Continuous culture techniques were developed in the early twentieth century to replace cumbersome studies of cell growth in batch cultures. In contrast to batch cultures, they constituted an open concept, as cells are forced to proliferate by adding new medium while cell suspension is constantly removed. During the 1940s and 1950s new devices have been designed—called “automatic syringe mechanism,” “turbidostat,” “chemostat,” “bactogen,” and “microbial auxanometer”—which allowed increasingly accurate quantitative measurements of bacterial growth. With these devices cell growth came under the (...) external control of the experimenters and thus accessible for developing a mathematical theory of growth kinetics—developed mainly by Jacques Monod, Aron Novick and Leo Szilard in the early 1950s and still in use today. The paper explores the development of continuous culture devices and claims that these devices are simulators for standard cells following specific requirements, in particular involving mathematical constraints in the design and setting of the devices as well as experiments. These requirements have led to contemporary designs of continuous culture techniques realizing a specific event-based flow algorithm able to simulate directed evolution and produce artificial cells and microorganisms. This current development is seen as an alternative approach to today’s synthetic biology. (shrink)

Many philosophers have claimed that there is a tension between the impenetrability of matter and the possibility of contact between continuous bodies. This tension has led some to claim that impenetrable continuous bodies could not ever be in contact, and it has led others to posit certain structural features to continuous bodies that they believe would resolve the tension. Unfortunately, such philosophical discussions rarely borrow much from the investigation of actual matter. This is probably largely because actual matter is (...) not continuous, and so it might seem as if discussion of the structure of continuous bodies is merely within the realm of philosophical thought experiments rather than actual scientific investigation. However, classical continuum mechanics models actual matter as if it were continuous, and it has implications about the structure of continuous bodies and about what contact and impenetrability are. This paper describes the relevant notions from classical continuum mechanics so as to resolve the alleged tension between contact and impenetrability. (shrink)

This commentary argues that Gallagher's account of direct social perception has remained underdeveloped in several respects. Gallagher has not provided convincing evidence to support his claim that mindreading is rare in social situations. He and other direct perception theorists have not offered a substantive critique of standard theories of mindreading because they have attacked a much stronger claim about the putative unobservability of mental states than most theories of mindreading imply. To provide a genuine alternative to standard theories (...) of mindreading, the direct perception theorist needs to provide more detailed answers to the following questions: What are the criteria for distinguishing perceptual processes from non-perceptual processes? How exactly does direct social perception function on the subpersonal level? What is the content of direct social perception? How does direct perception theory relate to more recent developments in the mindreading literature? (shrink)

This feature in Philosophy, Psychiatry, & Psychology (PPP) is intended to provide ongoing commentary on main articles previously published in PPP. The essay by Bortolotti below is a response to John Rhodes and Richard Gipps's paper in PPP (15, no. 4:295-310).Can we understand people who report delusional beliefs? In their thought-provoking paper, "Delusions, Certainty, and the Background", John Rhodes and Richard Gipps (2008) present a novel account of delusions which has two main purposes: (1) offer an explanation of the truly (...) puzzling features of delusional reports and (2) put forward a theory about what is likely to cause delusions. The authors claim that current theories of delusions that appeal to unusual .. (shrink)

In recent years, the idea of mind uploading has left the genre of science fiction. Uploading our minds as a form of immortality, or so it has been argued, is now within our reach. Of course, this depends on the assumption that our mind is nothing more than some sort of computer software running on the brain as hardware paving the way for a standard procedure of mind uploading, namely instantaneous destructive uploading – where the brain is simulated on a (...) computer - or gradual destructive uploading – where brain regions are gradually replaced by micro-chips. Lately, however, there has been sustained doubts that things are so simple. In this volume alone Susan Schneider & Joe Corabi and Gualtiero Piccinini argue that a person cannot survive standard procedures of mind uploading. The main reasons are that the uploading process violates identity criteria for the person and that it is unclear that conscious mental states can be uploaded. In this article, we argue that while the sceptics about the standard methods of uploading are probably right, there are more options to be evaluated. We introduce what we call slow continuous mind uploading as an alternative procedure. Slow continuous uploading is based on the extended mind thesis which claims that artefacts can under specific circumstances come to count as part of the realization basis for an individual’s mind. In this context, we explore a form of mind uploading which may already be being innovated today through our deep reliance upon cognitive incorporation of “smart” internet technologies. We will argue that this process may give us the right kind of tools to survive mind uploading, or more minimally, to create an agent that can be considered a psychological continuity of an individual. We think that, at least, the objections so far developed in the literature do not rule this out. (shrink)

Can information theory be used to understand neural signaling? Yes, but assumptions have to be made about the nature of that signaling. The traditional view is that the individual neural spike is an all-or-none phenomenon, which allows neural spikes to be viewed as discrete, binary pulses, similar in kind to the signals in digital computers. Under this assumption, the tools of information theory can be used to derive results about the properties of neural signals. However, new results from neuroscience demonstrate (...) that the precise shape of the individual spike can be functionally significant, thus violating the assumption that spikes can always be treated as a binary pulse. Instead, spikes must sometimes be viewed as a continuous signal. Fortunately, information-theoretic tools exist for the study of continuous signals; unfortunately, their use in the continuous domain is very different from their use in the discrete domain, and not always well understood. Researchers interested in making precise claims about the nature of the information used, stored, and processed in neural systems must pay careful attention to these differences. (shrink)

Ludwig Wittgenstein's philosophical work is informed throughout by a particular broad theme: that the semantic and mentalistic attributes of language and human life are shown by verbal and nonverbal conduct, but that they resist incorporation into the domain of the straightforwardly factual. So argues John Koethe, in contrast to the standard view that Wittgenstein's earlier and later philosophical positions are sharply opposed. According to the received view, Wittgenstein's thinking underwent a radical transformation after the Tractatus, leading him to abandon classical (...) realism and to develop an alternative semantics based on the notion of warranted assertability. Koethe maintains that the thesis that semantic claims are not made true by any facts whatsoever, which was a central part of Wittgenstein's early theory of elementary propositions, was one he continued to develop in his later writings, and that it is perfectly compatible with classical realism. In making his case for the essential continuity of Wittgenstein's thought, Koethe ranges over the entire corpus of the philosopher's writing, and concludes by pointing out connections between Wittgenstein's views and those of several contemporary philosophers, including Nagel, Dennett, Davidson, and Dummett. (shrink)

In this paper, I explore the question what a continuant is, in the context of a very interesting suggestion recently made by Rowland Stout, as part of his attempt to develop a coherent ontology of processes. Stout claims that a continuant is best thought of as something that primarily has its properties at times, rather than atemporally—and that on this construal, processes should count as continuants. While accepting that Stout is onto something here, I reject his suggestion that we should (...) accept that processes are both occurrents and continuants; nothing, I argue, can truly occur or happen, which does not have temporal parts. I make an alternative suggestion as to how one might deal with the peculiar status of processes without jettisoning a very natural account of occurrence; and assess the consequences for the category of continuant. (shrink)

Introduction -- On the genius and discoveries of Sir Isaac Newton -- On the character and origin of the ancient mythologies -- On the question : are the planets inhabited? -- A plea for freedom -- The right use of leisure -- On education -- The claims of science -- The social aspect of intellectual culture.

Jeff McMahan's impressive recent defence of the embodied mind theory of personal identity in his highly acclaimed work The Ethics of Killing has undoubtedly reawakened belief that physical continuity is a necessary component of the relation that matters in our self-interested concern for the future. My aim in this paper is to resist this belief in a somewhat roundabout way. I want to address this belief in a somewhat roundabout way by revisiting a classic defence of the belief that (...) enormous changes in the contents of a person's psychology does not preclude justified fear of future pain. I have in mind Bernard Williams' The Self and the Future (1970) in which he argues, against the psychological view, that physical continuity is necessary for survival. I examine Williams' second thought experiment which ostensibly supports that intuition and afterwards defend two related claims. First, I argue that a close examination of the second thought experiment reveals that one's prior commitments to a particular criterion of personal identity can influence one's response to that thought experiment. Second, I argue that Williams' second thought experiment is set out in questionbegging terms. I do not claim, however, that the intuition under consideration lacks justification; I only claim that Williams' second thought experiment does not provide the needed support. (shrink)

This article sets out to describe how churches have responded and continue to respond to fast-changing urban environments in Pretoria Central and Mamelodi East, animating Henri Lefebvre’s sociological perspective of citadins or urban inhabitants. We make tentative interpretations and offer critical appreciation. Churches, which were historically separated from the city centre, now directly participate in claiming a right to the city. With necessary fluidity, churches express lived African urbanisms through informality, place-making, spatial innovation and everyday rituals. Though not exhaustive, the (...) article focuses on rituals shared among historic urban Christians and contemporary African urban Christians, namely prayer, listening to the Bible and worship. These rituals, when combined with the churches’ spatial innovation, to a certain degree contribute to place-making. (shrink)

Causal connectionists need to provide an account of causal linkage and of causal direction. This chapter distinguishes between two kinds of causal connection, namely, discrete and continuous. Causal connectionists have a number of options for explaining the linkage between causes and effects in the case of discrete causation. The chapter provides some popular options. If some causation is discrete, and the exercise of causal powers provides a direction to discrete causation, then the causal direction of processes can be derived from (...) the causal direction of discrete interaction. David Hume famously made the claim about the knowledge of causation in his Enquiry Concerning Human Understanding. Hume offers, in defense of his principle, a set of thought‐experiments that seem to show that we can always imagine any event's having a different result from the one we in fact observe. Causal processes like locomotion may provide counterexamples to Hume's Epistemic Principle. (shrink)

Qutayba ibn Muslim al-Bāhilī is one of the leading soldier-bureaucrats of the Umayyads period. During the time he served as the governor of Khurāsān, he consolidated the Umayyad’s rule in Tokharistan and Transoxiana provinces, and expanded the borders of the state to China by conquering the Kashgar region. His activities for conversion of the people of the conquered regions have great importance in the history of Islam since the intense relations of the Turkish people with Islam fell upon the time (...) of his governorship. It is possible to argue that by introducing the religion to these people Qutayba had played an important role in their conversion to Islam. It is also known that he had sent a delegation to the emperor of China for the same purpose. However, despite all his achievements, it is seen that the academic studies about Qutayba in our country are very rare. Besides, some of the recent studies about him claim that he was a fraud, a trickster, and an untrustworthy person in his military activities; and had committed mass murders and massacres, persecuted innocent people, destroyed and burned the cities of conquered lands. In this article, it is examined that whether these claims and accusations have their justifications or not by consulting the main sources. In fact, what is expected from constructive criticism in this subject and every other area is to clarify the matter and make it more comprehensible of its context. However, it should not be forgotten that some conclusions over Qutayba in these studies might have been drawn to quickly in order to manipulate the conquest movements of the Umayyad period.Summary: The religious interaction and change taken place in the Arabian Peninsula with the emergence of Islam and with the political, military and cultural activities of the Muslims performed during the periods of Prophet Muhammad and the Rāshidūn (rightly guided) Caliphs had significant effects upon the lands of Iraq, Syria, Egypt and Khurāsān where the ancient civilizations located.The success made by the Muslim-Arabs in such a short time is accepted of course as one of the important events of world history. The message of Islam spread rapidly with their extraordinary efforts, and reached quickly in the early days of Islam to the Amu Darya/Oxus River, which is considered to be the natural border between the Iranians and the Turks (Iran and Turan).Although the Turks who had been struggling to dominate the region for centuries gained an opportunity with the disappearance of the Sasanian Empire from history, they could not take advantage of this new situation because of their lack of political unity and a strong state, and the power held by the regional Turkish Sultans were not enough to make their dominance happen. In this conjuncture, the Muslim-Arabs who appeared in the stage of history in a relatively late period but had the ideal of being a regional and a global power had rapidly realised their political and military activities called “conquest” in the Islamic historical sources. When it comes to the period of Caliph ʿUthmān, it is seen that the conditions were very suitable for passing to the east of the Oxus River where the Turkish elements lived intensively. At the time, the absence of a strong Turkish state in the region, and China’s occupation with its own internal problems made an important contribution for the Muslim-Arab capture of the region. In this region, which is called as “Transoxiana” in the Arabic sources, it is seen that the Turks organized their political structures as city-states and regional sultanates. In the north-eastern parts of this region, there was a strong Turkish State called the Turgish State and it provided political and military support to the people of the region who rebelled occasionally the Umayyads.After solving the internal problems of the state largely and suppressing some dangerous revolts, the Umayyad Caliph ʿAbd al-Malik ibn Marwān became capable of initiating military activities beyond the borders of the state. Nevertheless, the period when the actual conquests were made was the period of his son Walīd (86/705-96/715). It is seen that the conquests made in his time were permanent, and the people who lived in the conquered lands accepted Islam to a large extent. The conquest made during Walīd’s time which extended from Kashgar to the Pyrenees, realised at an unprecedented pace. The most important name for the eastern side of the conquests is undoubtedly Al-Ḥajjāj ibn Yūsuf. Ḥajjāj (75/694-95/714) who acted as the supreme governor of Iraq for nearly twenty years, had achieved important successes in the regions of Transoxiana and Sindh located in the eastern part of the country by the hands of his appointed governors. However, many governors appointed by him to Khurāsān from 75/694 to 86/705 with the hope of reaching his goals in the east could not meet his expectations because of the political, social and economic problems that existed throughout the country, and because of the resulting rebellions in the regions that these problems caused.These unwanted conditions continued to be seen in the region until he appointed Qutayba ibn Muslim as the governor of Khurāsān (86 / 705-96 / 715) who was one of the young commanders and administrators educated by Ḥajjāj personally. Qutayba known as having a close relationship with Ḥajjāj and consulting him when taking important decisions acted in this direction throughout the time he stayed in this position.It is known that the internal conflicts in the region continued during the time when Qutayba was appointed as the governor of Khurāsān. However, he had brought together northern and southern Arabian tribes living in the region with religious, political and economical suggestions and had succeeded in persuading them for military activities that he decided to operate beyond the Oxus. For the Umayyads, these military operations were justified, because the regional sultans who ruled in the western and eastern sides of the Oxus repeatedly violated the agreements they had made before. The tendency of the people of Turkic, Iranian, and Tajik origin who were the real owner of these lands and lived in both sides of the rich Oxus basin for many centuries to violate these agreements was in fact result of a great concern. They now realized that the Muslim-Arabs who followed a systematic settlement policy in the region came to their lands this time without any intention of going back. Even though Qutayba followed a fair and reasonable policy towards them, they violated their agreements with him, formed alliances among themselves and waged military campaigns against Qutayba not to be the subjects of any change in their religion, worldview, and perception of existence.Qutayba, who is believed to have spent his its utmost efforts to make the religion of Islam and the Umayyad political cause permanent in the region under these unfavourable conditions, has been recently criticized by some researchers. The criticisms intensify around the claims that he persecuted people, committed massacres, and behaved unfaithfully by breaking his promises that he made with people. From the perspective of our own times, it is possible to think that sometimes he had taken extreme measures in punishing the sultans and the persons who raised armed struggles against him and caused riots by violating the agreements. However, when the period is compared with the others, it can be easily said that the Umayyads showed in these and other remote areas a considerable amount of tolerance that they had never shown it in their internal conflicts. It is a known fact that he generally clashed with the ones who disrupted agreements, sought help from external forces, established alliances against them, and refused to pay taxes. Based on historical sources, it does not seem to be possible to say that while doing these activities in the region, Qutabya did not behave entirely in a way that his behaviour could be classified as massacres committed against innocent civilians. On the contrary, it is known that Qutayba had given many chances to the people of the region in administrative and military affairs. As a matter of fact, he ruled the city of Bukhara for 20 years with a Turkish ruler whom he appointed and supported, and he included in his army a union of twenty thousand cosmopolitan soldiers assembled from the people of Bukhara, Baykend, Chach and Samarkand and paid a regular salary to them.The fact that his grave known as the “Imam Shaykh Qutayba Tomb” was turned later into a shrine and visited by the people even today despite the passage of long centuries after his death shows that he has been loved by the people of the region and that they have always considered him as a conqueror-bureaucrat who spent his life for the ideals of his religion. (shrink)

A weak version of the life-mind continuity thesis entails that every living system also has a basic mind (with a non-representational form of intentionality). The strong version entails that the same concepts that are sufficient to explain basic minds (with non-representational states) are also central to understanding non-basic minds (with representational states). We argue that recent work on the free energy principle supports the following claims with respect to the life-mind continuity thesis: (i) there is a strong (...) class='Hi'>continuity between life and mind; (ii) all living systems can be described as if they had representational states; (iii) the ’as-if representationality’ entailed by the free energy principle is central to understanding both basic forms of intentionality and intentionality in non-basic minds. In addition to this, we argue that the free energy principle also renders realism about computation and representation compatible with a strong life-mind continuity thesis (although the free energy principle does not entail computational and representational realism). In particular, we show how representationality proper can be grounded in ’as-if representationality’. (shrink)

Wittgenstein’s comment that what can be shown cannot be said has a special resonance with visual representations of power in both Heavy Metal and Fundamentalist Christian communities. Performances at metal shows, and performances of ‘religious theatre’, share an emphasis on violence and destruction. For example, groups like GWAR and Cannibal Corpse feature violent scenes in stage shows and album covers, scenes that depict gory results of unrestrained sexuality that are strikingly like Halloween ‘Hell House’ show presented by neo-Conservative, (...) Fundamentalist Christian churches in the southeastern United States’ ‘Bible Belt’. One group may claim to celebrate violence, the other sees violence as a tool to both encourage ‘moral’ behaviour, and to show that the Christian church is able to ‘speak the language’ of young people who are fans of metal, gore, and horror. Explicit violence, in each case, signifies power relationships that are in transformation. Historically, medieval morality plays and morality cycles had been used as a pedagogical tool. In the modern-day context of fundamentalist religious education, these Hell House performances seek to exclude outsiders and solidify teen membership in the Christian community. Hell House performances are marketed to the young church members, and are seen as a way to reinvigorate conservative Fundamentalist Christianity. Women and girls routinely take part in, and often organize Hell House events. In the context of heavy metal, violent performances do not seek to exclude, but provide an outlet for a variety of socially unacceptable or unpopular feelings. In each context there is an apparent, if not actual, empowering of women who are willing to play particular kinds of roles. The use of violence and gore has a value beyond merely shocking the audience, it is arguably a way that some women find their voice, both for fundamentalist Christians and fundamentalist gore metal fans. (shrink)

[Peter Simons] Commonsense ontology contains both continuants and occurrents, but are continuants necessary? I argue that they are neither occurrents nor easily replaceable by them. The worst problem for continuants is the question in virtue of what a given continuant exists at a given time. For such truthmakers we must have recourse to occurrents, those vital to the continuant at that time. Continuants are, like abstract objects, invariants under equivalences over occurrents. But they are not abstract, and their being invariants (...) enables us to infer both their lack of temporal parts and that non-invariant predications about them must be relativized to times. \\\ [Joseph Melia] In this paper I try to eliminate occurrents from our ontology. I argue against Simons' position that occurrents are needed to supply truthmakers for existential claims about continuants. Nevertheless, those who would eliminate occurrents still need some account of our willingness to assert sentences that logically entail their existence. Though it turns out to be impossible to paraphrase away our reference to occurrents, I show that the truthmakers for such sentences are facts that involve only continuants. This is enough to allow us to regard our ordinary talk about occurrents as fictional. Finally, I argue that a proper conception of the underlying temporal facts about continuants can both avoid the problematic tensed theory of time and the problem of temporary intrinsics. (shrink)

We test the hypothesis that demographic continuity was a necessary condition of performable token post-communist social restorations. Demographic continuity means sufficient overlapping between populations of original and restored systems. Token social restoration refers to restorations where original and restored systems are identical. It is opposed to type restoration where original and restored systems are numerically different instances of the same type. The identity of original and restored systems in token restorations is achieved by performing various practices in the (...) restored system to establish institutional continuity with the original system. The restitution of property rights is the most important of them in the post-communist restorations. So our hypothesis claims that these practices cannot be performed without sufficient demographic continuity. We abstract the demographic continuity thresholds by measuring shares of survivors from the precommunist times in the population of Baltic countries by 1990. Our data confirm the hypothesis as in none of post-communist countries with demographic continuity below these thresholds there was property rights restitution. (shrink)

This paper deals with the evolutionary origin and the adaptive function of emotion. I discuss the view that emotions have evolved as functional adaptations in both humans and non-human animals in order to cope with adaptive challenges and to promote fitness. I argue that there is evolutionary continuity between humans and animals in emotions and emotional expressions, and discuss behavioural argument for this thesis, specifically, Darwin’s and Ekman’s research on similarities in how humans and animals express their basic emotions. (...) In addition to this argument, I provide neuroscientific evidence that supports the claim that basic emotions are evolutionary old and shared among humans and many other animals. Finally, I conclude that animal emotions can be considered the bases and roots of our emotions that connect us to other sentient beings. (shrink)

Pezdek and Lam [Pezdek, K. & Lam, S. . What research paradigms have cognitive psychologists used to study “False memory,” and what are the implications of these choices? Consciousness and Cognition] claim that the majority of research into false memories has been misguided. Specifically, they charge that false memory scientists have been misusing the term “false memory,” relying on the wrong methodologies to study false memories, and misapplying false memory research to real world situations. We review each of these (...) claims and highlight the problems with them. We conclude that several types of false memory research have advanced our knowledge of autobiographical and recovered memories, and that future research will continue to make significant contributions to how we understand memory and memory errors. (shrink)

I want to examine the implications of a metaphysical thesis which is presupposed in various objections to Rawls' theory of justice.Although their criticisms differ in many respects, they concur in employing what I shall refer to as the continuity thesis. This consists of the following claims conjointly: (1) The parties in the original position (henceforth the OP) are, and know themselves to be, fully mature persons who will be among the members of the well-ordered society (henceforth the WOS) which (...) is generated by their choice of principles of justice. (2) The OP is a conscious event among others, integrated (compatibly with the constraints on knowledge and motivation imposed on the parties) into the regular continuity of experience that comprises each of their ongoing constitutes lives. (3) The parties in the OP thus are, and regard themselves as, psychologically continuing persons, partially determined in personality and interests by prior experiences, capable of recollection and regret concerning the past, anticipation and apprehensiveness regarding the future, and so on. Although the continuity thesis as stated above is not at odds with any of the conditions that define the OP, its exegetical validity is a matter for discussion. I shall be concerned to argue that if it is indeed contained in or a consequence of Rawls' theory, then it casts into doubt the capacity of the OP to generate or justify any principles of justice at all. On the other hand, if the continuity thesis is viewed as dispensable and unnecessary to the Rawlsian enterprise, then Rawls is correct in maintaining the irrelevance of the question of personal identity to the construction of his moral theory. In this case, the contract-theoretic, instrumentalist justification for the two principles of justice (henceforth the 2PJ) needs to be supplanted by a modified conception of wide reflective equilibrium. The considerations that form the bulk of this discussion then may be understood as providing a rationale for Rawls' recent revisions in the model of justification on which his theory of justice rests, and for his increasing emphasis on us as moral mediators between the OP and the WOS. Now I want to consider the question of whether or not, given the textual evidence, anything like the continuity thesis is stated or implied by Rawls, and what problems for his theory, if any, turn on a positive or negative answer to this question. -/- . (shrink)

This paper seeks to think creatively about the body of research which claims there is a link between heavy metal music and adolescent alienation, self-destructive behaviours, self-harm and suicide. Such research has been criticised, often by people who belong to heavy metal subcultures, as systematically neglecting to explore, in a meaningful manner, the psychosocial benefits for individuals who both listen to contemporary heavy metal music and socialize in associated groups. We argue that notions of survival, strength, community, (...) and rebellion are key themes in contemporary heavy metal music. Through literary-lyrical analysis of a selection of heavy metal tracks, this paper aims to redress the balance of risk and benefit. We argue that listening to this type of music, the accompanying social relationships, sense of solidarity and even the type of dancing can ameliorate tumultuous and difficult emotions. Songs which could be read as negative can induce feelings of relief through the sense that someone else has felt a particular way and recovered enough to transform these emotions into a creative outlet. This genre of music may therefore not increase the risk of untoward outcomes in any simple sense but rather represent a valuable resource for young people in difficulty. (shrink)

In the course of his chemical investigation of crude platina ore, William Hyde Wollaston in 1802 isolated and characterized the metal palladium. In early 1803, he chose to make known his discovery by offering small samples of the metal for sale through a small shop in London. In the notice advertising the properties of the new metal, no information was given as to its source nor to its discoverer. The unique properties of the metal, and the (...) secrecy surrounding its discovery, led the Irish chemist Richard Chenevix to question the elemental nature of the new metal. His hasty but extensive investigation of the chemical properties of palladium convinced him that it was no more than an alloy of platinum and mercury, and he denounced the discovery as fraudulent. The president of the Royal Society, Joseph Banks, was drawn into the resulting furore, and correspondence between him and Chenevix reveals involved plans to obtain the identity of the palladium discoverer. The controversy is viewed as a significant episode in the continuing debate in the chemical community over the operational definition of a chemical element, and although Chenevix's concern over the growth in the number of new elements was justified, his choice of palladium as a test case was an unfortunate one, for his claim that the metal was an alloy was found to be erroneous. Motives for the actions of both Chenevix and Wollaston are sought, and the judgement that their careers were damaged by the incident is questioned. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Kennedy Institute of Ethics Journal 11.4 (2001) 391-400 [Access article in PDF] Bioethics Inside the Beltway A Shooting on Capitol Hill: "The Ruby Satellite System," Mental Illness, and Failure of the American Legal System Peter J. Cohen On 24 July 1998, Russell Eugene Weston, Jr., stormed the United States Capitol, forced his way through a security checkpoint, bypassed a metal detector, and entered the office complex of Representative (...) Tom DeLay (R-TX), the House Majority Whip (Weil 1998). During this period of terror, he shot and killed two officers of the Capitol Police and seriously wounded another as they attempted to end his foray. 1 Weston was severely wounded by several Capital police officers and taken into custody. After being treated for his injuries, he was incarcerated in the District of Columbia. 2On 5 May 1999, Weston was transferred to the Federal Correctional Institute in Butner, North Carolina (United States v. Weston, 69 F. Supp. 2d 99 (D.D.C. 1999), 103), where he remains to this day. He has neither been brought to trial nor received appropriate psychiatric therapy, but continues to be warehoused "in solitary confinement under constant observation... in a psychotic state (United States v. Weston, 255 F.3d 873; LEXIS 16851 (U.S. App. 2001b), 3-4 [LEXIS]). I will briefly detail the legal events responsible for this mad situation and suggest alternative actions that should have been taken at the very onset of the case. Early Chronology Although overtly the crime appeared to be senseless and without any conceivable motivation, Weston believed that his acts were justified and necessary. The story he told to the court-appointed forensic psychiatrist, Sally C. Johnson, M.D., 3 was that while working for NASA in the early 1980s, he had developed a "Ruby Satellite System," a powerful machine that could reverse time. With access to this system, nothing was permanent--the user could simply reverse time and exit from the current scene. However, the "System" was now controlled by cannibals who were developing and spreading "Black Heva," the deadliest disease known to [End Page 391] humankind, similar to HIV or the plague. It resulted from human corpses rotting and turning black. Time was running out, and Weston believed he had to return to override the "Ruby Satellite System" in the Capitol so that he could stem the spread of "Black Heva" and prevent world calamity. He believed that if he were tried, convicted, and even executed, he could simply time reverse himself, place himself in a safe within the Capitol, and subsequently resume his life at whatever point he chose (United States v. Weston, 206 F.3d 9 (D.C. Cir. 2000), 19-20).On 22 April 1999, the district court accepted Dr. Johnson's diagnosis that Weston suffered from paranoid schizophrenia, the symptoms of which were so severe that he would be incapable of understanding the proceedings against him and of assisting in his own defense. On this basis, the court had no difficulty in finding him incompetent to stand trial (U.S. v. Weston 1999, 102).At Weston's initial hearing, Dr. Johnson had testified that medication would be efficacious in treating Weston's delusions: [T]he standard of care in someone suffering from this type of symptom picture would be to treat them with medication.... [T]here is a good likelihood that he'll have a positive response, positive in the sense that his symptoms will diminish in response to treatment.... The potential benefits to treating the defendant far outweigh the risks.... (U.S. v. Weston 1999, 108) The defense presented no expert testimony refuting Dr. Johnson's presentation. The district court then ordered that Weston begin receiving medication in order to render him nondangerous and competent for trial (U.S. v. Weston 1999, 108-9). The Problem Weston refused to be medicated! 4 He has continued to claim that the administration of antipsychotic drugs against his will would violate his Fifth Amendment due process liberty interest in avoiding unwanted bodily intrusion and implicated... (shrink)

I offer some responses to the principal points raised by Ben Kotzee, Alexis Gibbs, Sheron Fraser-Burgess, and Nigel Tubbs in their commentaries on my book, The Main Enterprise of the World: Rethinking Education (MEW), and to John White's penetrating and constructive review (the four commentaries and White's review all appear in this issue). In reply to Kotzee's challenge, I argue that MEW supports an improved approach to specialized scientific education, and that worries about the future of technology are unfounded. Gibbs’ (...) critique, I contend, assumes a one-size-fits-all approach to the arts, in an area where I am concerned to make fine differentiations. Fraser-Burgess is right to wonder how my educational program can overcome the problems of multicultural, multiracial, multiethnic societies, but I maintain that the approach to educating citizens MEW outlines is the appropriate means to address those problems. Finally, I am happy to modify my conception of the Deweyan Society by introducing the kinds of Socratic explorations Tubbs proposes.John White introduces a number of significant issues and concerns. Some of these arise, I claim, from his adoption of familiar versions of concepts MEW takes pains to explicate in new ways. Since I argue for the superiority of my explicated versions, I view the correct strategy to involve discarding the presuppositions of the traditional notions White favours. With respect to moral education, for example, White's ‘precept-centered’ conception contrasts with my emphasis on the fundamental importance of skills of mutual engagement. His most extensive discussion, on my approach to fulfilment, poses a deep challenge. Here, I attempt to clarify and motivate the concepts I deploy. With respect to his review, however, as with my exchanges with the other commentators, this response can only be the beginning of what I hope will continue to be a fruitful conversation. (shrink)

Aristotle is right to argue that the best life is a life of unimpeded activity, but I believe he went wrong in thinking that ordinary human life is, or must be, far removed from the best life. To establish this claim, I offer a historical explanation of what unimpeded activity involves. I use the class of art patrons in Renaissance Florence to show how mathematical skills acquired in everyday life can be applied to widely differing tasks. As patrons extend (...) their mathematical skills, their activities become more self-realizing and hence more continuous in Aristotle's sense. I argue that the activities of the Florentine patron class, to be sustained over time, require many of Aristotle's virtues. Examples like this show, I argue, that reasonably unimpeded activity is an important human good and that it is genuinely desirable to, and within the grasp of, ordinary people, even those who initially claim no interest in virtue. (shrink)