For twenty years, Avital Ronell has stood at the forefront of the confrontation between literary study and European philosophy.

"Avital Ronell's work studies the fading empire of cognition, modulating stupidity into idiocy, puerility, and the figure of the ridiculous philosopher instituted by Kant. Investigating ignorance, dumbfoundedness, and the limits of reason, Stupidity probes the pervasive practice of theory-bashing and related forms of paranoid aggression. A section on prolonged and debilitating illness pushes the text to an edge of a corporeal hermeneutics, "at the limits of what the body knows and tells.""--BOOK JACKET.

_The Test Drive_ deals with the war perpetrated by highly determined reactionary forces on science and research. How does the government at once promote and prohibit scientific testing and undercut the importance of experimentation? To what extent is testing at the forefront of theoretical and practical concerns today? Addressed to those who are left stranded by speculative thinking and unhinged by cognitive discourse, _The Test Drive_ points to a toxic residue of uninterrogated questions raised by Nietzsche, Husserl and Derrida. Ranging (...) from the scientific probe to modalities of testing that include the limits of friendship or love, this work explores the crucial operations of an uncontestable legitimating machine. Avital Ronell offers a tour-de-force reading of legal, pharmaceutical, artistic, scientific, Zen, and historical grids that depend upon different types of testability, involving among other issues what it means to put oneself to the test. (shrink)

"Avital Ronell's work studies the fading empire of cognition, modulating stupidity into idiocy, puerility, and the figure of the ridiculous philosopher instituted by Kant. Investigating ignorance, dumbfoundedness, and the limits of reason, Stupidity probes the pervasive practice of theory-bashing and related forms of paranoid aggression. A section on prolonged and debilitating illness pushes the text to an edge of a corporeal hermeneutics, "at the limits of what the body knows and tells.""--BOOK JACKET.

There are sons who grow up unhappily believing that no matter what they do, they cannot please their fathers. Often unable to shed their sense of lifelong failure, either they give up and suffer in a permanent sulk, or they try with all their might to prove they are worth something after all. These are the "loser sons," a group of historical men as varied as President George W. Bush, Osama bin Laden, and Mohammed Atta. Their names quickly illustrate that (...) not only are their problems serious, but they also make serious problems for others, expanding to whole nations. When God is conceived and inculcated as an angry and impossible-to-please father, the problems can last for generations. In _Loser Sons,_ Avital Ronell draws on current philosophy, literary history, and political events to confront the grim fact that divested boys become terrifying men. This would be old news if the problem didn't recur so often with such disastrous consequences. Looking beyond our current moment, she interrogates the problems of authority, paternal fantasy, and childhood as they have been explored and exemplified by Franz Kafka, Goethe's Faust, Benjamin Franklin, Jean-François Lyotard, Hannah Arendt, Alexandre Kojève, and Immanuel Kant. Brilliantly weaving these threads into a polyvocal discourse, Ronell shows how, with their arrays of powerful symbols, ideologies of all sorts perpetuate the theme that while childhood represents innocence, adulthood entails responsible cruelty. The need for suffering--preferably somebody else's--has become a widespread assumption, not only justifying abuses of authority, but justifying authority itself. Shockingly honest, _Loser Sons_ recognizes that focusing on the spectacular catastrophes of modernity might make writer and reader feel they're engaged in something important, while in fact what they are engaged in is still only spectacle. To understand the implications of her insights, Ronell addresses them directly to her readers, challenging them to think through their own notions of authority and their responses to it. (shrink)

These are the "loser sons," a group of historical men as varied as President George W. Bush, Osama bin Laden, and Mohammed Atta.

Remembrance involves so many shots in the dark, part of an effort to locate the disappeared as they clock out. In the dead center of Hölderlin’s hymn, Andenken, the question flares: ‘But–where are my friends?’ Nancy, writing on Derrida’s inconceivable demise, says we await them, demanding a return in some form, drawing on a shadowing nearness, maybe an image that appears in distinction to the non-image of the living friend. Have they really elapsed –? Or, are they bound to show (...) up at midnight, like the Rat Man’s father or Hamlet’s ghost? Derrida wonders if we don’t take another few laps with them, worried and anxious about their well-being over there. Ach! Give us the off chance of an apparition, a sign, an alias vanishing down the block. With Derrida Nancy turns a radical corner: We don’t have at hand the syntax to say a disappearance so resolute. We have no cause to assert a fact that is not fact, the factum negativum, of one perpetually disappearing. For nobody is dead, not so dead or dead so, as if we were not still involved in naming a state of being, of being de-parted. That is why he offers a sidebar on rethinking the philosophical formulation, ‘God is dead’. (shrink)

‘America’, bloated with philosophical significance, serves as a meeting grounds for Heidegger and Derrida, flagging theoretical standoffs, identity crashes, a Nietzscean tipoff, and unstoppable poe...

Reflecting on the debts collected by Shoshana Felman's work, within the theoretical contexts of the time in which the 1977 Yale French Studies issue of ‘Psychoanalysis and Literature’ first appeared, this article takes as its point of departure Lacan's analysis of Hamlet's father as the barred Other, focusing on Hamlet's ‘complaint’. The nature of the complaint is then explored in relation to various writers and thinkers — Rilke, Benjamin, Nietzsche, Heidegger, among others — and more specifically via a reading of (...) François Roustang's La Fin de la plainte, and his own interpretations of Freudian narcissism. Scanning the wreckage for which the little narcissists are responsible, the article aims to give more insight into the structuring principles of those who whine incessantly. (shrink)

Exploiting puns that reveal suggestive conceptual connections, this article incorporates a reading of Derrida on literature and democracy in a Derridean reading of Nietzsche, that antidemocrat, who offers a link by which to explore some of Derrida's more concealed utterances on the related subjects of futurity, political formations, the will to fiction, and acts of promising. Focusing on Beyond Good and Evil, riding the motif of testing, the question is taken up of a new species of philosopher, “the coming philosophers,” (...) and the problem of the feminine in Nietzsche, which should be grafted onto it, as an opening onto the “to come.”. (shrink)

_Parages_ brings together four essays by Derrida on the fictions of Maurice Blanchot. Three of the essays—"Living On," "Title To Be Specified," and "The Law of Genre," are by now canonical. The fourth, "_Pa_ce Not" as well as Derrida's 1986 introduction to the French edition of the book, appear here in English for the first time. This was a breakthrough publication in the analysis of Blanchot, a notoriously difficult writer. It is safe to say Derrida contributed much to that writer's (...) reputation in both French and English, always insisting on the philosophical pertinence of Blanchot's work to any discussion of the relationship between literature and critical thought. Through patient citation, and an ample collocation and readings of Blanchot's various motifs, Derrida explores a variety of questions, including the limits of genre, the procedure of crossing out, and the evocation of a non-dialectical and non-privative negativity. The book marks a crucial stage in Derrida's itinerary and provides a context for his later writings on apophatics in such works as _On the Name_ and his response to Heidegger on death in _Aporias_. (shrink)

For twenty years, Avital Ronell has stood at the forefront of the confrontation between literary study and European philosophy. She has tirelessly investigated the impact of technology on thinking and writing, with groundbreaking work on Heidegger, dependency and drug rhetoric, intelligence and artificial intelligence, and the obsession with testing. Admired for her insights and breadth of field, she has attracted a wide readership by writing with guts, candour, and wit. Coyly alluding to Nietzsche's gay science, The UberReader presents (...) a solid introduction to Avital Ronell's later oeuvre. It includes at least one selection from each of her books, two classic selections from a collection of her early essays, previously uncollected interviews and essays, and some of her most powerful published and unpublished talks. An introduction by Diane Davis surveys Ronell's career and the critical response to it thus far. With its combination of brevity and power, this Ronell primer will be immensely useful to scholars, students, and teachers throughout the humanities, but particularly to graduate and undergraduate courses in contemporary theory. (shrink)

In Giving an Account of Oneself, Judith Butler demonstrates the priority of rhetoric to ethics, noting that any giving of an account already involves the scene of address: a relational dimension of language which supersedes the account itself . You demonstrate in The Telephone Book and elsewhere that you are called into being, that the call precedes you, indicating the priority of rhetoric to a certain pre-Heideggerian ontology. A major concern of this special issue of Philosophy and Rhetoric involves the (...) ways in which “the human” is constructed and/or deconstructed through this predicament of addressivity, particularly when the address comes in from or goes out to a nonhuman other: say, an animal, an .. (shrink)

Avital Ronell has won worldwide acclaim for her work across literature and philosophy, psychoanalysis and popular culture, political theory and feminism, art and rhetoric, drugs and deconstruction. In works such as The Test Drive, Stupidity, Crack Wars, and The Telephone Book, she has perpetually raised new and powerful questions about how we think, what thinking does, and how we fool ourselves about the troubled space between thought and action. In this collection, some of today's most distinguished and innovative (...) thinkers turn their attention to Ronell's teaching, writing, and provocations, observing how Ronell reads and what comes from reading her. By reading Ronell, and reading Ronell reading, contributors examine the ethico-political implications of her radical dislocations and carefully explicate, extend, and explore the paraconcepts addressed in her works. (shrink)

In this paper, I argue that Hume’s account of moral judgment is best understood if it is read in light of Hume’s explanatory project. I first lay out the textual support to show that Hume’s account of justice in the Treatise includes both approval of a motive that gives rise to the virtue of justice, and approval of a system of conduct, irrespective of a motive. I then argue that we can allow for such plurality in Hume’s theory of moral (...) judgment if we view it in light of his explanatory project: finding unifying causes for disparate phenomena. Hume offers a unified theory of moral judgment because he can show that the different approvals are explained by the same causes. Finally, I argue that viewing Hume’s account of moral judgment in light of his explanatory project allows us to appreciate a further distinction between the moral judgment of the natural and the artificial virtues: while judgments of the former are fully explained by the causes of a certain motive, the latter are only fully explained by the causes of the motive in the context of a convention, which in turn is partially constituted by non-approved motives. (shrink)

‘Teachers expect parents to teach you. Parents expect teachers to teach you. So actually you learn nothing and nobody wants to talk about it’. This quote from this research study is an adolescent girls’ cry for liberation from the silence related to sexuality because of the general reluctance of adults to talk to them about it. Given the growing concerns raised about the sexual and reproductive health of adolescents in South Africa, the aim of this study was to conduct research (...) with adolescent girls as subjects in order for girls’ voices to enhance adult researchers’ understanding of children’s need for support and guidance in the context of sexuality education. The purposively selected sample included 75 participants from three diverse high schools in the Western Cape. The research was conducted using a phenomenological approach that values the lived experiences of participants as significant in contributing to the knowledge on adolescent sexuality. A qualitative interpretative research design was applied to collect the data. This article argues that adults cannot help adolescents in their sexual emancipation – to be free – if they themselves are not free. If they were free, they would have been able and willing to engage with adolescents in every aspect, which includes their sexuality. Including adolescent girls as partners in transforming sexuality education is presented as a core principle for the sexual emancipation of both adolescent girls and adults. (shrink)

Should property owners have a unique right to express their opinion just because they own property? While current law recognizes owners’ rights to express their voices in certain instances, it does not provide comprehensive and coherent answers to this question. This article provides an analytical framework for recognizing the owners’ right to voice as an independent property entitlement within the owners’ property bundle of rights and delineates its boundaries. Yet even when the owners’ voice is property-dependent, there is a difference (...) between voice that facilitates the realization of another property entitlement (such as the right to exclude, use, or trade) and voice that is constitutive to ownership in and of itself. Only the latter instances justify recognition of the owners’ right to a voice as an independent property entitlement. By examining different branches of both tangible and intellectual property law, such as inheritance law, eminent domain, homeowners’ association law, zoning law, and copyright law, this article demonstrates the usefulness of the proposed analytical framework in explaining certain parts of the current law and suggests modifications of other parts. (shrink)

In a qualitative empirical research project on youth worship, we discovered that 'being together' is primary quality of youth worship. This primary quality consists of at least four aspects. Firstly, community is celebrated through physical presence. More specifically, the physical presence of siblings plays an important part in the participation of youth in worship. Secondly, an empathetic and emotional aspect is essential for adolescents. 'Being together' in youth worship means being together in unity and trust and in equality, as kindred (...) spirits. Thirdly, 'being together' in youth worship yields possibilities to cross social and ecclesiological boundaries. Fourthly, there is a theological aspect in 'being together' that could be described as 'sharing faith and being in God's presence'. (shrink)

This paper is concerned with the role of rational belief change theory in the philosophical understanding of experimental error. Today, philosophers seek insight about error in the investigation of specific experiments, rather than in general theories. Nevertheless, rational belief change theory adds to our understanding of just such cases: R. A. Fisher’s criticism of Mendel’s experiments being a case in point. After an historical introduction, the main part of this paper investigates Fisher’s paper from the point of view of rational (...) belief change theory: what changes of belief about Mendel’s experiment does Fisher go through and with what justification. It leads to surprising insights about what Fisher had done right and wrong, and, more generally, about the limits of statistical methods in detecting error. (shrink)

Epistemologists have posed the following puzzle, known as the proof paradox: Why is it intuitively problematic for juries to convict on the basis of statistical evidence and yet intuitively unproblematic for juries to convict on the basis of far less reliable, non-statistical evidence? To answer this question, theorists have explained the exclusion of statistical evidence by arguing that legal proof requires certain epistemic features. In this paper, I make two contributions to the debate. First, I establish the Criminal Verdict Asymmetry, (...) a previously-unarticulated asymmetry between the epistemic norms of guilty and not guilty verdicts. I argue that the prosecution and defense’s different epistemic burdens influence whether statistical evidence can generate the type of verdict each side pursues. Second, I point out a mistake in how theorists have understood the role of statistical evidence in criminal trials. Though epistemologists have primarily focused on whether statistical evidence can generate specific epistemic features required for convictions, I consider whether statistical evidence can demonstrate a lack of such features. I find that there are epistemic advantages to allowing the defense to introduce statistical evidence which can reveal the prosecution’s failure to prove the defendant’s guilt. (shrink)

The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of Singular Rule is offered as capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art (...) plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impressing on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure - to match respectively the how and the what of the work - we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art. (shrink)

In Philosophical Investigations, Wittgenstein argues that we can neither say of the standard One Metre in Paris that it is a single metred length, nor that it is not. Kripke's reply to the puzzle is well known: the sentence expressing the assertion that the standard One Metre is one metre in length (at time t0) is a true, a priori and contingent sentence. In this paper, I would like to show the nature of the intuition that runs behind Kripke's reply (...) to the puzzle, and why, in the final analysis, it is not satisfactory, with respect to the point made by Wittgenstein. In addition, I will show that the case of the One Metre in Paris exemplifies the radical break Wittgenstein makes with traditional concepts of meaning. I then draw a general lesson that shows that the structure of concepts and functions (measures) in Wittgenstein is given by the idea of an arbitrary choice of "an object of comparison." Concepts and functions (measures) are materialised and internalised in the form of objects that are arbitrarily sampled from a sample space of same logical-type objects. (shrink)

Tomas Kulka’s celebrated body of work on aesthetics has its logical groundings among other influences in the work of Karl Popper in the philosophy of science and Nelson Goodman on art and symbolic systems. I will revisit these two anchors to draw the philosophical move Tomas takes in his Kitsch and Art and use it to further a philosophical move of my own aiming at the very logical core of the question of art.

The article takes as its starting point the work of Tomas Kulka on Kitsch and Art to further a philosophical move aiming at the very logical core of the question of art. In conclusion, the idea of Singular Rule is offered as capturing the defining logic of art. In so doing, the logical structure of a singular rule is uncovered and in that also the sense in which the idea of singular rule both explains and justifies the role that art (...) plays in our life. In his Kitsch and Art Tomas Kulka extends Karl Popper's refutation principle in science to the arts. He asks of a true work of art to be open to “refutation” by way of evaluating it against its own admissible alterations or variations. An admissible alteration according to Kulka is a change or a modification of the work that does not “shatter its basic perceptual gestalt”. In considering alterations that are aesthetically better, worse or neutral with respect to the original picture, Kulka offers us a rational reconstruction of key aesthetics concepts such as unity, complexity and intensity. His reconstruction will show that a work of kitsch does not qualify as art in direct analogy to a proposition that cannot qualify as scientific if it is not refutable. Kitsch cannot be “refuted” by any of its possible alterations as they are all of equal aesthetic value. This explains the aura of empty perfectionism that accompanies the experience of kitsch since the work of kitsch does not carry any promise for improvement nor does it show itself superior to any of its possible alterations. Notwithstanding Kulka’s novel analysis, its premise we must note is grounded in the work of art impressing on us a single basic perceptual gestalt with respect to which an alteration can qualify as admissible. But in acknowledging the possibility of a gestalt-switch or the fact that the work of art can impress on us a variety of mutually-exclusive perceptual gestalts, Kulka's analysis loses the logical anchor necessary for it to work. However, in what might look at first sight as an unrecoverable logical deficiency, we find an anchor to a novel analysis to the question of art. This is our analysis to the idea of art as a singular rule. Indeed, the concept of a singular rule - a rule onto itself which has exclusively itself as its own argument - must strike us as paradoxical. But in offering to reconstruct the work of art through the complementary concepts of background and figure - to match respectively the how and the what of the work - we are able to provide a structural resolution to the idea of singular rule as what defines art. In this we believe we deliver a definitive answer to the question of art. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Discover the Unknown Chekhov in Your ESL ClassroomNinah Beliavsky (bio)I was born in Moscow, ate aladushki, and listened to my mother read Chekhov in Russian. Kashtanka, a tale about a young, ginger-colored pup who gets lost, made me cry. And when I read about the death of Ivan Dmitrich Kreepikov, in The Death of a Civil Servant, I did not know whether to laugh or to cry. The poor (...) civil servant was sitting and watching an opera in a theater when all of a sudden he sneezed and spattered an old gentlemen, General Shpitzalov, in front of him. Now, as Chekhov writes, sneezing is not prohibited to any one or in any place; peasants sneeze, and even the chiefs of police sneeze. But, you see, the poor civil servant, being very much rank-conscious, could no longer live with himself after committing such a misconduct. He apologized profusely and went home, and without taking off his uniform, he lay down on the sofa, and... died.And what about Van'ka Zhukov, an orphan boy of nine apprenticed to a shoemaker who is being beaten and overworked. He writes a letter to his grandfather on Christmas Eve, begging him for the dear Lord's sake to take him away from his misery. After scratching his head and thinking for a moment, he dips his pen in ink and addresses his envelope: "The Village. To Grand Dad." He then dashes out into the street and pushes his precious letter through the opening of the postbox...The second part of my childhood I spent in Jerusalem; there I ate falafel with humus, was obsessed with perfecting the pronunciation of the Hebrew guttural "r," and read Miriam Yalan Shtekelis's children's poetry, which was filled with magical objects that laughed and cried. By the time I was in high school I was living in Milwaukee, eating fries and ice cream sundaes and reading O. Henry.The literature that one comes in contact with during childhood and young [End Page 101] adulthood is often deeply engraved on a person's psyche. It is similar to an adult craving sweets because of the psychological association with her childhood and a safe and protected environment. We tend to think back to the "good old days" because we find comfort in our past. Today, as an adult, a wife, and a mother, I often find refuge in my childhood memories. And, like most people, much of what I encounter and read today I tend to associate with my past. If I come across a story that I heard in my childhood, as I search for something new and amusing to give to my college English-as-a-Second-Language (ESL) students, I try to incorporate it into my curriculum. A few years ago I came across the story The Necklace by Guy de Mappassant and immediately recalled reading it in my adolescence. This story brought back the warm memories of home that I felt would be understood and identified with by my foreign students. Today, this story is one of my students' favorites. By using stories from my own past, I feel that I can bring to my class discussions a unique perspective—my own recollections and feelings and an interpretation not only academic in nature but also personal. Often, my international students will recall hearing or reading some of the same stories (that I bring to class) in their childhood, in their native tongues, and thus these stories will not seem out of context anymore because there will be a sense of connection.I teach ESL to college students—reading and writing at the intermediate and advanced levels. Aside from following the standard curriculum of using grammar and writing textbooks, I bring to my ESL classes music, opera, art, young adult novels by American writers, and short stories by both international and American writers. For instance, my students enjoy reading O. Henry's "The Christmas Present," "The Last Leaf," and "The Two Thanksgiving Day Gentlemen." These stories are about real people—just like my students—they are about everyday events, they are humorous and tragic in nature, and they have an unexpected twist... (shrink)

The article offers a new reading of the home ownership-mortgage relationship in Israel. It points at the duality characterizing Israeli law regarding home ownership and its protection. While home ownership is a cherished social value, there is a reluctance to provide it with sufficient protection. The significant implications of repossession in the personal, social, and economic realms call for new thinking concerning the assurance of sustainable housing. Current protection laws focus mostly on ex post solutions, aimed at alleviating the plight (...) of the defaulting mortgagor. The article emphasizes the need for ex ante policies, introducing innovative mechanisms in home purchasing. (shrink)

The fans of a football club constitute a community. This community of fans is a constitutive attribute of the club. It is part of the meaning of the football club as a resource. However, besides the cases of football clubs that are organized as members’ associations, the fans rarely have a meaningful say in the running of the club. As the history of modern football proves, the interests of the fans in the club and in the continuance of their community (...) often come under threat. Introducing the concept of "property as belonging," this Article aims at explaining why the interests of the community of fans merit protection through the recognition of the fans’ property interest in the club. The Article analyzes various existing ways of ensuring fans a formal voice in their club, and suggests a new structure of governance of football clubs, one that conceptualizes the fans as the social or moral owners of the club and accords them special decision-making power regarding those incidents that bear a high level of risk to their community. Along with members’-association clubs, this new property institution of the football club will adhere to the idea promoted in this Article, according to which the fans belong to the club and to their community, and the club, al least in part, belongs to them. (shrink)

In 2021, an NFT of a digital artwork by the artist @beeple was sold for $69 million. This sale is the starting point for a logical-historical journey tracing the fate of the Original in the digital age. We follow the footsteps of two seminal works exploring the concept of the Original, the celebrated The Work of Art in the Age of Mechanical Reproduction by Walter Benjamin and Nelson Goodman’s book, Languages of Art. We examine two case studies: the Lost Leonardo (...) - a recently surfaced painting claimed to be by Leonardo da Vinci, which remains highly disputed, and the grandiose saga of van Meegeren, the famous counterfeiter of Vermeer’s works from the 1930s and 1940s. Both tales are read as fascinating detective stories. We provide an analysis of our own that anchors the idea of the Original with the logic of Singular Rule - thereby giving structure to the ‘one-of-its-kind’ property that we associate with the Original. Our final remarks discuss the relevance of our analysis to the digital art of today. (shrink)

Logic in Action/Doron Avital Nothing is more difficult, and therefore more precious, than to be able to decide (Napoleon Bonaparte) Introduction -/- This book was born on the battlefield and in nights of secretive special operations all around the Middle East, as well as in the corridors and lecture halls of Western Academia best schools. As a young boy, I was always mesmerized by stories of great men and women of action at fateful cross-roads of decision-making. Then, like as (...) today, I felt the full weight of the moment of truth as it confronts the individual, the man or woman of action, with the imminent necessity to decide. Alongside, as I was climbing up the ladder of education, I found myself just as well captivated by the great intellectual stories of our times, in particular 20th century analytic philosophy and, at its core, the machinery of modern logic. How do then the cool contemplative modes of the philosophical and analytic outlooks, that are better fitting of the philosopher's armchair at the fireplace, hang together with the heat of the battlefield or the angst of the ticking clock of time left to the completion of a daring special operation? Growing up I was pondering exactly that. Not accidently, and in fact as consequence, I have chosen a course in life that challenged me to visit the poles of both theory and practice. I set myself on a mission to unravel the tension between the contemplative inquiry, supposedly theoretical, aiming at the logical structure of things, and the uncompromising test of life and action. The puzzle of the gap between theory and practice has become ever since the guiding question of my life. -/- Not long ago, I met two friends, Avner Shor, a veteran combat soldier of the special forces unit I eventually commanded, and Aviram Halevi, a fellow officer with whom I served. Why will we not put into writing the ideas that guided us during our years of military action, we wondered. At that time, I used to deliver the keynote lectures to the senior officers' course of Israel central intelligence organization, the Mossad. For this I already had to put some of these ideas in writing. Avner was quick to introduce me with a notable publisher and even helped me write the first chapter. With Aviram I sat to many meetings, where he would challenge me with key questions, and we followed them with memories of operations and battles, aiming to draw the required lessons. This served me well when I finally sat down to write the first draft of the book. The result was more extensive than me and my friends had expected. I had to add a particularly long chapter dealing with the story of modern philosophy and logic. This was required, I felt, as no decision-making process lives in an intellectual vacuum. Knowingly or subconsciously, the intellectual climate of the time guides us for better or worse with the decisions we finally take. The initial draft was naturally cumbersome and inaccessible. But here I had the privilege of meeting a particularly talented editor, Rami Rothholtz. I found in Rami both an editor and a critical reader. As an infantry combat soldier at youth and now a senior journalist and editor, Rami insisted on simplifying and refining my ideas. Had it not been for his work, this book would have been literally unreadable. *** I opened my book with a brief description of a single night of a special operation deep at the Lebanon Bekaa valley, far away from Israel northern border. The mission was to kidnap a senior terror leader known to be holding in captivity an Israeli pilot. This was also the last special operation I commanded in my military career. A single special operation night, but what had to precede it? For sure, many months of intense and skillful preparations. What is Planning? This is the question with which I open up chapter (2) of the book. I confront in this chapter two approaches to planning. The first is the one I saw as a mission to myself to cultivate in my many years of military service. The second is the one I saw as representing a deep-rooted fallacy that holds a firm grip on today's conventional wisdom about planning. To further examine the logic of the competing models, I was required in chapter (3) to analyze the concept of "The Standard". I argue that the false model of planning has its roots in an attitude of an uncompromising adherence to the power of literal obedience to standards and rules. The standard, or what is outlined by a rule as prescribing a future course of action, is seen as an answer to the fundamental tension between theory (planning) and practice (execution). I argue in contrast that the standard does not produce an answer but rather what I call: "A Well-Defined Question". In essence, it is a meticulously-well-planned invitation to exercise a fresh judgment. A judgement that has as an anchor the default answer that the standard produces but is open to extension as it confronts the new frame of reference of the test of reality. In chapter (4), I present a new tool for planning and execution: "The Polygon of Risks" or "The Polygon of Execution". The Polygon is a geometric illustration of the underlying tension that exists between all dimensions of the operational project. The construction and conceptualization of the trade-offs that exist between the various dimensions - segments of the polygon - is the first topic on the planner's agenda. I position the concepts of "Daring" and "Taking Proactive and Well-Informed Risks" as necessary logical constituents of the polygon and show how in contrast the false model of planning is responsible for an operational culture that is risk-averse. It encourages, in fact, the piling up of false securities at the segments' level that eventually lead to the collapse of the polygon. The necessary trade-offs relationships that exist between the segments of the polygon express the fundamental tension between partnership and competition: partnership in a joint goal and competition over resources, both material and abstract. When this tension is not managed well, that is, when the players' local optimizations overshadow the global optimization required for the success of the project, the execution polygon collapses. In this scenario, we may find the setting of the bar of "High Standards" in a players' spheres of responsibility to conceal a hidden agenda of personal insurances taken against a possible failure. Once the overall risk is not mitigated by way of collaborative joint executional dialogue, the process that leads to a collapse of the polygon is literally unstoppable. *** In chapter (5), I discuss "(Fateful) Decisions". I examine the way in which we should translate the polygon into sequential critical decisions on the timeline. The execution polygon is not a rigid scaffolding but a dynamic conceptual illustration of the -/- project. It will need now to be converted into successive decision junctions. We will find the content of a decision and its timing on the timeline to be inseparable. The right decision is the one that is taken at the right time. The moment of decision is in fact the last moment of deliberation, the first moment available for action, i.e. the first possible "Can" is also the latest possible "Must". Deciding too soon is analog to the "Jumping of the Gun". The decision maker is forcing a pre-conceived answer to a state of affairs not ripe for an answer, e.g. the target in the shooting range is not yet erected. Late to decide and the decision maker may envision what he or she should have done but reality is no longer available for them to harness it right, e.g. consider a tennis player's frustration when reviewing a too-late-to-react move in the video replay. I review in this chapter many fateful decisions, both historical, from Napoleon's Waterloo, to a Bridge Too Far of WWII, to the failed rescue attempt of American hostages at the time of the Iranian Revolution, as well as fateful decisions I had to take in the course of my military life, both in combat and in special operations, and show the sense in which they all answer to our analysis. The theme of chapter (6) is "The Moment of Truth". This is the moment when everything is on the line and from which there is no turning back. I discuss the formative repetitive structure of the schooling and simulation phase and contrast it with the "One Shot, One Opportunity" nature of the moment of truth. This is extremely helpful when we analyze the logical structure of failures as unwarranted repetitions of past lessons. The schooling curriculum indeed consists of important abstractions drawn from lessons of the past. However, it is when we project them in a fashion that is literal or mechanical that we cross path with the possibility of a failure. The paradox of education is that what we must repeat in school and simulation must be extended and not repeated in real life. What is required of us so we do not fall into the fallacy of repetition in face of the moment of truth is the core subject of the discussion of this chapter. In chapter (7), I took a lengthy philosophical detour surveying the intellectual drama of modern logic, and in general, the story of 20th century analytic philosophy. Readers who choose to bypass the somehow demanding narrative of this drama can do so and still keep the argumentative thread of the book. However, even by way of skipping the more technical parts, I would still urge the readers to delve into the discussion in this chapter as I believe this would grant them a deeper understanding of the overall conceptual framework. I explore here the work of two key figures: the logician Kurt Gödel and the philosopher Ludwig Wittgenstein, both were crowned in 2000 by TIME Magazine, as the leading Logician and Philosopher, respectively, of the 20th Century. I review the fascinating logical result of Gödel's Incompleteness Theorem and examine its relevance as setting a theoretical limit to the power of formalization. This amazing logical result - a result that shakes the logical foundations of 20th century thought in as much as the discovery of irrational numbers shook the foundations of the Pythagorean program of the ancient Greeks - bears significantly on the question of action and the blind trust we place in the power of formalization in the form of protocols and rules. It is here that Wittgenstein's philosophy enters in full force. We follow Wittgenstein as he dismantles our conception of rules as if there were "Railroads to Infinite", i.e. as prescribing for us in-advance their proper employments in all possible -/- future eventualities. Instead we propose that the dilemma of action demands of us an extension of rules rather than a mechanical or blind repetition of their literal imperative. In turn, this extension can serve as a new lesson added to the curriculum of school and simulation. The theme of chapter (8), the concluding chapter, is Strategy, Logic, and Ethics. The chapter comes to place the ethical dilemma in the conceptual map we presented in the book. I discuss here the tension between strategy as a process of setting goals and deriving backward as it were the steps that are necessary for achieving these goals, to the inescapable dictation of the ethical imperative. This unavoidable tension is particularly important against the backdrop of contemporary culture that is guided by a vision of personal success and achievement that may threaten our ability to do what is right. Most of all, I am troubled in this chapter, with the role logic may play, first as a liberating force enabling a change that is tuned to the ethical imperative, and second, as a force designed to justify on logical grounds, as it were, the existing power structure. It is in this junction that brave individuals will be called to challenge the governing logic of the zeitgeist - logic that operates now as an oppressive force that serves the vested interest of beneficials of the existing order. When success is favored over doing what is right, as we must admit is the prevailing cultural mood of our times, that the words of Emanuel Kant carry their full weight: "Do the Right thing and leave the Consequences to God". For this we need heroes and heroines that challenge the time by bearing the full weight of responsibility that comes with the doing of what is Right. *** This book was written more than anything from the perspective of the heroes and heroines of action. Sometimes they may be missing the exact words or the full insight into the solid logical complexity that stands between them and the doing of what is right. They feel what is right to do on the battlefield of life, whether in real battle, in political or economic life or whether in the life of creativity and the quest of the intellect. They do need, in analogy, proper logical and intellectual artillery. I hope they will find the logical cannons they require as they travel through the pages of this book. The rest is in their hands at the Moment of Truth. -/- Doron Avital, Tel Aviv 2011 -/- . (shrink)