Moral deliberation involves a constant interplay among specific judgments, general moral values and principles, and background beliefs about the world. We may also construct broad moral theories to explain how our judgments and general commitments hang together, but there is little hope of settling on any one comprehensive moral theory.

This page now has an access count of: Alcubierre Warp Drive (see the 11/96 issue of Analog). The Alcubierre Warp Drive is a distortion of space, a solution to the equations of general relativity that forms a sphere of flat space surrounded by a warped-space "bubble". At the front edge of the bubble, space is contracting (like a collapsing black..

A central question in philosophical and sociological accounts of technology is how the agency of technologies should be conceived, that is, how to understand their constitutive roles in the actions performed by assemblages of humans and artifacts. To address this question, I build on the suggestion that a helpful perspective can be gained by amalgamating “actor-network theory” and “postphenomenological” accounts. The idea is that only a combined account can confront both the nuances of human experiential relationships with technology on which (...) postphenomenology specializes, and also the chains of interactions between numerous technologies and humans that actor-network theory can address. To perform this amalgamation, however, several technical adjustments to these theories are required. The central change I develop here is to the postphenomenological notion of “multistability,” i.e., the claim that a technology can be used for multiple purposes through different contexts. I expand the postphenomenological framework through the development of a method called “variational cross-examination,” which involves critically contrasting the various stabilities of a multistable technology for the purpose of exploring how a particular stability has come to dominate. As a guiding example, I explore the case of the everyday public bench. The agency of this “mundane artifact,” as actor-network theorist Bruno Latour would call it, cannot be accounted for by either postphenomenology or actor-network theory alone. (shrink)

Clarifying the causes of subway construction accidents has an important impact on reducing the probability of accidents and protecting workers’ lives and public property to a greater extent. A total of 138 investigation records of subway construction accidents from 2000 to 2020 were collected in this study. Based on a systemic analysis of 29 well-known accident causation models and the formative process of the subway construction accidents, we extracted the causative factors of subway construction accidents from (...) the collected records. Furthermore, a causation analysis index system of subway accidents was proposed based on fault tree analysis, where we considered subway construction accidents as the top event and the five dimensions, i.e., human, equipment, environment, management, and safety culture, as first-level intermediate events. Moreover, 17 causative factors were considered to be related to the severity of subway construction accidents. It is found that human factors are prone to be critical to high-risk accidents. Finally, a Bayesian network was formed to explore the causative factors of high-risk subway construction accidents. Based on the combined application of FTA and BN, this study discusses the complex influence factors and their action routes to unsafe accidents in subway construction sites, and makes efforts to correspond safety decision basis for the management of China subway construction. (shrink)

In a congested large-scale subway network, the distribution of passenger flow in space-time dimension is very complex. Accurate estimation of passenger path choice is very important to understand the passenger flow distribution and even improve the operation service level. The availability of automated fare collection data, timetable, and network topology data opens up a new opportunity to study this topic based on multisource data. A probability model is proposed in this study to calculate the individual passenger’s path choice with (...) multisource data, in which the impact of the network time-varying state on passenger path choice is fully considered. First, according to the number and characteristics of OD candidate paths, the AFC data among special kinds of OD are selected to estimate the distribution of passengers’ walking time and waiting time of each platform. Then, based on the composition of path travel time, its real-time probability distribution is formulated with the distribution of walking time, waiting time, and in-vehicle time as parameters. Finally, a membership function is introduced to evaluate the dependence between passenger’s travel time and the real-time travel time distribution of each candidate path and take the path with the largest membership degree as passenger’s choice. Finally, a case study with Beijing Subway data is applied to verify the effectiveness of the model presented in this study. We have compared and analysed the path calculation results in which the time-varying characteristics of network state are considered or not. The results indicate that a passenger’s path choice behavior is affected by the network time-varying state, and our model can quantify the time-varying state and its impact on passenger path choice. (shrink)

Remarks on naturalism--the belief that there is nothing besides the subway and its riders--and also on non-naturalism and supernaturalism, transcribed and edited from a notebook found on a subway train.

In this text we explore a few specific aspects of Linha 2 (Line 2) of the Rio de Janeiro subway. We consider the larger context of the urbanization process of Rio de Janeiro as well as the characteristics of the construcion project of Linha 2 and its operation. We argue that all those aspects that to a certain extent make Linha 2 the second line of the system participate in shaping characteristic modalities of communication and sociability in the context (...) of the subway rides. (shrink)

Lily Furedi’s Subway (1934) is full of individuals. It is a painting of a subway car filled with people on their way home from work. At first, these individuals appear rather isolated, just doing their own thing. But upon closer examination, a viewer notices something rather peculiar, namely that these individuals are surreptitiously, unconsciously, uncontrollably interested in each other. A couple quietly leans in for a kiss; a man watches furtively as a woman applies her make-up; a woman (...) reads over the shoulder of a fellow passenger; and the viewer’s eyes fix on a sleeping man holding a violin case. Furedi places her viewer on this subway and in so doing allows her to catch sight of individualism in its private.. (shrink)

Gilles Deleuze and Felix Guattari redefine the relation between the state and its war machine. Far from being a part of the state, warriers are nomads who always come from the outside and keep threatening the authority of the state. In this daring essay inspired by Nietzsche, Gilles Deleuze and Felix Guattari redefine the relation between the state and its war machine. Far from being a part of the state, warriers are nomads who always come from the outside and keep (...) threatening the authority of the state. In the same vein, nomadic science keeps infiltrating royal science, undermining its axioms and principles. Nomadology is a speedy, pocket-sized treatise that refuses to be pinned down. Theorizing a dynamic relationship between sedentary power and "schizophrenic lines of flight," this volume is meant to be read in transit, smuggled into urban nightclubs, offices, and subways. Deleuze and Guattari propose a creative and resistant ethics of becoming-imperceptible, strategizing a continuous invention of weapons on the run. An anarchic bricolage of ideas uprooted from anthropology, aesthetics, history, and military strategy, Nomadology carries out Deleuze's desire to "leave philosophy, but to leave it as a philosopher.". (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

Questions of how we claim to know the things that we know and whose claims to knowledge are treated as authoritative are inescapable in reaching legal judgments. I want to illustrate this generalization by referring to a pair of hypothetical self-defense cases that, I argue, require fact finders to judge both how “accurately” each defendant understood the situation in which he found himself and how accurately policymakers can assess the consequences of alternative legal rules.The first case I will deal with (...) is one in which the defendant shoots and kills her sleeping husband. The husband had physically abused her over a long period. While the defendant will of course acknowledge that she was in no immediate danger at the moment she killed the man, her preliminary claim is that she needed to act self-defensively at that moment for fear that she subsequently would be incapable of defending herself against life-threatening attacks that she was convinced would inevitably be made.The second case is one in which a white defendant shoots and kills a black teenager who has confronted him on the subway, in a situation in which the teenager’s “threats” were ambiguous. The shooting victim had brandished no weapon and made no physical contact with the defendant, but he had “asked” the defendant for money and, in the defendant’s mind, displayed a generally threatening demeanor. I will presuppose that this defendant—unlike Bernhard Goetz, the defendant in the notorious New York subway vigilante case on which I partly base this hypothetical model—overtly acknowledges that the race of the victim played a substantial role in his assessment of the danger of the situation. Mark Kelman, professor of law at Stanford University, is the author of A Guide to Critical Legal Studies as well as a number of articles on law and economics, taxation, criminal law, and legal theory. (shrink)

Drawing on an ethnographic study of the installation and maintenance of Paris subway wayfinding system, this article attempts to discuss and specify previous claims that highlight stability and immutability as crucial aspects of material ordering processes. Though in designers’ productions, subway signs have been standardized and their consistency has been invested in to stabilize riders’ environment, they appear as fragile and transforming entities in the hands of maintenance workers. These two situated accounts are neither opposite nor paradoxical: they (...) enact different versions of subway signs, the stabilization of which goes through the acknowledgment of their vulnerability. Practices that deal with material fragility are at the center of what we propose, following Annemarie Mol and Maria Puig de la Bellacasa, to term a care of things. Foregrounding such a care of things is a way to surface a largely overlooked dimension of material ordering and to renew how maintainability issues are generally tackled. (shrink)

Shortly after the bus and subway bombings in London on July 7, 2005, United Nations Secretary General Kofi Annan called upon world leaders to reach consensus on a definition of terrorism, one that would facilitate 'moral clarity' and underwrite the United Nations convention against terrorism. The Secretary General's plea to world leaders help to highlight the practical significance and urgency of having a workable definition of terrorism. For the task of defining terrorism is not only theoretically or academically important; (...) it is important for far-reaching practical, moral, and political purposes as well. For without at least some semblance of a workable definition of terrorism, it is impossible to identify and collect data on acts of terrorism throughout the world; to understand and address the root causes of terrorism; and to reach international agreement and undertake collective action in addressing terrorism. And yet in spite of practical and moral urgency of the task at hand, consensus on an acceptable definition of terrorism has been notoriously elusive. (shrink)

Drawing on recent work on the nature of the numbering system of the _Tractatus_ and Wittgenstein’s use of that system in his composition of the _Prototractatus_, the paper sets out the rationale for the online tool called__ __ The University of Iowa Tractatus Map. The map consists of a website with a front page that links to two separate subway-style maps of the hypertextual numbering system Wittgenstein used in his _Tractatus_. One map displays the structure of the published _Tractatus_; (...) the other lays out the structure of the _Prototractatus_. The site makes available the full text of the German and the two canonical English translations.__ __While we envisage the map as a tool that we would like a wide variety of readers to find helpful, we argue that our website amounts to a radically new edition of Wittgenstein’s early masterpiece, with far-reaching implications for the interpretation of that text. In particular, we claim that our visually compelling presentation of the book’s overall structure delivers on Wittgenstein’s cryptic claim in a letter to his publisher that it is the numbers that “make the book surveyable and clear”. (shrink)

The Coalition of Immokalee Workers (CIW) has successfully combated modern-day slavery by transforming the ways that over a dozen major brands, including Taco Bell, Subway, and Wal-Mart, manage their supply chains. The CIW’s efforts over more than 20 years have effectively stopped enslavement practices, including abuses such as wage theft and peonage indebtedness. We conducted a field ethnography, interviews, and archival analyses to understand this success. We find that the CIW employs a decentered, egalitarian, and ensemble approach to their (...) multiplicities of alliances by collectively “animating” themselves and their partners through ensemble leadership. This combination of alliances, along with worker-driven monitoring, brings life to the CIW motto “We are all leaders.” Translating this motto into daily practice is how the CIW virtually eradicates enslavement practices in corporate supply chains. (shrink)

Say your name aloud to yourself in a quiet room. Imagine peeling an apple in your mind. Take the subway without trying to get anywhere. The simple meditations in this book have the potential to shake us awake from our preconceived certainties: our own identity, the stability of the outside world, the meanings of words. At once entertaining and startling, irreverent and wise, this book will provoke moments of awareness for readers in any situation and in all walks of (...) life. Enter the space of your favorite painting. Watch someone sleeping. The world won't look the same again. (shrink)

In the study of religion and terrorism, one of the most familiar incidents is the Sarin gas attack on the Tokyo subway system in 1995. With the execution of Shoko Asahara and his close associates in the summer of 2018, it would appear that the last chapter in this tragic tale has finally been written. I would argue, however, that there are still lessons to be learned from this event. In the present article, I describe the complexity of the (...) epistemic situation in which I found myself when I finally met AUM Shinrikyo in the spring of 1995. In addition to misunderstandings arising from monolithic inferences regarding AUM’s membership, I came to feel that certain anomalous items of information were swept under the rug—information that hinted at a more complex array of factors influencing AUM Shinrikyo and the subway attack. (shrink)

In this daring essay inspired by Nietzsche, Gilles Deleuze and Felix Guattari redefine the relation between the state and its war machine. Far from being a part of the state, warriers are nomads who always come from the outside and keep threatening the authority of the state. In the same vein, nomadic science keeps infiltrating royal science, undermining its axioms and principles. Nomadology is a speedy, pocket-sized treatise that refuses to be pinned down. Theorizing a dynamic relationship between sedentary power (...) and "schizophrenic lines of flight," this volume is meant to be read in transit, smuggled into urban nightclubs, offices, and subways.Deleuze and Guattari propose a creative and resistant ethics of becoming-imperceptible, strategizing a continuous invention of weapons on the run. An anarchic bricolage of ideas uprooted from anthropology, aesthetics, history, and military strategy, Nomadology carries out Deleuze's desire to "leave philosophy, but to leave it as a philosopher.". (shrink)

continent. 1.4 (2011): 230—233. A word about the quotation marks. People ask about them, in the beginning; in the process of giving themselves up to reading the poem, they become comfortable with them, without necessarily thinking precisely about why they’re there. But they’re there, mostly to measure the poem. The phrases they enclose are poetic feet. If I had simply left white spaces between the phrases, the phrases would be read too fast for my musical intention. The quotation marks make (...) the reader slow down and silently articulate—not slur over mentally—the phrases at the pace, and with the stresses, I intend. They also distance the narrative form myself. I am not Alette. Finally they may remind the reader that each phrase is a thing said by a voice: this is not a thought, or a record of thought process, this is a story, told.(1) We read (reread) the poems that keep the discourse with ourselves going. —Wallace Stevens We have to break open words or sentences, too, and find what’s uttered in them. —Gilles Deleuze “The Descent of Alette” “is an allegorical poem” “in four books” “first published” “in 1992” “by Alice Notley.” “In the Descent of Alette,” “the double quotation mark” “is wrapped around” “words, phrases, sometimes whole sentences, and utilized as bones for structure and tonality.” “The winged” “dbl quotation” “like angels or devils” “descending from elsewhere” “function as” “poetic feet.” “Distance” “in the text through the use of dbl quotes,” “according to Notley,” “was a way to distance” “her self” “from the narrative.” I know someone who tattooed double quotes on her shoulder blades. In other words, the body is quotable. To be able to say that one is quotable. A body filled with other’s sayings. I never asked her what for, what is the double quote tattoo for and why on the shoulder blades? I prefer my own interpretation that keeps shifting every time I see her. First words of every poem in every book: Book One One ... On ... A ... There ... I ... We ... An ... A ... A ... I ... At ... A ... When ... When ... There ... I ... In ... At ... I ... Once ... A ... A ... In ... A ... A ... Two ... I ... I ... Eyeball ... In ... I... A ... I ... I ... On ... I ... There ... What ... As ... As Book Two I ... When ... I ... I ... As ... I ... I ... There ... I ... There ... I ... A ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I ... I Book Three The ... Presently ... I ... I’m ... I ... We ... What ... My ... I ... Who ... But ... Lay ... My ... I ... The ... Your ... The ... I ... It’s ... As ... The ... Talon’s ... When ... We ... I ... Slowly ... I ... I ... The ... How ... The Book Four I ... I ... You ... The ... Now ... She ... The ... There ... As ... Then ... The ... All ... Let’s I ... You ... The ... Thus ... The ... I ... The ... I ... There ... Have ... The ... As ... The Defamiliar Object “Poetry is a defamiliarized language, whose formations, so far from being simply formations of meaning, are aesthetic structures...”(2) “The same can be” “irresponsibly associated” “with the use of punctuation.” “The dbl quotation as a measure” “of poetic feet” “is treated as such” “because the author” “injects artfulness into it.” “The dbl quote is an object—” “a joystick” “to control breadth” “(of breath.)” “To de-familiarize” “said sign” “is also to” “impart the sensation of [it] as [it is] perceived and not as they are known.”(3) “The dbl quote” “nests previous words, phrasings and sayings.” “How many have come and gone” “through the doorway of this punctuation sign.” “There are also air quotes and virtual quotes.” “There is emphasis and there’s irony.” “It would be aggravating” “or interesting” “to watch a reading of” “The Descent of Alette” “with someone” “raising and curling” “fingers” “bent out of shape” “in what could be used as” “peace signs.” “I am trying to avoid” “scare quotes.” “I looked up” “what they are” “and supposedly they arose” “in the early 20th century.” “The scare quote” “is a mark around a word or phrase to indicate that it doesn’t signify conventional or literal meaning.” “This isn’t how Notley” “intended to use them” “in The Descent of Alette.” “The characters, places, and things” “signify nothing” “beyond” “their literal meaning” “ within the allegory .” “I’d like to stress” “within the allegory;” “that’s why its” “italicized.” “It is told through” “the main character/voice of” “Alette.” “The author reminds us she is not Alette.” “The author marvelously found a way” “to distance” “her self” “from the narrative.” “This was attempted” “by tonal and intimate” “affect of the dbl quote” “used as poetic feet.” “Its as though” “punctuation in this regard” “becomes a magical toy.” “Arguably, punctuation” “(as perceived)” “undergoes a kind of” “ defamiliar ” “make-over.” “The text” gently forces the reader” “to slow down,” “read slowly.” “At some point” “one begins to sense” “lines of text” “moving on its own.” “Broken words, phrases, and sentences” “shuttling left to right” “like a subway” “that stops” “from station to station;” “open quote to end quote.” Double Quote Occupied “There are two worlds; one above ground” “and one underground.” “The world above ground is where,” “the tyrant” “with a capital t” “lives.” “(The “T” gets tangled in the claws of the dbl quote.)” “Alette becomes an owl and kills him.” “In the last book the tyrant dies.” “ “...the tyrant” “a man in charge of” “the fact” “that we were” “below the ground” “endlessly riding” “our trains, never surfacing” “A man who” “would make you pay” “so much” “to leave the subway” “that you don’t” “ever ask” “how much it is” “It is, in effect,” “all of you & more” “Most of which you already” “pay to live below” “But he would literally” “take your soul” “Which is what you are” “below the ground” “Your soul” “your soul rides” “this subway” “I saw” “on the subway a” “world of souls” ”(4) “New York;” “the city of cities” “and its subways—” “worlds underground,” “above ground,” “& above the above ground.” “Skyscrapers,” “Wall Street,” “old money,” “new money,” “and falling further down a cleavage;” “the middle class” “slipping away.” “Contemporary artist ” “Ligorano Reece” “recently made” “a sculpture of ice ” “a block of ice” “carved to read” “middle class” “(in all upper case letters)” “and let it melt” “naturally” “for however long—” “hours,” “days.” “It didn’t take very long to melt.” A global uprise of mass demonstrations; a cacophony of bodies on the street, in parks and universities, on City Hall lawns, coastal ports, neighborhoods, etc., and for what? The reasons are endless and finite. Not a single body is unaffected by the movement even when not “occupying.” “Occupiers” “stormed into a Sotheby’s auction” “protesting” “via human microphone” “that the CEO takes home” “about” “six thousand dollars” “a day.” “(The a/Art market” “is not a reflection” “of a desire” “for a/Art” “but a reflection” “of a desire” “for money” “confused with a/Art.)” What could it mean to occupy that which has been written or said? Someone with double quotes tattooed on both shoulders attempts to reclaim the sign; re-invent it privately-publicly since the body is always split between both spheres. A genre of hide-and-seek; the speaking and silent body which can never mean what it says even while it so desires to mean something. To nest (and hold hostage) someone in double quotes is an act of violence; a gesture of displacement where one is arrested, dislocated, and scrutinized under a distant gaze. “The air quote” “also known as” “finger quote or ersatz quote” “supposedly” “harks back to” “1927.” “The brevity of this gesture” “ as something invisible” “like virtual money or credit” “doesn’t really exist” “though it take up space;” “its the ghostliest of all punctuation signs” “and one that requires the presence and appearance of a body.” “ “she made a form” “in her mind” “an imaginary” “form” “to settle” “in her arms where” “the baby” “had been” “We saw her fiery arms” “cradle air” “She cradled air...” ”(5) “The air” “gets occupied” “by one or two hands” “with thumb, forefinger, and middle finger” “which alternately could be used” “to shoot rubber bullets,” “pepper spray,” “tear gas.” “How three fingers” “could be responsible for so much:” “satire, sarcasm, irony” “and ultimately” “bruises, blood, death.” (“The violence of the dbl quote is to eagerly to place oneself inside a tornado.)” “The violence of this” “embodied punctuation mark” “stems from a discordance with others.” “Is the name, word, or phrase” “placed in dbl quotes” “heroic” “ or brave?” “An act of displacement;” “must there always be” “bright or negative lights—” “a leaderless act” “to inhabit, to occupy” “space removed” “from normative use.” “Of course” “I’m also wondering” “what it means to re-occupy” “public/private space—the street, neighborhood or page” “policed” “by laws, limits, and” “to some extent” “punctuation.” Echo, Mirror “There are first, second, and third voices interwoven.” “ “Braid of voices,”(6) ” “Some lines read as internal thoughts,” “dialogues,” “and scene descriptions,” “all of which make up the allegory.” “It seems appropriate” “for the word” “allegory” “to nest in dbl quotes” “for perhaps it might be” “a gesture to echo on and on” “eternally referencing” “whatever came before.” I notice the first tooth of the double quote, when paying too close attention, gets caught in the hook of the “f”. I space bar to untangle them; the f does not resist the closed bite of “deaf” and I resist to know what it could mean, because it could doubly mean nothing. “ “He looked” “so familiar” “to me...”(7) ” “The second-person” “echoes in one of two directions:” “further into” “or farther from” “me.” “Its as though” “the second-person amplifies” “or else the opposite” “in which he,” “who looks so familiar,” “retreats further” “like stars in a telescope.” “The dbl quote” “has this kind of affect” “concerning distance and dimension” “as also illusory” “as something twice removed” “and unreal” “in a similar way” “movie stars are unreal and far away.” “ “I entered” “a car” “in which I seemed” “to see double” “Each person I” “looked at seemed” “spread out” “as if doubled” “Gradually” “I perceived that” “each person” “was surrounded by a ghostly” “second image” “was encased in it” “& each” / “of those images,” “those encasings,” “was exactly the same” “each was in fact” “the tyrant...” ”(8) A daydream of a mirror-less world while staring through window blinds; a palm tree behind. It was dark with nothing there. A world with no mirrors “in my mind,” though my mind could only reflect what it knew: a palm tree. Naturally then, palm trees multiplied; a world of palm trees reflected the daydream with no mirror in sight. “The mirror” “(prior to obsidian manufacturing ca. 6000 B.C)” “was wherever water” “could be found.” “Its interesting” “mirrors have been around” “before humans—its funny” “animals and humans” “get born into” “a world of mirrors,” “therefore, simulation” “is always already” “a given—” “a sparkly consequence to be born with a dbl.” NOTES 1. Notley, Alice. “Author’s Note” in The Descent of Alette (New York, 1996) 2. Bruns, Gerald L. “ From Intransitive Speech to the Universe of Discourse” in Modern Poetry And The Idea of Language (New Haven & London, 1974), p.75 3. Ibid. p.77 4. Notley, Alice. The Descent of Alette (New York, 1996). p.3 5. Ibid. p.10 6. Ibid i. p.9 7. Ibid ii. p.16 8. Ibid iii. p.12. (shrink)

I consider the opening to a paper by Jerry Fodor referring to graffiti in the subway stations and what Helen Beebee once said about it in her essay writing guide. I used to just pass over that stuff, but now I find it may be more important.

When we were on the subway back from his lecture, I said to Robin: “I’m not sure there actually are any religious fictionalists.” We keep talking about them in papers and lectures, acting as if fictionalism in religion is a real possibility, but to be honest, I haven’t been able to spot one in the wild so far. The only potential candidate who comes to mind is Don Cupitt, who wrote things like: “I still pray and love God, even (...) though I fully acknowledge that no God actually exists.”[1] Perhaps this is as fictionalist as it gets. But then again, Cupitt never explicitly declared himself a fictionalist. Moreover, on other occasions he sounds more like an expressivist than a fictionalist, e.g. when he says: “The Christian doctrine of God just is Christian spirituality in coded form.”[2] So, if there are any actual fictionalists out there, please step forward.[1] Don Cupitt, After God: The Future of Religion, 85.[2] Don Cupitt, Taking leave of God, 14. (shrink)

This is the story of the clattering of elevated subways and the cacophony of crowded neighborhoods, the heady optimism of industrial progress and the despair of economic recession, and the vibrancy of ethnic cultures and the resilience of ...

What are the brain and cognitive systems that allow humans to play baseball, compute square roots, cook soufflés, or navigate the Tokyo subways? It may seem that studies of human infants and of non-human animals will tell us little about these abilities, because only educated, enculturated human adults engage in organized games, formal mathematics, gourmet cooking, or map-reading. In this chapter, we argue against this seemingly sensible conclusion. When human adults exhibit complex, uniquely human, culture-specific skills, they draw on a (...) set of psychological and neural mechanisms with two distinctive properties: they evolved before humanity and thus are shared with other animals, and they emerge early in human development and thus are common to infants, children, and adults. These core knowledge systems form the building blocks for uniquely human skills. Without them we wouldn’t be able to learn about different kinds of games, mathematics, cooking, or maps. To understand what is special about human intelligence, therefore, we must study both the core knowledge systems on which it rests and the mechanisms by which these systems are orchestrated to permit new kinds of concepts and cognitive processes. What is core knowledge? A wealth of research on non-human primates and on human infants suggests that a system of core knowledge is characterized by four properties (Hauser, 2000; Spelke, 2000). First, it is domain-specific: each system functions to represent particular kinds of entities such as conspecific agents, manipulable objects, places in the environmental layout, and numerosities. Second, it is task-specific: each system uses its representations to address specific questions about the world, such as “who is this?” [face recognition], “what does this do?” [categorization of artifacts], “where am I?” [spatial orientation], and “how many are here?” [enumeration]. Third, it is relatively encapsulated: each uses only a subset of the information delivered by an animal’s input systems and sends information only to a subset of the animal’s output systems. (shrink)

_Neocybernetics and Narrative_ opens a new chapter in Bruce Clarke’s project of rethinking narrative and media through systems theory. Reconceiving interrelations among subjects, media, significations, and the social, this study demonstrates second-order systems theory’s potential to provide fresh insights into the familiar topics of media studies and narrative theory. A pioneer of systems narratology, Clarke offers readers a synthesis of the neocybernetic theories of cognition formulated by biologists Humberto Maturana and Francisco Varela, incubated by cyberneticist Heinz von Foerster, and cultivated (...) in Niklas Luhmann’s social systems theory. From this foundation, he interrogates media theory and narrative theory through a critique of information theory in favor of autopoietic conceptions of cognition. Clarke’s purview includes examinations of novels, movies, and even _Aramis_, Bruno Latour’s idiosyncratic meditation on a failed plan for an automated subway. Clarke declares the era of the cyborg to have ended, laid to rest as the ontology of technical objects is brought into differential coordination with operations of living, psychic, and social systems. The second-order discourse of cognition destabilizes the usual sense of cognition as conscious awareness, revealing the possibility of nonconscious and nonhuman forms of sentience. (shrink)

I met Ernie in 1965 on the wrestling mats of our high school in North Bergen, New Jersey, a township on top of the plateau overlooking Hoboken and across the Hudson River from Manhattan. Hoboken then was still the Hoboken of Elia Kazan’s “On the Waterfront” (1954).1 Even though the Hudson was less than a mile across at that point, it was a wide spiritual divide. We were Jersey boys, not New Yorkers. Ernie was as ambitious as I was about (...) wrestling, and, so, after the season was over, we used to take a bus to Journal Square in Jersey City, and then walk about eight city blocks to a gym to lift weights. In those days, high schools didn’t have weight rooms; and gyms were scarce, men only, quite filthy, and entirely devoid of cardio equipment and Nautilus machines. They were all sweat, grunts, groans, and clanking iron. By 1968, on Tuesdays and Thursdays, after a grueling wrestling practice at the high school, we would take a bus to New York City (it took about a half hour to get into “the City” by bus, less if the Lincoln Tunnel was not crowded), and then a short subway ride up to the New York Athletic Club on 59th street, across from Central Park, to spend a couple of hours working out with former university wrestling stars—guys in their mid-twenties from places like Oklahoma, Nebraska, and Iowa—who were training to make the Olympic team. Even with all of this wrestling time, we were frustrated by the fact that there was nowhere to work out on Sundays. We investigated and found out that the Jersey City YMCA had a wrestling mat and was open on Sundays. We then spent our Sunday afternoons working out there, so as not to miss a day of wrestling. Wrestling was our savior: a healthy way to get out anger.2 But it wasn’t all wrestling. We did something else too: We talked. We spent many hours together introspecting out loud, and just trying to make sense of things. Ernie has mentioned in print one early topic of discussion: “We spent years trying to solve various logical conundra like how on earth the Virgin Mary could have been a virgin.... (shrink)

Consider this scenario: A terrorist just bombed the subway in London, which resulted in the casualties of numerous innocent people. His act can be considered well-planned for he fully knew what consequences his act would bring. If determinism is true, is it possible that the terrorist in question bombed the subway out of free will? An incompatibilist would respond to this question with a resounding “no”. A compatibilist, on the other hand, would answer yes, as long as the (...) terrorist possessed certain psychological characteristics, causal histories, etc. This underlies the basis of disputes between the compatibilists and incompatibilists, who appear to hold opposite views on whether it is possible for someone to act out of free will if determinism is true. However, as I shall discuss in Chapter One, this disagreement is partly a verbal one that stems from the diverse meanings of the term “free will”. This thesis aims to transcend the verbal disagreement and explore where the deeper, more substantial disagreements may lie between compatibilists and incompatibilists. One possible sphere where substantial disagreements between compatibilists and incompatibilists may lie is the content of the ordinary concept of free will, or that of the strongest sense of control condition necessary for securing the ordinary concept of moral responsibility. On this view, the metaphysical question and the conceptual question about free will are inseparable; in order to find out the metaphysical satisfaction conditions of free will, one must first identify the conceptual satisfaction conditions of free will. Further, the latter is reflected in everyday free will/ moral responsibility ascriptions about hypothetical or real scenarios. In Chapter Two, I analyze how the recent experimental philosophy movement bears on this issue. By examining the findings of some current experimental philosophy studies, I argue that neither compatibilism nor incompatibilism can sufficiently capture the ordinary concept of free will or moral responsibility. In the light of my discussions in Chapter Two, I explain in Chapter Three why each of the various traditional accounts of free will cannot independently provide an adequate “package deal” of solutions for the problem of free will. Near the end of the chapter, I propose a pluralistic, agnostic account of free will as an alternative solution. Despite its great instrumental value, experimental philosophy is not widely recognized as a philosophically significant methodology. Hence, Chapter Four is devoted to discussing the actual and potential values of experimental philosophy in the light of its contribution to the free will debate. I conclude that the encounter between the free will debate and the experimental philosophy movement is a fruitful one; the former proves the value of the latter by receiving helpful insights from it. (shrink)

Normal 0 false false false MicrosoftInternetExplorer4 /* Style Definitions */ table.MsoNormalTable {mso-style-name:"Table Normal"; mso-tstyle-rowband-size:0; mso-tstyle-colband-size:0; mso-style-noshow:yes; mso-style-parent:""; mso-padding-alt:0in 5.4pt 0in 5.4pt; mso-para-margin:0in; mso-para-margin-bottom:.0001pt; mso-pagination:widow-orphan; font-size:10.0pt; font-family:"Times New Roman"; mso-ansi-language:#0400; mso-fareast-language:#0400; mso-bidi-language:#0400;} The study attempts to complete the conclusions of social-religious research undertaken up till now, and therefore analyzes the new religious phenomenon” ( Shin-shinshūkyō/ New New Religions ), especially the Aum Shinrikyō cult of the contemporary Japanese society, from an interdisciplinary perspective. Focusing upon the terrorist attack with sarin gas caused (...) by the Aum Shinrikyō cult, our analysis uses the method of Chinese boxes (the small box is in a bigger box which, in its turn, is placed in an even bigger box and so on), to deal with the complex issues beyond the criminal dimension. The study presents in this sense the victims’ confessions ( higaisha ) as well as the aggressors’ confessions ( kagaisha ) as published by the famous contemporary writer Haruki Murakami in the journalistic novel Underground (1997). The Aum Shinrikyō cult and the religious terrorist attack from the Tokyo subway eventually become important “ confession-evidence” in the process of knowing the Japanese spirituality and the way in which its religious feeling, permanently in search of a way of manifestation, reflects the “ normality” of a free modern society. By its aspects of antiutopian “ religious affair”, the Aum story urges mankind on an exercice of autoreflection. (shrink)

Optimal strategy, one of the main transit assignment models, can better demonstrate the flexibility for passengers using routes in a transit network. According to the basic optimal strategy model, passengers can board trains based on their frequency without any capacity limitation. In the metropolitan cities such as Beijing, Shanghai, and Hong Kong, morning commuters face huge transit problems. Especially for the metro system, there is heavy rush in metro stations. Owing to the limited train capacity, some passengers cannot board the (...) first coming train and need to wait for the next one. To better demonstrate the behavior of passengers pertaining to the limited train capacity, we consider capacity constraints for the basic optimal strategy model to represent the real situation. We have proposed a simulation-based algorithm to solve the model and apply it to the Beijing Subway to demonstrate the feasibility of the model. The application of the proposed approach has been demonstrated using the computational results for transit networks originating from practice. (shrink)

“Je doute qu'il y ait un dialogue de la chenille et du papillon”A. MatrauxThe most ordinary events astonish only those who think about them. What can be more natural than two people talking? They are from the same country, they speak the same language, they understand one another. They have things to say to each other and they say them. Anyone who would try to question such evident truisms would be seen as attempting to be a spinner of paradoxes. And (...) yet…First of all is it as natural as it appears that two people should stop and speak? To an impartial observer of the behavior of one's peers this would not seem to be the case. Most of the people we rub elbows with daily—in the street, in the subway, on a beach, in a hotel or even in the apartment building where we have lived for ten years—are people whom we do not accost and to whom we never speak. In order for people to speak to one another, certain circumstances must exist; there must be a ritual of introduction and a mutual consent that often occurs only after a certain resistance has been overcome. There are important differences to be observed in this respect among different peoples and, within the same nation, among people of different classes. But in every case dialogue is preceded by a preparatory phase of prudent observation, reserve and mistrust during which the partners size one another up and seek to situate themselves in relation to each other. (shrink)

The author of the article studies the activities of the Executive Committee of the Leningrad City Council on the development of the city and its infrastructure in the first half of the 50s of the 20th century. Particular attention is paid to prevention of attempts made by various departments to violate the existing layout of the city and cause damage to monuments of historical and cultural heritage. By the beginning of the 1950s, the tasks of restoring the municipal economy in (...) Leningrad and liquidating the damage caused by the war and the enemy blockade of the city were basically solved. In these years, the most acute task for Leningrad was to ensure a steady increase in the volume of housing construction and to reconstruct ‘under-repaired‘ residential buildings. In addition, it was necessary to build and start up the first stage of the subway, i.e. to fulfill the task set in the Fourth Five-Year Plan. To ensure the solution of these problems, the General Plan for the Development of Leningrad in 1951-1960 was developed. The most important part of the plan was the implementation of new housing construction along with the restoration and renovation of existing houses and buildings. Particular attention was paid to the development of social infrastructure. The plan provided for the construction of schools, hospitals, and other public facilities. The Executive Committee of the Leningrad City Council constantly kept under control the problems that arose with land allocation for organizations and enterprises located in the city. Sometimes the solution of these issues acquired the all-Union character, and the city’s leadership protected the interests of the residents and preserved the architectural and historical integrity of the city territories. Thanks to the principled and uncompromising position of the Leningrad City Council, it was possible to save many monuments of culture and architecture of the city, to ensure its development in strict accordance with the General Plan. (shrink)

Public transport in Warsaw is currently showing a dynamic development. The capital of Poland, as the largest city in the country, is constantly increasing spending on transport and implementing large investment projects, such as the expansion of the subway, which gives residents more opportunities for efficient movement within the agglomeration. Despite the implementation of these investments, there are still some sensitive places in Warsaw where access to public transport may be difficult. Given these conditions, a study of public transportation (...) accessibility is warranted and socially needed. This article presents the results of a questionnaire survey conducted among Warsaw residents. The study included a group of 986 respondents, most people between the ages of 18 and 44. The analysis conducted looked at perceived accessibility of public transportation and satisfaction with public transportation services. As a result of the study, we could identify the main factors that influence passenger satisfaction, as well as examine transport accessibility in the social city of Warsaw. Conclusions from the study may be helpful for the city government to improve the functioning of public transport. (shrink)

This article describes the racial integration of Emory University and the subsequent creation of Pre-Start, an affirmative action program at Emory Law School from 1966 to 1972. It focuses on the initiative of the Dean of Emory Law School at the time, Ben F. Johnson, Jr.. Johnson played a number of leadership roles throughout his life, including successfully arguing a case before the United States Supreme Court while he was an Assistant Attorney General of Georgia, promoting legislation to create Atlanta (...) 's subway system as a state senator, and representing Emory in its lawsuit to strike down the state statute that would have rescinded its tax exemption if it admitted African American students ). This account supplements my related article on Pre-Start, "'A Bulwark against Anarchy': Affirmative Action, Emory Law School, and Southern Self-Help", providing more information about historical context generally, and particularly about Emory v. Nash. Johnson was ambitious for Emory as a whole, and particularly for the Law School, and he saw in segregation the single largest impediment to making Emory a nationally prominent research university. The story of Emory's integration, and Johnson's leadership, requires revision of the prevailing story of integration generally, and especially of universities. Integration at Emory came about because of the pressure that African Americans and their supporters created through the civil rights movement, but Emory administrators responded to such pressure more constructively than most. Their actions provide an interesting case study in effective leadership during a period of significant moral and political conflict. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 1. © 2018 by Olga Zilberbourg 95 Olga Zilberbourg Helen More’s Suicide My retired colleague Marguerite called to tell me of Helen More’s suicide. “Of all the sad, ludicrous things people do to themselves!” She invited me over. “Thursday night, as usual. I could use the company of younger people.” It had been about a year since I’d first been invited to these Thursdays —monthly (...) literary and musical soirees Marguerite hosted in her living room. Helen had been a regular at Marguerite’s for several decades; the two women were close contemporaries and each a celebrity in her own field. Helen was scholar of the English Romantics at the same university where Marguerite had taught Flaubert, Zola, and Balzac, and where I was now a junior faculty member in the English department. I’d heard of Professor More long before I met her: she lectured at the university from the 1960s until being forced into retirement in 2006 ostensibly due to age. She had a reputation as a militant feminist who eagerly engaged in battles about appointments and promotions, and her politics could have had something to do with it. “Are they sure it was a suicide?” In person Helen was a quiet, reticent woman with a sly, sarcastic sense of humor, and the idea that she might’ve committed suicide seemed outlandish. Vague murder scenarios floated in my mind. A disgruntled student? A male professor, passed over for promotion years ago and blaming her for his career failure? 96 Olga Zilberbourg “Yes, quite. The details are unpleasant, but do you know what she wrote in her suicide note?” “Of course she left a note.” “She said, ‘Thanks for the trip. Love to all.’” I couldn’t help laughing. “Yet when you think that having written that, she took all those pills and put a plastic bag over her head,” Marguerite’s voice broke. “Anyway, it’s not a conversation to have over the telephone. Do come over.” On Thursday afternoon, having collected the student papers after the last exam of the semester, I took the subway down to Greenwich Village. Marguerite lived on a third floor walkup, in a wonderfully spacious and tall-ceilinged apartment that back in the 1970s she and her husband had converted from a pillow factory. Since her husband’s death ten years earlier, the apartment had slowly turned into a trap for Marguerite. She suffered from arthritis in her hands, shoulders, and knees, and walking up and down the stairs became a nearly impossible exercise. She ventured out once or twice a week with the assistance of a visiting nurse. The place could easily fetch three or four million dollars, and Marguerite could use the money. Yet she was reluctant to sell. “I’d rather go without bread than without my piano and my books,” she insisted. A feeling of reverence and trepidation caught my breath as I climbed the stairs to Marguerite’s apartment. One never knew what kind of celebrity of the arts or music world could show up on any given Thursday. In her lifetime, Marguerite had known everyone, from Sartre and de Beauvoir to Picasso and Chagall. In the last few years the circle of her acquaintances seemed to dwindle, and yet still world-renowned musicians, poets, playwrights sometimes appeared among the circle of her former colleagues and students. I rang the doorbell and waited for several minutes as Marguerite crept to the door. “I’m afraid you’re my only guest tonight,” she said through the door, struggling with the lock and the knob. Finally, she pushed the door open. “Several people cancelled because of the end of the semester, and then of course, there’s the funeral. But come in, come in—we’ll talk of that later.” Marguerite led me into the living room, heavily shaded from the street and dimly lit with two floor lamps. Decorated with musical instruments, piles of books on the floor and on the low tables, and bright Olga Zilberbourg 97 modernist watercolors on the walls, the room seemed to belong to a royal palace, a vast, untouchable space. Usually Helen or one of Marguerite ’s... (shrink)

A few months ago, a young man in jeans and a baseball cap took a violin into a subway station in Washington DC during morning rush hour. He opened the case in front of him, put some coins inside to encourage donations and played for 45 minutes. The young man was Joshua Bell, one of the world's greatest violinists, and he was playing his multimillion-dollar Stradivarius. He was incognito, as an experiment devised by The Washington Post to see whether (...) people appreciate great art in an unlikely place. (shrink)

Since becoming the globe’s most populous city in the early eighteenth century, Tokyo has risen, collapsed and boomed again as no other metropolis. For 300 years spectacular bursts of growth occurred against a background of earthquakes, fires and floods, until in 1923 a horrific quake wiped it out. The bombing of the rebuilt city in 1945 was deadlier than the atomic attacks on Hiroshima or Nagasaki. Relative seismic and political stability after the war underpinned an economic miracle and transformed Tokyo (...) into a global business and cultural icon, but the ‘lost decades’ that followed brought back socioeconomic uncertainty and undercurrents of anxiety. Manmade calamities, including a terrorist attack on the subway in 1995 and a nuclear leak in a neighboring prefecture in 1999, shook confidence in a city that normally enjoys high health and safety standards, while the massive earthquake and tsunami in Fukushima in 2011, just 240 km away, reminded inhabitants of the tectonic time bomb underneath them. Not surprisingly, physical, social and psychological fragility feature prominently in cinematic portrayals of Tokyo, with destruction and reconstruction of the cityscape and of the lives of those who inhabit it a common theme. Cinematic stories typically revolve around characters dwelling on the past, living cautiously for the moment or fearing the future. This paper explores how directors have incorporated physical destruction and socioeconomic devastation into their depictions of the city, focusing particularly on the use of images of the built environment. (shrink)

From the New York Times bestselling author of Eating the Sun and Lost in Translation, a gorgeously illustrated love letter to everything that is beautiful, and a manifesto for those who are struggling to remember or recognize what beauty is. People are increasingly baffled as to what they can call beautiful, what they should call beautiful, and whether or not they are able to apply beautiful to themselves or to the things around them. Our outdated yet hugely pervasive modern notions (...) of beauty provide one of the greatest sadnesses of all-an intensely human emptiness that we are mistakenly trying to fill with objects and hollow promises. To be able to find our way back to beauty is a deceptively urgent task in the world today. Everyone deserves revelations, the kind that are daily, hugely personal, and very often ephemeral. We are surrounded by beauty-beauty that isn't something we can buy: spiderwebs only seen in the sunlight, the greenish glow of a fox's eyes watching in the dark, or the comforting screech of the subway that takes you to your many futures. Part meditation, part self-help guide, and part interactive journal, Everything, Beautiful explores what beauty is, why it matters, and how we can find it in our everyday lives. Filled with thoughtful, intimate, and brilliant insights, inspirational quotes, breathtaking illustrations, and space for readers to write, draw, and reflect on their own ideas of beauty, Everything, Beautiful is for anyone who feels they cannot point to beauty any longer, are struggling to see it, or feel that it has left them behind. (shrink)

This is the story of the clattering of elevated subways and the cacophony of crowded neighborhoods, the heady optimism of industrial progress and the despair of economic recession, and the vibrancy of ethnic cultures and the resilience of ...

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

This paper examines the role of the face as it is caught suspended in private contemplation in candid photography. It starts with a celebrated lineage of photography of anonymous faces that promise the revelation of a secret, absorbed self: Paul Strand's 1916 portrait of a blind street peddler, made with a special right-angled lens; Walker Evans's New York subway portraits, shot clandestinely from under his coat; Luc Delahaye's L’Autre, “stolen” from the Paris Metro in the 1990s; and Philip-Lorca diCorcia's (...) Heads, gigantic strobe-lit portraits on the streets of New York. The paper then turns to Australian photographer Cherine Fahd, whose work insistently alludes to the redemptive potential of this promise. This potential is interpreted in terms of Emmanuel Levinas's ethical responsibility to the other, Ariella Azoulay's “civil contract of photography” and Giorgio Agamben's eschatological understanding of photographic testimony. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 32.2 (2002) 3-19 [Access article in PDF] (Queer) Theory and the Universal Alternative James Penney Judith Butler. Antigone's Claim: Kinship Between Life and Death. New York: Columbia UP, 2000. Judith Butler, Ernesto Laclau, and Slavoj Žižek. Contingency, Hegemony, Universality: Contemporary Dialogues on the Left. London: Verso, 2000. In October 2000, just a few weeks before the US presidential election, a young, fashionable, handsome man handed me a political (...) leaflet while I crossed Christopher Street in Greenwich Village. I didn't give it much thought at the time (apart from noticing that the boy was kind of cute): I was in transit toward the 4th Street subway station and the Port Authority where I would catch the bus back to Cornell. When I decided to write a review essay on the current state of poststructuralism, Marxism, and queer theory through the lens of the two books listed above, I discovered I had lost the pamphlet, certain that my hostile reaction to what I considered its fundamental conservatism and trendy political correctness had unconsciously caused its mysterious disappearance.When I rediscovered the leaflet in the chaos of my move away from Ithaca, I realized that my relation to it had been hysterical: I was reluctant to address its traumatic content, unwilling to excavate my multiple frustrations at the apparent impossibility of being a homosexual and a socialist in America. And yet I couldn't really forget about it either: though not an American citizen and therefore unable to vote, I found myself equally unable simply to dismiss the leaflet as a mere inconsequential symptom of the pseudo-democracy that America has always been, or unequivocally to endorse the snooty CBC/Queen Street condescension of my fellow Canadian Lefties toward the primitive, superficial, liberal (in the worst psychologistic sense), irremediably ideological, and thoroughly depressing state of American political discourse. "Those poor Americans," the far-from-irrelevant logic goes. "They either unquestioningly submit to the individualistic fantasy of the American Dream in order to participate in the 'political process,' or they become hermetically imprisoned in their pseudo-political anti-statist minoritarianism, too cool and too radical to condescend to the public sphere." After six years in the United States, I've now become aware that my inability to swallow much of contemporary queer theory—authored overwhelmingly by young, elite-educated Americans with relatively narrow political horizons—is mostly due to the manner in which it articulates numerous political assumptions fundamentally alien to my own socialization in a country whose political differences from the US are insufficiently appreciated in that nation, and in which extremes of climate and geography have engendered a collectivist ethos in many ways fundamentally hostile to the American-style extreme individualism with which I had lived for so many years.But the interest of this sort of political autobiography is in this context undoubtedly limited. What—you might now find yourself impatiently wondering if you don't already [End Page 3] know—were the contents of this famous pamphlet? And what exactly was my problem with it? Published by a coalition of queer voters in New York called the Empire State Pride Agenda, the pamphlet presented extremely selective profiles of the main candidates, both Democrat and Republican, running for the offices of President, US Senator, State Senator, and Member of the State Assembly. Each profile summarized the history of a candidate's positions with respect to rights issues of concern to gay, lesbian, bisexual, and transgendered persons. The profiles made no concerted effort to represent the candidates' perspectives on any other issue: gun control, education, foreign policy, the death penalty, taxation, health care (generally speaking, that is to say above and beyond the issues related to AIDS-related illness and reproductive rights); only policies directly concerning civil rights for nonheterosexual citizens were thoroughly broached.I should confess that once I got the general idea I threw the pamphlet away in disgust: "Am I supposed to feel interpellated," I asked myself in full hysterical Althusserian mode, "by this utterly pseudo-political claptrap?" Is this what it means to be gay and political in America... (shrink)

In Colour for Architecture, published in 1976, the editors, Tom Porter and Byron Mikellides, explain that their book was “produced out of an awareness that colour, as a basic and vital force, is lacking from the built environment and that our knowledge of it is isolated and limited.”1 Lack of urban color was then especially salient in Britain—where the book was published—which had just begun to recoil at the Brutalist legacy of angular stained gray concrete strewn across the postwar landscape. (...) Perhaps because the most urgent need was to inject some hue into this architectural dystopia, one of the main innovations illustrated in the book involves nothing more than cans of paint. Dull unfinished concrete façades, the interior of a subway station, a cement works, and so on, are shown enlivened by fields of bright color. (shrink)

For the want of something better to do, I sometimes reflect on democracy (in the Paris subway, of course). As you know, there is confusion in people's minds about that useful notion. And since I like to side with the greatest number of people possible, I look for definitions that might be acceptable to the largest number. That's not easy, and I don't pretend to have succeeded. But it seems to me that certain useful approximations are possible. To be (...) brief, here is one of them: democracy is the social and political exercice of modesty. Let me explain that. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Paradoxical Pleasures of Human ImaginationOmar Sultan HaqueHow Pleasure Works: The New Science of Why We Like What We Like, by Paul Bloom. W. W. Norton, 2010, 280 pp., $26.95.Have you heard about that chump who dished out $48,875 for John F. Kennedy's dusty old tape measure? The rock star who allegedly snorted his father's ashes with some cocaine? The creepy German guy who put out an advertisement for (...) someone who would let themselves be eaten by him (only to have hundreds volunteer)? The story about the man who was tired with his wife, but powerfully aroused when he was convinced he was with an exact duplicate of her? How can a staunch atheist also believe in the numinous? Why do people buy expensive wines, and bottled water, even though in blind taste tests, they can't distinguish them from the cheap stuff? Why buy pâté when your palate can't distinguish it from dog food? Why do people pay hundreds of dollars to hear the famous violinist Joshua Bell perform, but then cannot even spare a dime when a disguised Bell plays the same music on the subway in regular garb? Why might someone who trains people to prevent falls and injury enjoy watching a comedian fall and hurt himself? Why would someone pay a few hundred thousand dollars for art that consisted of someone else's unmade bed?It may be is easy to feel smug when thinking about this panoply of apparent irrationality in individual decisions and general human propensities. But the things that uniquely delight us may not be as [End Page 182] capricious as they seem. Many of the pleasures (curious or ordinary) that we get from our relationships with food, sex, irreplaceable objects, performances, safety and pain, music, literature and the imagination may have a deeper logic. They may be explicable by a better understanding of how our evolved minds work, and don't work, amidst our historically novel environments. Or so argues Paul Bloom—a cognitive developmental psychologist at Yale University—in How Pleasure Works, a brilliant and articulate synthesis of philosophy, psychology, evolutionary biology and the arts that elucidates the seemingly whimsical and once mysterious sources of our uniquely human hedonic satisfactions.The theory Bloom utilizes to systematize aspects of a number of pleasure phenomena is called psychological essentialism. This is an idea that has been developed in the last two decades by Bloom and the psychologists Douglas Medin, Andrew Ortony, Frank Keil, and Susan Gelman, among others.1 Psychological essentialism claims that, as Bloom puts it, people reliably, at a very young age, cross-culturally and throughout history, think that "things have an underlying reality or true nature that one cannot observe directly and it is this hidden nature that really matters." We assume that objects, artifacts, non-human animals, people and groups have invisible essences and unseen orders that account for their surface properties. In one of Keil's experiments, for instance, children thought that a dog made to look like a toy dog, a porcupine that had a surgery to make it look like a cactus, and a tiger stuffed into a lion suit were still a dog, porcupine and tiger, respectively. However, when each animal had its 'innards' altered, children said the animals changed into different categories, like objects or plants.2 Psychological essentialism for artifacts or tools is somewhat different from that for animate entities; the essence of artifacts is their history and the intentions of their creators.3According to How Pleasure Works, because of psychological essentialism, many human delights seem to arise that cannot be explained by simply appealing either to their low-level sensual qualities or their practical utility. Thus, the theory helps clarify some of pleasure's paradoxes. Like parents who affectionately keep tokens of their children's time as a baby, someone can enjoy owning a tape measure from a famous person because of its history of uses or other associations with important places or people. Snorting dad's ashes (however noxious to the nostrils), or pigging out on someone whom you admire, can be deeply meaningful because it feels as if one is... (shrink)

Metro driver is the prime person who is responsible for metro operation safety. The mental health of a metro driver is very important for the operation of the subway and requires the driver to keep high mental alertness to monitor the surrounding environment and also handle emergencies under uncertain or dangerous conditions. After a long-term occupational strain, a metro driver is likely to suffer from some mental health problems, such as anxiety and depression, that ultimately threaten the lives of (...) passengers. Therefore, in this study, we focus on the psychological symptoms of metro drivers from the angle of occupational strain and neuroticism. A total of 396 metro drivers from Kunming Rail Transit Operation Co., Ltd. in China were investigated through a questionnaire survey. Symptom Checklist-90, Personal Strain Questionnaire, and NEO-Five-Factor Inventory-Neuroticism Subscale were applied to evaluate the psychological symptoms, occupational strain, and neuroticism in metro drivers, respectively. The surveyed data were analyzed by SPSS software. Based on the data, a path structural equation model was established to explore the correlation among occupational strain, psychological symptoms, and neuroticism. The results show that the scores for psychological symptoms and occupational strain are higher than the Chinese adult norm among metro drivers. The occupational strain, neuroticism, and psychological symptoms are all positively correlated in the metro drivers. Occupational stress has a direct influence on the psychological symptom, while neuroticism plays a partial mediation role between occupational strain and psychological symptoms. The results of this study can be applied to optimize the employee selection system and training system for metro operation companies. (shrink)

"Sowohl in den antiken Mythen des Übergangs der Toten in den Hades wie auch in der New Yorker Subway sind es kleine münzartige Artefakte, welche transitorische Praktiken und Subjekte entscheidend formen. Die zahlreichen Konflikte und Subversionen um diese Objekte offenbaren ihre Offenheit als konfiguriert durch die Gefüge, in denen sie sich bewegen. Versteht man also, was Gefüge sind und welche Wirkungen sie entfalten, erlaubt dies, die soziale Wirkmächtigkeit von Artefakten besser zu verstehen. Both in ancient myths about the passage (...) of the dead to Hades and in the New York subway, small coin-like artifacts shape decisively transitory practices and subjects alike. The numerous conflicts and subversions surrounding these objects reveal their openness as configured by the assemblages in which they develop. Thus, understanding what assemblages are and what effects they produce, one might understand the social effectiveness of artifacts more clearly. ". (shrink)

Both in ancient myths about the passage of the dead to Hades and in the New York subway, small coin-like artifacts shape decisively transitory practices and subjects alike. The numerous conflicts and subversions surrounding these objects reveal their openness as configured by the assemblages in which they develop. Thus, understanding what assemblages are and what effects they produce, one might understand the social effectiveness of artifacts more clearly.

The riddle posed by the double nature of the ego certainly lies beyond [the limits of science]. On the one hand, I am a real individual man, born by a mother anddestined to carrying out real and psychical acts (far too many, I may think, if boarding a subway during an hour). On the other hand, I am "vision" open toreason, a self-penetrating light, immanent sense-giving consciousness, or how ever you may call it, and as such unique. (Weyl, Address, (...) 3). (shrink)