In Norms in the Wild, distinguished philosopher Cristina Bicchieri argues that when it comes to human behavior, social scientists place too much stress on rational deliberation. In fact, she says, many choices occur without much deliberation at all. Two people passing in a corridor automatically negotiate their shared space; cars at an intersection obey traffic signals; we choose clothing based on our instincts for what is considered appropriate. Bicchieri's theory of social norms accounts for these automatic components of coordination, where (...) individuals react automatically to cues that focus their attention on what the norm is in that situation. Social norms thus act as rules for making choices in a social world where people expect others -- often unconsciously -- to follow the same rule. Some norms enable seamless social co-operation, while others are less beneficial to human flourishing.Bicchieri is famous for her interdisciplinary work on game theory and most recently her work on social norms, and Norms in the Wild represents her latest challenge to many of the fundamental assumptions of the social sciences. Bicchieri's work has broad implications not only for understanding human behavior, but for changing it for better outcomes. People have a strongly conditioned preference for following social norms, but that also means that manipulating their expectations can cause major behavioral changes. Bicchieri has been working recently with UNICEF and other NGO's to explore the applicability of her views to issues of human rights around the world. Is it possible to change social expectations around forced marriage, genital mutilations, and public health practices like vaccinations and sanitation? If so, how? What tools might we use? This short book explores how social norms work, and how changing them - changing preferences, beliefs, and especially social expectations - can potentially improve lives all around the world. It will appeal to an unusually broad range of readers including philosophers, psychologists and others in behavioral sciences, and anyone involved in public policy or at NGOs. (shrink)

Political friendship is typically portrayed as a dyadic relationship. In this traditional model, friendship is conceived as a positive intersubjective experience of relation-to-self and relation-to-other, assuming the reciprocity and equality characteristic of symmetrical relations of recognition. This essay explores an alternative, triadic model of political friendship, suggested by the work of Hannah Arendt. Arendt makes the claim, at odds with most modern accounts, that “politics is not so much about human beings as it is about the world that comes (...) into being between them and endures beyond them.” I suggest that the dyadic model of political friendship is incomplete; a more adequate paradigm would foreground triadic relations of interest, concern and care for the phenomenal world itself, conceived as the quasi-objective intermediary of human artifice. As a “public thing,” a shared world is a necessary condition for intersubjective friendship and therefore is deserving of a properly political mo.. (shrink)

The author of the classic work The Pursuit of the Millennium takes readers on a journey of exploration, through the world-views of ancient Egypt, Mesopotamia, and India, through the innovations of Iranian and Jewish prophets and sages, to the earliest Christian imaginings of heaven and earth, to illuminate a major turning point in the history of human consciousness: when the forces of good would finally be victorious over the forces of evil.

The article examines the political challenge and significance of forgiveness as an indispensable response to the inherently imperfect and tragic nature of political life through the lens of the existential, narrative-inspired judging sensibility. While the political significance of forgiveness has been broadly recognized in transitional justice and reconciliation contexts, the question of its importance and appropriateness in the wake of grave injustice and suffering has commonly been approached through constructing a self-centred, rule-based framework, defining forgiveness in terms of a moral (...) duty or virtue. Reliant on a set of prefabricated moral standards, however, this approach risks abstracting from the historical, situated condition of human political existence and thus arguably stands at a remove from the very quandaries and imperfections of the political world, which it purports to address. Against this background, this article draws on Albert Camus’s and Hannah Arendt’s aesthetic, worldly judging sensibility and its ability to kindle the process of coming to terms with the absurd, and perhaps unforgivable character of reality after evil. As an aptitude to engage the world in its particularity, plurality and contingency rather than seeking to subdue and tame it under prefabricated standards of thought, namely, worldly judgement is able to reveal how past tragedies have arisen from the ambiguity of human engagement in the world and thereby also elicit the distinctly human capacities of beginning anew and resisting such actions in the future. As such, I suggest, it is well-suited to bring into clearer focus and confront the main political challenge and significance of forgiveness: how to acknowledge the seriousness of the wrongs committed, yet also enable the possibility of a new beginning and restore among former enemies the sense of responsibility for the shared world. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:PROFESSING THE CREED AMONG THE WORLD'S RELIGIONS For Hans-Georg Gadamer FRANS JOZEF VAN BEECK, 8.J. Loyola University Chicago, Illinois The Creed, the Created Order, and the Religions T:HE CHRISTIAN CREED is a particular profession of aith, yet it is not Hie creed of a sect; it is essentially niversalist. Both are dear not only from the Creed's oontent but aJ,so fr.om. the act by which it is professed. (...) By means of the Creed, one particular, identifiable (" visible ") eommunity----the Christian Church-profosses, both to its own membership and to eviery pa,rt1cu1ar person or community 1that wants to listen, its faith :in God in the name of Jesus Christ. The part]cular profession is offered with a universa1ist intent, in the context of a communa:l missionary commitment to the whole world and, beyond that, in the perspectivie of the supernwbural, all-1 encompassing, escha:tologrcal "life of the world to come." It is not surprising, the1~efore, thait even those primitive trinitarian creeds that lack every trace of christoJogica.l narrative (and rthus also every ireferenoe rto Christ's coming to do justice to the living and the dead) still include a profession of at least a few eschatolog1erwl artides of belief at the end. The most nota.b1e among these features are il:he univiersaJ chm,ch (which represents and anticipates the finaJ gathering of the saints), rthe (definitive) forgivieness of sins, the resurrection of the flesh,,and rbhe life that fasts forever.1 But the Creed harbors another universraJism as well. It is 1 Cf. DS 1-6. 539 540 FRANS JOZEF VAN BEECK, S.J. natural, fuilldamentail, p:mtoilogiical. In!the text of the Creed, this univiersalism surfaces in the professwn of God,as Creato!l' of aJil,thait is, whether seen or unseen, and of Jesus Christ a:s God's 1agent in creation. In.addressing itself to humanity at ~arge, the Creed relies on this. It 'appeals to humanity's native eras-its native.attunement.to God am!d 1to the whole worLd, its limitless caipacity for ;authentic understanding, and its unquenchable thirsit for ioommunion. In the rhetoric of the Christian profiession of £aith, :the fO!l'IDer univiersalism enjoys pride of plare. The Creed's primary profession is positive: thematiicailly, the Creed is designed to formuilate the Christian £aiith in its mnc11ete, historic partioofarity, :in :i:ts commitment to the Christian mission to the whole worLd, and in its anticipation of :the eschaton. But if it is rtrue that the Creed primariily ·addresses itself to :ail:l of humanity with the es1chato1ogiterul message thrut is the horizon of the Christi,an faith, this positivie profoss,ion is undergirded by a commitment to humanity allld the wol'lld in their natu1~ail integrity, by means of ra "suhsidiairy universwlism." If, in the actualiity of its hisrboric e:~istence, the Coorch ·aiddresses itself to all of humanity :and the wor1d with its partrowlar message of sru1vati.on, it is only by virtue of.a fundam.entail, natural universalism thrut it can so aiddress them. And it is on the strength of this 1aitber univiersailism that the Christian community it·self, itoo, acknowledges an whl-iillclusive natura.l order which it shares with all. of humanity. " All of humanity " is no:t an 1abs:tmntion; it comes in the form of ithe greiat variety of "rull nations" (Mt ~8: 19), along with their great religions. The theologircail. 'bask of interpreting the Creed in light of ilts.commitment to £UDJdamentail universalism, therefo11e, must.somehow raise the issue of Christianiity ';s relationship with the world's great religions. ln taking on this issrue, we must remind ourselv;es of an important ooail:ity-one heavy with consequence, as will be1come ·dear in the oomse of this es1 say. This 11eality was not unknown to the first Christian apologists: the Consrtantinian THE CREED AND THE RELIGIONS 541 and Theodosian settlements of the fourth century slowly but surely, and ever more fo11cefolly, eased it ~nto abeyance. But it began to J.~eturn with a vengeance in the early eighteenth century, when the Enlightenment, iinereasingJy fascinated by the variety of religions and cultures in... (shrink)

Studying the Bernau manuscripts, we find that because protentions are motivated by the sedimentation of retentions and retention is the retaining of fulfilled protentions, the problem of the birth of consciousness arises. I argue that the phenomenon of sleep and awakening is not fundamental enough to understand the problem of the birth of consciousness, since “far” retentions can here serve as motivations. Consciousness at its birth seems to require a pre-consciousness of hyletic unities, such as manuscript C 4 described, to (...) provide these first motivations. I will show that this model of time-consciousness therefore already requires a rethinking of consciousness according to an open (horizontal) affection-and-action model instead of the absolute (vertical) sensation model. As such, the transcendental solidarity between objectivity of knowledge and subjectivity of experience comes to be founded in the primordial transcendence that the pre-consciousness of C 4 implies. Time-constitution at its core is already motivated by the world to constitute it and itself. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The 1999 Parliament of the World’s ReligionsJim KenneyThe Council for a Parliament of the World’s Religions (CPWR) is delighted to announce the convening of the 1999 Parliament of the World’s Religions, December 1–8, 1999, in Cape Town, South Africa. Nestled against Table Mountain and overlooking the Atlantic and Indian Oceans, Cape Town is home to many races, religious traditions, and cultural varieties. Religious, spiritual, cultural, and (...) civic leaders, groups, and communities there are working in partnership with CPWR to make the 1999 Parliament an unforgettable gift to the world.In the spring of 1988 the Council for a Parliament of the World’s Religions was formed with the commitment to celebrate the hundredth anniversary of the first Parliament of Religions, held in Chicago in 1893. The 1993 Parliament of the World’s Religions was one of the most extraordinary interreligious events of all time. Almost eight thousand participants came together to celebrate the commonalties and diversities of the world’s religious and spiritual traditions and to explore religious and spiritual responses to the critical issues that face the human community.Part of the legacy of the 1993 Parliament was a widespread conviction on the part of religious and spiritual leaders and participants from the grassroots that what had taken place in Chicago must continue. The parliament testified to a new spirit emerging around the world, characterized by new interreligious encounter, understanding, and cooperation. In the wake of the 1993 event, the council began to shape two initiatives designed to foster interreligious dialogue and shared action in metropolitan Chicago and around the globe. To highlight and punctuate these ongoing efforts, CPWR made a powerful commitment that, beginning in 1999 and every five years thereafter, a new parliament would be convened somewhere in the world.The diversity of the global community has never been more apparent. Today, metropolitan centers like Chicago exhibit an unprecedented variety of cultures. Advanced technology and communications have transformed the world into a global village. As a consequence, awareness of the richness of the human family in its racial, ethnic, cultural, social, religious, and spiritual dimensions is growing worldwide. The beauty and promise of this diversity is that we are mysteries and opportunities to one another. We are strangers who can become neighbors and friends. Simply in sharing who we are with each other, we all can broaden our horizons, deepen our [End Page 201] understandings, and get in touch with new sources of compassion and vision, courage and hope.At a Parliament of the World’s Religions, people from around the world—teachers, scholars, leaders, believers, and practitioners—come together to experience astonishing spiritual and cultural variety, to exchange insights, to share wisdom, to celebrate their unique religious identities; in short, to be amazed, delighted, and inspired. At the same time, participants wrestle with the critical issues facing the global community, learning about the world situation, and seeking the moral and ethical convergence that leads to shared commitment and action.The Parliament experience unfolds as a spectacular opening ceremony welcomes thousands of adherents of the world’s religious and spiritual traditions. In the days that follow, participants eagerly engage in interreligious encounter and education through lectures and workshops, plenary sessions, and performances. In shared observances, meditation, and prayer, persons from all walks of life find inspiration and renewal. And in chance meetings in corridors and on the street, each finds that the world is paradoxically both a smaller and a richer place than she or he ever imagined.In a period of heightened spiritual interest and renewal, the 1999 Parliament of the World’s Religions in Cape Town, South Africa, will offer countless opportunities for discovery and inquiry. Participants will be able to touch their own traditions at deeper levels. They can explore the origins, development, and perspectives of unfamiliar paths. They can compare and contrast beliefs and practices from widely separated places and times. Through lectures, workshops, and plenary sessions, through worship, prayer, or meditation, and through chance meetings with people from around the world, the parliament event will offer everything from occasions for personal spiritual growth and exposure to transformative approaches to social engagement to new friendships and an... (shrink)

Taking as its point of departure Edmund Husserl's 1935-36 text The Crisis of European Sciences, this essay attempts to develop a new conception of reason by means of a thoroughgoing critique of some ideas often used to support and define it. Because the notion of "enlightenment" has been tied since the time of Kant to a certain coming of age of reason or rationality, the "enlightenment" to come must at once draw upon the resources of this reason and open reason (...) to some of the aporias it has traditionally rejected. Reducible neither to a simple irrationalism nor to a mere mode of calculative thought, such reason must ultimately challenge, it is argued, not only the sovereignty and identity of the subject but the very concepts of sovereignty and identity. Only such a renewed thinking of reason or of what is reasonable, the essay suggests, can help us diagnose, analyze, and help treat some of the aporias posed by a whole host of contemporary issues, from cloning to the erosion of the nation-state to globalization and terrorism. Only in this way can we at once "save the honor of reason" - to use a phrase that runs throughout the essay - and help reorient the reason of politics, of the sciences, and, indeed, of philosophy along the lines of a more fundamental and urgent ethical imperative. (shrink)

The city of Kūfa has come to the forefront since the early periods of Islam by dealing with religious sciences and developing these sciences. While these sciences were initially limited to religious sciences, they gradually began to diversify as a result of the expansion of the Islamic geography. Because the Arabs' encounter with the Byzantine and Sassanid empires did not only lead to struggle but also allowed them to get to know their cultures. As a result of this contact, the (...) scientific basin in the Islamic world began to be filled with sciences from different cultures. This geographical expansion had both positive and negative aspects. One of these negative sides was the deterioration of the languages of the Arabs who mixed with foreign peoples in the conquered lands and the spread of this deterioration to the reading of the Quran. In response to this negative situation, studies on grammar sciences emerged in the city of Basra and were transferred to the city of Kūfa a century later. Kūfa grammar school was formed as a result of the intensive work of grammarians from Kūfa regarding grammar science, which also attracted attention in the city of Kūfa. The greatest share in the transformation of Kūfa grammar into a school belongs to al-Kisā’ī and his student al-Farrā. Although there were grammar studies and lessons in Kūfa before al-Kisā’ī and al-Farrā, they were not at a level that would ensure the transformation into a school or compete with Basra grammar school. Muādh al-Herrā is one of the pioneers of Kūfa grammar school. Muādh al-Herrā, about whose life there is not much information, was interested in scientific fields such as syntax grammar, language, tafsir, hadith, recitation and poetry. Muādh al-Herrā is one of the important figures in the history of Kūfa grammar, as he dealt with grammar in the early periods of Kūfa grammar, gave lessons and taught scholars such as al-Kisā’ī and al-Farrā, who helped developing the school of Kūfa grammar. In this study, the life of Muādh al-Herrā, about whom we have not come across any independent study, is presented, in the context of his scientific views as reflected in the sources, information about his scientific personality is presented and the issue of whether he is the founder of the sarf is examined. (shrink)

A new paradigm in theology, termed evolutionary theology, supports the understanding of ecology as the proper ordering of the relations between living organisms and their environment. It is argued that evolutionary theology yields a unique conceptual framework in which the human species share a common history with the entire Universe and respecting nature’s integrity means securing a common destiny to everything that exists. This is a powerful motivation for adopting a balanced ecological attitude aimed at respecting nature’s inherent integrity. Furthermore, (...) proposing theological arguments to substantiate ecological claims will help neutralize the objections that religion as such promotes anti-ecological attitudes. Such objections become more pressing when religion focuses exclusively on the afterlife in the immaterial and eternal world to come, and neglects the well-being of the material and temporal Universe. -------------- Received: 30/08/2020. Reviewed: 07/10/2020. Accepted: 12/11/2020. (shrink)

Eager to change the world? Learn how you can have a greater social impact through your everyday purchases. The money we routinely spend on food, clothes, gifts, and even indulgences is an untapped superpower. What would happen if we slowed down to make more thoughtful decisions about what we buy? For "mom and pop" stores across the country, and artisan and agricultural communities around the world, every purchase matters. Consumers--whether individuals, small businesses, or corporations--are paying more attention than (...) ever to how their goods are made; and retailers--large and small--are responding by investing in ethical and eco-friendly production. Yet figuring out which brands to support can feel overwhelming. Jane Mosbacher Morris has devoted her career to creating economic opportunities for vulnerable communities around the world, and in this valuable book, she shares her passion and insights on how we, as consumers, can create positive change too. Covering topics that range from why not all factories are evil, to how our morning coffee can be the easiest way for us to use our purchasing power for good, Buy the Change You Want to See makes us better informed consumers. Morris tells inspiring stories about how victims of human trafficking and natural disasters have been empowered by economic opportunity, and she offers practical ideas about how we can support these communities through our purchases--whether it comes to jewelry made from recycled materials in Haiti, sustainably grown and ethically sourced coffee and chocolate from farmers in some of the poorest regions of the world, or mass-produced jeans and shoes made in factories where workers are guaranteed decent working conditions and a fair wage. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one (...) of the themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

This commentary records, through notes taken by Hermias, Syrianus' seminar on Plato's Phaedrus, one of the world's most influential celebrations of erotic beauty and love. It is the only Neoplatonic commentary on Plato's Phaedrus to have survived in its entirety. Further interest comes from the recorded interventions by Syrianus' pupils - including those by Proclus, his eventual successor as head of the Athenian school, who went on to teach Hermias' father, Ammonius. The second of two volumes of Hermias' commentary, (...) the chapters translated here begin with a discussion of how the discarnate soul is visualised as a winged chariot team whose charioteer may gain some glimpse of beauty itself, which can explain subsequent erotic longing. This volume provides a translation is accompanied by explanatory notes, an introduction detailing the significance and context of the treatise and a scholarly apparatus including multiple indexes, glossaries and a bibliography. (shrink)

This paper argues that the Correspondence Theory of Truth is not well- served by Truthmaker Theory and is better developed in a different direction. For there are reasons to believe that the main axiom of that theory (TA) which states that for every truth there is a truthmaker is either unjustified or false. Some of these reasons are already well-known. Negative existentials and universal generalizations present initial difficulties for TM theory as do necessary truths. There is a more serious problem, (...) though which has not hitherto been noticed. (TA) even when restricted to contingent sentences seems to tolerate clear counterexamples. There seem to be, and I argue that there in fact are, true contingent sentences which lack truthmakers. The examples adduced are all truthmaker analogues of semantically pathological sentences. The positive proposal shares with Truthmaker Theory the view that our judgments and sentences are rendered true by the worldly facts but argues for an alternative conception of Ôrendering trueÕ and a novel conception of 'facts'. (shrink)

The 18th century witnessed the transformation of aesthetics into an independent philosophical discipline. In this period, two main traditions emerged, based on which we can categorize aesthetic theorists. The first of these is classical or rationalist aesthetics, and the other is empiricist or subjective aesthetics. Because classical/rational aesthetic theories were largely based on Cartesian metaphysics, they also inherited the difficulties faced by Cartesian metaphysics. For Descartes, senseperception is not a reliable mode of cognition and truth only comes out of the (...) ideas of pure understanding. Where Descartes' philosophy came to a dead end was that it could not convincingly explain how the concepts in our minds represent reality that is independent of us. This problem also manifested itself in the rationalist aesthetics. Similarly, the empiricist theory inherited the weaknesses of the empiricist epistemology. The main problem of empiricism was to overcome subjectivism and reach universal principles that make sense of the world surrounding us. To overcome the relativism of the empiricist epistemology, empiricist theoreticians claimed that there is an intuition, a common feeling shared by all human beings. However, this common feeling could not be proven empirically. Diderot created a new aesthetic theory that aimed to reconcile rationalist and empiricist aesthetics by redefining the term perception. This article discusses Diderot's innovative effort to create a new aesthetics free from the limits of rationalism and empiricism. (shrink)

Gallicanism is specifically related to the Catholic Church of France, and it is a set of ecclesiastical and political doctrines and practices which tried to limit the powers of the Papacy in France in general. In particular, it characterized the situation of the Catholic Church in France at certain periods. The emergence of Gallicanism as a specific idea came about in the 14th century and was first used as a term in 1810. Almost everything expressed by Gallicanism is a distinctive (...) development within the French Catholic Church. Gallicanism was mostly about the riches of the Catholic Church and administrative matters rather than a theological movement. These issues were mostly related to episcopal jurisdiction, appointments of bishops, church properties and revenues, and at the core of all these issues lay the sharing of church revenues. The French Crown began to acquire gains, especially regarding the property and financial income of the church with the weakening of the power of the Papacy. This new situation left the bishops between the popes and the kings, and prepared the ground for the development of Gallicanism in the country. However, Gallicanism did not come around as a separatist movement and did not lead to the separation of the Catholic Church of France from the Roman Catholic Church. Due to the conflicts of interests between the king, parliament and the clergy, Gallicanism could not develop into a monolithic thought or doctrine, it manifested itself in different perspectives. These manifestations have been treated as Episcopal, Parliamentary, and Royal Gallicanism in most academic studies. Each of these different Gallican ideas brought to the fore the institutions indicated in their naming and received support from them. However, all three versions of Gallicanism shared some common ideals. These are the common ideals of different Gallicanisms: (1) the independence of the king of France in worldly affairs, (2) the supremacy of an ecumenical council over the pope, and (3) the restriction of the pope's intervention in the French Catholic Church. Royal Gallicanism aimed to gather the powers snatched away from the Papacy in the hands of the king. Parliamentary Gallicanism shared similar principles with Royal Gallicanism. (shrink)

During the last decade a new utopian horizon has emerged from the radical left: that of a future postcapitalist society in which technological progress and renewable energy finally take care of our material needs while robots do most our work for us, making paid employment a thing of the past. Instead, we can focus on fulfilling our desires and dreaming up new ones, leading lives of luxury and ease. This utopia, often called “fully automated luxury communism," could be reached through (...) opportunistically accelerating features of the existing neoliberal capitalist system. -/- However, behind this vision of a bright, sustainable future lurks a worrying political prospect. I show how the post-capitalist’s philosophical prejudice against work comes at a high political cost. By painting productive activity as mere drudgery that machines will emancipate us from, they also end up giving up on work as the root of radical democratic agency. The luxury communist proposal ends up resembling an extreme case of the neoliberal hegemony that it claims to be fighting against, a centrally ruled world completely focused on private enjoyment of luxury and devoid of any shared understanding of human flourishing on which democratic public life could thrive – a political dystopia. (shrink)

Using data on submitted and published manuscripts in Feminist Economics from 1995 to 2019, we examine differences in method and scope used by authors residing in the Global North and Global South. We specifically focus on research methods, intersectional analyses, region of analysis, and co-authorship status. Further, using logistic regression models, we examine the relationship between authors’ location and use of research methods. We find authors in the Global South are more likely to engage in empirical and mixed-methods papers compared (...) to Global North authors in our sample. Moreover, a greater share of Global South authors engage in intersectional analysis and exhibit geographical focus on developing countries. Drawing insights from the Feminist Economics manuscripts data, we argue that encouraging Global South research can contribute to the goals of the field of feminist economics – aimed at inclusivity, diversity of standpoints, and plurality in research methods, thereby improving overall economic research. (shrink)

The concept of the resurrection of the body (or of the dead) is most easily explained by laying out the ways in which it differs from the most important competing picture of the survival of death, the Platonic picture. It can be plausibly argued that the doctrine of the resurrection of the dead presupposes some form of dualism. The resurrection life, as the post‐resurrection stories of Jesus show, is a physical life, the life of an organism. A belief in a (...) general resurrection of the dead is one of many Judeo‐Christian elements that have been incorporated into Islam. Some who accept the doctrine of resurrection deny the existence of a separable, immaterial soul. Those human beings who refuse salvation will, after the general resurrection, be thrust into a condition that the New Testament describes by a mixture of three images: exclusion, pain, and refuse. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reflections on Jewish and Christian Encounters with BuddhismHarold KasimowA thousand years hence, historians will look back at the twentieth century and remember it not for the struggle between Liberalism and Communism but for the momentous human discovery of the encounter between Christianity and Buddhism.—Arnold ToynbeeBeginning in the 1960s many American Jews and Christians have become fascinated with the Buddhist tradition and have immersed themselves in the study and practice (...) of Buddhism. In this presentation I will examine how Christian and Jewish leaders have responded to this phenomenon. Some have been quite suspicious of such interreligious and cross-cultural encounters, claiming that Buddhism is a great threat to their religions. However, others have argued that their encounters with Buddhism have led them to deeper insight into their own traditions and have helped them to become better human beings. Their practice of Buddhist meditation has been a way for them to develop sensitivity to God and greater commitment to their own traditions. Still others have converted to Buddhism; it is estimated that of the three million Buddhists in America, fully one million are converts from Christianity and Judaism.Because of the complexity and diversity within Judaism, Christianity, and Buddhism, I will focus on the responses of leading Orthodox Jews and Roman Catholic Christians to Theravada Buddhism and to the Zen school in Mahayana, the two forms of Buddhism to which many Americans are drawn and with which I have some personal experience. I will first examine how members of the Jewish and Christian traditions view other religions, because an individual’s perception of the encounter is shaped by how their religion views the Buddhist tradition. This will help us understand why religious authorities find this fascination with Buddhism so problematic.the jewish-buddhist encounterHistorically, Judaism has largely been interpreted by its thinkers as the only true religion. However, this does not mean that members of other faiths may not attain [End Page 21] salvation. According to the Talmudic Doctrine of the Seven Commandments of the Sons of Noah, “the righteous of all nations have a share in the world to come,” that is, all human beings can attain salvation who establish courts of law and who refrain from idolatry, murder, blasphemy against God, incest, theft, and eating the limb of a live animal. Jewish authorities claim that because Christianity and Islam worship God they are not to be considered idolatrous, although some question the monotheistic nature of Christianity because of the doctrine of the Trinity and the Incarnation. However, there is no question that members of Asian religions are practicing idolatrous worship, avodah zarah (“strange worship”). They are therefore in violation of the Noahide Law not to worship idols.With some exceptions, Orthodox rabbis in recent times agree with Rabbi Avigdor Miller (1908–2001) that “Buddhism, Shintoism, and all other religions of the Far East are forms of idol worship.”1 For Rabbi Miller the Torah contains all the knowledge that is necessary for Jews, and to even study another religious tradition is an affront to God. That this attitude toward the study of alien texts is common today is evident from the reaction of Rabbi Chaim Zvi Hollander to the suggestion of Rabbi Zalman Schachter that it is permissible to explore Asian forms of spirituality. Hollander charges that “Zalman Schachter’s incredible advice is a direct contradiction of the Almighty’s request that we not seek out and explore the spiritual modes of the Goyim, even if it is for the purpose of enhancing our spiritual experience in the service of our God.”2 He further states that “the practice of any religion other than Judaism is for a Jew an act of Avoda Zara.”3For Rabbis Miller and Hollander, blending Judaism with the Buddhist tradition, which is not concerned with a creator God and which rejects the idea of self, is inconceivable and more dangerous than Jews who convert to another religious tradition. However, even among the Orthodox, there are divergent views. Irving Greenberg, one of the outstanding liberal Orthodox rabbis of our generation, after meeting with the Dalai Lama wrote, “the Dalai Lama taught us a lot about Buddhism, even more about menschlichkeit... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 39.3 (2001) 385-406 [Access article in PDF] Some Thoughts on What Spinoza Learned from Maimonides on the Prophetic Imagination Part Two:Spinoza's Maimonideanism Heidi M. Ravven 1. Spinoza's Maimonideanism Now it is precisely with the belief that the prophets were philosophers and the Bible offers veiled insights into the central doctrines of philosophy, so powerfully argued and deeply held by Maimonides that he included (...) it as one of his Thirteen Principles of Jewish Faith the acceptance of which is a necessary condition of a share in the World to Come, 1 that Spinoza took strong issue. 2 At the same time, however, Spinoza agreed with Maimonides' doctrine [End Page 385] of the a. imaginative (literary) character 3 and b. the political function 4 of the Bible and of its authors and of the major prophetic figures. The quite obvious influence of Maimonides' account of prophecy upon Spinoza's account in the Tractatus Theologico-Politicus (TTP) has been widely recognized and commented upon. That is to say (although no commentator up till now, as far as I know, has made this point explicit), Spinoza adopted Maimonides' conception of prophecy as mimetic or productive and not only—or chiefly—as receptive. 5 The Maimonidean account of the (prophetic) imagination clarifies why the atomic fact model of the receptive function of the imagination is inapplicable to the TTP. The imaginative character of prophecy is not about picking up information (in a dream or otherwise) delivered from God; rather, it concerns how one understands (and presents) certain truths (in the case of Spinoza's notion of prophecy, namely, those of ethics and in Maimonides' those of science as well as of ethics) imaginatively rather than rationally, i.e., within a web of (narrative and symbolic) associations instead of within the deductive order of rational causal explanation. "Now we see," Spinoza, in the first chapter [End Page 386] of the Tractatus, 6 writes, echoing Maimonides (esp. Guide II, 47), "why the teachings of the prophets were nearly all in the form of parables and allegories, and why all spiritual matters were expressed in corporeal form, for this is more appropriate to the imaginative faculty." Prophecy does not consist in the simple reception of pieces of information transmitted directly from God. This is not what it is for Maimonides nor for Spinoza.Thus we find that Spinoza formally defines the prophet in the beginning of TTP, chapter i, as "one who interprets (interpretatur) God's revelations to those who cannot attain to certain knowledge of the matters revealed... For the Hebrew word for prophet is nabi, that is, speaker and interpreter (orator et interpres)." 7 The prophet is interpreter in imaginative terms, whether he reformulates belief imaginatively or instead merely understands it in that way himself to begin with. Prophecy is an imaginative (narrative, symbolic) rather than a philosophical (logical and demonstrable) type of understanding and presentation. If one looks at Spinoza's account of prophecy in TTP i, one finds that immediately after Spinoza defines prophecy, he then goes on to tell us what revelation is scientifically: "the nature of [the human] mind... is the primary cause of divine revelation." That is to say, the mind itself, whether rationally in intellectual thought or in its imaginative capacity and in both cases as itself a product of divine (i.e., natural) causes, supplies the content of revelation. 8 Spinoza then goes on to say that now that we have understood the true explanation of prophecy, we must return from this scientific understanding to the biblical account of prophecy. At that point he tells us that "the Jews never make mention of intermediate or particular causes nor pay any heed to them, but to serve religion and piety... they refer everything to God." Now this is a crucial passage and must be used as an interpretive principle for all that follows. (Spinoza illustrates the point in some detail at the end of the chapter where he lists the various... (shrink)

Background: -/- Having colonised the social role ‘woman’, and entering female-only spaces, there is one bastion of womanhood left which has always been closed off to men who claim to be women: the inner life, the phenomenology of inhabiting a female sexed body. This bastion has come under attack; trans women claim that they ‘feel like a woman’ or that they are ‘a woman inside’. The aim of this essay is to assess such claims. -/- The appropriation of ‘womanhood’ by (...) males leads to the sidelining of women. Trans women are lauded as exemplars of womanhood. They are crowned ‘woman of the year’, become university women’s officers, represent women in political parties, or are being nominated for a women’s prize for fiction. The message is that trans women make for better ‘women’. The philosophical underpinnings for this view can be found in the work of Talia Mae Bettcher. -/- Road Map: -/- Part I: Recently, trans women have been claiming to have the phenomenal experience of women (I am a woman inside; I feel like a woman). Relying on Thomas Nagel[1] and Frank Jackson,[2] I will argue that they are in error. The inner life of trans women is fundamentally different from that of women, because the former cannot take up the female perspective. Being a woman means, among other things, to have a female body and, consequently, to experience yourself and the world through a female body. This is the core of being a woman, and trans women can never satisfy this condition, because they are – and remain – male-bodied (regardless of any bodily modifications). Thus, such claims are simply wrong. Trans women are not physiologically equipped to share in the female phenomenal experience. -/- Without a female body there is no female experience; the latter relies on the presence of the former.[3] This means that trans women are not women because a) they lack the respective body, and b) they lack the respective phenomenal experience. Their imitations of the female (experience) don’t make them into women. -/- Part II: Trans theory offers a way out, by sidelining the body. Talia Mae Bettcher’s account of ‘first-person authority’ (henceforth, FPA) about gender as well as the ‘liberatory project’ constitutes the strongest defence available to take the avowals of trans people (about sex, gender and their phenomenal experience) seriously. Bettcher’s theory has two advantages. It doesn’t matter whether you have a female body or not, and it doesn’t matter whether you are mistaken about your avowals or not (i.e. the epistemic question). The avowals of transgender people have ‘ethical force’, rather than epistemic force. This would mean that we need to affirm trans women in their belief that ‘trans women are women’, and it would follow that the ethical force would underwrite their claims of feeling like a woman inside. I will subject Bettcher’s cogitations to philosophical scrutiny; this is something that, surprisingly, is missing in the literature. Most subsequent writers adopt Bettcher’s FPA uncritically. I will conclude that Bettcher’s project fails, and that trans claims about having the phenomenal experience of women cannot find support from Bettcher’s FPA. -/- [1] Nagel, T. 1974. What is it like to be a bat?, The Philosophical Review, Vol. 83:4, pp. 435–450. -/- [2] Jackson, F. 1986. What Mary didn’t know, The Journal of Philosophy, Vol. 83:5, pp. 291–295. -/- [3] A stillborn girl is female, although she will never have female experiences. Her body is the condition of the possibility for having female experiences, i.e. for ‘being’ a woman. (shrink)

Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Theory in the “Post” Era: A Vocabulary for the 21st-Century Conceptual Commons ed. by Alexandru Matei, Christian Moraru and Andrei TerianLaura Elena Savu WalkerMatei, Alexandru, Christian Moraru, and Andrei Terian, editors. Theory in the “Post” Era: A Vocabulary for the 21st-Century Conceptual Commons. Bloomsbury, 2021. 376pp.Far from “mourning” the demise of theory, this timely and thoughtfully curated essay collection testifies to its “renewed vitality,” its compelling presence “across (...) fields, domains of life, and geocultural boundaries,” and its power to build an ever-expanding world community of practioners who are forming what has come to be known as a “theory commons” (ix). As the collection’s editors point out, theory’s new lease on life hinges on ensuring both the democratic workings of this “world discourse formation” (1) and on the responsible theorizing of the very notion of community in “a world threatened by all kinds of anti-communal actions and reactions, from runaway globalization to exacerbated tribalism and tunnel-vision politics” (x). Working on the margins, specifically, out of a Romanian “lab” called The Critical Theory Institute (CTI), which opened its doors in early 2000, the contributors seek to revise the “standard history of theory,” one whose “Western origins, authority, and cultural compass ” strike them as “exceedingly reductive” (3). This project of geotheoretical repositioning and recalibration aims to recast theory as a “quintessentially cross-linguistic, cross-cultural, trans- and intercontinental undertaking” (4). As such, it carries on the project, launched in a previous volume, Romanian Literature as World Literature (2018), of fashioning an alternative to the nation-state paradigm that has long shaped literary and intellectual histories. In both of these works, Romanian critics and theorists have tuned into a wide range of voices, and tapped into a shared conceptual and methodological apparatus—itself the product of “an ethno-linguistic medley of traditions” (8). This approach informs what editors see as the “epoch-making” (17) discursive paradigm that has taken shape in globally networked post-Cold War societies (17), a viral model of cultural influence that fosters an ontology of “contact, contagion, of infection, dissemination, and horizontal accumulation” (15).To give us a sense of theory’s complex genealogy and evolution, the editors reference the Bulgarian critic Galin Tihanov, who has attributed [End Page 122] important developments in contemporary theory to the achievements of theorists (Nikolai Trubetskoi, Roman Jakobson, Vladimir Propp, and Georg Lukács) and schools of thought (Russian Formalism and the Prague Linguistic Circle). In “Traveling Theory” (1983) and “Traveling Theory Reconsidered” (2000), Edward Said called attention to the migratory nature of contributions made, for instance, by Georg Lukács, whose theories moved across different European locales in this period. Since then, contemporary theory has branched out to integrate the travels and travails of scholars affiliated with theory labs located in Bulgaria, Hungary, Slovakia, and last, but not least, Romania (10).Theory in the “Post” Era highlights five characteristics that distinguish theory in the “post” era from earlier forms: 1) It has a “reluctantly epoch-alist” thrust (19; original italics), which assumes that the “post” lexicon entails “rupture, discontinuity, and opposition” (19), radical departures, tentative claims, provisional conclusions, and ex-centric perspectives; 2) it adopts a “self-reflexive and experimental” (20; original italics) stance in which theorists invoke inherited approaches or invent new ones; 3) it introduces a “transdisciplinary” (21; original italics) scope that allows authors to interrogate the foundations, aims, and methods of theoretical discourse and practice across several knowledge domains, from which they “borrow whole vocabularies and toolkits” (21); 4) it is “nationally, transnationally, and ecologically affiliative” (20) in ways that allow theorists to “think with others at a distance” (21) about global issues; and 5) it is programmatic, placing critical and theoretical concerns in the service of “the ethical, the political, and the communal” (22). Organized around three main themes (“Aesthetics,” “Temporalities,” and “Critical Modes”), the essays juxtapose discussions of pivotal historical events and cultural phenomena with literary analyses of Romantic era “classics,” modernist experiments, and postmodern works of the post-Communist era, a corpus that includes, but is not limited to, landmark works of national culture that are now part of a fast-expanding planetary... (shrink)

Michel Faber’s novel Under the Skin tracks the transformation of the novel’s protagonist, Isserley, as she undergoes a crisis in her self-identity and drifts slowly but in a determined manner toward another way of life. Isserley works in the voddissin industry, which captures and transforms “vodsels” into consumable meat. As the novel unfolds, Isserley eventually comes to reject the meat industry and the subjugation of vodsels on which it is based. Here I suggest that Isserly’s subjective transformation is based not (...) on a superficial recognition of logical identity between herself and vodsels, but on a deeper ethic of belonging, which enables her to affirm her shared “animal” condition with vodsels and other earthly beings. (shrink)

Many contemporary thinkers of the Anthropocene, who attempt to articulate a non-modern and relational ontology, all too readily dismiss critical theory inherited from the Frankfurt School for being anthropocentric, failing to acknowledge certain basic similarities. Instead, this article argues that the scaffolding of Anthropocene thinking—the recognition of the origins of the contemporary condition of ‘loss of world’ and the hope of ‘living on in the ruins’—share much with earlier critical theorists’ recognition that the Holocaust necessitated a fundamental break with (...) the past. In reading these two sets of literatures together, we suggest we can get a better grasp of the stakes involved in the contemporary crisis of critique, and in the speculative framings enabling alternative futures to come into being. (shrink)

Coming into the 21st century, Korean religious (Christian) societies seem to lose the hope for social transformation. There are few voices to speak out for the common good especially on behalf of the helpless people. Prevailing is a relativist social ethic, which is ironically based on absolutist understandings of religious beliefs, that each social group deserves its own share, and any request for an ultimate ethical calling sounds obtrusive and extravagant. This is one of the worst aspects in our contemporary (...) religious ethics. This paper suggests that the legacy of the Korean minjung theology be reconsidered seriously in order to overcome the present predicament of religious social ethics. With a specific hermeneutic eye of minjungcentrism, we could establish a postmodern religious responsibility that avoids both relativism and absolutism and yet encourages an absolute calling for justice and liberation in the midst of historical relativity. (shrink)

In 1986, Elie Wiesel received the Nobel Peace Prize in recognition of his victory over “the powers of death and degradation, and to support the struggle of good against evil in the world.” Soon after, he and his wife, Marion, created the Elie Wiesel Foundation for Humanity. A project at the heart of the Foundation’s mission is its Ethics Prize—a remarkable essay-writing contest through which thousands of students from colleges across the country are encouraged to confront ethical issues of (...) personal significance. The Ethics Prize has grown exponentially over the past twenty years. “Of all the projects our Foundation has been involved in, none has been more exciting than this opportunity to inspire young students to examine the ethical aspect of what they have learned in their personal lives and from their teachers in the classroom,” writes Elie Wiesel. Readers will find essays on Bosnia, the genocide in Rwanda, sweatshops and globalization, and the political obligations of the mothers of Argentina’s Disappeared. Other essays tell of a white student who joins a black gospel choir, a young woman who learns to share in Ladakh, and the outsize implications of reporting on something as small as a cracked windshield. Readers will be fascinated by the ways in which essays on conflict, conscience, memory, illness, and God overlap and resonate with one another. These essays reflect those who are “sensitive to the sufferings and defects that confront a society yearning for guidance and eager to hear ethical voices,” writes Elie Wiesel. “And they are a beacon for what our schools must realize as an essential component of a true education.”. (shrink)

This paper discusses the possibility of finding an ethic of at least partial and perhaps ever-growing content in a world not that of moral strangers (where we have nothing except our desire to live freely to unite us) and one of moral friends (in which values, goals and ways of doing things are held in common). I argue that both the world of moral strangers which Engelhardt's world view would support, as the world of moral friends (...) which is the one Pellegrino seeks both are untenable and that furthermore both can lead to a similar state of affairs. I suggest a dynamic world of moral acquaintances in which different belief systems and ways of doing things can come to some broad agreements about some essential thing. This is made possible because although we do not share the intimate framework Pellegrino might suggest, yet we are united by a much broader framework than the one moral strangers share. (shrink)

To be successful, collaboration at work requires its participants to have a common sense about what is happening and where things are heading. But how can collaborators have such a sense in common if what is going on continuously changes? This study investigates the joint communicative work participants in collaborative activity do to remain aligned on how things are going and where things are at for the purpose of maintaining a ground in common. Our test case for illustrating this joint (...) work is the fluid and constantly changing world of software development. Our study uses a transactional approach to show how software developers working together continuously make available what they are attuned to, which constitutes their common ground that allows actions and talk to make sense. The common ground enables a common, inherently shared sense of what is happening and how things are going. Rather than having “meaning” in themselves, signifiers (words, gestures, body movements, cursor movements) create and are part of the common ground against which they make sense. Signifiers are motivated by and produce an accented visible that is available to all group members; and this accented visible (including the signs) makes for the common ground. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Beyond the Ethics of Wealth and a World of Economic InequalityMark D. WoodAnalyzing the ethics of wealth and the relationship between the dominant ethics of wealth and economic inequality is vital to creating a humane mode of global life. We are living during a period in which the unequal concentration of wealth—which is to say, the unequal concentration of the resources that make human existence, development, and fulfillment (...) possible—has never been greater.1 The World Bank reports that almost “1.3 billion people remain below the extreme poverty line with an income of US $1.25 or less a day. Close to 2.5 billion—more than one-third of the world’s population—live on less than US $2 a day, another common measurement of deep deprivation,”2 and a staggering 80 percent of the world’s population struggles to survive on less than US $10 dollars a day.3 Credit Suisse’s 2012 Global Wealth Report indicates “the bottom half of the global population [or more than 3.5 billion persons] possess barely 1 percent of total wealth... In sharp contrast, the richest 10 percent own 86 percent of the world’s wealth, with the top 1 percent alone accounting for 46 percent of global assets.”4 Given the history of international colonial and neocolonial relations, it comes as no surprise that wealth is highly concentrated in Western Europe and North America, while the overwhelming majority of individuals living in poverty are concentrated in Africa, India, Asia, and Central and South America.5The wealth gap between the top 10 percent and the bottom 90 percent is, however, also reaching record levels in developed nations. While in 2012, the United States had the seventh highest average wealth holdings per adult in the world, “among nations with at least a quarter-million adults, only Russia, Ukraine, and Lebanon are more unequal” than the United States.6 A Reuters investigative report published in 2012 reveals that “inequality has risen not just in plutocratic hubs such as Wall Street and Silicon Valley, but also in virtually every corner of the world’s richest nation: Inequality has increased in 49 of 50 states since 1989,” with Mississippi being the only exception, even as it still “ranks worst in the nation on both counts.”7 In 2010, “the top 1 percent of households (the upper class) owned 35.4 percent of all privately held wealth, and the next 19 percent (the managerial, professional, and small business stratum) had 53.5 percent, which means that just 20 percent of the people owned a remarkable 89 percent, leaving only 11 percent of the wealth for the bottom 80 percent [End Page 125] (wage and salary workers).”8 In The Price of Inequality (2012), Nobel Prize–winning economist Joseph E. Stiglitz indicates that the “six heirs to the Walmart empire command wealth of $69.7 billion dollars, which is equivalent to the entire wealth of the bottom 30 percent of U.S. society.”9 In short, six individuals possess more wealth than do ninety-six million individuals—though this figure is misleading inasmuch as most of the ninety-six million own almost nothing but mounting debt. Most significantly, the top 10 percent own between 81 percent and 94 percent of all stocks, bonds, trust funds, and business equity, and almost 80 percent of non-home real estate.10 G. William Domhoff makes the vital point that inasmuch as “financial wealth is what counts as far as the control of income-producing assets,” that is, control of the means of producing wealth, “we can say that just 10 percent of the people own the United States of America.”11 Meanwhile, according to the latest census, fifty million Americans qualify as poor and another 100 million qualify as low income.12The concentration of the lion’s share of wealth in the hands of a tiny fraction of humanity is devastating for the majority of people living on the planet and ultimately for everyone. On the ground, capitalism’s champagne glass–shaped distribution of wealth means that hundreds of millions of persons have barely enough of the basics necessary to exist. Between 24,000... (shrink)

La Société qui vient [The Society to Come], a book edited by Princeton professor and current holder of the Chair of Public Health at the Collège de France, Didier Fassin, cannot be accused of sinning by modesty. This is a collective work of more than 1300 pages, grouped in seven parts and comprising no fewer than 64 chapters. Each chapter is devoted to a fundamental question of our present time and is written by an author who is an expert in (...) her or his domain or field of research. Each of the first six parts deals with a set of broad themes of general interest: ‘challenges ( enjeux), policies, worlds, inequalities, recognition and exploitation’. A seventh, final, and non-thematic part is free of a prior theme and is composed of non-French authors. (shrink)

This chapter provides a Buddhist response to Olla Solomyak's (forthcoming) account of the afterlife from the perspective of Hasidic Judaism.

We agree with Heyes that an explanation of human uniqueness must appeal to cultural evolution, and not just genes. Her account, though, focuses narrowly on internal cognitive mechanisms. This causes her to mischaracterize human behavior and to overlook the role of material culture. A more powerful account would view cognitive gadgets as spanning organisms and their (shared) environments.

#1 NEW YORK TIMES BESTSELLER • A bold work from the author of The Black Swan that challenges many of our long-held beliefs about risk and reward, politics and religion, finance and personal responsibility In his most provocative and practical book yet, one of the foremost thinkers of our time redefines what it means to understand the world, succeed in a profession, contribute to a fair and just society, detect nonsense, and influence others. Citing examples ranging from Hammurabi to (...) Seneca, Antaeus the Giant to Donald Trump, Nassim Nicholas Taleb shows how the willingness to accept one’s own risks is an essential attribute of heroes, saints, and flourishing people in all walks of life. As always both accessible and iconoclastic, Taleb challenges long-held beliefs about the values of those who spearhead military interventions, make financial investments, and propagate religious faiths. Among his insights: • For social justice, focus on symmetry and risk sharing. You cannot make profits and transfer the risks to others, as bankers and large corporations do. You cannot get rich without owning your own risk and paying for your own losses. Forcing skin in the game corrects this asymmetry better than thousands of laws and regulations. • Ethical rules aren’t universal. You’re part of a group larger than you, but it’s still smaller than humanity in general. • Minorities, not majorities, run the world. The world is not run by consensus but by stubborn minorities imposing their tastes and ethics on others. • You can be an intellectual yet still be an idiot. “Educated philistines” have been wrong on everything from Stalinism to Iraq to low-carb diets. • Beware of complicated solutions (that someone was paid to find). A simple barbell can build muscle better than expensive new machines. • True religion is commitment, not just faith. How much you believe in something is manifested only by what you’re willing to risk for it. The phrase “skin in the game” is one we have often heard but rarely stopped to truly dissect. It is the backbone of risk management, but it’s also an astonishingly rich worldview that, as Taleb shows in this book, applies to all aspects of our lives. As Taleb says, “The symmetry of skin in the game is a simple rule that’s necessary for fairness and justice, and the ultimate BS-buster,” and “Never trust anyone who doesn’t have skin in the game. Without it, fools and crooks will benefit, and their mistakes will never come back to haunt them.”. (shrink)

Philosophy is one of the disciplines that can more adequately provide a contribution to the definition of the focus and limits of psychiatry in the definition of human being. Substantial, comprehensive contributions to this field come from Martin Heidegger, one of the most prominent and seminal philosophers of the 20th century. During the 50's the Italian psychiatrist Franco Basaglia comes up with the philosophy of Martin Heidegger and he gains the concept of human being as’Being-in-the- world’, central point in (...) every relationship with the others.’Being-in-the-world’ is not a merely spatial relation with ourselves and the others, but is the fundamental meaning of human existence and of the Care. The Care is not only a medical concept but also an ontological and ethical one: overcrossing the concept of empathy, Heidegger argues that all objectifying representations of a capsule-like psyche, subject, person, ego or consciousness in psychology and psychopathology must be abandoned in favor of a new understanding of human being, starting from its ontological characters:’Being-in-the-world’,’Being-with-the-others’ and’Being-toward-death’. (shrink)

The notion of subjectivity with which the argument will be carried out may be defined as our ability to reflect critically, to think creatively and to act resolutely in our relation to society and nature. Some essential marks of subjectivity are illustrated through an example taken from rescue operation conducted in the fall of 2010 for the miners trapped in deep underground at the San Jose mine site in Chile for 69 days. With the science and technology applied in constructing (...) the drilling rigs and making the capsule which lifted up the trapped miners to freedom, ingenuity, the resilient sense of mission and perseverance of the rescue personnel, and the purposeful solidarity among the trapped miners are among the decisive factors contributing to the successful accomplishment of the rescue undertaking.At this critical juncture of the current global economic downturn, it is consequential for us to bring ourselves to reflecting on the seriousness of the predicament which all humanity is in. It is indeed time for the intellectuals to rise up to share responsibility in keeping our world sustainable by setting purposive and resolute subjectivity before themselves and coming forward to tenaciously find ways toward renewing ourselves as well as toward the continuing betterment of humanity. (shrink)

For most of us, learning to communicate is as effortless as breathing, and like air, communication skills are elemental; integral to our human existence in this world. Our communicative competencies might be seen as a bridge, facilitating our relationship with the world we are immersed in. But what happens when a child has difficulty learning to communicate effectively? What happens when their most basic messages of hunger or thirst fail to be understood or they are unable to jointly (...) share in everyday experiences of curiosity, joy, frustration, or anger? In these situations, it is the role of the Speech-Language Pathologist (SLP) to span the distance between a child and their family, a child and the world, building a route for life experiences and understandings to cross over. An SLP often begins with assessment and after a brief interaction, an SLP may come to a ‘naming’ such as delay or disorder. While the caring professional may intend this naming to be helpful in better understanding a child or facilitating access to valuable support, this naming may also place an immeasurable weight upon the child and their family. The act of naming is therefore an ethical concern. Through observation and interviews, this paper presentation explores SLP’s experiences of coming to a diagnosis through the human lens of phenomenological inquiry. It seeks to enhance thoughtful and conscientious practice by considering the ‘ethical experience of caring responsibility’ as applied to SLP (van Manen, 2016). (shrink)

Since coming to Princeton, I have been impressed by two things: how rich the University is, and how seriously ethics is taken here. The wealth is evident to anyone who walks around the campus or uses the library. In comments marking President Shapiro's planned retirement from the presidency, it has been said that one of his achievements was to build the University's endowment from $2 billion to $8 billion. At a dinner a few months ago, a senior Princeton administrator told (...) me proudly that, on a per-student basis, Princeton is now the richest university in the world. (shrink)

Words can mean different things to different people. This can be problematic, mainly for those working together in a bureaucratic institution, such as the secret service. Shared, certified, explicit and codified definitions offer a counter to subjective, solitary and/or culturally dominant definitions. It’s true that codified secrecy terms for secret services can be seen to involve a number of political, cultural, subcultural “languages”, but if words come from unclassified or declassified files, memorandums and/or records, one needs a deep understanding of (...) the secret services. A remarkable feature of this bureaucratic language is the evolving nature of, certain “keywords” as important signifiers of historical transformation. Thus, the changes in the language of the secret services depends at least as much on the internal changes of the secret services as on the transformation in the external political-social environment. In spite of the confusion of Hungarian secret services in the revolutions of 1918–1919 and the disintegration of the Austrian-Hungarian Monarchy, in the early 1920’s became a stable system. Between the two World Wars, the Hungarian State Police directed by the Ministry of Internal Affairs, the Military Intelligence and Counter-Espionage directed by the Ministry of Defence, and the Hungarian Royal Gendarmerie directed by both of the Ministries had their own operational service. This structure existed unchanged until 1945. Simultaneously with the forward advance of the soviet troops, government began to re-establish the former system of the secret services in the eastern part of the country. After WWII, in 1946, the “State-protection Department” as political police became independent from the police. However, from the beginning, they remained under the control of the Communist Party. After 1950, the State Security Authority provided special services for the MIA and the Military Political Directorate of the MoD. After quashing the revolution in 1956, in the spring of 1957, the MIA Political Investigation Department was established which—with slight modifications—kept the structure created during the “state protection era”. The MIA III. The State-Protection General Directorate was established in 1962. The reorganization was finalized in the middle of the 1960’s, which resulted in the new system, which—with the structure of Directorates—became the ultimate structure of the state secret police until the abolishment of the MIA General Directorate III in January 1990. These organizational transformations were largely the result of exogenous historical-political changes. Moreover, each new period had a major impact on the organizational communication, language use and vocabulary of the secret services. This study seeks to interpret these historical transformations. (shrink)

The Oldest Living Things in the World is an epic journey through time and space. Over the past decade, artist Rachel Sussman has researched, worked with biologists, and traveled the world to photograph continuously living organisms that are 2,000 years old and older. Spanning from Antarctica to Greenland, the Mojave Desert to the Australian Outback, the result is a stunning and unique visual collection of ancient organisms unlike anything that has been created in the arts or sciences before, (...) insightfully and accessibly narrated by Sussman along the way. Her work is both timeless and timely, and spans disciplines, continents, and millennia. It is underscored by an innate environmentalism and driven by Sussman’s relentless curiosity. She begins at “year zero,” and looks back from there, photographing the past in the present. These ancient individuals live on every continent and range from Greenlandic lichens that grow only one centimeter a century, to unique desert shrubs in Africa and South America, a predatory fungus in Oregon, Caribbean brain coral, to an 80,000-year-old colony of aspen in Utah. Sussman journeyed to Antarctica to photograph 5,500-year-old moss; Australia for stromatolites, primeval organisms tied to the oxygenation of the planet and the beginnings of life on Earth; and to Tasmania to capture a 43,600-year-old self-propagating shrub that’s the last individual of its kind. Her portraits reveal the living history of our planet—and what we stand to lose in the future. These ancient survivors have weathered millennia in some of the world’s most extreme environments, yet climate change and human encroachment have put many of them in danger. Two of her subjects have already met with untimely deaths by human hands. Alongside the photographs, Sussman relays fascinating – and sometimes harrowing – tales of her global adventures tracking down her subjects and shares insights from the scientists who research them. The oldest living things in the world are a record and celebration of the past, a call to action in the present, and a barometer of our future. (shrink)

Our world can be a bewildering place. The sense of awe and wonder at the states of affairs in which we find ourselves immersed give rise to philosophical questions. Philosophical reflection is a critical attempt to come to grips with our place in the world and the various problems we encounter in respect to the complexities encountered in everyday life. In the most basic terms, phenomenology is the study of the structures and relations of phenomena. Phenomenology begins from (...) a descriptive analysis of our experiences of the world. It grants precedent to the first person perspective-how phenomena appear to consciousness. There are any number of problems related to the plenitude of kinds of experiences which confront us through the course of our lives, in addition to the structure of consciousness itself. This volume presents a variety of views on a number of the phenomena of our everyday lives, offering positions on such things from the nature of consciousness to the structures of religious or political experiences. Its appeal, however, should not be limited to philosophers alone-given that all persons can relate to the subject matter of the essays. For instance, one author asks, "what is friendship?" The present work may also be understood as a gesture toward bridging the division between the valuable insights of continental and analytic philosophical traditions. The authors include a combination of established academics, such as Jeffrey Wattles-the best-selling author of The Golden Rule-and young scholars from varied philosophical backgrounds. This collection is divided into four sections: (I) Foundational Elements of Experience; (II) The Experiencing Subject: What is it to be a Subject?; (III) Amongst Others: The Social World; and (IV) Social Objects and Institutions. Each section represents a level of experience, from the most basic structures of experience, to the subject's experience of the world and objects in it, to experiences and interactions with others, ending at the results of the codifications of certain social practices and beliefs. The sections treat their respective topics principally, even if they share material with other essays. Our experiences of the life-world, the world of human praxis, contain a multiplicity of elements; the divisions of this work are meant to demarcate various types of phenomena, not to offer any definitive thesis regarding a hierarchy or structure of relations. (shrink)

This book defends a new interpretation of Hegel's theoretical philosophy, according to which Hegel's project in his central Science of Logic has a single organizing focus, provided by taking metaphysics as fundamental to philosophy, rather than any epistemological problem about knowledge or intentionality. Hegel pursues more specifically the metaphysics of reason, concerned with grounds, reasons, or conditions in terms of which things can be explained-and ultimately with the possibility of complete reasons. There is no threat to such metaphysics in epistemological (...) or skeptical worries. The real threat is Kant's Transcendental Dialectic case that metaphysics comes into conflict with itself. But Hegel, despite familiar worries, has a powerful case that Kant's own insights in the Dialectic can be turned to the purpose of constructive metaphysics. And we can understand in these terms the unified focus of the arguments at the conclusion of Hegel's Science of Logic. Hegel defends, first, his general claim that the reasons which explain things are always found in immanent concepts, universals or kinds. And he will argue from here to conclusions which are distinctive in being metaphysically ambitious yet surprisingly distant from any form of metaphysical foundationalism, whether scientistic, theological, or otherwise. Hegel's project, then, turns out neither Kantian nor Spinozist, but more distinctively his own. Finally, we can still learn a great deal from Hegel about ongoing philosophical debates concerning everything from metaphysics, to the philosophy of science, and all the way to the nature of philosophy itself. (shrink)

I question whether the flourishing that McMullin presents as negotiating the demands of three distinct normative domains is itself normative. If it is, I argue it must be incremental in some way to...

In this paper I propose a method to solve controversies in scenarios of legal pluralism. Shortly, in scenarios of legal pluralism some of the controversies involve members of culturally differentiated groups who justify their allegations with arguments that only make sense in the culture to which they belong. If the adjudicator does not share the same cultural worldview as the parts under litigation, how can he/she come to make a decision determining the parties’ rights and obligations? My answer for this (...) question includes (1) an account of knowledge to culturally differentiated groups, and (2) a method for the evaluation of the culturally-dependent arguments. (shrink)

The central concern of this paper is to prove that Blake and Wordsworth, in spite of some revealing differences between them, essentially share the same world view. Before showing how this works, we first of all should discuss, however briefly, the main difference between them.The main difference between Blake and Wordsworth is perhaps discernible in the way they respond to Nature or the physical frame of things. Here, their remarks on each other would be quite illuminating. Though there is (...) no evidence that they knew each other personally, there is concrete proof that they read some of one another's works and even commented on them. Three sources immediately come to mind in this regard: first, there is Samuel Palmer's anecdote that Wordsworth borrowed a copy of Blake's Songs of Innocence and of Experience from a friend that “he read and read and took … home to read again”; second, we have Blake's 1826 annotations to the poems of Wordsworth contained in Keynes' Nonesuch Edition of Blake; third, there is Henry Crabb Robinson's Diary, Reminiscences, and Correspondence. (shrink)

When young children first come to school they bring with them a depth of being; the authors suggest that the educational community should respond to children with a pedagogy that is capable of nurturing this depth. The authors of this paper are teachers of many years’ experience. Their own work in classrooms has shown them that, paradoxically, depth in pedagogy is most surely to be found when teachers follow the light in the eyes of children. The authors draw upon a (...) selection of vignettes and narratives taken from classroom experiences to describe how this is done. They also show how children and teachers can approach the complex learning that requires transcendence of the known. Notions of relational consciousness (), as well as ethical and spiritual sensibility () are developed through reference to a range of educators including Bronson Alcott, Ralph Waldo Emerson, John Dewey, Stanley Cavell, Maxine Greene, Nell Noddings, Vivan Paley and Arthur Vogel. The broader educational community is reminded that school experiences should balance the measurable and the immeasurable. The authors question some aspects of the, sharing their concern that it may focus teachers’ attention too tightly on ‘that which is formed from without’. The authors suggest that the weight of this legislation may result in the neglect of some very important aspects of learning. The broader educational community is invited to consider the implications of a pedagogy of depth, to become more aware of the skill of transcending known limitations through coming to shared understanding, and to find ways to reconcile the potential violence of legislated structures with the being‐in‐the‐world of children in schools. (shrink)