This chapter contains sections titled: Hunter, Herder, Farmer Losing Our Balance Animal Farm Creating and Destroying How Now Meat is not Green.

_Human Kindness and the Smell of Warm Croissants _makes philosophy fun, tactile, and popular. Moral thinking is simple, Ruwen Ogien argues, and as inherent as the senses. In our daily experiences, in the situations we confront and in the scenes we witness, we develop an understanding of right and wrong as sophisticated as the moral outlook of the world's most gifted philosophers. By drawing on this knowledge to navigate life's most perplexing problems, ethics becomes second nature. Ogien explores, (...) through experimental philosophy and other methods, the responses nineteen real-world conundrums provoke. Is a short, mediocre life better than no life at all? Is it acceptable to kill a healthy person so his organs can save five others? Would you swap a "natural" life filled with frustration, disappointment, and partial success for a world in which all of your needs are met, but through artificial and mechanical means? Ogien doesn't seek to show how difficult it is to determine right from wrong or how easy it is for humans to become monsters or react like saints. Helping us tap into the wisdom and feeling we already possess in our ethical "toolboxes," Ogien instead encourages readers to question moral presuppositions and rules; embrace an intuitive sense of dignity, virtue, and justice; and pursue a pluralist ethics suited to the principles of human kindness. (shrink)

Human Kindness and the Smell of Warm Croissants makes philosophy fun, tactile, and popular. Moral thinking is simple, Ruwen Ogien argues, and as inherent as the senses. In our daily experiences, in the situations we confront and in the scenes we witness, we develop an understanding of right and wrong as sophisticated as the moral outlook of the world's most gifted philosophers. By drawing on this knowledge to navigate life's most perplexing problems, ethics becomes second nature. Ogien (...) explores, through experimental philosophy and other methods, the responses nineteen real-world conundrums provoke. Is a short, mediocre life better than no life at all? Is it acceptable to kill a healthy person so his organs can save five others? Would you swap a "natural" life filled with frustration, disappointment, and partial success for a world in which all of your needs are met, but through artificial and mechanical means? Ogien doesn't seek to show how difficult it is to determine right from wrong or how easy it is for humans to become monsters or react like saints. Helping us tap into the wisdom and feeling we already possess in our ethical "toolboxes," Ogien instead encourages readers to question moral presuppositions and rules; embrace an intuitive sense of dignity, virtue, and justice; and pursue a pluralist ethics suited to the principles of human kindness. (shrink)

Effective solutions to global warming will likely require coordinated national and international policies. But in the short term, individuals might choose to take actions or not take actions which will reduce their own contribution to global warming. Philosophers have argued that individual action to curb climate emissions is not morally inconsequential. A strong case can be made for individual causal responsibility for the production of the moral harms which would result from climate change. However, the nature of human moral (...) psychology is such that we can expect a lack of moral motivation to assume responsibility at the crucial moment of action. That is, moral agents face “the problem of failed intentions.” This paper assesses the moral value of specific techniques and technologies which promise to increase the ability of moral agents to fulfill their moral intentions. For instance, since individuals typically evaluate others’ actions as less moral than their own, social norming techniques which provide objective information about how one’s climate emissions compare to others can be an effective means of supporting moral action. (shrink)

An influential part of the New York psychoanalytic scene for more than 50 years, Sabert "Sabe" Basescu is regarded as an outstanding analyst and a significant proponent of the integration of existentialism and phenomenology into psychoanalytic theory and practice. Existential themes serve as a central hub, a crossroads or meeting place for a variety of contemporary psychoanalytic approaches. Basescu was ahead of his time in anticipating these current trends – his teaching and writing were significant in the genesis of the (...) relational turn as well as the ongoing development of the interpersonal tradition, thus it seems fitting that contemporary analysts remember him now. To that end, this book comprises a selection of seven of Sabe’s articles, written across his career and exploring such issues as self-disclosure in the therapy session, the origins of creativity, and even his own anxieties as an analyst. Preceding each original paper is a thoughtful commentary by a different member of the contemporary psychoanalytic community, providing theoretical and clinical as well as personal context for Sabe’s work. Opening with an introduction that contextualizes the existential and phenomenological influences in psychoanalysis and closing with a heartfelt afterword by Sabe’s wife, this book is a fitting tribute to a man who is known for his warm, engaging demeanor even through the misfortunes of his elder years, and whose legacy in the field still resonates through contemporary voices. (shrink)

Greenhouse-gas emissions are indirectly causing future deaths by multiple mechanisms. For example, reduced food and water supplies will exacerbate hunger, disease, violence, and migration. How will anthropogenic global warming (AGW) affect global mortality due to poverty around and beyond 2100? Roughly, how much burned fossil carbon corresponds to one future death? What are the psychological, medical, political, and economic implications? Predicted death tolls are crucial for policy formulation, but uncertainty increases with temporal distance from the present and estimates may be (...) biased. Order-of-magnitude estimates should refer to literature from diverse relevant disciplines. The carbon budget for 2°C AGW (roughly 10 12 tonnes carbon) will indirectly cause roughly 10 9 future premature deaths (10% of projected maximum global population), spread over one to two centuries. This zeroth-order prediction is relative and in addition to existing preventable death rates. It lies between likely best- and worst-case scenarios of roughly 3 × 10 8 and 3 × 10 9, corresponding to plus/minus one standard deviation on a logarithmic scale in a Gaussian probability distribution. It implies that one future premature death is caused every time roughly 1,000 (300–3,000) tonnes of carbon are burned. Therefore, any fossil-fuel project that burns millions of tons of carbon is probably indirectly killing thousands of future people. The prediction may be considered valid, accounting for multiple indirect links between AGW and death rates in a top-down approach, but unreliable due to the uncertainty of climate change feedback and interactions between physical, biological, social, and political climate impacts (e.g., ecological cascade effects and co-extinction). Given universal agreement on the value of human lives, a death toll of this unprecedented magnitude must be avoided at all costs. As a clear political message, the “1,000-tonne rule” can be used to defend human rights, especially in developing countries, and to clarify that climate change is primarily a human rights issue. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

Cognitive dysfunction in Alzheimer’s disease is caused by disturbances in neuronal circuits of the brain underpinned by synapse loss, neuronal dysfunction and neuronal death. Amyloid beta and tau protein cause these pathological changes and enhance neuroinflammation, which in turn modifies disease progression and severity. Vagal nerve stimulation, via activation of the locus coeruleus, results in the release of catecholamines in the hippocampus and neocortex, which can enhance synaptic plasticity and reduce inflammatory signalling. Vagal nerve stimulation has shown promise to enhance (...) cognitive ability in animal models. Research in rodents has shown that VNS can have positive effects on basal synaptic function and synaptic plasticity, tune inflammatory signalling, and limit the accumulation of amyloid plaques. Research in humans with invasive and non-invasive VNS devices has shown promise for the modulation of cognition. However, the direct stimulation of the vagus nerve afforded with the invasive procedure carries surgical risks. In contrast, non-invasive VNS has the potential to be a broadly available therapy to manage cognitive symptoms in early AD, however, the magnitude and specificity of its effects remains to be elucidated, and the non-inferiority of the effects of non-invasive VNS as compared with invasive VNS still needs to be established. Ongoing clinical trials with healthy individuals and patients with early AD will provide valuable information to clarify the potential benefits of non-invasive VNS in cognition and AD. Whether invasive or non-invasive VNS can produce a significant improvement on memory function and whether its effects can modify the progression of AD will require further investigation. (shrink)

The investigation of visual categorization has recently been aided by the introduction of deep convolutional neural networks (CNNs), which achieve unprecedented accuracy in picture classification after extensive training. Even if the architecture of CNNs is inspired by the organization of the visual brain, the similarity between CNN and human visual processing remains unclear. Here, we investigated this issue by engaging humans and CNNs in a two‐class visual categorization task. To this end, pictures containing animals or vehicles were modified to (...) contain only low/high spatial frequency (HSF) information, or were scrambled in the phase of the spatial frequency spectrum. For all types of degradation, accuracy increased as degradation was reduced for both humans and CNNs; however, the thresholds for accurate categorization varied between humans and CNNs. More remarkable differences were observed for HSF information compared to the other two types of degradation, both in terms of overall accuracy and image‐level agreement between humans and CNNs. The difficulty with which the CNNs were shown to categorize high‐passed natural scenes was reduced by picture whitening, a procedure which is inspired by how visual systems process natural images. The results are discussed concerning the adaptation to regularities in the visual environment (scene statistics); if the visual characteristics of the environment are not learned by CNNs, their visual categorization may depend only on a subset of the visual information on which humans rely, for example, on low spatial frequency information. (shrink)

This paper begins with a presentation of some important aspects of the science behind global warming. Following that, I argue that attempts to address global warming and climate change as problems facing humanity ought not to center around economic understandings of the problem or it solutions. Moreover, I argue that pragmatism is especially vulnerable to this sort of misappropriation in seeking solutions to climate change, and that environmental pragmatists ought to make a conscious effort to avoid potential mischaracterizations of pragmatism (...) by providing a clearer sense of the boundaries that delimit its approach to climate change, or any other environmental crisis. (shrink)

Jared Diamond and other leading scholars have argued that the domestication of animals for food, labor, and tools of war has advanced the development of human society. But by comparing practices of animal exploitation for food and resources in different societies over time, David A. Nibert reaches a strikingly different conclusion. He finds in the domestication of animals, which he renames "domesecration," a perversion of human ethics, the development of large-scale acts of violence, disastrous patterns of destruction, and (...) growth-curbing epidemics of infectious disease. Nibert centers his study on nomadic pastoralism and the development of commercial ranching, a practice that has been largely controlled by elite groups and expanded with the rise of capitalism. Beginning with the pastoral societies of the Eurasian steppe and continuing through to the exportation of Western, meat-centered eating habits throughout today's world, Nibert connects the domesecration of animals to violence, invasion, extermination, displacement, enslavement, repression, pandemic chronic disease, and hunger. In his view, conquest and subjugation were the results of the need to appropriate land and water to maintain large groups of animals, and the gross amassing of military power has its roots in the economic benefits of the exploitation, exchange, and sale of animals. Deadly zoonotic diseases, Nibert shows, have accompanied violent developments throughout history, laying waste to whole cities, societies, and civilizations. His most powerful insight situates the domesecration of animals as a precondition for the oppression of human populations, particularly indigenous peoples, an injustice impossible to rectify while the material interests of the elite are inextricably linked to the exploitation of animals. Nibert links domesecration to some of the most critical issues facing the world today, including the depletion of fresh water, topsoil, and oil reserves; global warming; and world hunger, and he reviews the U.S. government's military response to the inevitable crises of an overheated, hungry, resource-depleted world. Most animal-advocacy campaigns reinforce current oppressive practices, Nibert argues. Instead, he suggests reforms that challenge the legitimacy of both domesecration and capitalism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Acts of Enjoyment: Rhetoric, Žižek, and the Return of the SubjectJames J. Brown Jr. and Joshua GunnActs of Enjoyment: Rhetoric, Žižek, and the Return of the Subject by Thomas Rickert. Pittsburgh: University of Pittsburgh Press, 2007. Pp. x + 252. $24.95, hardcover.Thomas Rickert had a falling-out with his brother, and this distresses him so much that his disrupted relation is described as “traumatic.” Rickert reports that while listening (...) to a portable CD player during a run on an unexpectedly warm winter day, a song by the now defunct jazz/rock band Morphine reminded him of a happy time at a pool hall with his brother (24). Mediated—or better, medicated—by music, the homological happiness of running in the sun and a positive past memory also resurfaced a painful relational rupture, the reason of which Rickert omits to underscore that mysterious, “little detail or object” of the Real that marks his singular finitude as a writing subject (216 n. 11). We’ll want to come back to this curiously deliberate omission, but for the present we note Rickert is not simply an undead author but a human being with relations and feelings. He is not just a gifted scholar or a bundle of reflections, but a nexus of body and movement and words and affect. If there is anything that Rickert’s study can be said to work through with brilliance, humor, and grace, it is the reality of complex personhood.Rickert’s brotherly confession comes in Chapter 1 as a way to introduce a psychoanalytic understanding of subjectivity, and more specifically, to help illustrate how trauma works itself out as an afterwardness or “belatedness” ( Nachträglichkeit ): traumatic events from the past are not reckoned with or worked-through until some coincidence or reminder, such as a similar [End Page 183] sensory experience, reintroduces the event in doubled re-presentation (18–27). This implies the “subject” (a paradigm person) is a kind of timedelay, a self-conscious temporal moving that becomes this way through re-presentation. The rhetorical subject is analogously a retrojected reckoning with events past (not all traumatic) that Rickert identifies as a scene of writing, a locus that has important implications for rhetorical studies in general and writing pedagogy in particular. Rickert’s logic is as follows: if we agree that the subject is a belated one in the psychoanalytic sense, then how we teach rhetoric needs to change. Rickert opens the book with the observation that his students are producing excellent cultural critiques but that such critiques do not lead the students to change their actions (1–7), perhaps evidence enough that something is not quite right in a classroom grounded by “cultural studies pedagogy” and ideology critique—or at the very least, proof that something has changed. The opening gambit is simply that a “postpedagogy” premised on an understanding of rhetorical subjectivity as belatedness is better than a status quo rooted in the rational subject of the Enlightenment.Mostly through a Žižek-filtered, Lacanian lens, Acts of Enjoyment then undertakes a retake of the rhetorical field, frequently scanning from the traumatic ontology of the rhetorical subject to that domain of knowledge that we hold dear, the subject of rhetoric. In Chapter 2, the (primal) scene thus shifts from the slo-mo subject to rhetorical studies, initially through a reassessment of Kinneavy’s “communications triangle,” but ultimately in response to the shock treatment of poststructuralism. The initial theoretical traumas introduced by Victor Vitanza, Diane Davis, Sharon Crowley, and others discussed in Chapter 1 are threaded into an account of “poststructural” redress in Chapter 2: as is true of all forms of trauma, the initial poststructural jolt delivered to the concept of subjectivity was deadened; poststructural theory was eventually used to “shore up rather than challenge Kinneavy’s triangle” (37). To truly work-through our traumatized subject in both senses, we need a second trauma: Lacanian psychoanalysis. Presumably, “poststructuralist thought” is to be opposed because it has no account of the subject (21–24); “Lacan,” after all, “is not a poststructuralist” (48). The remainder of the chapter is then used to deploy Lacan’s conceptual lexicon.Just as... (shrink)

For centuries the common and scholarly visions of the interior of the human body were dominated by humoral and anatomical representations. At the end of the nineteenth century two innovations modified these representations: Röntgen's X-rays (1895) and Claude Bernard's theory of the internal environment (milieu intérieur, 1867). This latter model became a central paradigm for thinking about the living body at the beginning of the twentieth century. This paper shows how Bernard's theory provided a new scientific, microscopic, physiological, aquatic (...) and homeostatic vision of the interior of the body. The paper then discusses the well known film Fantastic Voyage (1966) by Richard Fleisher, arguing that it marks a similar watershed in popular representations of the human body. Combining scientific transposition and various effects of mise-en-scène that mobilize classic forms of the imaginary, Fleisher's film (and the books and TV series that followed), contributed to changing the vision of the interior of the body. This image was no longer that of the cadaver cut into pieces on the dissection table. The vision was of living processes, embodied in warm functioning flesh, permitting a physiological vision of the integral body to emerge alongside the classic anatomical one. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Acts of Enjoyment: Rhetoric, Žižek, and the Return of the SubjectJames J. Brown Jr. and Joshua GunnActs of Enjoyment: Rhetoric, Žižek, and the Return of the Subject by Thomas Rickert. Pittsburgh: University of Pittsburgh Press, 2007. Pp. x + 252. $24.95, hardcover.Thomas Rickert had a falling-out with his brother, and this distresses him so much that his disrupted relation is described as “traumatic.” Rickert reports that while listening (...) to a portable CD player during a run on an unexpectedly warm winter day, a song by the now defunct jazz/rock band Morphine reminded him of a happy time at a pool hall with his brother (24). Mediated—or better, medicated—by music, the homological happiness of running in the sun and a positive past memory also resurfaced a painful relational rupture, the reason of which Rickert omits to underscore that mysterious, “little detail or object” of the Real that marks his singular finitude as a writing subject (216 n. 11). We’ll want to come back to this curiously deliberate omission, but for the present we note Rickert is not simply an undead author but a human being with relations and feelings. He is not just a gifted scholar or a bundle of reflections, but a nexus of body and movement and words and affect. If there is anything that Rickert’s study can be said to work through with brilliance, humor, and grace, it is the reality of complex personhood.Rickert’s brotherly confession comes in Chapter 1 as a way to introduce a psychoanalytic understanding of subjectivity, and more specifically, to help illustrate how trauma works itself out as an afterwardness or “belatedness” ( Nachträglichkeit ): traumatic events from the past are not reckoned with or worked-through until some coincidence or reminder, such as a similar [End Page 183] sensory experience, reintroduces the event in doubled re-presentation (18–27). This implies the “subject” (a paradigm person) is a kind of timedelay, a self-conscious temporal moving that becomes this way through re-presentation. The rhetorical subject is analogously a retrojected reckoning with events past (not all traumatic) that Rickert identifies as a scene of writing, a locus that has important implications for rhetorical studies in general and writing pedagogy in particular. Rickert’s logic is as follows: if we agree that the subject is a belated one in the psychoanalytic sense, then how we teach rhetoric needs to change. Rickert opens the book with the observation that his students are producing excellent cultural critiques but that such critiques do not lead the students to change their actions (1–7), perhaps evidence enough that something is not quite right in a classroom grounded by “cultural studies pedagogy” and ideology critique—or at the very least, proof that something has changed. The opening gambit is simply that a “postpedagogy” premised on an understanding of rhetorical subjectivity as belatedness is better than a status quo rooted in the rational subject of the Enlightenment.Mostly through a Žižek-filtered, Lacanian lens, Acts of Enjoyment then undertakes a retake of the rhetorical field, frequently scanning from the traumatic ontology of the rhetorical subject to that domain of knowledge that we hold dear, the subject of rhetoric. In Chapter 2, the (primal) scene thus shifts from the slo-mo subject to rhetorical studies, initially through a reassessment of Kinneavy’s “communications triangle,” but ultimately in response to the shock treatment of poststructuralism. The initial theoretical traumas introduced by Victor Vitanza, Diane Davis, Sharon Crowley, and others discussed in Chapter 1 are threaded into an account of “poststructural” redress in Chapter 2: as is true of all forms of trauma, the initial poststructural jolt delivered to the concept of subjectivity was deadened; poststructural theory was eventually used to “shore up rather than challenge Kinneavy’s triangle” (37). To truly work-through our traumatized subject in both senses, we need a second trauma: Lacanian psychoanalysis. Presumably, “poststructuralist thought” is to be opposed because it has no account of the subject (21–24); “Lacan,” after all, “is not a poststructuralist” (48). The remainder of the chapter is then used to deploy Lacan’s conceptual lexicon.Just as... (shrink)

Transversality occupies a central place in Guattari's thought, appearing in his early writings on institutional analysis and on through to his final work, Chaosmosis. Transversality is thus particularly pertinent to understanding Guattari's critique of semiocapitalism and his goal of re-imagining forms of institutional subjectivisation as a way to free the unconscious from structures of lack and the desire for punishment, the very structures upon which capitalism relies for its reproduction. If there is one institution that has taken advantage of semiocapitalism's (...) ability to mask its role in the reproduction of capitalist subjectivity, however, it is the contemporary neoliberal University. This essay thus brings transversality to bear upon the question of the University in semiocapitalism, focusing on the discourses that speak in defence of the humanities. Though defences of the humanities are intended to argue for the humanities’ usefulness in contemporary society, transversality exposes such discourses as the speech of a ‘subjugated group’ whose only effect is to reinforce existing structures of lack and punishment. (shrink)

Modern industrial societies have achieved a level of economic prosperity undreamed of in earlier times, but in the view of the contemporary environmental movement, the prosperity has come at the cost of serious degradations to the natural world. For environmental advocates, problems such as resource depletion, air and water pollution, global warming and the loss of biodiversity represent due threats to the well-being of human societies and the planet itself. But just how serious are these threats and how should (...) we go about confronting them? Do environmental problems call for more extensive government controls over industrial activity, energy policy and the like, or is it possible to find solutions by harnessing the incentives of the free market? The essays in this collection address these questions and explore related issues. (shrink)

ABSTRACTThreat detection is crucial to survival. Studies using unnatural visual scene settings have shown that humans and primates are able to identify snakes more quickl...

Michèle Le Doeuff's "Primal Scene": Prohibition and Confidence in the Education of a Woman My essay begins with Michèle Le Doeuff's singular account of the "primal scene" in her own education as a woman, illustrating a universally significant point about the way in which education can differ for men and women: gender difference both shapes and is shaped by the imaginary of a culture as manifest in how texts matter for Le Doeuff. Her primal scene is the first moment she (...) remembers when, while aspiring to think for herself, a prohibition is placed in her reading of literature. Her philosophyteacher—at a boys' school—told the young Michèle that Kant's Critique of Pure Reason was "too difficult" for her to read. In recalling this scene, the older Michèle—now, a woman philosopher—directs her readers to this text by Kant, in order to demonstrate how knowledge has been constrained by the narrative and imagery in the text of a philosopher; similarly, in the texts of others. She finds the central imagery of Kant's text for setting the limits to human knowledge in his account of "the island of understanding," or "land of truth," surrounded by "a stormy sea" of uncertainty; the latter image also retains a seductive appeal, threatening to destroy the confidence of any knower who ventures out beyond the well-marked out island. Moreover, women have often been associated with the dangers at sea beyond the safety of the island, where falsehood and worse reign. I propose that "text matters" here not only for gender issues, but for the postcolonial theory which Le Doeuff's reading of island imagery enhances in western literature and culture. The suggestion is that women in the history of ideas have been more susceptible than men to prohibitions : women's negative education is against going beyond certain boundaries which have been fixed by a generally colonialist culture on the grounds of gender-hierarchies. I stress the significance of confidence in the production of knowledge. A lack or an inhibition of confidence in one's own ability to think critically risks the damaging exclusions of, for example, colonialism and sexism. My aim is to unearth the political biases evident in textual imagery, while also pointing to new epistemic locations, with island-and-sea imagery that transgresses patriarchal prohibition, liberating subjects for confident reading and writing of texts today. (shrink)

Scientists know that human activities, primarily fossil fuel combustion, are causing Earth’s temperature to increase. Yet in 2021, only 60% of the US population understood that human activities are the primary cause of global warming. We experimentally test whether information about the human causes of global warming influences Americans’ beliefs and concerns about global warming and support for climate policies. We find that communicating information about the human-causes of global warming increases public understanding that global warming (...) is human-caused. This information, both alone and with additional information about climate impacts and policy solutions, also increases public concern about global warming and support for climate policies, although the effects on climate concern and policy support are smaller. Importantly, the treatment effects are consistent across political party, with no backlash effects among Republicans. This suggests that when informed about climate change causes, impacts and solutions, most Americans can update their own climate change beliefs, risk perceptions, and policy support. (shrink)

How does conscious thought occur? In the scene 'The cat is next to the dog', the cat is within a proximal distance to the left or right of the dog. This probabilistic proximal left/right cognitive space is an example of a mental 'place field'. A place field -- also in humans presumably represented by place cells in the hippocampus -- represents latent and thus potentially unconscious thought. Mentally 'seeing' the cat to the left or right is an example of a (...) 'localized point' within a place field. A localized point represents manifest and thus conscious thought. As proposed, this field-to-point reduction is naturally described in terms of force dynamics, a prominent theory of causal cognition. Possible generalizations from spatial mental imagery to all conscious occurrences of thought and emotion are discussed. (shrink)

In the thirteenth-century Bibles moralisées there appears a new iconographical type in which God the Father, and figures depicted in moralising illustrations, are shown with a compass. This article argues that these images throw light on the medieval concept of reason and its role in the Divine Economy. In these French Capetian Bibles, the compass is the symbol of divine or human reason, depending on the context where it occurs. When depicted in the scene of Creation in the frontispieces, (...) the compass is the instrument of Christ-Logos as Divine Reason, used to impose God’s rational order on formless matter, but also to initiate the Divine Economy. The compass is depicted again, in the same sense, at the beginning of the New Testament, as a ‘dynamic sign’ which links the start of God’s plan for humankind salvation during Creation with the re-enactment of the Divine Economy through the Incarnation. When a compass occurs elsewhere, in a moralised image for a biblical story which takes place in the earthly realm, the instrument becomes the tool used by human reason to discern between good and evil. The analysis which leads to this interpretation is borne out by an examination of related themes in the Bibles moralisées: those of the sleep of mortal reason, and of the endurance of Divine Reason as a guide to true knowledge. (shrink)

What do houses do to the people who live with them? In what sense are houses themselves living things? If they live and act, how to conceive of the relationship between built and natural landscapes, and between environment and life more broadly? This article considers three moments at which human geographers have attempted to answer these questions without submitting to visions of environmental causation and constraint favoured by determinists, who dominated the discipline into the early 20th century. The article (...) begins with the work of Carl Sauer, by 1925 the major American figure refuting environmental determinism at a theoretical level and recommending the study of housing as an articulate transcript of human action. It then looks back to the American writings of Friedrich Ratzel, one of several German scholars Sauer canonized, to illuminate a more vitalistic ontology of domestic architecture, and an urbanism, untapped by Sauer when filing his dissent. It then looks ahead to mid-century studies of vernacular architecture – by those of Sauer’s students friendlier to urban life than he was, and by the critic and publisher J. B. Jackson – to assess how this inheritance informed critiques of industrial modernity in the post-war United States. The article observes certain continuities, despite manifest tensions, between ‘old’ and ‘new’ cultural geographies. It also routes a long-standing set of debates concerning the relationship of materiality to meaning – and of spatial to social form – through the case of human geography, a peculiar interstice in the broader constellation of disciplines. (shrink)

Movement perception and its role in aesthetic experience have been often studied, within empirical aesthetics, in relation to the human body. No such specificity has been defined in neuroimaging studies with respect to contents lacking a human form. The aim of this work was to explore, through functional magnetic imaging (fMRI), how perceived movement is processed during the aesthetic judgment of paintings using two types of content: human subjects and scenes of nature. Participants, untutored in the (...) arts, were shown the stimuli and asked to make aesthetic judgments. Additionally, they were instructed to observe the paintings and to rate their perceived movement in separate blocks. Observation highlighted spontaneous processes associated with aesthetic experience, whereas movement judgment outlined activations specifically related to movement processing. The ratings recorded during aesthetic judgment revealed that nature scenes received higher scored than human content paintings. The imaging data showed similar activation, relative to baseline, for all stimuli in the three tasks, including activation of occipito-temporal areas, posterior parietal and premotor cortices. Contrast analyses within aesthetic judgment task showed that human content activated, relative to nature, precuneus, fusiform gyrus and posterior temporal areas, whose activation was prominent for dynamic human paintings. In contrast, nature scenes activated, relative to human stimuli, occipital and posterior parietal cortex/precuneus, involved in visuospatial exploration and pragmatic coding of movement, as well as central insula. Static nature paintings further activated, relative to dynamic nature stimuli, central and posterior insula. Besides insular activation, which was specific for aesthetic judgment, we found a large overlap in the activation pattern characterizing each stimulus dimension (content and dynamism) across observation, aesthetic judgment and movement judgment tasks. These findings support the idea that the aesthetic evaluation of artworks depicting both human subjects and nature scenes involves a motor component, and that the associated neural processes occur quite spontaneously in the viewer. Furthermore, considering the functional roles of posterior and central insula, we suggest that nature paintings may evoke aesthetic processes requiring an additional proprioceptive and sensori-motor component implemented by “motor accessibility” to the represented scenario, which is needed to judge the aesthetic value of the observed painting. (shrink)

This article explores two different conceptions of the postmodern surface and their take up in relation to mainstream science fiction cinema. Each offers a rather different genealogy for considering the surfaces of the science fiction film. The first traces Frederic Jameson's conception of postmodern superficiality and its dual role as a mode of reading texts and an aesthetic paradigm. The second traces Judith Butler's conception of gender performativity, its application to technology, and the expansion of performativity as a key mechanism (...) for the enactment of “humanness”. The reading of Ex Machina will explore the aesthetics of film's mise-en-scène with its plurality of textured and reflective surfaces. It will trace the performative constructions of gender and humanness that intersect across the film, before finally focussing on the ending as a way of addressing key issues at stake in the conceptualisation of surface readings. (shrink)

continent. 2.2 (2012): 60–63 Translated by Rodrigo Maltez Novaes. From the forthcoming book Post-History , Minneapolis: Univocal Publishing, 2013. It is not necessary to have a keen ear in order to find out that the steps we take towards the future sound hollow. But it is necessary to have concentrated hearing if one wishes to find out which type of vacuity resonates with our progress. There are several types of vacuity, and ours must be compared to others, if the aim (...) is to understand it. The incomparable is incomprehensible. If we affirm that our situation is incomparable, we give up the effort to grasp it. The comparison that imposes itself is to the vacuity of the Baroque. There are innumerable traces in the present that evoke the Baroque. We bear the mark of the same somber rationalism (logics, informatics, cybernetics), and of the same magic and fanatic irrationalism (mass media, phantastic ideologies). But there is a decisive difference. Humanity advanced over a stage during the Baroque. All of its gestures, even the most sincere, were marked by theatricality. The vacuity that resonated under its feet was of the void under the stage. Baroque man represented. 1 For example he represented faith in waging religious wars. Baroque vacuity was the consequence of a medieval loss of faith in dogmas . Our vacuity is different. We do not represent anything. Our world is not a stage. We are not actors, and if we act, it is not to represent a drama, but to divert the audience's attention and our own from the subjects that really matter. We act like criminals that try to hide their tracks. We pretend. Our progress is a farce. The vacuity under our feet is not Baroque. We have not lost our faith in dogmas: we have lost faith in ourselves . We are as counter-reformists as was the Baroque (we want to cover up the recent revolution with warm cloths), but for different reasons. Although comparable with the Baroque, in certain aspects, our situation is in fact incomparable to any other. That is because an incomparable, unheard of, never before seen event happened recently, which emptied the ground we tread. Auschwitz . Other posterior events; Hiroshima, the Gulags, are nothing but variations of the first. Therefore every attempt to grasp the present leads to the following questions: how was Auschwitz possible? How can we live after this? Such questions relate not only to the ones directly or indirectly responsible, and not only to those who were directly or indirectly hit by it: they relate to everyone who takes part in our culture. Because what is so incomparable, unheard of, never before seen and therefore incomprehensible in Auschwitz, is that it was there that Western culture revealed one of its inherent virtualities. Auschwitz is a characteristic realization of our culture. It is neither the product of a particular Western ideology, nor of specific “advanced” industrial techniques. It springs directly from the depths of culture and of its concepts and values. The possibility to realize Auschwitzes is implicit within our culture from the very start: the Western “project” already harbored it, although as a remote possibility. Auschwitz lies within the initial program of the West, which progressively realizes all of its virtualities as history unfolds. That is why the question that Auschwitz poses before us is not: how did it happen? It serves no purpose to “explain” Auschwitz. The fundamental question is: how was it possible? Because what is being questioned is not the extermination camp, but the West. Thus one other question: how to live within a culture henceforth unmasked? Everything that happened afterwards resonates with such a question, with such vacuity. Every economic, social, political, technical, scientific, artistic, philosophic event is corroded by such an undigested question. The distance that separates us from the event does not mitigate the abyss, it erodes it even deeper. Because the distance progressively dissolves the aura of the horror that envelops the event, and it progressively opens up a vision of the scene. It progressively reveals that there all of our categories, all of our “models”, suffered an irreparable shipwreck. Auschwitz was a revolutionary event, in the sense that it overthrew our culture. Insofar as we seek ways to cover up such revolution with trips to the moon or with genetic manipulations, we are counter-revolutionaries: we are inverting the course of history in order to cover up the past. The unspoken in Auschwitz is not the mass murder, it is not the crime . It is the ultimate reification of people into amorphous objects, into ashes. The Western tendency towards objectification was finally realized and it was done so in the shape of an apparatus . The SS were functionaries of an extermination apparatus, and their victims functioned in function of their own annihilation. The extermination camp's program, once it started functioning, developed in an automatic fashion, autonomous from the decisions of the initial programmers, even if, as it effectively did, it contributed to the defeat of the programmers. The SS and the Jews functioned one in function of the other like cogwheels. The models for such functionality were provided by the highest of Western values: the SS behaved like “heroes” and the Jews like “martyrs”. This is an apparatus that functions at a borderline situation: objective even beyond death. What has just been said is intolerable. We cannot accept it and so we mobilize arguments against it. Good arguments. The SS behaved like criminals: they removed the gold teeth from the cadavers. The Jews behaved like victims: they rose up in the Warsaw ghetto. Such arguments are true, but they do not reach the nucleus, the “ eidos ” of the phenomenon: they do not grasp it. Although there was “normal” behavior: (theft, murder, revolt, heroism), there was also “abnormal” behavior: functionality during a borderline situation. And this is what counts. There, for the first time in the history of humanity, an apparatus was put into operation that was programmed with the most advanced techniques available, which realized the objectification of man, together with the functional collaboration of man. The previous horrors committed by Western society against other societies and against itself (and there are many) were crimes . They were violations of Western models of behavior: anti-Christian, anti-human, irrational. So that it is possible to condemn them and continue to be Western, even if the horror is so colossal, such as the enslavement of Africans. However, it is not possible to condemn Auschwitz and continue to adhere consciously to the West. Auschwitz is not a violation of Western models of behavior, it is, on the contrary, the result of the application of such models. Our culture allowed its mystifying mask to fall and must be rejected in toto if we admit that the purpose of every culture is to allow for the convivial existence of men that recognize each other mutually as subjects. However: it is not possible to reject one's own culture. It is the ground we tread . Those who seek to reject their own culture (as Nietzsche did in rejecting Judeo-Christianity), fall victim to madness. Those who reject their culture's models, are incapable of grasping the world in which they live. Cultural models are traps to catch the world. Those who seek to substitute their own models for other's (for example by shouting “Hare Krishna”) will find that such exotic models have already been caught by the very models to be substituted. There is no exit: we are condemned to use our models and to serve such models, even after they have been unmasked, if we wish to continue living. The only alternative would be to commit suicide. That is: we must continue our economic, political, scientific, artistic, philosophic activities despite Auschwitz. We must continue progressing despite everything . That is why there are those who recommend that we should seek to forget what happened, that we should repress the event. They sustain that enough has already been said and written about the subject and that it is time to “overcome” it. But such an ostrich strategy reveals itself disastrous. Because the result is that Auschwitz transfers itself from Poland of the 1940s to the post-industrial society of the future. What characterizes the extermination camp is precisely that it is not an event that can be “overcome”, because it is the first realization of an inherent virtuality within the Western project, which will repeat itself in other formats unless we become totally conscious of it. The advantage (if this is an appropriate term) that Auschwitz offers us, is to give us a concrete example of the West’s tendency towards the apparatus. For the first time in our history it is possible for us to experience concretely the utopia inherent in our culture. For the first time in our history we have the experience that utopia, no matter in what form, towards which we progress, is the extermination camp. Everywhere we can observe, as of now, the emergence of variations on the theme “Auschwitz”. Everywhere apparatus spring, just like mushrooms after a Nazi rain, from the ground that has become rotten. Certainly: such new apparatus are not externally similar to the Nazi extermination camps. Their labels are different, as are the ideologies that pretend to inspire them. Even the apparatus that admittedly envision extermination, such as the Gulags, the ones of a future nuclear war, or the ones that functioned in Vietnam, claim to be different from Auschwitz. Others claim to be “friends of mankind”, such as the scientific, technical and administrative apparatus. But such labels and such ideologies are deceptive and serve only to cover up the essence of apparatus. They are all just like Auschwitz, black boxes that function with complex inner-workings in order to realize a program. They all function according to an inertia that is inherent to them and such functionality escapes , from a certain point, the control of their initial programmers. In a final analysis such apparatuses function, all of them, towards the annihilation of all their functionaries, including their programmers. Exactly because they objectify and dehumanize man. Thus Western culture reveals itself as a project that seeks to transform itself into an apparatus. What characterizes the West is its capacity for an objectifying transcendence. Such transcendence allows for the transformation of all phenomena, including the human phenomenon, into an object of knowledge and manipulation. The space for such transcendence opened up thanks to Judeo-Christianity and resulted, in the course of our history, in science, technique and recently, in Auschwitz. The ultimate objectification of the Jews into ashes is the ultimate victory of the spirit of the West. It is social technique taken to the extreme. Certainly: the transformation of men into ashes is primitive, incipient social technique that progressively refines itself. It will be followed by less brutal objectifications, such as the robotization of society. But it does not matter which form it will assume: it will always be an objectifying manipulation of mankind. Although the apparatus of the immediate future are not necessarily incineration ovens, all will be, and not only the nuclear ones, apparatus for the annihilation of man. The Western program contains several virtualities, not only apparatus. Numerous virtualities have not yet been realized. In this sense the “history of the West” has not ended yet, the Western game continues. But all not-yet realized virtualities are infected by apparatus. That is why it has become currently impossible to engage ourselves in the “ progress of culture .” As it would be to engage ourselves in our own annihilation. We have lost our faith in our culture, in the ground we tread. That is: we have lost faith in ourselves. It is this hollow vibration that follows our steps towards the future. What remains is for us to analyze the event “Auschwitz” in all its details in order to discover the fundamental project that realized itself there for the first time, so that we may nurture the hope to project ourselves out of that project. Out of the history of the West. This is the “post- historical” climate in which we are condemned to live from hereon. NOTES 1. In Portuguese representar (to represent) also means “to act” or “to play a role.&rdquo. (shrink)

In Human Well-Being and the Natural Environment, Partha Dasgupta explores ways to measure the quality of life. In developing quality-of-life indices, he pays particular attention to the natural environment, illustrating how it can be incorporated, more generally, into economic reasoning in a seamless manner. Professor Dasgupta puts the theory that he develops to use in extended commentaries on the economics of population, poverty traps, global warming, structural adjustment programmes, and free trade, particularly in relation to poor countries. The result (...) is a treatise that goes beyond quality-of-life measures and offers a comprehensive account of the newly emergent subject of ecological economics. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Notes on Psychodramatic Treatment of a Person with SchizophreniaJonathan D. Moreno, PhD (bio)I have enjoyed reflecting on Mr. Chapy’s account of work in psychodrama with a patient with schizophrenia.Although at one time many years ago I was interested in phenomenological psychiatry, and especially the writings of Ludwig Binswanger and Medard Boss, I am not an authority on dasein-analysis, so I have nothing to add to the discussion. I should (...) say, however, that my father had little interest in this approach, which was far too abstract for his taste. He proceeded from the standpoint of the theater, of action and enactment. He believed that the drama itself provided the insight.For the purposes of this response, I take it as a given that the patient in question has been accurately diagnosed, although in the description of the scene with his father he does not exhibit the usual symptoms, such as auditory hallucinations. People with schizophrenia often find it difficult to manage the voices they are hearing without substantial preparation for a psychodrama. According to psychodramatic method, one way to prepare them is to externalize the voices, allowing a different therapist to take the role of each one as the protagonist instructs them how to play that role. Chair may be set up so that each “voice,” personified by an auxiliary ego, can sit in each chair in an array. This preparation may require a number of sessions. If the scene is to be enacted with a significant other, like the father in this instance, the patient may not be able to warm up to a direct encounter, especially with all the different voices competing for his internal attention. So he may be directed to observe each voice in the encounter with his father, preferably played by a therapist of his choosing and trained for the role, usually by giving the father-player certain lines so that they can learn something about the father and the way he addresses his son.Or consider the patient whose illness manifests itself as delusions, often of a megalomaniac character. They may be a messiah, for example, or the rightful heir of a royal line whose identity is being suppressed by governmental forces. The patient might be invited to choose key therapists to play the roles of key members of their circle, [End Page 225] enacting critical scenes like the sermon on the mount or speeches to their oppressed followers. In this way the patient’s “act hunger” may be to some degree satiated and have a calming effect on their anxiety and irritation with the frustrating world around them that refuses to accept their “authentic” identity and belief system.In these ways, psychodrama therapy can take advantage of one of the remarkable advantages of this method for such patients, who are generally recalcitrant to talk therapy alone and for whom medication is at best modestly effective. Still, these disorders are among the most challenging for psychotherapists. Although the process of treating them may open up insights into the nature of the human mind, as Chapy has pursued in this paper, we await the neuroscience that can affect the kind of long-term remission they and their families so desperately wish. [End Page 226]Jonathan D. MorenoUniversity of Pennsylvania [email protected] D. Moreno Jonathan D. Moreno is a philosopher and historian who specializes in the intersection of bioethics, culture, science, and national security, and has published seminal works on the history, sociology and politics of biology and medicine. He is an elected member of the National Academy of Medicine.submitted on January 27, 2023Accepted on January 30, 2023Copyright © 2023 Johns Hopkins University Press... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Asian Eels and Global Warming:A Posthumanist Perspective on Society and the EnvironmentAndrew Pickering (bio)My idea in this essay is to talk about how some recent developments in my field—science and technology studies—might pass over into environmental studies. In particular, I want to talk about a certain posthumanist perspective, as I call it, on the relation between people and things, because I think that it transfers nicely from thinking about (...) people and machines to thinking about people and the environment.1 I want to say in advance that while the word 'posthumanist' might sound a bit peculiar, the posthumanist perspective is straightforward enough. If scholars have taken a long time to arrive it, the difficulty lies, I believe, in a disciplinary division of labor rather than in any intrinsic incomprehensibility. And I can start with a few general remarks about that.The basic point to note is that the academic disciplines carve up the visible world in a systematic way. On the one hand, the natural sciences, engineering, and so on, like to talk about a world of things from which people are notably absent. This is clear in fields like physics and chemistry, but it is probably true enough in the environmental sciences, too. Human beings might disturb ecosystems, say, but the job of the ecologist [End Page 29] is to understand the systems themselves, not the disturbances. The social sciences and humanities, in contrast, like to talk about people but not about things. Durkheimian sociology is a great example. Durkheim insisted that the social was a separate reality, sui generis, and that the social therefore has its own pure dynamics, cut off from, say, the material world.We find, then, a beautiful disciplinary dualism: to the harder sciences goes the world of things; to the softer sciences goes the world of people. What about the interface of people and things, the zone of intersection? This is of no concern to the hard sciences: one can easily imagine the world of things going on without people. But what about the soft sciences? One can't really imagine a world of people without things. Here various maneuvers have traditionally served to maintain the humanist purity of disciplines like sociology; I will just mention one. We encounter the material world, it is said, not in its raw state (as studied by physicists or ecologists, say) but as drenched in meaning. The world means something, or many different things, to us. And the point to note is that 'meaning' functions here as a cut-off, a circuit-breaker. Meanings are in our heads and in society; they are not in the material world. So, sociologists can go ahead and study the meanings that people attach to machines or nature without encroaching on the territory of the hard sciences, and the disciplinary division of labor, enshrined in the universities since the 19th century, can live on. The social sciences are about the human meanings of, or attitudes towards, machines, the environment, or whatever; the hard sciences are about things in themselves. That is the basic split that I want to focus on in what follows—actually, to undo it. But I can quickly mention one further twist for the sake of clarity.The basic split between meanings and things-in-themselves is an index of a certain realism—a bow from the soft sciences to the harder sciences, an acknowledgment that the latter somehow gets things right and that what the soft sciences study is a soggy social residue. But some social scientists have refused to bend the knee. They argue that we are all humans, even hard scientists. Therefore we can never get beyond meanings. And therefore we should think of the material world as itself somehow constructed in social practice. The harder sciences find this view absurd, but it is manifest in a split in the social sciences between 'realists' [End Page 30] and 'constructivists'—a split which shows up in many places, including geography and environmental studies. The point I would stress, however, is that the social retains its purity, even in social constructivism—it is simply that there 'the social' expands without limit to encompass... (shrink)

This article aims to present the problem of the impact of artificial intelligence on respect for human dignity in the sphere of care for people who, for various reasons, are described as particularly vulnerable, especially seniors and people with various disabilities. In recent years, various initiatives and works have been undertaken on the European scene to define the directions in which the development and use of artificial intelligence should go. According to the human-centric approach, artificial intelligence should be (...) developed, used and monitored with people in mind, their needs and rights. It is artificial intelligence that should adapt to the rules set by people, not the other way around. The source of all human rights and freedoms is respect for human dignity. This is evidenced by numerous European, international, national regulations and documents. Respecting this value is also one of the works on the AI development. One of the areas of our life into which AI enters more and more boldly and which in the near future, due to demographic reasons and aging population, may be almost dominated by modern technologies, is the medical and care system. The usefulness of industrial co-robots made us think about the possibility of using similar devices in the non-industrial sphere, including in the sphere of care, nursing and therapy. Actually, despite the impressive development of technology and AI, intelligent robots/devices used for care, nursing or therapy (so-called care/nursing or therapy robots) perform rather simple activities. They provide information, navigate, bring something and give it (e.g. medicines, food), help to get up. They are an important support for medical staff in this respect. Performing tasks that are more complex in terms of technology and movement, such as feeding, washing, intimate hygiene, dressing or undressing, is still beyond the reach of the currently used robots. The question we must ask ourselves is whether, in the future, care robots will be able to perform such tasks, and should they do so? Will this lead to the replacement of human medical personnel in the performance of the above-mentioned activities with such robots. Would anyone want to be "looked after" by a soulless machine? Should potential wards/patients, in other words all of us in fact, have the right to object to being taken into the care of an intelligent robot? There is no doubt that intelligent robots have great potential, especially when it comes to ensuring or maintaining the independence or mobility of people with various health limitations. However, we must not forget about the risks and dangers they may generate. Even a simple robot generates serious legal and ethical problems. Who should be liable for damage caused in connection with improper care performed with the participation of a robot? Robots based on AI systems are able to collect a significant amount of sensitive data, for example through the face and speech recognition function. There is considerable scope for abuse in this area, not only in terms of personal data protection but also in terms of informational self-determination, privacy and dignity. Bearing in mind the above risks, the creation of a new right to object to being looked after by a robot should be considered. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to (...) be: A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

Because Arthur ‘Weegee’ Fellig’s crime scene photographs have become the standard for visually representing crime scenes in popular culture, this paper examines the extra-legal lives of two of his images, both of which were produced at the site of a gangster’s death in 1936. To decode the crime scene photograph is to interrogate the ways in which we make sense of crime through seeing and narrating. To that end, this paper charts how these two crime images were contextualized first (...) in a tabloid narrative that invited viewer identification with the law enforcer, and later in Weegee’s own autobiographical narrative as a hardboiled photographer. In contrast to these human ways of seeing and narrating, the images are then examined through computer vision. By moving across these different ways of human and nonhuman seeing, we are arrested anew by the crime scene photograph as different narrators make clear, often for different audiences, who and what it is that we are looking at. Our visual point of focus, in turn, tells us how we engage with crime images at the mediated intersection of law and popular culture; it reveals how viewers identify with the law as a result of an image’s visual structure, as well as through representational exchanges that blur the edges between fact and fiction. (shrink)

Purpose. Research of the phenomenon of human destructiveness in the context of metaphysical images and violence practices of late Modernism. Theoretical basis. The problem is that the philosophical reflection of violence as objectified, realized destructiveness of man is usually contextual in nature and is on the periphery of understanding its external manifestations. Accordingly, anthropological crisis remains behind the scenes, as evidenced by the devaluation of the humanistic potential of modern culture. That is why one should turn the focus (...) from the obvious, objectively conditioned incarnations of violence in the XXI century to the internal factors that are in the realm of existential. The departure from the consideration of violence as an abstract, faceless or ideologically colored evil allowed us to focus on man, his way of thinking, life and social orientations, feelings and internal contradictions, which find their expression in one or another form of destructiveness. Originality. Based on the works of M. Scheler and E. Fromm defining for philosophical anthropology and psychoanalysis, for the first time the conceptualization of positive and negative forms of manifestation of human destructiveness against the background of sociocultural transformations of late Modernism was carried out. It has been proved that its ontological principles are rooted in specifically human existence and relations with other members of society, while anthropological ones are directly connected with the endless struggle of the life, the vital with the spirit in man. Conclusions. Violence is a tool and a product of man’s transition to more mature and complex forms of existence. The interdependence of the violence and nonviolence practices ensures the progressive movement of humanity towards society humanization. This progress is accompanied by a natural internal conflict of personality, which can be both progressive and regressive. At the metaphysical level, destructiveness appears as a connection between the entropy of world existence as a whole and the instability of human existence itself, which is a complexly organized and open to the world system. Self-transcendence as an anthropological prerequisite for human destructiveness has a dual nature and combines negative and positive characteristics, the content and significance of which were revealed in the study. The authors are convinced that there is no other way to overcome the negative, malignant destructiveness, except for the incessant, daily gathering of life meanings around them and their development. After all, the loss of such core structures of the existence as the meaning, purpose and value of life has become a truly global problem for the modern world. Emphasis is placed on the need to keep in harmony the trinity of body-soul-spirit, which will allow a person in any social transformation to preserve and increase his integrity. (shrink)

El presente artículo tiene el objetivo de analizar el libro de viajes de uno de los corresponsales que el periódico británico The Morning Chronicle envió para cubrir la Primera Guerra Carlista. John Moore, Poco Mas, como hicieron muchos otros periodistas contemporáneos, utiliza sus notas tomadas en el campo de batalla y sus reflexiones para publicar, años más tarde, una visión personal del conflicto que, además, refleje las características de un país y una sociedad diferente a la propia, con sus peculiares (...) costumbres y su reacción ante un conflicto que estaba mermando su población, agotando sus recursos y destruyendo su valiosísimo acervo cultural. (shrink)

This essay argues that critical realism provides a philosophical perspective from which to talk about good and evil. It draws on dialectical critical realism’s meta-ethics of freedom and solidarity, and the different grades of freedom identified there: from the basic spontaneity in agency to the possibility of a fully flourishing, eudaimonic social condition. It argues that evil acts can be understood as those which fundamentally deny basic human freedom (spontaneity) and solidarity, and that good acts are those which affirm (...) human flourishing and solidarity. It draws upon Hannah Arendt’s depiction of what was morally evil in the Holocaust, and recent English criminal trials involving mercy killing to depict the good. It suggests that moral framing in terms of good and evil lies beyond the terms in which modern law thinks of human actions. (shrink)

Astroturf organizations are fake grassroots organizations usually sponsored by large corporations to support any arguments or claims in their favor, or to challenge and deny those against them. They constitute the corporate version of grassroots social movements. Serious ethical and societal concerns underline this astroturfing practice, especially if corporations are successful in influencing public opinion by undertaking a social movement approach. This study is motivated by this particular issue and examines the effectiveness of astroturf organizations in the global warming context, (...) wherein large corporate polluters have an incentive to set up astroturf organizations to undermine the importance of human activities in climate change. We conduct an experiment to determine whether astroturf organizations have an impact on the level of user certainty about the causes of global warming. Results show that people who used astroturf websites became more uncertain about the causes of global warming and humans’ role in the phenomenon than people who used grassroots websites. Astroturf organizations are hence successful in promoting business interests over environmental protection. In addition to the multiple business ethics issues it raises, astroturfing poses a significant threat to the legitimacy of the grassroots movement. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics and Politics in Tagore, Coetzee, and Certain Scenes of TeachingGayatri Chakravorty Spivak (bio)It is practically persuasive that the eruption of the ethical interrupts and postpones the epistemological—the undertaking to construct the other as object of knowledge, an undertaking never to be given up. Lévinas is the generic name associated with such a position. A beautiful passage from Otherwise than Being lays it out, although neither interruption nor (...) postponement is mentioned. That connection is made by Derrida [Adieu 51-59].Here, then, is Lévinas, for whom Kant's critical perspectivization of the subject and the rigorous limits of pure theoretical reason seem to have been displaced by the structuralist hermeneutics of suspicion. For Lévinas, structuralism did not attend to what in Kant was the mechanism that interrupted the constrained and rigorous workings of pure reason: "The interests that Kant discovered in theoretical reason itself, he subordinated to practical reason, become mere reason. It is just these interests that are contested by structuralism, which is perhaps to be defined by the primacy of theoretical reason" [Otherwise than Being 58; trans. modified].The relationship between the postponement of the epistemological in Lévinas and the subordination of pure reason in Kant is a rich theme, beyond the scope of this essay. Let us return to what Lévinas will perceive as a general contemporary hermeneutics of suspicion, related to the primacy of theoretical reason: "The suspicions engendered by psychoanalysis, sociology and politics weigh on human identity such that we never know to whom we are speaking and what we are dealing with when we build our ideas on the basis of the human fact."1 The political calculus thematizes this suspicion into an entire code of strategy defined as varieties of game theory and rational choice. This can be verified across cultural difference, backwards through history, and in today's global academic discourse. Over against this Lévinas posits the ethical with astonishing humility: "but we do not need this knowledge in the relationship in which the other is the one next to me [le prochain]" [Otherwise 59].Kant thought that the ethical commonality of being (gemeines Wesen—repeatedly mistranslated as "the ethical state") cannot form the basis of a state. Surprisingly, there is a clear line from the face-to-face of the ethical to the state in Lévinas.2 It has long [End Page 17] been my habit to scavenge and tinker in the field of practical philosophy. I will conserve from Kant the discontinuity between the ethical and the political, from Lévinas the discontinuity between the ethical and the epistemological. I will suggest that the discontinuities between the ethical and the epistemological and political fields are tamed in the nestling of logic and rhetoric in fiction.3Enabled by such a suggestion, I can move to another bit of prose on that page in Lévinas: "for reasons not at all transcendental but purely logical, the object-man must figure at the beginning of all knowing."The figure of the "I" as object: this representation of the holy man in Lévinas does not match our colloquial and literal expectations. My general suggestion, that the protocol of fiction gives us a practical simulacrum of the graver discontinuities inhabiting (and operating?) the ethico-epistemic and the ethico-political, can, however, take such a figure on board. I will continue to want to say that fiction offers us an experience of the discontinuities that remain in place "in real life." That would be a description of fiction as an event—an indeterminate "sharing" between writer and reader, where the effort of reading is to taste the impossible status of being figured as object in the web of the other. Reading, in this special sense, is sacred.In this essay I consider not only fiction as event but also fiction as task. I locate in Rabindranath Tagore (1861-1941) and J. M. Coetzee (1940-) representations of what may be read as versions of the "I" figured as object and weave the representations together as a warning text for postcolonial political ambitions.4 I am obviously using "text" as "web," coming from Latin texere—"to... (shrink)

The human sentence processor is able to make rapid predictions about upcoming linguistic input. For example, upon hearing the verb eat, anticipatory eye-movements are launched toward edible objects in a visual scene. However, the cognitive mechanisms that underlie anticipation remain to be elucidated in ecologically valid contexts. Previous research has, in fact, mainly used clip-art scenes and object arrays, raising the possibility that anticipatory eye-movements are limited to displays containing a small number of objects in a visually impoverished (...) context. In Experiment 1, we confirm that anticipation effects occur in real-world scenes and investigate the mechanisms that underlie such anticipation. In particular, we demonstrate that real-world scenes provide contextual information that anticipation can draw on: When the target object is not present in the scene, participants infer and fixate regions that are contextually appropriate. Experiment 2 investigates whether such contextual inference requires the co-presence of the scene, or whether memory representations can be utilized instead. The same real-world scenes as in Experiment 1 are presented to participants, but the scene disappears before the sentence is heard. We find that anticipation occurs even when the screen is blank, including when contextual inference is required. We conclude that anticipatory language processing is able to draw upon global scene representations to make contextual inferences. These findings are compatible with theories assuming contextual guidance, but posit a challenge for theories assuming object-based visual indices. (shrink)

Dans cet article, nous développons l’idée que les genèses du posthumain et du clone sont encore tributaires d’un imaginaire de la matrice. L’antre souterrain, le cocon, l’œuf, le ventre maternel ne demeurent-ils pas les référents majeurs pour penser la création et la naissance, même lorsqu’elles sont artificielles? Les récits anthropotechniques, nouvelles anthropogonies, mettent ainsi en scène une nouvelle matrice — actualisée. In this paper, we develop the idea that the genesis of the posthuman and the clone still depend on an (...) imaginary of the Matrix. Does not the underground cave, the cocoon, the egg and the maternal stomach remain the main referents to think creation and birth, even when they are artificial? Anthropotechnical stories, new “anthropogonies”, thus stage a new, updated, matrix. (shrink)

Human rights law has been called upon to help with the problem of persistently high greenhouse gas emissions. An obligation on states and other legal entities to lower their emissions (mitigation) is said to be deducible from that body of law. I refute this thesis. First, I consider two practical difficulties—causality and non-triviality—that face a plaintiff who, with emission mitigation as the objective, attempts to prove a human rights violation using the regular pattern of proof for a violation. (...) Proponents of the “human rights approach” to mitigation have held that proof of an emission “contribution” by the defendant together with proof of an “impact” by climate change on the plaintiff’s human rights are sufficient to discharge the evidentiary burden for the proof of causation. The rest of the causation chain is simply presumed. Thus, the original proof pattern for a human rights violation is abandoned. The proponents’ answer to the triviality difficulty has been to aggregate emitters into very large entities and sue _them_. However, aggregation can be shown to lead to a _reductio ad absurdum_. In my argument’s second part, I identify a more fundamental difficulty with the human rights approach to mitigation: The defendant’s emissions do not amount to a norm violation. Everyone contributes emissions without legislative or other prohibition. Treaty law on climate change itself recognizes emitting behaviour as lawful and permits the continuation of state emissions through to at least 2050. A rise in global warming from preindustrial levels to 1.5° Celsius with room for an even greater rise to close to 2° Celsius has been _budgeted for_ by the Paris Agreement on Climate Change. The setting up of a budget affirms the normalized status of within-budget emissions. This universal license to emit denies the human rights approach to mitigation the very conditions of application of human rights law. (shrink)

The more one reads about the topic of natural kinds, the more one is reminded of that famous scene in The Hitchhiker’s Guide to the Galaxy in which Deep Thought—after a mere 7.5 million years of doing calculations—reveals that the answer to the Ultimate Question of Life, the Universe and Everything was 42. Faced with bewildered reactions from the eager audience, Deep Thought explains: “I think the problem, to be quite honest with you, is that you’ve never actually known what (...) the question is” .In the case of the growing literature on natural kinds, it is easy to get a feeling that something similar is going on. While philosophers keep advancing novel accounts of natural kinds, at the same time there is considerable disagreement about what exactly the problem is that such accounts should solve. To some, natural kinds are real kinds in nature that exist in the world independently of human interests and practices. At the very least, they are human-made kinds that correspon .. (shrink)

This book is a defense of Hume's philosophical principles in the Treatise of Human Nature. Nelson shows that Hume's new philosophy was a uniquely original and profound masterpiece in philosophical literature, worthy of serious study and acceptance. It is argued that Dialoguesis a reflective philosophical autobiography of Hume himself.

Three of the most robust functional landmarks in the human brain are the selective responses to faces in the fusiform face area (FFA), scenes in the parahippocampal place area (PPA), and bodies in the extrastriate body area (EBA). Are the selective responses of these regions present early in development or do they require many years to develop? Prior evidence leaves this question unresolved. We designed a new 32-channel infant magnetic resonance imaging (MRI) coil and collected high-quality functional MRI (...) (fMRI) data from infants (2–9 months of age) while they viewed stimuli from four conditions—faces, bodies, objects, and scenes. We find that infants have face-, scene-, and body-selective responses in the location of the adult FFA, PPA, and EBA, respectively, powerfully constraining accounts of cortical development. (shrink)

A radical approach to the environment which argues that by harnessing the power of science for human benefit, we can have a healthier planet As a prizewinning theoretical physicist and an outspoken advocate for scientific literacy, James Trefil has long been the public's guide to a better understanding of the world. In this provocative book, Trefil looks squarely at our environmental future and finds-contrary to popular wisdom-reason to celebrate. For too long, Trefil argues, humans have treated nature as something (...) separate from themselves-pristine wilderness to be saved or material resources to be exploited. What we need instead is a scientific approach to the environment that embraces the human transformation of nature for our benefit. In Human Nature , Trefil exposes the benefits of genetically modified species, uncovers vital facts about droughts and global warming, and points to examples of environmental management where catering to humans reaps greater rewards than sheltering other species. By taking advantage of explosive advances in the sciences, we can fruitfully manage the planet, if we rise to the challenge. Like Rachel Carson's Silent Spring and Paul Ehrlich's Population Bomb, Human Nature promises to fundamentally alter the way we perceive our relationship to the Earth-but with optimism rather than alarm. (shrink)

In this paper, I discuss some of the human rights that are threatened by the impact of global warming and the problem of motivation to comply with the duties of climate justice. I explain in what sense human rights can be violated by climate change and try to show that there are not only moral reasons to address this problem, but also more prudential motives, which I refer to as quasi-moral and non-moral reasons. I also assess some implications (...) of potentially catastrophic impacts driven by this ecological issue. My aim is to locate, by outlining a normative perspective based on sound empirical findings, urgent climate injustices, and explain why well-off citizens in developed countries have strong reasons to avert the potentially massive violation of the rights of present and future victims of climate change. (shrink)