Examining the connections between geontologic and interrelational theories of place counter-mapping practices offers important methodological and pedagogic lessons in environmental sustainability e...

Technology is pervasive in current police practices, and has been for a long time. From CCTV to crime mapping, databases, biometrics, predictive analytics, open source intelligence, applications and a myriad of other technological solutions take centre stage in urban safety management. But before efficient use of these applications can be made, it is necessary to confront a series of challenges relating to the organizational structures that will be used to manage them, to their technical capacities and expectations, and to (...) weigh up the positive and negative external factors at play at the intersection between technology, society and urban management. The paper contributes to this discussion by looking into the dynamics that drive technological uptake in the field of urban safety, the different theories underpinning the relationship between crime and space, and the history and technological characteristics of Geographic Information Systems to later present specific case studies and practical examples of crime mapping systems. Finally, addressing matters related to organisational constraints, technological possibilities and societal impact from a critical point of view, the paper lays out guidelines to ensure that using technology to manage urban safety does not result in increased victimisation, inequalities or inefficiency. Taking one of the longest established technology used in police practice, crime mapping, and using a multidisciplinary, critical approach to escape technological solutionism and bridge the gap between the academic literature and policy needs and recommendations, this paper sends a cautionary tale to those hoping that technology alone can solve complex urban and social problems. (shrink)

The dominant paradigm of experiments in the social and behavioral sciences views an experiment as a test of a theory, where the theory is assumed to generalize beyond the experiment's specific conditions. According to this view, which Alan Newell once characterized as “playing twenty questions with nature,” theory is advanced one experiment at a time, and the integration of disparate findings is assumed to happen via the scientific publishing process. In this article, we argue that the process of integration is (...) at best inefficient, and at worst it does not, in fact, occur. We further show that the challenge of integration cannot be adequately addressed by recently proposed reforms that focus on the reliability and replicability of individual findings, nor simply by conducting more or larger experiments. Rather, the problem arises from the imprecise nature of social and behavioral theories and, consequently, a lack of commensurability across experiments conducted under different conditions. Therefore, researchers must fundamentally rethink how they design experiments and how the experiments relate to theory. We specifically describe an alternative framework, integrative experiment design, which intrinsically promotes commensurability and continuous integration of knowledge. In this paradigm, researchers explicitly map the design space of possible experiments associated with a given research question, embracing many potentially relevant theories rather than focusing on just one. Researchers then iteratively generate theories and test them with experiments explicitly sampled from the design space, allowing results to be integrated across experiments. Given recent methodological and technological developments, we conclude that this approach is feasible and would generate more-reliable, more-cumulative empirical and theoretical knowledge than the current paradigm – and with far greater efficiency. (shrink)

Fake news has been the focus of debate, especially since the election of Donald Trump (2016), and remains a topic of concern in democratic countries worldwide, given (a) their threat to democratic systems and (b) the difficulty in detecting them. Despite the deployment of sophisticated computational systems to identify fake news, as well as the streamlining of fact-checking methods, appropriate fake news detection mechanisms have not yet been found. In fact, technological approaches are likely to be inefficient, given that (...) fake news are based mostly on partisanship and identity politics, and not necessarily on outright deception. However, as disinformation is inherently expressed linguistically, this is a privileged room for forensic linguistic analysis. This article builds upon a forensic linguistic analysis of fake news pieces published in English and in Portuguese, which were collected since 2019 from acknowledged fake news outlets. The preliminary empirical analysis reveals that fake news pieces employ particular linguistic features, e.g. at the levels of typography, orthography and spelling, and morphosyntax. The systematic identification of these features, which will allow mapping linguistic resources and patterns used in those contexts, contributes to scholarship, not only by enabling a streamlined development of computational detection systems, but more importantly by permitting the forensic linguistics expert to assist criminal investigations and give evidence in court. (shrink)

Drug abuse has been and continues to be, a common social issue worldwide, yet the efficiency of widely adopted sweeping speech for anti-drug campaigns has proven inefficient. To provide students with a safe and efficient learning situation related to drug refusal skills, we used a novel approach rooted in a serious learning game and concept map during a brief extracurricular period to help students understand drugs and their negative effects. The proposed game-based situational learning system allowed all students to (...) participate simultaneously and individually in multiple scenarios of drug temptation posed by peers and classmates to practice responding and refusing drugs in school and community settings. Moreover, to explore whether different personality traits result in different anti-drug responses, we used a serious game to conduct an anti-drug experiment on 53 junior middle school students aged 13–15. Each participant’s decision-making process was recorded in the serious game as behavioral patterns for lag sequential analysis. The outcomes revealed seven behavioral patterns including differentiation, acceptance, effective and ineffective responses, effective and ineffective solution-seeking, and failure to refuse. The GSEQ which is a computer program for analyzing sequential observational data was used. The results indicated the following: Neuroticism was performed at a relatively low level under the guidance of a concept map. “Neuroticism” was associated with the lowest risk of accepting drugs. Students with “openness to experiences” were at high risk of accepting drugs. Almost all personality behavioral transition diagrams showed that failure to refuse drugs was followed by inefficient seeking of help and inefficient refusal. These findings provide reference points for designing adaptive anti-drug education programs. (shrink)

This article reviews the phenomena of disordered discourse often manifested in schizophrenia. It argues that the Structure Building Framework, a model of the general cognitive processes and mechanisms underlying discourse, can be used to account for these phenomena. According to the Structure Building Framework, the goal of comprehension is to build coherent mental representations or structures. Building a mental structure involves several component subprocesses: laying a foundation, mapping relevant information onto that foundation, and shifting to initiate a new substructure. (...) Building a mental structure also involves at least two general cognitive mechanisms: enhancement of relevant activation and suppression of irrelevant or inappropriate activation. We suggest that schizophrenics who exhibit verbose disordered discourse have inefficient suppression mechanisms, are impaired in laying a foundation, and tend to shift too often. We also speculate that schizophrenics who exhibit impoverished disordered discourse have inefficient enhancement mechanisms and are impaired with the cognitive process of mapping. (shrink)

We present a theoretical framework bearing on the evolution of written communication. We analyze writing as a special kind of graphic code. Like languages, graphic codes consist of stable, conventional mappings between symbols and meanings, but (unlike spoken or signed languages) their symbols consist of enduring images. This gives them the unique capacity to transmit information in one go across time and space. Yet this capacity usually remains quite unexploited, because most graphic codes are insufficiently informative. They may only be (...) used for mnemonic purposes or as props for oral communication in real-time encounters. Writing systems, unlike other graphic codes, work by encoding a natural language. This allows them to support asynchronous communication in a more powerful and versatile way than any other graphic code. Yet, writing systems will not automatically unlock the capacity to communicate asynchronously. We argue that this capacity is a rarity in non-literate societies, and not so frequent even in literate ones. Asynchronous communication is intrinsically inefficient because asynchrony constrains the amount of information that the interlocutors share and limits possibilities for repair. This would explain why synchronous, face-to-face communication always fosters the development of sophisticated codes (natural languages), but similar codes for asynchronous communication evolve with more difficulties. It also implies that writing cannot have evolved, at first, for supporting asynchronous communication. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Two agents endowed with different categorisations engage in bargaining to reach an understanding and agree on a common categorisation. We model the process as a simple non-cooperative game and demonstrate three results. When the initial disagreement is focused, the bargaining process has a zero-sum structure. When the disagreement is widespread, the zero-sum structure disappears and the unique equilibrium requires a retraction of consensus: two agents who individually associate a region with the same category end up rebranding it under a different (...) category. Finally, we show that this last equilibrium outcome is Pareto dominated by a cooperative solution that avoids retraction; that is, the unique equilibrium agreement may be inefficient. (shrink)

Walter Map was a twelfth-century courtier and royal servant. He was a prolific writer, but De Nugis Curialium is the only surviving work confidently attributed to him. The book is a collection of short stories and anecdotes about the court, religion and history. Map's references demonstrate that he read widely, not only biblical and theological works, but also classical authors such as Horace, Virgil, Ovid and Juvenal. The only surviving manuscript of the work is a fourteenth-century copy once belonging to (...) the monk John Wells of Ramsey Abbey. The Cambridge bibliographer M. R. James would have been attracted to the breadth of Map's referencing, and the author's light-hearted writing style which was intended to entertain. James' 1914 Oxford publication corrected the earlier work of Thomas Wright who published an edition for the Camden Society in 1850. (shrink)

The papers in this volume are drawn from a workshop on delusion and self-deception, held at Macquarie University in November of 2004. Our aim was to bring together theorists working on delusions and self-deception with an eye towards identifying and fostering connections—at both empirical and conceptual levels—between these domains. As the contributions to this volume testify, there are multiple points of contact between delusion and self-deception. This introduction charts the conceptual space in which these points of contact can be located (...) and introduces the reader to some of the general issues that frame the discussion of subsequent chapters. (shrink)

In their attempt to connect the workings of the human mind with their neural realizers, cognitive neuroscientists often bracket out individual differences to build a single, abstract model that purportedly represents (almost) every human being’s brain. In this paper I first examine the rationale behind this model, which I call ‘Platonic Brain Model’. Then I argue that it is to be surpassed in favor of multiple models allowing for patterned inter-individual differences. I introduce the debate on legitimate (and illegitimate) ways (...) of mapping neural structures and cognitive functions, endorsing a view according to which function-structure mapping is context-sensitive. Building on the discussion of the ongoing debate on the function(s) of the so-called Fusiform “Face” Area, I show the necessity of indexing function-structure mappings to some populations of subjects, clustered on the basis of factors such as their expertise in a given domain. (shrink)

The Corporate Social Responsibility (CSR) field presents not only a landscape of theories but also a proliferation of approaches, which are controversial, complex and unclear. This article tries to clarify the situation, mapping the territory by classifying the main CSR theories and related approaches in four groups: (1) instrumental theories, in which the corporation is seen as only an instrument for wealth creation, and its social activities are only a means to achieve economic results; (2) political theories, which concern (...) themselves with the power of corporations in society and a responsible use of this power in the political arena; (3) integrative theories, in which the corporation is focused on the satisfaction of social demands; and (4) ethical theories, based on ethical responsibilities of corporations to society. In practice, each CSR theory presents four dimensions related to profits, political performance, social demands and ethical values. The findings suggest the necessity to develop a new theory on the business and society relationship, which should integrate these four dimensions. (shrink)

Here we present the framework of a new approach to assessing the capacity of research programs to achieve social goals. Research evaluation has made great strides in addressing questions of scientific and economic impacts. It has largely avoided, however, a more important challenge: assessing (prospectively or retrospectively) the impacts of a given research endeavor on the non-scientific, non-economic goals—what we here term public values —that often are the core public rationale for the endeavor. Research programs are typically justified in terms (...) of their capacity to achieve public values, and that articulation of public values is pervasive in science policy-making. We outline the elements of a case-based approach to public value mapping of science policy, with a particular focus on developing useful criteria and methods for assessing public value failure, with an intent to provide an alternative to market failure thinking that has been so powerful in science policy-making. So long as research evaluation avoids the problem of public values, science policy decision makers will have little help from social science in making choices among competing paths to desired social outcomes. (shrink)

The rise of neurotechnologies, especially in combination with artificial intelligence (AI)-based methods for brain data analytics, has given rise to concerns around the protection of mental privacy, mental integrity and cognitive liberty – often framed as “neurorights” in ethical, legal, and policy discussions. Several states are now looking at including neurorights into their constitutional legal frameworks, and international institutions and organizations, such as UNESCO and the Council of Europe, are taking an active interest in developing international policy and governance guidelines (...) on this issue. However, in many discussions of neurorights the philosophical assumptions, ethical frames of reference and legal interpretation are either not made explicit or conflict with each other. The aim of this multidisciplinary work is to provide conceptual, ethical, and legal foundations that allow for facilitating a common minimalist conceptual understanding of mental privacy, mental integrity, and cognitive liberty to facilitate scholarly, legal, and policy discussions. (shrink)

Evans’ 1968 ANALOGY system was the first computer model of analogy. This paper demonstrates that the structure mapping model of analogy, when combined with high‐level visual processing and qualitative representations, can solve the same kinds of geometric analogy problems as were solved by ANALOGY. Importantly, the bulk of the computations are not particular to the model of this task but are general purpose: We use our existing sketch understanding system, CogSketch, to compute visual structure that is used by our (...) existing analogical matcher, Structure Mapping Engine (SME). We show how SME can be used to facilitate high‐level visual matching, proposing a role for structural alignment in mental rotation. We show how second‐order analogies over differences computed via analogies between pictures provide a more elegant model of the geometric analogy task. We compare our model against human data on a set of problems, showing that the model aligns well with both the answers chosen by people and the reaction times required to choose the answers. (shrink)

There is an abundance of enthusiasm and optimism about how governments at all levels can make use of big data, algorithms and artificial intelligence. There is also growing concern about the risks that come with these new systems. This article makes the case for greater government transparency and accountability about uses of big data through a Government of Canada qualitative research case study. Adapting a method from critical cartographers, I employ counter-mapping to map government big data practices and internal (...) discussions of risk and challenge. I do so by drawing on interviews and freedom of information requests. The analysis reveals that there are more concerns and risks than often publicly discussed and that there are significant areas of silence that need greater attention. The article underlines the need for our democratic systems to respond to our new datafied contexts by ensuring that our institutions make changes to better protect citizen rights, uphold democratic principles and ensure means for citizen intervention. (shrink)

Many ICT services require that users explicitly consent to conditions of use and policies for the protection of personal information. This consent may become ‘routinised’. We define the concept of routinisation and investigate to what extent routinisation occurs as well as the factors influencing routinisation in a survey study of internet use. We show that routinisation is common and that it is influenced by factors including gender, age, educational level and average daily internet use. We further explore the reasons users (...) provide for not reading conditions and policies and show that they can be grouped in meaningful ways that may delineate different types of routinsation. (shrink)

This study examines the complex relation between spatial experience and aesthetic experience. It is argued that spatial experience specifically in the context of everyday spaces makes it possible to experience them aesthetically as well. A wide selection of research ranging from environmental and philosophical aesthetics to architectural theory, psychology, human geography, and other relevant disciplines is employed in order to achieve a more detailed picture of how spatial experience is formed in the first place. This experience is described mainly in (...) terms of phenomenology but is then related to other ways of understanding experiences and their prerequisites. -/- Different notions of space and spatiality and a more comprehensive articulation of the relation of perception to spatial experience, sensory perception, and how senses contribute to spatial experience are in the focus of attention at the beginning of the study. Different experiential layers that can be distinguished within the space which is closest experienced are explored. Interaction with environment is discussed and the notion of preaesthetic is presented to clarify the relation between the two different types of experiences. Following this, the notion of preaesthetic is studied against eminent notions such as aesthetic attitude and aesthetic engagement that show elements that have traditionally been considered to either lead to or define aesthetic experiences. -/- This study shows that the effect that spatial experience has on revealing aesthetic potentialities in everyday environments is far more complicated than has previously been understood. Due to its contingent qualities, spatial experience sometimes leads to "failed" aesthetic experiences even in situations where there is obvious aesthetic potentiality. Even though there are some overlapping qualities in spatial and aesthetic experiences, they cannot thus be equated, as has more or less been done in different branches studying the topics of art and architectural experiences, for example. In the final part of the study, some possible directions for future research are pointed out and the application possibilities of these new developments in aesthetic theory are presented by short case studies, in which a closer look is taken into a chosen set of urban everyday spaces. (shrink)

This article introduces an evolving project of visual mapping initiated by Israeli photographers Miki Kratsman and Shabtai Pinchevsky under the title of Anti-Mapping. Placing this critical project in the context of the Israel/Palestine conflict, the article examines how Kratsman and Pinchevsky develop complex, strategic and critically sophisticated approaches to visualizing the conditions that produce victims of violence and that place Palestinian villages under threat of destruction. The article explores their strategic, technical and critical approaches to the difficulties of (...) representing particular contested places in this geopolitical context. (shrink)

Argument-mapping software abounds, and one of the reasons is that using the software has been shown to teach/promote/improve critical thinking skills. These positive results are very encouraging, but they also raise the question of whether the computer tutorial environment is producing these results, or whether learning argument mapping, even with just paper and pencil, is sufficient. Based on the results of two empirical studies, I argue that the basic skill of being able to represent an argument diagrammatically plays (...) an important role in the improvement of critical-thinking skills. While these studies do not offer a direct comparison between the two methods, it is important for anyone wishing to employ argument mapping in the classroom to know that significant results can be obtained even with the most rudimentary of tools. (shrink)

What mechanisms underlie children’s language production? Structural priming—the repetition of sentence structure across utterances—is an important measure of the developing production system. We propose its mechanism in children is the same as may underlie analogical reasoning: structure-mapping. Under this view, structural priming is the result of making an analogy between utterances, such that children map semantic and syntactic structure from previous to future utterances. Because the ability to map relationally complex structures develops with age, younger children are less successful (...) than older children at mapping both semantic and syntactic relations. Consistent with this account, 4-year-old children showed priming only of semantic relations when surface similarity across utterances was limited, whereas 5-year-olds showed priming of both semantic and syntactic structure regardless of shared surface similarity. The priming of semantic structure without syntactic structure is uniquely predicted by the structure-mapping account because others have interpreted structural priming as a reflection of developing syntactic knowledge. (shrink)

In the original version of the publication, Figs. 2, 3 and 4 have been included incorrectly and these have been removed with this Correction and the corresponding text have been updated as mentioned below.

The field of neuroimaging has reached a watershed. Brain imaging research has been the source of many advances in cognitive neuroscience and cognitive science over the last decade, but recent critiques and emerging trends are raising foundational issues of methodology, measurement, and theory. Indeed, concerns over interpretation of brain maps have created serious controversies in social neuroscience, and, more important, point to a larger set of issues that lie at the heart of the entire brain mapping enterprise. In this (...) volume, leading scholars -- neuroimagers and philosophers of mind -- reexamine these central issues and explore current controversies that have arisen in cognitive science, cognitive neuroscience, computer science, and signal processing. The contributors address both statistical and dynamical analysis and modeling of neuroimaging data and interpretation, discussing localization, modularity, and neuroimagers' tacit assumptions about how these two phenomena are related; controversies over correlation of fMRI data and social attributions ; and the standard inferential design approach in neuroimaging. Finally, the contributors take a more philosophical perspective, considering the nature of measurement in brain imaging, and offer a framework for novel neuroimaging data structures. Contributors: William Bechtel, Bharat Biswal, Matthew Brett, Martin Bunzl, Max Coltheart, Karl J. Friston, Joy J. Geng, Clark Glymour, Kalanit Grill-Spector, Stephen José Hanson, Trevor Harley, Gilbert Harman, James V. Haxby, Rik N. Henson, Nancy Kanwisher, Colin Klein, Richard Loosemore, Sébastien Meriaux, Chris Mole, Jeanette A. Mumford, Russell A. Poldrack, Jean-Baptiste Poline, Richard C. Richardson, Alexis Roche, Adina L. Roskies, Pia Rotshtein, Rebecca Saxe, Philipp Sterzer, Bertrand Thirion, Edward Vul The hardcover edition does not include a dust jacket. (shrink)

GIS for Science presents a collection of real-world stories about modern science and a cadre of scientists who use mapping and spatial analytics to expand their understanding of the world. The accounts in this book are written for a broad audience including professional scientists, the swelling ranks of citizen scientists, and people generally interested in science and geography. Scientific data are brought to life with GIS technology to study a range of issues relevant to the functioning of planet Earth (...) in a natural sense as well as the impacts of human activity. In a race against the clock, the scientists profiled in this volume are using remote sensing, web maps within a geospatial cloud, Esri StoryMaps, and spatial analysis to document and solve an array of issues with a geographic dimension, ranging from climate change, natural disasters, and loss of biodiversity, to homelessness, loss of green infrastructure, and resource shortages. These stories present geospatial ideas and inspiration that readers can apply across many disciplines, making this volume relevant to a diverse scientific audience. See how scientists working on the world's most pressing problems apply geographic information systems--GIS. -- "Mike Goodchild". (shrink)

Mature representations of number are built on a core system of numerical representation that connects to spatial representations in the form of a ‘mental number line’. The core number system is functional in early infancy, but little is known about the origins of the mapping of numbers onto space. Here we show that preverbal infants transfer the discrimination of an ordered series of numerosities to the discrimination of an ordered series of line lengths. Moreover, infants construct relationships between individual (...) numbers and line lengths that vary positively, but not between numbers and lengths that vary inversely. These findings provide evidence for an early developing predisposition to relate representations of numerical magnitude and spatial length. A central foundation of mathematics, science and technology therefore emerges prior to experience with language, symbol systems, or measurement devices. (shrink)

The nature of abstract and concrete semantics and differences between them have remained a debated issue in psycholinguistic and cognitive studies for decades. Most of the available behavioral and neuroimaging studies reveal distinctions between these two types of semantics, typically associated with a so-called “concreteness effect.” Many attempts have been made to explain these differences using various approaches, from purely theoretical linguistic and cognitive frameworks to neuroimaging experiments. In this brief overview, we will try to provide a snapshot of these (...) diverse views and relationships between them and highlight the crucial issues preventing this problem from being solved. We will argue that one potentially beneficial way forward is to identify the neural mechanisms underpinning acquisition of the different types of semantics (e.g., by using neurostimulation techniques to establish causal relationships), which may help explain the distinctions found between the processing of concrete and abstract semantics. (shrink)

Objective: Tangent Space Mapping using the geometric structure of the covariance matrices is an effective method to recognize multiclass motor imagery. Compared with the traditional CSP method, the Riemann geometric method based on TSM takes into account the nonlinear information contained in the covariance matrix, and can extract more abundant and effective features. Moreover, the method is an unsupervised operation, which can reduce the time of feature extraction. However, EEG features induced by MI mental activities of different subjects are (...) not the same, so selection of subject-specific discriminative EEG frequency components play a vital role in the recognition of multiclass MI. In order to solve the problem, a discriminative and multi-scale filter bank tangent space mapping algorithm is proposed in this article to design the subject-specific Filter Bank so as to effectively recognize multiclass MI tasks. Methods: On the 4-class BCI competition IV-2a dataset, first, a non-parametric method of multivariate analysis of variance based on the sum of squared distances is used to select discriminative frequency bands for a subject; next, a multi-scale FB is generated according to the range of these frequency bands, and then decompose multi-channel EEG of the subject into multiple sub-bands combined with several time windows. Then TSM algorithm is used to estimate Riemannian tangent space features in each sub-band and finally a liner Support Vector Machines is used for classification. Main Results: The analysis results show that the proposed discriminative FB enhances the multi-scale TSM algorithm, improves the classification accuracy and reduces the execution time during training and testing. On the 4-class BCI competition IV-2a dataset, the average session to session classification accuracy of nine subjects reached 77.33 ± 12.3%. When the training time and the test time are similar, the average classification accuracy is 2.56% higher than the latest TSM method based on multi-scale filter bank analysis technology. When the classification accuracy is similar, the training speed is increased by more than three times, and the test speed is increased two times more. Compared with Supervised Fisher Geodesic Minimum Distance to the Mean, another new variant based on Riemann geometry classifier, the average accuracy is 3.36% higher, we also compared with the latest Deep Learning method, and the average accuracy of 10-fold cross validation improved by 2.58%. Conclusion: Research shows that the proposed DMFBTSM algorithm can improve the classification accuracy of MI tasks. Significance: Compared with the MFBTSM algorithm, the algorithm proposed in this article is expected to select frequency bands with good separability for specific subject to improve the classification accuracy of multiclass MI tasks and reduce the feature dimension to reduce training time and testing time. (shrink)

Sartre and Foucault were two of the most prominent and at times mutually antagonistic philosophical figures of the twentieth century. And nowhere are the antithetical natures of their existentialist and poststructuralist philosophies more apparent than in their disparate approaches to historical understanding. In Volume One of this authoritative two-volume study, Thomas R. Flynn conducted a pivotal and comprehensive reconstruction of Sartrean historical theory. This long-awaited second volume offers a comprehensive and critical reading of the Foucauldian counterpoint. A history, theorized Foucault, (...) should be a kind of map, a comprehensive charting of structural transformations and displacements over time. Contrary to other Foucault scholars, Flynn proposes an "axial" rather than a developmental reading of Foucault's work. This allows aspects of Foucault's famous triad of knowledge, power, and the subject to emerge in each of his major works. Flynn maps existentialist categories across Foucault's "quadrilateral," the model that Foucault proposes as defining modernist conceptions of knowledge. At stake is the degree to which Sartre's thought is fully captured by this mapping, whether he was, as Foucault claimed, "a man of the nineteenth century trying to think in the twentieth.". (shrink)

Contesting much contemporary epistemology and cognitive science, noted philosopher Kenneth M. Sayre argues that, while some cognitive attitudes such as believing take propositions as objects, there are many others whose objects are instead states of affairs.