This chapter contains sections titled: One spaceism versus two spaceism: setting the scene Two spaceism and ir‐content Which label: “epistemic” or “conceptual”? Which possibilities, precisely, are the ones two spaceism holds are conceptually possible but metaphysically impossible? How working with the bigger canvass raises some of the same questions over again Why two spaceism is not a happy home for anti‐reductionists Where to from here?

This chapter contains sections titled: One spaceism versus two spaceism: setting the scene Two spaceism and ir‐content Which label: “epistemic” or “conceptual”? Which possibilities, precisely, are the ones two spaceism holds are conceptually possible but metaphysically impossible? How working with the bigger canvass raises some of the same questions over again Why two spaceism is not a happy home for anti‐reductionists Where to from here?

One-sided classifiers are computable devices which read the characteristic function of a set and output a sequence of guesses which converges to 1 iff the set on the input belongs to the gven class. Such a classifier istwo-sided if the sequence of its output in addition converges to 0 on setsnot belonging to the class. The present work obtains the below mentionedresults for one-sided classes (= Σ0 2 classes) with respect to four areas: Turing complexity, 1-reductions, index sets and measure.There (...) are one-sided classes which are not two-sided. This can have two reasons: (1) the class has only high Turing complexity. Then there are some oracles which allow to construct noncomputale two-sided classifiers. (2) The class is difficult because of some topological constraints and then there are also no nonrecursive two-sided classifiers. For case (1), several results are obtainedto localize the Turing complexity of certain types of one-sided classes.The concepts of 1-reduction, 1-completeness and simple sets is transferred to one-sided classes: There are 1-complete classes and simple classes, but no class is at the same time 1-complete nd simple.The one-sided classes have a natural numbering. Most of the common index sets relative to this numbering have the high complexity Π1 1: the index set of the class {0,1}∞, the index set of the equality problem and the index set of all two-sided classes. On the other side the index set of the empty class has complexity Π0 2; Π0 2 and Σ0 2 are the least complexities any nontrivial index set can have.Lusin showed that any one-sided class is measurable. Concerning the effectiveness of this measure, it is shown that a one-sided class has recursive measure 0 if it has measure 0, but that thre are one-sided classes having measure 1 without having measure 1 effectively. The measure of a two-sided class can be computed in the limit. (shrink)

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

In the present paper we prove that the poset of all extensions of the logic defined by a class of matrices whose sets of distinguished values are equationally definable by their algebra reducts is the retract, under a Galois connection, of the poset of all subprevarieties of the prevariety generated by the class of the algebra reducts of the matrices involved. We apply this general result to the problem of finding and studying all extensions of the logic of paradox. In (...) order to solve this problem, we first study the structure of prevarieties of Kleene lattices. Then, we show that the poset of extensions of the logic of paradox forms a four-element chain, all the extensions being finitely many-valued and finitely-axiomatizable logics. There are just two proper consistent extensions of the logic of paradox. The first is the classical logic that is relatively axiomatized by the Modus ponens rule for the material implication. The second extension, being intermediate between the logic of paradox and the classical logic, is the one relatively axiomatized by the Ex Contradictione Quodlibet rule. (shrink)

The present first part about the eventual completeness of mathematics (called “Hilbert mathematics”) is concentrated on the Gödel incompleteness (1931) statement: if it is an axiom rather than a theorem inferable from the axioms of (Peano) arithmetic, (ZFC) set theory, and propositional logic, this would pioneer the pathway to Hilbert mathematics. One of the main arguments that it is an axiom consists in the direct contradiction of the axiom of induction in arithmetic and the axiom of infinity in set theory. (...) Thus, the pair of arithmetic and set are to be similar to Euclidean and non-Euclidean geometries distinguishably only by the Fifth postulate now, i.e. after replacing it and its negation correspondingly by the axiom of finiteness (induction) versus that of finiteness being idempotent negations to each other. Indeed, the axiom of choice, as far as it is equivalent to the well-ordering “theorem”, transforms any set in a well-ordering either necessarily finite according to the axiom of induction or also optionally infinite according to the axiom of infinity. So, the Gödel incompleteness statement relies on the logical contradiction of the axiom of induction and the axiom of infinity in the final analysis. Nonetheless, both can be considered as two idempotent versions of the same axiom (analogically to the Fifth postulate) and then unified after logicism and its inherent intensionality since the opposition of finiteness and infinity can be only extensional (i.e., relevant to the elements of any set rather than to the set by itself or its characteristic property being a proposition). So, the pathway for interpreting the Gödel incompleteness statement as an axiom and the originating from that assumption for “Hilbert mathematics” accepting its negation is pioneered. A much wider context relevant to realizing the Gödel incompleteness statement as a metamathematical axiom is consistently built step by step. The horizon of Hilbert mathematics is the proper subject in the third part of the paper, and a reinterpretation of Gödel’s papers (1930; 1931) as an apology of logicism as the only consistent foundations of mathematics is the topic of the next second part. (shrink)

In this paper I shall address the connections between Deleuze and Guattari’s philosophy and Caribbean thought. However, I will only focus on Antonio Benítez Rojo’s essay The Repeating Island, since I have found in it the presence—or expression—of some key deleuzian and deleuzo-guattarian concepts. I will use the deleuzian concept of repetition to defend this stance, as well as to argue that one may find some of the most interesting readings of Deleuze’s texts in the work of Caribbean authors such (...) as Benítez Rojo, not only in spite of their relative understanding and lack of exegetical rigour, but rather thanks to the fact that this is, in no case, their main intention. The angle I have chosen does not intend to point out consistencies or inconsistencies in Benítez Rojo’s “appropriations” or “rewritings” of Deleuze and Guattari, for this would only keep us within the logic of the copy versus the original. Instead, this reading tries to destabilize the boundaries between philosophy and literature as well as between French and Caribbean thought. The undoing of these types of distinction intends to produce a new theatre of thought, a theatre of repetition, not of representation, in order to set up the scene for a contrapunteo between two images of thought: one deleuzian, the other Caribbean. Thus, we embark upon this journey hoping to have an encounter that promises yet another becoming to Deleuze’s philosophy. The angle I have chosen does not intend to point out consistencies or inconsistencies in Benitez Rojo’s “appropriations” or “re-writings” of Deleuze-Guattari, for this would only keep us within the logic of the copy versus the original. Instead, this reading tries to destabilize the boundaries between philosophy and literature as well as between French and Caribbean thought. The undoing of these types of distinction intends to produce a new theatre of thought, a theatre of repetition not of representation in order to set up the scene for a contrapunteo between two images of thought: one deleuzian, the other Caribbean. Thus, we embark on this journey hoping to have an encounter that promises yet another becoming of Deleuze’s philosophy. (shrink)

The aim of this paper is to discuss Wittgenstein's conception of truth in the Tractatus Logico-Philosophicus. Section 1 sets the scene by exploring how the notion of truth is in the Tractatus intertwined with notions such as sense and picture. In section 2 I discuss a traditional interpretation that sees the Tractatus as committed to truth as correspondence. In sections 3 and 4 I discuss two more recent alternative lines of interpretation; according to one, we should interpret truth in (...) the Tractatus as a relation of identity. According to the other, the Tractatus endorses a deflationary account of truth. I conclude in section 5 by adjudicating the interpretative debate. (shrink)

"The need to speak, even if one has nothing to say, becomes more pressing when one has nothing to say, just as the will to live becomes more urgent when life has lost its meaning."--from _The Ecstasy of Communication _First published in France in 1987, _ The Ecstasy of Communication_ was Baudrillard's summarization of his work for a postdoctoral degree at the Sorbonne: a dense, poetically crystalline essay that boiled down two decades of radical, provocative theory into an aphoristically eloquent (...) swan song to twentieth-century alienation. Baudrillard's quixotic effort to be recognized by the French intellectual establishment may have been doomed to failure, but this text immediately became a pinnacle to his work, a mid-career assessment that looked both forward and back. By carefully distilling the most radical elements of his previous books, Baudrillard constructed the skeleton key to all of the work that was to come in the second half of his career, and set the scene for what he termed the "obscene": a world in which alienation has been succeeded by ceaseless communication and information. _The Ecstasy of Communication_ is a decisive, compact description of what it means to be "wired" in our braver-than-brave new world, where sexuality has been superseded by pornography, knowledge by information, hysteria by schizophrenia, subject by object, and violence by terror. The Ecstasy of Communication is an anti-manifesto that confronted and dispensed with such influences as Marshall McLuhan, Guy Debord, and Georges Bataille. It is an essential crib-book, lexicon, and companion piece to any and all of Baudrillard's books. Twenty-five years after its original publication, it remains not only a prescient portrait of our contemporary condition, but also a dark mirror into which we have not yet dared to look. (shrink)

Two countervailing trends mark the intellectual tenor of our age the spread of naturalistic worldviews and religious orthodoxies. Advances in biogenetics, brain research, and robotics are clearing the way for the penetration of an objective scientific self-understanding of persons into everyday life. For philosophy, this trend is associated with the challenge of scientific naturalism. At the same time, we are witnessing an unexpected revitalization of religious traditions and the politicization of religious communities across the world. From a philosophical perspective, this (...) revival of religious energies poses the challenge of a fundamentalist critique of the principles underlying the modern Wests postmetaphysical understanding of itself. The tension between naturalism and religion is the central theme of this major new book by Jrgen Habermas. On the one hand he argues for an appropriate naturalistic understanding of cultural evolution that does justice to the normative character of the human mind. On the other hand, he calls for an appropriate interpretation of the secularizing effects of a process of social and cultural rationalization increasingly denounced by the champions of religious orthodoxies as a historical development peculiar to the West. These reflections on the enduring importance of religion and the limits of secularism under conditions of postmetaphysical reason set the scene for an extended treatment the political significance of religious tolerance and for a fresh contribution to current debates on cosmopolitanism and a constitution for international society. (shrink)

I would like to thank Sullivan-Bissett and Noordhof for their stimulating comments on my 2023 paper in Neuroethics. In this reply, I will (1) articulate some deeper disagreements that may underpin our disagreement on the nature of delusion, (2) clarify their misrepresentation of my previous arguments as a defence of the two-factor theory in particular, and (3) finally conduct a comparison between the Maherian one-factor theory and the two-factor theory, showing that the two-factor theory is better supported by evidence.

After the US Supreme Court’s reversal of Roe v. Wade, a number of states have immediately banned abortion. Pro-choice activists are responding by promoting medication abortions – a do-it-yourself form of abortion. Women can take pills at home to induce an abortion in the first few weeks of pregnancy. -/- The Biden Administration [1] has backed the abortion pill, too. Attorney-General Merrick B. Garland and Health and Human Services Secretary Xavier Becerra both issued statements endorsing it. -/- “We stand ready (...) to work with other arms of the federal government that seek to use their lawful authorities to protect and preserve access to reproductive care,” said the Attorney-General. “In particular, the F.D.A. has approved the use of the medication mifepristone. States may not ban mifepristone based on disagreement with the F.D.A.’s expert judgment about its safety and efficacy.” -/- As the New York Times [1] has noted, this sets the scene for legal battles. The obvious one is: will anti-abortion states prosecute medication abortions? -/- But – based on experience in the United Kingdom - the use of the abortion pill could give pro-life doctors headaches as well. -/- In the past year, UK has witnessed the saga of two Catholic doctors who have been brought in front of the professional regulator, the General Medical Council, after accusations of professional misconduct. Their crime? They had supplied abortion pill reversal (APR) treatment to women. Accusations of this misconduct have been brought forward by pro-choice organisations [2]. -/- The problem is that some women might panic when they discover that they are pregnant or are pressured to make a rash decision. They obtain abortion pills, often without seeing a doctor faceto- face, and soon after taking the first pill, they regret their decision. -/- Is it too late for them to save their pregnancy? Not necessarily. -/- A treatment developed in the US works about half the time. It involves the woman taking progesterone after the first abortion pill to counteract the abortifacient action of the drug. -/- Seventy-three women in the UK are reported to have taken a full APR course, of whom, 38 – more than half — successfully remained pregnant. Admittedly, the procedure is controversial [3], with pro-choice writers denouncing it as unproven, unscientific, and unethical. This has triggered some healthcare practitioners and scholars to analyse the commitments of the pro-choice movement to APR. In a recently published paper in The New Bioethics [4], two colleagues, Dominic Whitehouse and Steven Bow, and I argue that those espousing a pro-choice worldview should actually support abortion pill reversal and that the current evidence indicates that they should actually be doing it. -/- While some pro-choice activists might be happy simply to expand women’s reproductive choices, some might also want to ensure that these choices are safe and effective at achieving the desired outcome, which in principle includes maintaining a pregnancy. -/- We then review the scientific evidence with respect to the ability of APR to halt an abortion, look at the potential impact of APR on mental health, as well as its procedural safety. While highlighting that gold-standard evidence is lacking, we note that APR is associated with about two times higher rate of embryo survival compared to not completing the full early medical abortion course, that there is large agreement in the literature that women who are ambiguous about abortion are at risk of poorer mental health outcomes after abortion (and argue that women who request APR fall into this category), and highlight that there is no evidence that APR is more dangerous than abandoning an initiated early medical abortion. -/- The latter fact is important, as the results of the only randomised-controlled trial of APR have been at times misrepresented in the media [5.6], creating the impression that APR is not safe while most of the adverse effects occurred in the study group that did not receive APR. As our paper argues, with respect to APR the two UK doctors were “champions of women’s choice and should be congratulated, not condemned, by pro-choice advocates”. -/- While the cases against the two doctors have now been dropped (and there have even been accusations against a member of one of these pro-choice organisations that they pressurised a patient into complaining about one of the doctors and twisted the patient’s experience of the treatment [7]), we argue that it is important to set-up systems to facilitate the future provision of APR to protect both patients and healthcare staff. -/- Our conclusion is that, while being open to any change in evidence, those espousing a pro-choice outlook should “support calls for an APR framework that will protect women and the healthcare professionals caring for them” “and certainly not oppose” APR. -/- The debate over abortion pill reversal will be heading to the United States soon. It is quite possible that it will be denounced as dangerous misinformation. It’s not. But pro-life defenders should be prepared to defend their ground. -/- This article was first published by Mercatornet. (shrink)

This paper aims to explore the relationship between the necessity predicate and the truth predicate by comparing two possible-world interpretations. The first interpretation, proposed by Halbach et al. (J Philos Log 32(2):179–223, 2003), is for the necessity predicate, and the second, proposed by Hsiung (Stud Log 91(2):239–271, 2009), is for the truth predicate. To achieve this goal, we examine the connections and differences between paradoxical sentences that involve either the necessity predicate or the truth predicate. A primary connection is established (...) through two translations that change only one of the predicates to the other while keeping everything else unchanged. We prove that in bijective frames, a set of sentences that contains one of the two semantic predicates has the same paradoxicality as the corresponding set of sentences that contains the other predicate obtained through translation. However, there are substantial differences as well. First, the necessity predicate and the truth predicate, under the two interpretations, cannot be defined by each other. Moreover, for sentences that involve only the truth predicate, their paradoxicality is preserved under the homomorphisms of frames. For sentences containing the necessity predicate, their paradoxicality is preserved under bounded morphisms, but none of these sentences can have their paradoxicality preserved under the extension of frames. Finally, we also show that paradoxical sentences involving the necessity predicate and those involving the truth predicate differ significantly in terms of mirror symmetry, circularity dependence, and frame compactness. (shrink)

When do two sentences say the same thing, that is, express the same content? We defend two-component (2C) semantics: the view that propositional contents comprise (at least) two irreducibly distinct constituents: (1) truth-conditions and (2) subject-matter. We contrast 2C with one-component (1C) semantics, focusing on the view that subject-matter is reducible to truth-conditions. We identify exponents of this view and argue in favor of 2C. An appendix proposes a general formal template for propositional 2C semantics.

The paper argues that the objects of belief should not be conceived as sets of possible worlds or propositions of set of centered possible worlds or egocentric propositions (this is the propositional conception), but rather as sets of pairs consisting of a centered world and a sequence of objects (this is the intentional conception of the objects of belief). The paper explains the deep significance of this thesis for the framework of two-dimensional semantics, indeed for any framework trying to adequately (...) relate semantics and epistemology (which is here construed as what I call the Congruence Principle). I give three arguments for this thesis, two preliminary indecisive ones by way of examples, and third theoretical one alluding to a deep principle of philosophical psychology (which I call the Invariance Principle). This paper is an improved and up-dated version of my paper No. 25. It will appear in Causation, Coherence, and Concepts. A Collection of Essays of mine. (shrink)

When do two sentences say the same thing, that is, express the same content? We defend two-component (2C) semantics: the view that propositional contents comprise (at least) two irreducibly distinct constituents: (1) truth-conditions and (2) subject-matter. We contrast 2C with one-component (1C) semantics, focusing on the view that subject-matter is reducible to truth-conditions. We identify exponents of this view and argue in favor of 2C. An appendix proposes a general formal template for propositional 2C semantics.

Available from UMI in association with The British Library. Requires signed TDF. ;Kant's extensive discussion of the sublime has received scant attention. This neglect, indeed, is a general characteristic of the reception of Kant's aesthetics in the Anglo-American, and German traditions of philosophy in the twentieth century. The reasons behind it have been usefully summarised by Paul Guyer. ;My approach will be as follows. In Part One of this study , I shall first outline the sublime as it is understood (...) in sources available to Kant--notably the theories of Addison, and Burke. I will then trace how Kant adapts these approaches in his pre-Critical aesthetics, and how he goes beyond them by, in effect, stipulatively defining the sublime as a moral concept in his Critical ethics. In Part Two I will first set the scene for a consideration of Kant's mature theory of the sublime, by discussing how moral factors shape the overall strategy in The Critique of Judgement, and also figure in his account of the judgement of taste. I shall then go on to elaborate and critically review Kant's structures and sources of argument in those sections of the third Critique that deal with judgements of sublimity. In particular, I will argue that whilst his theory of sublimity does fit in well with the overall strategy of the third Critique, the pressures exerted upon it by the Critical ethics are such that he does not succeed in establishing the credentials of sublimity as an aesthetic concept. In Part Three , however, by using some of Kant's basic insights, I will hope to establish these credentials and to apply the theory so derived, to the work of art. I will then proceed to some more general conclusions. ;Considering the wide ground to be covered by this study, and the necessary limitations on its length, it will not be possible to give Kant's concepts and arguments the kind of extensive and finely detailed analysis which has been provided by Paul Guyer. I will be concerned, rather, to provide working definitions of Kant's major concepts, and to trace the broad development of his arguments. (shrink)

As the family is one of the few structures that survives from ancient times to the present and looks set to continue for quite some time to come, it attracts the attention of every new generation of sociologists, historians and economists alike. From Engels to Herlihy, Goody and Moxnes, the family has been held responsible for the development of private property, for forms of social organisation and the oppression of women. Those interested in the period of late antiquity ask a (...) key question: what happened to the family when polytheist views of the immortal gods were gradually replaced by a belief in Christianity? Was the family changed, and in what ways, by what is often perceived as a fundamental shift in religious understanding? Or did the development of Christian institutions merely confirm tendencies, which may be observed in the late Roman period? In his book Geoffrey S. Nathan brings theories of the family to bear on this complex problem. The introduction surveys the traditional understanding of what makes a family, as well as more recent models, setting the scene for two traditions, of which the more enduring one is not Christian. With a structure of well-planned chapters, on marriage and alternatives to marriage, children, slaves and extended family, each marked by sensible headings and conclusions, this should be a most informative presentation. But it fails to convince. (shrink)

Two experiments examined the typicality structure of contrasting political categories. In Experiment 1, two separate groups of participants rated the typicality of 15 individuals, including political figures and media personalities, with respect to the categories Democrat or Republican. The relation between the two sets of ratings was negative, linear, and extremely strong, r = −.9957. Essentially, one category was treated as a mirror image of the other. Experiment 2 replicated this result, showing some boundary conditions, and extending the result to (...) liberal and conservative categories. The same method was applied to two other pairs of contrasting categories, healthy and junk foods, and male and female jobs. For those categories, the relation between contrasting pairs was weaker and there was less of a direct trade-off between typicality in one category versus typicality in its opposite. The results are discussed in terms of implications for political decision making and reasoning, and conceptual representation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Arms and the Man:Wordplay and the Catasterism of Chiron in Ovid Fasti 5Barbara Weiden BoydIn a recent essay, Ian Brookes has drawn attention to the way in which Ovid's description of the catasterism of Chiron in Fasti 5 "suppresses Chiron's hybrid nature" as centaur "in order to allow us to sympathize with him as a fellow human."1 Brookes also directs us to the ironic ambiguity used by Ovid to (...) portray the episode's three main characters, Chiron, Achilles, and Hercules, each of whose histories, as alluded to by Ovid, shares with or borrows from the mythical histories of the other two characters.2 Thus, the wordplay associating Chiron's name with the Latin manus (as if derived from ), an etymological link already discussed by Santini (1976, 49-56), is demonstrated by Brookes to point instead here to the character of Achilles, whose "man-slaying hands" () are known from Iliad 18.317 and 24.478-79; the arrow wound in the left foot here fatal to Chiron is suggestive of Achilles' vulnerable heel; and the poison here responsible for Chiron's death is the same poison that Deianira will one day use to kill Hercules.3I want in the following discussion to extend the line of argument begun by Brookes through a fuller consideration of Ovid's exploitation of shared motifs in the mythical histories of each of these characters, and to focus in particular on the important role of wordplay, of a sort not previously observed, in the episode. My reading, while demonstrating that Brookes has made a valuable start on the literary analysis of the passage as a whole, will reach a somewhat different conclusion and suggest that Ovid's narrative intentionally subverts the superficial solemnity of the story told.It will be useful to begin with a full quotation of the episode (Fast. 5.379-414): [End Page 67] Nocte minus quarta promet sua sidera Chiron380 semivir et flavi corpore mixtus equi. Pelion Haemoniae mons est obversus in Austros: summa virent pinu, cetera quercus habet. Phillyrides tenuit: saxo stant antra vetusto, quae iustum memorant incoluisse senem.385 ille manus olim missuras Hectora leto creditur in lyricis detinuisse modis. venerat Alcides exhausta parte laborum, iussaque restabant ultima paene viro. stare simul casu Troiae duo fata videres:390 hinc puer Aeacides, hinc Iove natus erat. excipit hospitio iuvenem Philyreius heros, et causam adventus hic rogat, ille docet. respicit interea clavam spoliumque leonis, 'vir' que ait 'his armis, armaque digna viro!'395 nec se, quin horrens auderent tangere saetis vellus, Achilleae continuere manus. dumque senex tractat squalentia tela venenis, excidit et laevo fixa sagitta pede est. ingemuit Chiron, traxitque e corpore ferrum:400 adgemit Alcides Haemoniusque puer. ipse tamen lectas Pagasaeis collibus herbas temperat et varia volnera mulcet ope; virus edax superabat opem, penitusque recepta ossibus et toto corpore pestis erat:405 sanguine Centauri Lernaeae sanguis echidnae mixtus ad auxilium tempora nulla dabat. stabat, ut ante patrem, lacrimis perfusus Achilles: sic flendus Peleus, si moreretur, erat. saepe manus aegras manibus fingebat amicis:410 morum, quos fecit, praemia doctor habet. oscula saepe dedit, dixit quoque saepe iacenti 'vive, precor, nec me, care, relinque, pater.' nona dies aderat, cum tu, iustissime Chiron, bis septem stellis corpora cinctus eras.I have discussed elsewhere4 Ovid's effective use of second-person address to the reader at Fasti 5.389 to draw attention to the novelty of his narrative: this is the only extended narrative in the extant literary tradition [End Page 68] in which Achilles and Hercules actually meet as a result of their mutual acquaintance with Chiron. This meeting is, as Brookes (1994, 496) has observed, "something of a coup": only the most elastic of relative mythological chronologies could permit this meeting to occur. I propose that in fact we take Ovid's videres, appearing immediately after Ovid has set the scene by describing the landscape (379-82) and by introducing each of his three protagonists in three successive couplets (383-88), as an invitation to scrutinize carefully the play with characterization thus made possible, a play signaled first and foremost in this episode through Ovid's use of the epithet semivir (380) to describe... (shrink)

This paper explores the Eichmann trial in its dimension as a living, powerful event, whose impact is defined and measured by the fact that it is "not the same for all." I examine this legal event from two perspectives: Hannah Arendt's and my own. I pledge my reading against Arendt's, in espousing the State's vision of the trial, but in interpreting the legal meaning of this vision us one that exceeds its own deliberateness and distinct from the State's ideology. I (...) use Nietzsche's terms to contrast "critical history" with "monumental history." Whereas the official State vision of the trial is, I propose, precisely one of "monumental history, " Arendt's vision offers a substitutive "critical history." I analyze, one against the other, what I call the monumental legal vision of the Eichmann trial and the critical vision offered by Arendt. Exploring thus the monumental versus the critical as two opposed but non-exclusive and, in fact, profoundly complementary perspectives, I examine, side by side, the Eichmann trials' monumental focus on the victims and Arendt's critical objections to this focus: her objections, I show, are based in a jurisprudential conservatism coexisting with a historiographical radicalism. The Eichmann trial, in my view, is on the contrary and diametrically, historiographically conservative, but jurisprudentially revolutionary. I argue that Arendt failed to see the way in which the trial in effect did not simply repeat the victim's story, but historically created it for the first time. I submit, in other words, that the Eichmann trial legally created a radically original and new event: not a rehearsal of a given story, but a groundbreaking narrative event that is itself historically and legally unprecedented. Examining the trial's transformation of victims into prosecution witnesses, I analyze the victim-oriented focus of the trial as s legal process of translation of private traumas into public ones and as a public scene of the recovery of language and legal subjecthood by victims who were formerly defined by the oppressor's language and who were, therefore, not just injured, but essentially robbed of a language in which to articulate their injury and name their victimization. I argue that the Eichmann trial expanded the space available for moral deliberation in creating a new legal language: the trial was the victim's trial only insofar as it was now the victims who, against all odds, were precisely writing their own history. To enable such a writing, the Eichmann trial had to enact not simply memory, but memory as change. It had to dramatize upon its legal stage before the audience nothing less than a conceptual revolution in the victim. And this, in fact, is what the trial did This historically unprecedented revolution in the victim that was operated in and by the Eichmann trial is, I suggest, the trial's major contribution not only to Jews, but to history, to law, to culture - to humanity at large. I further argue that as a singular legal event, the Eichmann trial calls for a rethinking - and sets in motion a transvaluation - of the structures and the values of conventional criminal law. I submit that the quintessence of the Eichmann trial is the acquisition of semantic authority by victims. It was the newly acquired semantic and historical authority of this revolutionary story that, for the first time, created what we know today as the Holocaust: a theme of international discussion and world conversation designating the experience of the victims and referring to the crime against the Jewish people independently from the political and military story of the Second World War. (shrink)

This paper sets out to accomplish two goals. First, drawing on the Irish perspective, it reconceptualises one of the enduring legacy-based harms of epistemic colonisation, in this case, ‘linguicism’, in terms of ‘hermeneutical injustice’. Second, it argues that otherwise well-meaning attempts to combat epistemic colonisation through the inclusion of marginalised testimony can, in certain circumstances, lead to cases of ‘epistemic exploitation’, which, in turn, can result in ‘ontic burnout’. Both linguicism and epistemic exploitation, this paper theorizes, have the potential to (...) bring about ontic burnout. Here is the plan: to set the scene, section I briefly surveys some key arguments supporting the call for higher education institutions (HEIs) to engage in epistemic decolonising, focusing on the importance of striking a balance between two extremes: (i) abandoning all forms of Eurocentric/colonial knowledge through the elimination of inherited thinking and conceptual schemes which result from colonization, in particular, those which remain in our thinking “owing to inertia rather than to our own reflective choices” (Wiredu 2002, p.56); (ii) the other—pursuing a more positive project where we seek to, “exploit as much as is judicious the resources of indigenous conceptual schemes” (Wiredu 1996: p.136). From here, it moves to consider harms associated with a subset of ‘epistemicide’, that is, ‘linguicism’—a phenomenon where the language and culture of the colonizer become part of the ‘civilising project’ and, in more extreme cases of linguicide, forcibly replaces indigenous languages. Section II then explores the subtleties of harmful by-products deriving from ‘inclusion’, namely that which scholars refer to as ‘epistemic exploitation’. Situations where marginalised scholars are finally ‘at the table but still on the menu’ arise when privileged persons, compel marginalised knowers to educate them [and others] about the nature of their oppression (Berenstain, 2016). Habitual requests to turn themselves inside out for emancipatory principles give rise to a phenomenon known as ontic burnout (Dunne and Kotsonis, 2022, p.9)—“a form of dissociative explanatory fatigue culminating in oppressed persons engaging in a conscious or unconscious decoupling from their socially constructed identity, from the burdens and injustices associated with being a member of a certain social kind”. This harm is, I argue, rarely discussed in the literature and worthy of further analysis. (shrink)

Three leading scholars examine one of the oldest professorships, the Lady Margaret's Chair of Divinity at Cambridge, plotting its development in the context of sixteenth- and seventeenth-century history. The current Lady Margaret's Professor Graham Stanton sets the scene with an introduction briefly considering theology at Cambridge before 1502 and after 1649. In the two main chapters Richard Rex - an authority on John Fisher, first holder of the Chair - deploys new evidence to propose changes in the list of (...) early professors and shows how their appointment and dismissal reflected the vagaries of the Reformation; and Patrick Collinson investigates how the Elizabethan and early Stuart professors continued to be caught up in the religious and political turmoil of the times. There is a complete list of holders from 1502 to the present. (shrink)

Two approaches to the study of diagnostic thinking are compared, one mainly propositional, namely that of Patel and Groen (1986), the other mainly semantic, that of Lemieux and Bordage (1986). Patel and Groen analyzed the linear dimension of cardiologists' discourses while solving a case of acute bacterial endocarditis, that is, the before and after propositional rules. A secondary analysis of two of their pothophysiological protocols is done using structural semantic techniques from Lemieux and Bordage where the vertical dimension of the (...) discourses is analyzed, that is, the levels of meaning or semantic axes. Contrary to Patel and Groen's position, making an accurate diagnosis is not explained in terms of pure forward reasoning through networks of causal rules, but by means of networks of semantic qualities abstracted from the symptoms and signs. The semantic qualities operate in the clinician's mind in terms of binary oppositions (e.g., sudden-gradual, unilateral-bilateral) whereby each pair of properties constitutes a semantic axis (e.g., sudden-gradual). The successful diagnosticians are those who use the most diversified and pertinent set of semantic axes and, therefore, have a deeper representation of the problem. (shrink)

This article focuses on two problems associated with tragedy. One ancient: what is it that draws us to the dramatic presentation of events of terrible suffering and loss? And one modern: namely, that while tragedies are still performed and appreciated, little new tragedy is being written. It will be argued in relation to the second problem that the vitality of tragedy as a dramatic form requires a less rigid approach to what might be considered tragic. And in relation to the (...) first problem it will be argued that this more expansive conception of tragedy will allow an understanding of the ‘pay-off’ of tragedy in a way that draws both on the tradition that focuses on tragedy as cathartic therapeutic, and on the tradition that sees it as a thought laboratory that allows ethical dilemmas to be posed and explored from different perspectives. This argument constitutes a two-fold dialectical synthesis and the effect of this is to facilitate an understanding of tragedy as establishing a ‘critical distance’ that sets the scene for the possibility of thinking. (shrink)

The results of two experiments provide the first direct demonstration that subjects can process a word lexically despite concurrently being engaged in decoding a task cue telling them which of two tasks to perform. These results, taken together with others, point to qualitative differences between the mind‘s ability to engage in lexical versus sublexical processing during the time they are engaged with other tasks. The emerging picture is one in which some form of resource plays little role during lexical (...) processing whereas the need for some form of resource during sublexical processing serves to bottleneck performance. (shrink)

The paper, written for a research handbook, critically surveys some fundamental philosophical, historical, and doctrinal issues in the crime of aggression. The two introductory sections set the theoretical issues in the context of Russia’s invasion of Ukraine, and explain the origins of criminalizing aggression under the heading of “crimes against peace.” Section 3 explores an ambiguity between aggression as first use of force and aggression as unprovoked use of force, while section 4 discusses the doctrinal distinction between acts of aggression (...) and wars of aggression. Sections 5 and 6 turn to the theory of aggression. Section 5 examines modern versus early modern just war theorists’ views of just cause. Section 6 explores various theories of what exactly makes aggressive war so evil that it belongs in the pantheon of core crimes, side by side with genocide, crimes against humanity, and other war crimes. The basic question is whether aggression is fundamentally a crime against states, a crime against human rights, or a crime against peace itself. I reject the first, statist, version, and endorse the human rights version. I examine three versions of the view that aggressive war is fundamentally about its human costs: that aggressive wars lead to atrocities (Trainin); that aggressive wars lead more generally to unjustified killings (Dannenbaum); and that aggressive wars lead to both unjustified killings by the aggressor, and to unnecessary killings that include the justified killings of aggressors’ troops by defenders (Mégret). As for crimes against peace, I argue that this theory of aggression’s evils comes in two “flavors,” one of which has justly been criticized by postcolonial writers, and one of which I think is legitimate. The former originates in Judge Pal’s famous dissenting opinion in the IMTFE, and argues that criminalizing aggression is a move by colonial powers to freeze the oppressive status quo. The more legitimate version is that in an age of catastrophically destructive weapons, the risks of escalation in armed conflict –the threat that conflicts will spiral into world wars–are simply too great in human terms. Thus, the legitimate version of “crimes against peace” is part and parcel of the human rights analysis. The final sections break new ground. Section 7 considers whether aggression is solely a leadership crime. Everyone agrees that it would be wrong to punish ordinary soldiers for the crime of aggression launched by their leaders. The questions is why, and it is not easy to answer. Examining it brings us to a contemporary dispute over which leaders can be prosecuted: only those who control or direct the aggressive policies (as per the ICC’s Rome Statute), or others as well, who “shape or influence” the policy without necessarily directing it (as the customary rule used to be formulated). I argue against any narrowing of the leadership clause. Section 8 explores the “paradox of immunity”: Under the legal principle of sovereign immunity, apex leaders are immune from prosecution in the courts of another state. But under the narrow leadership clause, only apex leaders can be prosecuted. Here I argue for a surprising conclusion: that in fact there never was a customary rule of immunity for the crime of aggression. If so, the paradox of immunity disappears. This resolution also helps cut the Gordian knot of a current debate about whether a relatively small subset of states (the EU, perhaps) can form an aggression tribunal and call it “international.”. (shrink)

Craig, Barry M The combination of 'the eyes of the blind shall be opened' in Isaiah 35:5 and the psalm's 'the Lord gives sight to the blind' seems to be preparing the way for an account of the restoration of sight in the gospel, but its focus is instead on restoring hearing and speech. In this story, which is shared with Matthew, as with the raising of the young girl told also by Matthew and Luke, Mark alone reports the Lord's (...) command in Aramaic. In this case the Lord's word is transmitted in Greek transliteration as Ephphatha, but correctly it should be Ethphathach. The mispronunciation perhaps points to a particular fascination with the Lord's own words in Mark's Greek-speaking circles, and also to the attribution of magical power to such words that may then be borrowed in magical folk-medicine; think similarly of the conjectured origin of Hocus pocus in Hoc est Corpus from Mass in Latin. However, the Aramaic word is richly connected to the mission of Jesus. In the first reading, the Hebrew has two synonymous verbs in verse 5 for opening, respectively applied to the eyes of the blind and the ears of the deaf. The first is not common and is always said of eyes, except in Isaiah 42:20, where it is used of ears. The second verb is common and refers to the opening of eyes and ears and mouths, but also to the untying of cords and to setting free. This is clear in the Syriac Peshitta's use of a single verb for both Hebrew verbs in Isaiah and the word Mark reports Jesus using, where it is applicable both to opening the man's ears to hear and to freeing his tongue to speak clearly. The Septuagint's version of Isaiah has 'will hear' instead of the Hebrew's second verb, 'will be opened', while the added translation in Mark matches only the Septuagint's translation of Isaiah's first verb. That Greek verb is fitting only for the ears, not for the tongue, so that the man's becoming able to speak clearly seems to be merely a consequence of the miraculous opening of his ears. Reading both passages via the Syriac, and reading them in parallel as the Lectionary has us do today, reveals the gospel encounter to be more than simply a story of a healing: the episode points to Christ's redeeming mission as being one of liberating, the scene becoming a fulfilment of Isaiah's prophetic passage in a demonstration of Christ's mission in the flesh and in the life of an actual person. Furthermore, Mark's transmission of the Aramaic commands Ethphathach and Kum in 5:41, together sum up Christ's twofold work: to redeem and raise those doomed to die. Both stories show this at work in the here and now of people's lives and not merely as a future hope for the end of time. If our mission as Church is to continue Christ's work, then it is likewise to be carried out among people in our own time. Thus the historical impetus to establish such works as schools, since education sets free from ignorance, and hospitals, since curing the sick frees them from ills or caring for them brings relief in time of suffering. But we should not think only in such institutional modes; not every parish can or should establish a school or hospital or hospice, or other such major works, but the question remains for each: What does this community do to proclaim Christ's saving mission in the lives of real people both near and far? (shrink)

It has been reported as a robust effect that people are likely to select a matching case in the Wason selection task. For example, they usually select the 5 case, in the Wason selection task with the conditional "if an E, then a not-5". This was explained by the matching bias account that people are likely to regard a matching case as relevant to the truth of the conditional (Evans, 1998). However, because a positive concept usually constructs a smaller set (...) than its negative one does (a rarity assumption), it is more effective to get information on the truth of the conditional in a positive set than in a negative set. Thus the optimal data selection account can also explain the effect. The set size of Q and matching by introducing negation were manipulated independently in four experiments. From the results it was inferred that the so-called matching bias was an amalgam of two different cognitive components-relevance judgement by matching and optimal data selection. (shrink)

We study the finitely repeated prisoner’s dilemma in which the players are restricted to choosing strategies which are implementable by a machine with a bound on its complexity. One player has to use a finite automaton while the other player has to use a finite perceptron. Some examples illustrate that the sets of strategies which are induced by these two types of machines are different and not ordered by set inclusion. Repeated game payoffs are evaluated according to the limit of (...) means. The main result establishes that a cooperation at almost all stages of the game is an equilibrium outcome if the complexity of the machines the players may use is limited enough and if the length T of the repeated game is sufficiently large. This result persists when more than T states are allowed in the player’s automaton. We further consider a variant of the model in which the two players are restricted to choosing strategies which are implementable by perceptrons and prove that the players can cooperate at most of the stages provided that the complexity of their perceptrons is sufficiently reduced. (shrink)

Gregory Currie is one of the world’s preeminent philosophers of art and a highly-respected philosopher of mind. Imagining and Knowing: the Shape of Fiction is his seventh book, with his conspicuous contributions to the analytic tradition of philosophy including the first systematic philosophical aesthetics in no less than two fields, film (Image and Mind: Film, Philosophy and Cognitive Science, 1995) and narrative (Narratives and Narrators: A Philosophy of Stories, 2010). Currie’s trademark approach is the seamless integration of art criticism and (...) aesthetic theory on the one hand with empirical psychology and evolutionary biology on the other and Imagining and Knowing follows suit. His stated aim is twofold: to make a convincing case for the significance of the imagination to the understanding of and engagement with fiction and to make an equally convincing case against the significance of fiction as a source of knowledge. The monograph consists of an introduction, eleven chapters divided into three parts, and a coda. Part I is concerned with making a case for imagining fiction, defending fiction as an utterance over fiction as a genre (Chapter 1) and the role of the imagination in the engagement with fiction (Chapter 2). This role is fleshed out by means of Currie’s conceptions of ‘desires in imagination, or i-desires’ (Chapter 3) and i-emotions (Chapter 4), which also provide neat solutions to both the paradox of fiction and the imaginative resistance debates (56). Part II sets the scene for the case against fictional knowledge, establishing an epistemic taxonomy (Chapter 5), arguing that claims about the cognitive value of fiction should cohere with the findings of experimental psychology (Chapter 6), and debunking evolutionary claims for the significance of fiction (Chapter 7). Part III presents Currie’s deflationary account, tackling each of what he considers to be the four most convincing arguments for learning from fiction in turn: fictional thought experiments (Chapter 8), truth in literature (Chapter 9), the psychology of authors (Chapter 10), and the relationship between fiction and empathy (Chapter 11). (shrink)

Languages differ systematically in how to encode a motion event. English characteristically expresses manner in verb root and path in verb particle; in Chinese, varied aspects of motion, such as manner, path and cause, can be simultaneously encoded in a verb compound. This study investigates whether typological differences, as such, influence how first and second language learners conceptualise motion events, as suggested by behavioural evidences. Specifically, the performance of Chinese learners of English, at three proficiencies, was compared to that of (...) two groups of monolingual speakers in a triads matching task. The first set of analyses regarding categorisation preferences indicates that participants across groups preferred the path-matched (rather than manner-matched) screens. However, the second set of analyses regarding reaction time suggests, firstly, that English monolingual speakers reacted significantly more quickly in selecting the manner-matched scenes compared with monolingual speakers of Chinese, who tended to use an approximately equal amount of time in making manner- and path-matched decisions, a finding that can arguably be mapped onto the typological difference between the two languages. Secondly, the pattern of response latency in low-level L2 learners looked more like that of monolingual speakers of Chinese. Only at intermediate and advanced levels of acquisition did the behavioural pattern of L2 learners become target-like, thus suggesting language-specific constraints from the L1 at an early stage of acquisition. Overall, our results suggest that motion event cognition may be linked to, among other things, the linguistic structure of motion description in particular languages. (shrink)

This article aims to contribute to the literature on conceptual change by engaging in direct theoretical and empirical comparison of contrasting views. We take up the question of whether naïve physical ideas are coherent or fragmented, building specifically on recent work supporting claims of coherence with respect to the concept of force by Ioannides and Vosniadou [Ioannides, C., & Vosniadou, C. (2002). The changing meanings of force. Cognitive Science Quarterly 2, 5–61]. We first engage in a theoretical inquiry on the (...) nature of coherence and fragmentation, concluding that these terms are not well‐defined, and proposing a set of issues that may be better specified. The issues have to do with contextuality, which concerns the range of contexts in which a concept (meaning, model, theory) applies, and relational structure, which is how elements of a concept (meaning, model, or theory) relate to one another. We further propose an enhanced theoretical and empirical accountability for what and how much one needs to say in order to have specified a concept. Vague specification of the meaning of a concept can lead to many kinds of difficulties.Empirically, we conducted two studies. A study patterned closely on Ioannides and Vosniadou's work (which we call a quasi‐replication) failed to confirm their operationalizations of “coherent.” An extension study, based on a more encompassing specification of the concept of force, showed three kinds of results: (1) Subjects attend to more features than mentioned by Ioannides and Vosniadou, and they changed answers systematically based on these features; (2)We found substantial differences in the way subjects thought about the new contexts we asked about, which undermined claims for homogeneity within even the category of subjects (having one particular meaning associated with “force”) that best survived our quasi‐replication; (3) We found much reasoning of subjects about forces that cannot be accounted for by the meanings specified by Ioannides and Vosniadou. All in all, we argue that, with a greater attention to contextuality and with an appropriately broad specification of the meaning of a concept like force, Ioannides and Vosniadou's claims to have demonstrated coherence seem strongly undermined. Students' ideas are not random and chaotic; but neither are they simply described and strongly systematic. (shrink)

I argue that the debate on the division of labor between grammar and pragmatics, at least as it pertains to pragmatic free enrichment, needs to be better grounded empirically. Often, only a reduced set of facts from English is used to substantiate claims regarding pragmatic free enrichment. But considering a reduced set of facts from a single language can only afford limited (and, sometimes, wrong) results, because we can merely see whatever this one language chooses to express. Two cases studies (...) are presented: adjectival fragments, and implicit indefinite objects. A grammatical analysis is defended for them. (shrink)

Among the most interesting ideas of New Left in the US is a search for authenticity in human personality, or investigation of the place and role of the contemporary man when he is found in the setting: man-group-society-state. Finding such authenticity non-existent on the American scene the ideologists of New Left trace back the causes of this situation, characterized by deformation of personality deprived of the ego, and depict an authentic man who accepts himself both with respect to (...) his ego and as a part of a social group in which he lives. Surreptitious emphasis of the value of the individual and of his unique personality points to the individuality of man as a central category of this line of thought. In the consequence of coexistence of various personalities, variety is the main feature of the new American society postulated by New Left. Individuality and variety imply freedom as a key concept of that thought. Variety of human individualities enjoying freedom will enable the quest for the authentic ego and abolish the manifestations of alienation which do not exist within the real interpersonal community. Community as a structural form of social coexistence is based on close, often intimate, interpersonal relations and allegedly enables unconstrained search for individuality, showing a new way from the present atomization of the American society. The key values of that thought are potentially conflicting: on the one hand there is a set of ideas: individuality, variety, freedom; on the other, there is the concept of community. The two counterparts may easily stand in conflict or mutually limit their application. In such cases it is postulated to detect the causes of conflict and eliminate them. (shrink)

Two continents. Three countries. Mountains, archipelago, a little red dot & more to come. BERIT SOLI-HOLT (Editor): When I think of introductory material, I think of that Derrida documentary when he is asked about what he would like to know about other philosophers. He simply states: their love life. APRIL VANNINI (Editor): And as far as introductions go, I think Derrida brought forth a fruitful discussion on philosophy and thinking with this statement. First, he allows philosophy to open up the (...) personal and second, the ability to conjure the notion of thinking in relation. After all, love lives are spawned from relations, and such are philosophical encounters—the co-emergence of thought and affect. This brings us to discuss the concept of the special issue of continent. called drift . From the Statement of Intent : The discussion that has become drift , a special issue of continent. began in the glow of a bonfire beside a lake near the Thousand Islands of Ontario when co-founders April and Berit came across a conception of a journal that would decline to follow traditional models of invitation and editorship, instead following a generated discourse through relational means. Shedding preemptive articulation of expected outcome and cohesion, we hope to light a fuse of chain interactions with each contributor active in authorial, editorial, and curatorial roles. drift seeks to allow the framing mechanism to choose itself, to find where something can flow or emerge in relation to a series of participants. By setting out a thread of thought to work its own way through writers and artists of various locations, drift operates through links, breaks, pauses, new directions, unintended consequences, twists, holes, bridges. We are attempting to give the scene for an emergence and what can become conceivable when given the opportunity to create chains of thought—linking, welding, fusing, looping, stitching. We hope to explore what is attainable when scholarly/artistic relationships transverse on their own terms instead of articulated by an institutional environment. JEREMY FERNANDO (Guest Editor): I think he was actually more interested in their sex lives. Though at the same time completely refusing to discuss, disclose, his own: I found it rather touching that he blushes whenever speaking of his life with Marguerite. So perhaps in this sense it is very apt to speak of it in terms of love; and the secret that is in each love: that even though it is a relationality between, there are parts of it that remain hidden, not just from everyone else, but even those in that relation itself. What the editors intend to ^do^ to impart this conceptualization is to provide a framework through the choice of a theme and by minimal standardization of form and content guidelines. As initial instigator, each editor will send their contribution to the issue to a fellow colleague, thinker, artist, friend with the invitation to send (via post) the accruing materials to another possible contributor. In this, we hope to engage with many individuals on ideas surrounding a specific theme determined but not limited by the editors of the drift . The end result will take the form of whatever is at hand (as materials can only stay with each contributor for two weeks) and whomever is at hand (the availability of interested and capable parties) through a course of five months. We are curious. What are the ways in which thought can emerge between individuals and places? What occurs when our fundamental mode of inquiry is between each other? How are ethical, social, spacious, political, aesthetic practices created between a chain of contributors. BSH: To introduce what to look forward to in June with the publication of drift isn't quite possible yet. It is in the stages of preparation, barely started, but already begun. I have been thinking about drift as an insect that goes through life cycles, chrysalises, pupas, larva. Each moment of the production and publication of this issue of continent. is its own life. A bug under a pin is not as interesting as one in flight or crawling up your leg. JF: Though the one crawling up your leg is also more likely to bite you. There is always already a danger in letting be, thinking …. Then again, there is also a potential rupture in attempting to seize, pin down, capture. BSH: I think a word we haven't thought about enough yet is capture. I think we are perhaps trying to capture something, or to allow for the moments of this capture along the way, the resulting material being the ripples left in the sand when the water waves away. AV: This question comes to mind when speaking about captures, waves, ripples: How can we activate a ripple? What I find interesting about a wave is the difference in frequencies, movements, forms, style that are activated in between intervals. What is interesting about a wave is that it is activated in relation to what came before. What remains in the sand is a ripple that forms in relation between multiple intervals of stylistic waves. As Deleuze and Parnet have taught us, "We were only two, but what was important for us was less our working together than this strange fact of working between the two of us. We stopped being 'author'. And these 'between-the-twos' referred back to other people, who were different on one side from the other. The desert expanded, but in so doing became more populous." 1 Drift is activation for thinking-with and possibly much more—who knows? There is the intent to subvert the relational qualities between people in journal publishing, but also important to the editors is the subversion of materials. The editors do not shy away from use of contemporary technology and, in fact, have relied and will continue to rely on the wonders of internet connectivity to midwife the drift. The connective infrastructure chosen to relay the developing issue is simply one of bodies, of postal workers and the varying postal systems. Some may find it to be merely be a call of an already dying form, but the editors believe that the conversation exchanged from hand to hand is of explicit difference in quality of engagement due to the complexity of peripheral information transported by physical matter. Different hospitalities and responsibilities are at play in keeping hold of one-of-a-kind materials for a time and entrusting various postal systems to bear the message forward. To have work physically transported through space and time through this kind of infrastructure that is reliant on individuals to literally carry a message is crucial in incorporating traces of bodily presence. AV: Thought is contingent and emergent process that folds, twists, pulls, shifts in multiple directions and we are interested in these multiple directions. JF: And even as thought is contingent on, hinged around, its place, time, venue—on its continents, as it were (we still tend to speak of gestures of thinking as Continental, British, American, European, Asian, etc.)—we might also attempt to respond to the landscape within each thought: its folds, unfoldings, rolls, manoeuvres, geography. BSH: How different is this than Morelli's screw that Julio Cortazar or Horacio Oliveira recounts in Hopscotch? The fable recalls a man who regarded a screw everyday on his stoop. When he perishes, the screw disappears, perhaps into a fellow neighbor's pocket for secret contemplation. Whoever is writing the passage remarks that "Morelli thought that the screw must have been something else, a god or something like that. Too easy a solution. Perhaps the error was in accepting the fact that the object was a screw simply because it was shaped like a screw." JF: Perhaps even more intriguing is the notion that we do not quite know who is inscribing these remarks on Morelli. That even as someone says that it is a screw, perhaps because it is shaped like a screw, the one who names it “screw”—the one whom we are in a relation with in relation to the screw—remains veiled from us. But even as this is so, the notion of the object as “screw” is marked, etched, onto us. BSH: A periodical, marking a period of time, but where? An issue, a magazine, a storehouse of information. To show the remainders of thinkers connecting and surfing. With all this stated, we, as editors of the drift are aware of the active fault, quaking potential, and ethical catastrophe of such a proposed project — the inheritance or the gifting of a project without consent. We are certain that there may be possible oversight on the process of such a project. If such is the case, we hope that oversight and misdirection will not leave this project dormant but rather open up promising new directions, questions, and potential considerations. We are very excited about the accidental propositions that can occur in between. In sum, we'll see what happens. JF: Perhaps, all we can know of the screw is that we are screwed ... NOTE Gilles Deleuze & Claire Parnet. Dialogues II . Revised edition. (New York: Columbia University Press). 2007: 17. (shrink)

Virtue ethics has now well and truly established itself as one of the main normative theories. It is now quite common, and indeed, expected, for virtue ethics to be included, alongside deontology and consequentialism, in any Moral Philosophy syllabus worth its salt. Students are typically introduced to virtue ethics only after studying the other two normative theories, and this often sets the scene for various sorts of misunderstandings, with students expecting virtue ethics to be based on the same set (...) of rules and assumptions as its rivals. Or at least, that is my experience. In this paper I want to focus on one such misunderstanding, which arises when trying to apply virtue ethics to our judgments of other people’s actions and behaviour. Although there are countless ways in which a theory can be misunderstood, it is worth guarding against this one in particular, given that it can lead someone who takes virtue ethics seriously to act in ways that are not virtuous, or even vicious. I begin by making a few remarks about the role of normative theory, and then go on to give four examples of how applying virtue ethics can lead to poor behaviour. In the final section I identify the mistake in question and conclude by noting how it can be avoided. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 127.1 (2006) 137-140 [Access article in PDF] Derek Collins. Master of the Game: Competition and Performance in Greek Poetry. Hellenic Studies 7. Washington, D.C.: Center for Hellenic Studies, 2004. Distributed by Harvard University Press, Cambridge, Mass. xx + 267 pp. Paper, $19.95. Collins states the purpose of his book clearly in the opening paragraph of his introduction (ix): "to offer a detailed examination of the (...) competitive performance of Greek poetry from the late archaic to the classical period. Its central argument is that the basic response pattern called "capping" is a pervasive competitive performance technique common to tragic and comic stichomythia, dramatic representations of lament, forms of Platonic dialectic and dialogue, the sympotic performance of elegy, skolia and related verse games, as well as the rhapsodic performance of epic." In order to fulfill this ambitious purpose, Collins divides his book into three parts: drama, symposia, and epic. An introduction, two appendices (one on ritual aischrologia and the other a brief survey of comparative typologies), bibliography, and indices complete the volume.Collins focuses on specific elements within these genres: stichomythia in Aeschylus, Aristophanes, Euripides' Cyclops, and Plato's Euthydemus occupy part 1. Part 2 is based on skolia, Aristophanes, and a selection of poets—Xenophanes, Heraclitus, Solon, and Anacreon—who offer a sympotic perspective on rhapsodes and competition. In part 3, Collins' evidence for the competitive and creative nature of rhapsodic performance ranges from scholiasts through Homer, the Certamen, Polybius, and inscriptions. Collins has brought together a very wide range of material, complete with translations, which he discusses in a way that I often found convincing and, even when I did not, found stimulating to consider.Collins bases much of his discussion on capping, enjambement, and word play, specifically riddles and puns. He offers a brief definition of capping, the fundamental concept of his work (ix): when two (or more) speakers or singers perform, "one participant sets a topic or theme in speech or verse to which another responds by varying, punning, riddling, or cleverly modifying that topic or theme." Without giving a detailed definition of enjambement, Collins shows its importance for the speaker who must respond to a line already sung by the first performer and argues that enjambement should be seen as a mark of a singer's creativity, his ability to adapt the material given him by the first singer. Collins applies the terms "pun" and "riddling" somewhat too loosely, I think, to many of the passages from tragedy that he discusses. If we understand a pun to be word play based on a word with more than one meaning or based on two different words that are similar in sound, then I am not certain why the image [End Page 137] of famine as an ally of the Greeks, in the words of Darius (Aeschylus, Persians 490–91) should be considered one (9). And what is riddling about the exchange between Talthybius and the elder coryphaeus (Agamemnon 538–50; pp. 15–16)? These passages seem to me simply to be ambiguous. Collins' discussion of puns and riddles in symposia is more convincing (124–29).Collins' reading of the exchange between Euripides and Aeschylus in Aristophanes' Frogs (1198–1248), in which Aeschylus caps Euripides' prologues with the tag ("he lost his little bottle of oil"), is particularly valuable, because he does not limit himself to one approach or perspective. He shows the many grammatical and metrical subtleties of the exchange, its links to other genres, and the possibly sexual jokes (33–43). We can imagine everyone in the audience finding something to laugh at in this scene.Collins conceives of symposia as occasions for amusement, intellectual discussion, and even for violence, if drinking or teasing get out of hand. He suggests that symposiasts and rhapsodes have more in common than we might imagine if we look only at what the symposiasts say about themselves or at the metrical and philosophical differences between the two kinds of performances (85, 135–46). Whether the antagonism toward rhapsodes expressed by oligarchs at symposia has any... (shrink)

Berkeley's idealism started a revolution in philosophy. As one of the great empiricist thinkers he not only influenced British philosophers from Hume to Russell and the logical positivists in the twentieth century, he also set the scene for the continental idealism of Hegel and even the philosophy of Marx. There has never been such a radical critique of common sense and perception as that given in Berkeley's Principles of Human Knowledge (1710). His views were met with disfavour, and his (...) response to his critics was the Three Dialogues between Hylas and Philonous. This edition of Berkeley's two key works has an introduction which examines and in part defends his arguments for idealism, as well as offering a detailed analytical contents list, extensive philosophical notes, and an index. (shrink)

This study has two agendas: to interrogate popular notions of religion by reading it, out of Derrida and Certeau, as a signifier for a situated historical scene; and to show the existential philosophy of Beauvoir as a performance of that scene. In particular, it shows how the structure of relationships she presents in her ethics clearly reproduces the rhythms of the scene of religion. One of the implications of this reproduction is that existential philosophy can only emerge (...) in the context of religion, and is necessarily an iteration of religion. The other implication is that we might reassess how we code the category ‘religion’ in our public and private discourse, with all the disruption that such a different coding might entail. (shrink)

This paper compares two approaches to the semantics of modal expressions such as ‘might’. Both approaches define the conditions under which sentences of a language (not only modals) are acceptable relative to sets of possible worlds. Both approaches say that the sentence ‘Vivian might be in Vienna’ is acceptable relative to such a set if and only if ‘Vivian is in Vienna’ is true in some world in the set. One of these approaches treats the pertinent sets of worlds as (...) information states of speakers. The other treats these sets as models of the statements that are objectively relevant in a conversation. This paper argues that the second of these approaches can better explain how statements made by means of modal sentences can be informative. It also suggests alterations to some common assumptions about the taxonomy of modals. (shrink)

Berkeley's idealism started a revolution in philosophy. As one of the great empiricist thinkers he not only influenced British philosophers from Hume to Russell and the logical positivists in the twentieth century, he also set the scene for the continental idealism of Hegel and even the philosophy of Marx. -/- There has never been such a radical critique of common sense and perception as that given in Berkeley's Principles of Human Knowledge (1710). His views were met with disfavour, and (...) his response to his critics was the Three Dialogues between Hylas and Philonous. -/- This edition of Berkeley's two key works has an introduction which examines and in part defends his arguments for idealism, as well as offering a detailed analytical contents list, extensive philosophical notes and an index. (shrink)

The subject of this study, the step forward—which the author felt to be ‘of evolutionary value’—was occasioned by a Delphi discussion. The debate was opened by Varga's (2003, 2006a) contrastive exposition of diagnoses of present history with respect to Hungary's accession to the European Union, offered by some leading Hungarian sociologists (Henrik Kreutz, Kálmán Kulcsár, Iván Szelényi, Iván Vitányi), in which he tried to place the views of these authors in a value sociological system by Charles Morris (1956, 1964) and (...) Geert Hofstede (1991). In Morris’ case, this involved recourse to his combination of two systems: one semiotic, the other axiological; in Hofstede's, to his system of ‘software of the mind’ embracing axiology and organizational psychology. This synthesis was opposed by Kreutz (2006a) who offered a new ordering principle which he advanced as truer to life. The present confrontation between the value sociological synthesis advanced by Kreutz, on the one hand, and the trends hallmarked by the names of Morris and Hofstede, on the other hand, provided the author with an opportunity to find a resolution of the tension between desired and desirable, for which he has gained some side light from Robert K. Merton's (1957) theory of the different degrees of insulation of role–activities from observability by members of the role–set (and which has derived further refinement from Jean–Paul Sartre's conception of ‘glance and shame’). (shrink)

The literary art of Tashbīh at-Tamthīlī (representational simile), involves drawing comparisons based on two or more characteristics to create profound meanings. This technique conveys abstract concepts through more concrete and comprehensible images, offering readers an aesthetic experience. In Tashbīh at-Tamthīlī, the poet aims to make abstract thoughts more understandable by materializing the scenes or situations depicted, thus fostering a deeper comprehension of complex ideas. In this context, Imru’ al-Qays, is considered one of the most adept poets in using analogy during (...) the pre-Islamic period of jāhiliyyah Arab literature. His skill in employing Tashbīh at-Tamthīlī is a notable feature of his poetry. Imru’ al-Qays effectively combines both tangible and intangible elements in his verses, producing intricate and aesthetic images. His use of Tashbīh at-Tamthīlī is frequently observed in themes such as nature, love, war, and heroism. The poet particularly employed this art in his depiction of natural events and human emotions, expressing abstract ideas through concrete imagery. In his poetry, natural phenomenas are often connected to love or heroism, thus endowing them with deeper and more impactful meanings. This approach not only heightened the artistic quality of his work but also allowed him to reach a philosophical depth, positioning him as one of the leading figures in Arab literature. As a result, his works achieve coherence both in terms of aesthetics and meaning. The clearer and more effective presentation of abstract concepts enabled Imru’ al-Qays to communicate his feelings and thoughts to the audience with greater depth and significance. By mastering the art of Tashbīh at-Tamthīlī, Imru’ al-Qays had a profound impact on Arab literature, influencing contemporary literary circles and inspiring subsequent generations of poets. His use of this technique not only provided aesthetic beauty but also became a vehicle for conveying social and artistic messages. By blending this artistic mastery with profound thought, Imru’ al-Qays set a literary example for both his contemporaries and future poets. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * "… to sleep perchance to dream " 1 To dream: to be not quite asleep, yet not particularly awake. Or, rather: to be awake but not quite know it. For, it is only when we dream, when we are dreaming, that we know that we are not in that final sleep. But we can only know that we are dreaming, that we have dreamt, when we are awake, when we have awoken; after it is too late. When all we know is that the sleep beyond finitude, the sleep that is the step beyond, is not yet upon us, is only to come. To die to sleep … To dream: a sleep that refuses sleep. Perchance to dream: to drift—between sleep and sleep. Aye there's the rub For, can we even know if we have been sleeping? Or, if death has claimed us?—even if a little death. α Ω α Ω α Ω To drift: but from, to, what? For, to drift implies a certain direction that one was headed from, heading to, headed for; without these indications, markers, points in relation with each other, one would just be moving. Can one know—intend—one's drift? Certainly a stunt driver would say so. But even as (s)he is starting her slide, all that (s)he can know is that she is setting the car, herself, the car with herself in it, in motion: after which the drift itself takes over. After which, all (s)he can do is attend to it. At the point of the drift: both (s)he and the car are drifting—here, one might not even be able to separate the movement from those involved in it. Without either of them, there would not be a drift; there is no drifting without the drifter. Both the drifter and the drifting are in a relationality; in which, all that they can know is that they are in relation with each other. Hence, the drift itself is a relationality. A non-essence. But, it is not as if we cannot speak of it. Perhaps though: we can only speak of it as if we can speak of it. Always already an imaginary gesture; where what is being imagined is the relationality between the drift and the ones drifting. Thus, we have a situation where the drifter and drifting are in a relationality; where relationality itself is what is being imagined. Perhaps then, what are we drifting from, to? , is a moot question. As is, what is drifting? Perhaps then, all we can say is drift? To speak of drift is an attempt to speak of the unspeakable. Not that what is speakable and what is unspeakable are antonyms: if that were so, speaking the unspeakable would make no sense, be a contradiction. But that in every act of speaking, something unspeakable is potentially said: something that opens, ruptures, wounds even. And not just that—at the point where it punctures, speaking itself moves out of the way for the unspeakable; speaking itself disappears. "… the whole art is to know how to disappear before dying, and instead of dying. " 2 To disappear; or, to drift out of sight. Where the words themselves slip away. After all: "in the Beginning was the Word. It was only afterwards that Silence came." Perhaps the wish, the hope, is that "the end itself has disappeared …" (Baudrillard, 70) Remaining hidden from us. Perhaps only glimpsed when we dream. Secret. α Ω α Ω α Ω " Bury all your secrets in my skin " (Corey Taylor) Which is the problem: words cling. And they remain. Perhaps not ontologically; but they certainly remain to haunt us. And here, we should not forget Lucretius' lesson that communication occurs in the skin between the parties in communion with each other. Which is not to say that the encounter is determined by atoms—and more precisely atoms that move in straight lines until they collide with each other—that communication is pre-determined. For, one must not forget that will is found, discovered, enacted even, at the moment the atoms swerve. Clinamen . Drift. But even in their movement—drifting—they trace themselves into the skin between; a tangential touching. Perhaps only briefly. But even then, enough … "… there's always texture that betrays the place." (May Ee Wong) Here though, one must not forget that betrayal cannot happen in the absence of love. In fact, betrayal is the very excess of love: where one loves the other so much that one can no longer bear to see the other drift from what (s)he could have been. Whether that idealised other exists or is only in one's head is another question altogether. Perhaps, a fetishised other: keeping in mind that "fetishes are hinged around simulation." After all, "when one is supposed to show up as an oil rig diver no one is expecting actual crude oil" (Amanda Sordes); in fact, actualisation is the perfect way to destroy the fantasy. Perhaps then, the only way to maintain love for another is to maintain a proper distance, as it were, from love: allow the love to constantly alter, change. And here, one must not forget that if love is a relationality between one and another who remains wholly other (otherwise just a mere manifestation of the self), love is a relationality that knows nothing except for the fact that it is in a relation. For, to love one has to attend to—without subsuming another, some other, under oneself. Which means that to love, one has to be willing to risk, to open oneself, to allow oneself to be wounded, torn apart. In new ways, ways that we have yet to understand, come across, ways we do not yet have a name for. Thus, this movement in love is one that occurs in utter blindness; to not only the other, but to what love is. This is love as pure drifting. Perhaps always searching for love itself, without ever knowing what it is that it is looking for. Love: only at the very moment when the word love itself disappears. Perhaps all we can do is sit, and attend: watching the tides flowing away—as if they were having their "last swim of the summer." (Hendrik Speck) Like a butterfly. α Ω α Ω α Ω Isn't it quite amazing how the appearance of a butterfly can inject a stutter or pause into any conversation? Words and words pour out of the animals in assembly, before they are all of a sudden arrested by the passing flight. Heads turn to trace a lilting poetics, attempting to close the distance with this seemingly awkward beauty. There are no straight lines here, only a relative arrival and departure to bracket a brilliant and bewildering trajectory, surging and lurching in a vibrating and nomadic line avant la lettre. (Sean Smith, 'I Seek You: Countdown to Stereoscopic Tear') Before the letter. Before the possibility of naming. Before being sayable. Quite possibly also before language. And yet, a "surging and lurching," a movement with an effect—"vibrating and nomadic"—tracing itself before there is even anything to trace. Leaving something, even if that thing remains unknowable, for us to attend to. Drifting into us. I had some dreams they were clouds in my coffee, clouds in my coffee..." (Carly Simon) NOTES William Shakespeare, Hamlet , Act 3 Scene 1. Jean Baudrillard, Why hasn't everything already disappeared? , 25.  . (shrink)

Although the concept of conversion is usually encountered in religious contexts, the main contention of this paper is that there is a genuine significance in the concept of philosophical conversion. The scene is set by considering the New Testament meaning of epistrepho, “to turn away from,” and the Platonic use of the term in the Republic. The underlying concept here is that one must lose the old world in order to gain it anew. Through the process of conversion, both (...) the person and his world are transformed: but where the religious believer accepts the experience as beyond his ability to account for its power, the philosopher must always be able to account for the grounds and results of this transformation. There are some historical instances of philosophers who have gone through such a process and demand it of their readers. The two principal case studies of this are Descartes’ enterprise for a universal science and Husserl’s project in the foundation of pure phenomenology. Detailed attention is paid to a number of key texts in order to elucidate the rhetorical imagery and argumentative ‘moments’ in this process. (shrink)

This debate took place over ten years ago. To say that it was a debate is, in fact, not really accurate, because not long after the discussions had begun, it turned into a criticism and massacre of the expression "two combine into one" and of those who used it. Later, it became the platform on which those so-called "authorities on theory," and those like Chen Boda who did the bidding of Lin Biao and the "gang of four" became the "heroes" (...) of this massacre. The expression "two combine into one" by that time was being used as a political indictment against those guilty of the enemy-versus-us contradiction. And in the Great Cultural Revolution it became an even more fearful crime. It was of course very difficult to carry out a scholarly discussion in that kind of atmosphere. The expression "two combine into one" and some of the arguments raised by those comrades who advocated the use of this expression were originally worthy of study, even though some of their positions were really untenable, such as the statement that all objective things are "two combined into one," and that we should use "one divides into two" in the process of understanding them. What really is the inherent meaning of the expression "one divides into two"? In what sense and in what contexts should it be used? This also needs to be examined carefully. But because philosophical research was turned into political criticism, these theoretical evaluations and their mutual discussion never progressed, and thus, aside from remembering that these philosophical propositions "one divides into two" and "two combine into one" were at the time laden with political meaning, there is little understanding of their philosophical content. And few even of those who work in philosophy have had the courage to study them philosophically. Thus this "debate" which confused scholarly differences for political struggle, and for even the enemy-versus-us struggle, may be said to have added nothing positive to our understanding and research on the law of the unity of opposites in Chinese philosophical circles. It provided us with only a profound lesson. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Painting Outside the Lines: Patterns of Creativity in Modern ArtMatthew ZiffPainting Outside the Lines: Patterns of Creativity in Modern Art, by David W. Galenson. Cambridge: Harvard University Press, 2001, 272 pp., $29.95.The relationship between the market value of paintings and the chronological point in an artist's working life when the paintings were produced is the driving mechanism for exploring creativity and innovation in David W. Galenson's book "Painting (...) Outside the Lines: Patterns of Creativity in Modern Art. The working thesis of this book is that Modern artists have worked creatively and innovatively in one of two distinctly different manners. The terminology Galenson uses to describe these distinct ways of working are "finders" and "seekers." Finders are artists like Pablo Picasso, who at age 26, make startling and important innovations with little advance indication that such a burst is about to take place. Seekers are artists like Paul Cezanne, whospend their entire working lives engaged in the pursuit of a singular approach or achievement. The differences between these methodologies are carefully presented through the details of the working lives of a variety of Modern artists. French nineteenth century and early twentieth-century artists and mid-twentieth-century American artists are used as the source data for these comparisons.Early in the book Galenson presents lists of chronological events within the lives of artists and market valuation of their work within this chronology. The dramatic clarity of the relationships presented in this data sets the stage for the detailed information that follows. Factors that in some cases only partly, and in others nearly completely, explain an artist's way of working are offered through biographic information, information about the aesthetic and cultural milieu, and about the economic and educational structures that are predominant during the relevant time in the life of the artist.The relationship between the aesthetic and cultural milieu surrounding an artist and the capacity or inclination of an artist to be innovative is an important aspect of the book's analysis. The scope of the book is limited to Modern artists because of the shift that took place at the outset of Modern art, during the mid 1860s, that brought a strong emphasis on innovation and change for their own sake as an important characteristic within a work of art. This emphasis "created incentives for painters to produce new approaches to art" (p. 111). Prior to the time of Modern art, innovation and change were often unnecessary for an artist to be successful. Modern art introduced the demand that innovation and change be necessary ingredients in art, and therefore the search for innovation became a significant element within the work of many artists. The manner in which this search took place, as presented through the data at hand, reveals how individual artists viewed the need for innovation and change within their own [End Page 123] work. Paul Cezanne, for example, was aware of the impact that his painting was having on the art world, but he insisted that he was not yet finished with discoveries that would reveal the truest expression of his beliefs about aesthetic expression.In the American movement, "Abstract Expressionism," Galenson finds a useful counter example to the art scene in Paris. In the United States, especially during the 1940s and 1950s — the peak years of creative output by Abstract Expressionist artists — the demand for their work was quite low. There were few economically viable outlets for the work of de Kooning, Pollack, Rothko, and the others of this group. Consequently there is a shift in the chronological point at which these artists achieve market value success. Nearly all of these artists receivedrecognition at an older age than the French artists of the late nineteenth and early twentieth centuries.The thesis of the book, that there are two fundamentally different ways of working to produce works of art, is directly applicable to, and useful in, exploring issues of teaching and learning in design education. As a teacher of interior architecture I was interested to follow the details that Galenson presented in support of his analysis of the careers of numerous Modern artists. The methodological differences between seeking and... (shrink)

This article explores the influence of Confucianism on Anglo-American political theory. It describes two recent developments in contemporary Anglo-American political theory which have allowed for substantial engagement with Confucian political theory and may set the stage for further interest in East Asian political theory more generally. One is the communitarian critique of liberal universalism and the other is the feminist emphasis on the politics of the family. This article discusses East Asian contributions to the debate on universalism versus particularism (...) and to the debate on family and justice. (shrink)

One of the chief difficulties we encounter as modern readers in perceiving the artistry of biblical narrative is precisely that we have lost most of the keys to the conventions out of which it was shaped. The professional Bible scholars have not offered much help in this regard, for their closest approximation to the study of convention is form criticism, which is set on finding recurrent regularities of pattern rather than the manifold variations upon a pattern that any system of (...) literary convention elicits; moreover, form criticism uses these patterns for excavative ends to support hypotheses about the social functions of the text, its historical evolution, and so forth. . . . The most crucial case in point is the perplexing fact that in biblical narrative more or less the same story often seems to be told two or three or more times about different characters, or sometimes even about the same character in different sets of circumstances. Three times a patriarch is driven by famine to a southern region where he pretends that his wife is his sister, narrowly avoids a violation of the conjugal bond by the local ruler, and is sent away with gifts. Twice Hagar flees into the wilderness from Sarah's hostility and discovers a miraculous well, and that story itself seems only a special variation of the recurrent story of bitter rivalry between a barren, favored wife and a fertile co-wife or concubine. That situation, in turn, suggests another oft-told tale in the Bible, of a woman long barren who is vouchsafed a divine promise of progeny, whether by God himself or through a divine messenger or oracle, and who then gives birth to a hero. Robert Alter, professor of Hebrew and comparative literature at the University of California at Berkeley, is the author of, among other works, Partial Magic: The Novel as a Self-Conscious Genre and Defenses of the Imagination. He has written a general literary study of biblical narrative, of which this essay forms a chapter. (shrink)