The global city is a new frontier zone. Deregulation, privatization, and new fiscal and monetary policies create the formal instruments to construct their equivalent of the old military “fort”. The city is also a strategic frontier zone for those who lack power, and allows the making of informal politics. At the same time the border is a mix of regimes, marked by protections and opportunities for corporations and high-level professionals, and implies confinement, capture and detention for migrants. The (...) essay discusses the transformation of the city in a frontier zone and analyses the separation between the capabilities entailed by territoriality and the geographic territory tout court. The analysis focuses on the effects of neoliberal policies that, far from making this a borderless world, have actually multiplied the bordered spaces that allow firms and markets to move across conventional borders. Cities are therefore one of the key sites where new neoliberal norms are made and where new identities emerge. (shrink)

This overview presents the most authoritative publications, theories and reflections of contemporary philosophers, culturologists and sociologists working on the study of cultural exclusion zones. There is a short introduction module, in which we have endeavoured to collate and highlight on the principal themes, terms, concepts and technical vocabulary developed to describe the specific phenomena of cultural exclusion zones. It is not intended as an exhaustive review of all aspects of the large agglomeration of themes related to Cultural Exclusion studies, but (...) focuses in particular on materials from the international “Mechanisms of Formation Zones of Cultural Exclusion and Frontier Areas” conferences (St. Petersburg, 2014, 2015, 2016 and 2017), some of which have also been selected for this edition of Rivista di Estetica. In this introduction we will present a selection of trends and individuals relating to the Russian and international interdisciplinary research project directed by the Centre for Cultural Exclusion and Frontier Zones of the Russian Academy of Sciences and the St. Petersburg State University as institutions, and by Sergey Troitskiy as theorist and visionary.In the following review we put forth the reflections of contemporary scientists on the phenomena of exclusion and re-actualization in conjunction with historical processes, along with an analysis of the origins and current state of the problem, and suggest ways to overcome cultural exclusion between various socio-demographic, national and socio-professional groups, as well as the social experience of separation from existing cultural values and norms through the development of a community’s cultural identity. The ideas reviewed propose various approaches to analysing the functional mechanisms of cultural exclusion, such as ontological, sociological, and humanitarian. (shrink)

Secondo il Ministero dell'Interno, i Centri di accoglienza per richiedenti asilo sono strutture nelle quali viene inviato e ospitato lo straniero richiedente asilo privo di documenti di riconoscimento o che si č sottratto al controllo di frontiera, per consentire l'identificazione o la definizione della procedura di riconoscimento dello status di rifugiato. I CARA ospitano richiedenti asilo, persone in fuga da guerre e persecuzioni, che hanno spesso il primo confronto con lo Stato italiano a cui chiedono protezione attraverso queste strutture (...) dalle enormi dimensioni, collocate per lo piů in zone isolate e lontane dai centri cittadini, all'interno di ex caserme o di aeroporti militari dismessi, per un tempo che supera quasi regolarmente i ventitrentacinque giorni previsti dalla legge. Come si concilia l'esigenza di dare pronta accoglienza a un alto numero di persone con la richiesta di protezione e di accoglienza qualificata dovuta a ogni essere umano e ancor piů a potenziali rifugiati con alta incidenza di casi vulnerabili? Qual č il rapporto fra assistenza e segregazione, efficienza e tutela, principi economici e di diritto, sicurezzarifugiati e sicurezzarifugiati? (shrink)

In this introduction the coordinators of the First Congress of Postcolonial Studies (Buenos Aires, 5th, 6th, 7th December 2012) review some of the main questions and guidelines which characterized the workshops. Starting from a heated debate on the categories and the epistemological proposals developed by postcolonial studies and decolonial feminism, the Congress accepted the challenge of producing a South/South dialogue through the consolidation of a space of interdisciplinary discussion in the different theorical fields inquiring post-colonial experience.

A simple line drawing can reproduce a vast collection of phenomenal discontinuities: optical, material, chromatic, and also of density, dimension, resistance. All these discontinuities correspond to physical realities quite different from each other. This fact leads us to consider that our brain can retrieve from a pencil stroke a broad and amazing lot information at several levels, from the physical to the phenomenological, from the logical to the cognitive. Drawing demonstrates the existence in our brain of a complex communication web (...) between the visual and action cortical areas and the zones of the paleo encephalon, indicating the biological necessity of establishing a continuity between vision and action, between representation and abstraction. Thus, drawing is a natural language, and represents a biological and expressive invariant; it is also a cultural language, the result of technical and symbolic development of a civilization; and it is, finally, an universal language, indeed the main communication system between different cultures. (shrink)

A modest dc electric field markedly reduced the tensile flow stress at high temperatures in three polycrystalline oxides, i.e. MgO, Al2O3 and yttria-stabilized tetragonal ZrO2 (Y-TZP). The reduction in flow stress ΔσE in Y-TZP consisted of three components: (i) ΔσT due to Joule heating, (ii) a rapid, reversible component obtained in on-off and electric field step tests and (iii) the cumulative effect of the field on microstructure. Only ΔσT and occurred in MgO and Al2O3. It is concluded that results from (...) a reduction in the electrochemical potential for the formation of vacancies corresponding to the diffusion of the rate-controlling ion in the space-charge at the grain boundary. The calculated magnitude of the space-charge zone width and its temperature and solute composition dependence are in accord with theory and experiment; is attributed mainly to the retardation of grain growth by the field. The retardation could be due to one or more of the following effects of the field on the space-charge zone: (i) an increase in the segregated solute ions, (ii) a decrease in grain boundary energy and (iii) a decrease in solute ion mobility. (shrink)

La storia della filosofia come frontiera. L’itinerario di Nicola Abbagnano - ASBTRACT: L’articolo ricostruisce i momenti fondamentali del percorso storiografico di Nicola Abbagnano, a partire dalla sua tesi di laurea del 1923, Le sorgenti irrazionali del pensiero, fino all’articolo Il lavoro storiografico in filosofia : l’intento di questa analisi è mostrare la centralità e la complessità della Storia della filosofia , non riducibile a semplice "appendice" storiografica del periodo esistenzialistico dell’autore. Vengono esaminate in tale prospettiva le premesse teoriche dell’impostazione (...) storiografica di Abbagnano e le difficoltà che sorgono nel concreto lavoro storiografico: la Storia della filosofia si rivela così anche opera teoretica decisiva nel passaggio al neoilluminismo, che risulta caratterizzato da un profondo ripensamento dei rapporti tra storia e filosofia. (shrink)

Italian Abstract: L'opposizione buon governo/mal governo è stato considerata uno dei grandi temi, se non il più grande, della riflessione politica di tutti i tempi. In questo libro mi propongo di qualificare teoreticamente il senso e il modo in cui Luigi Einaudi riattualizza il mito del buongoverno alla luce della portata dirompente dell’economico per la modernità e dei suoi effetti sul giuridico, il politico e l’etico. Il baricentro del liberalismo di Luigi Einaudi o del buon governo va ricercato non tanto (...) in una specifica teoria del liberalismo ma, piuttosto, nella "visione dell'uomo" di Einaudi riflessa dalla sua azione di economista-giornalista nella sfera pubblica, che testimonia di una cura costante per quel «bene supremo che è la libertà dell’uomo», nelle sue forme più «concrete», affinché ciascuno di noi possa «continuamente rompere la frontiera del noto, del già sperimentato, e muovere verso l’ignoto ancora aperto all’avanzamento materiale e morale dell’umanità». -/- English Abstract: The opposition good government/bad government has been considered one of the major issues, if not the major, of the legal and political reflection of all times. In this book I endeavour to provide a historical-theoretical account of the meaning and manner of Luigi Einaudi’s revisitation of the “myth of good government”, highlighting its contemporary relevance in the light of the momentous significance of economy for modernity, as well as its effects on the sphere of law, politics and ethics. I argue that the core of Einaudi’s liberalism and good government is to be found not so much in a specific theory of liberalism but, rather, in Einaudi’s “vision of the human”, reflected by his action in the public sphere as journalist-economist: a constant care for that “greater good that is the freedom of man” in its most “concrete” forms, so that every single man can “constantly break down the frontier of the known, of the already experienced, and move towards the unknown still open to the material and moral progress of mankind”. (shrink)

The rise of modernity in the 19th century can, among other things, be vividly illustrated by the phenomenal advance of medical profession and, in particular, surgery as its most radical form. In the 20th century, the doctor has already been steadily associated with the phenomenon of power. Medical experiments on human subjects are generally recognized as one of the most extreme manifestations of this discursive nexus. Despite considerable amount of historical research, predominantly dealing with the experiences of Nazi medicine and (...) its patients in concentration camps and some other disciplinary institutions, as well as somewhat gloomy attraction providing for unabated fascination on the part of trivial literature, such experiments have not yet become an established literary topos. The elusive nature of this phenomenon which belongs to the kern of post-war anxiety, but is rarely addressed to, allows me to attest to the fact that human experiments, especially those conducted in Nazi concentration camps, have become a cultural «exclusion zone». Nonetheless, there is a whole range of texts in which attempts has been made to overcome the cultural taboo and to give voice to the victims of human vivisection. Two of them – Friedrich Dürrenmatt’s Suspicion and Marcel Beyers The Flying Foxes – are analyzed in this paper against the backdrop of the so called «intellectual witness» – a concept proposed by Geoffrey Hartman and meaning a distanced witnessing, mostly on behalf of younger generations or, as in case with Dürrenmatt, of those who stayed aside of the World War II. In both novels, the narrative structures of intellectual witnessing serve to surmount the metaphorizing tendency which turns the reality of human experiments into tropes corroborating the author’s idea or concept. Combining documentary elements with the elements of trivial fiction, Dürrenmatt and Beyer make significant strides in deconstructing the naïve «over-identifying» with the victims, as well as their overt fictionalization. As a result, they manage to open the possibility of witness beyond the perspective of eyewitnesses, and at the same time subjugate this rearticulation of the past to the demands of the present situation that facilitates it. This perilous duality reveals the ethical double bind which seems to be inherent to the most reactualizations of utterly traumatic historical experiences, such as human experimentation, transformed into «exclusion zones» and then voiced through intellectual witness and other forms of «secondary witness». In order to become an object of witnessing, those traumatic experiences must correspond to the anxieties of the present originating from them. While triggering the reactualization process, such anxieties, however, also subject the experience of concrete victims to the desiderata of a traumatized «(intellectual) witness» and, in such a way, misuse the tragedy as a means of the witness’s coming to terms with his or her own trauma. (shrink)

Studying cultural memory and practices of “oblivion” and “remembrance”, scholars encounter a whole range of phenomena which have remained nameless and practically undescribed in special literature so far and, therefore, are, in a manner of speaking, “illegitimate”. Moreover, to use well-established terminology inevitably means to employ traditional approaches, which due to their retrospective character aren’t able to recognize new phenomena. Thus, we should describe such phenomena and “bring them to light” by means of specific terminology. The paper introduces these fundamental (...) terms, allowing for the description of previously unapparent cultural phenomena. The list of these terms includes “cultural exclusion zones”, “current (field) of culture”, “deactualization,” “reactualization”, and “cultural frontier (borderline) zones”. (shrink)

The evolutionary and comparative perspective represents a persuasive view to naturalize aesthetics - however, only if we avoid one of the most common prejudice. Precisely, the preliminary reduction of the aesthetic experience to the mere sensory perception. The paper falsifies this reductive framework reconstructing the zone of proximal evolution concerning the aesthetic and artistic dimension. In particular, we take as reference point the mind of the chimpanzee, at the same time unable to make art and limited to inescapable sensory (...) and perceptual constrains. (shrink)

L’objectif de cet article n’est pas d’étudier les relations complexes que les pensées de Sartre et Merleau-Ponty entretiennent avec la psychanalyse – tâche qui exige à elle seule tout un livre –, mais uniquement de montrer que leur traitement respectif de la subjectivité entretient des rapports frontaliers, parfois conflictuels, avec la problématisation psychanalytique de l’inconscient. C’est donc seulement dans la perspective du problème très général de la « conscience fausse » que seront abordés ces emprunts et échanges sinueux. De ce (...) point de vue, il est nécessaire de préciser le sens attribué à la notion de « conscience » par Sartre et par Merleau-Ponty et, conjointement, le statut qu’ils accordent respectivement à l’inconscient. Le dissensus qui sépare les deux auteurs trouve d’abord sa source dans la fonction et les limites qu’ils assignent à la réflexion.The goal of this article is not to discuss the complex relationship between the works of Sartre and Merleau-Ponty and psychoanalysis—such a subject would deserve an entire book—but rather to show that their respective treatments of subjectivity are closely related, sometimes conflicting, with the psychoanalytic problematization of the unconscious. It is therefore only in the perspective of the general problem of false consciousness that these references and sinuous exchanges will be presented. From this point of view, it is necessary to pinpoint the meaning attributed to the notion of ‘consciousness’ by Sartre and Merleau-Ponty, and conjointly, the status they accord respectively to the unconscious. The disparity between these two philosophers originates in the function and limits they assign to reflection.L’obiettivo di questo articolo non è quello di studiare le complesse relazioni che Sartre e Merleau-Ponty intrattengono con la psicoanalisi – cosa che esigerebbe un libro a sé – ma solo di mostrare che il loro modo di trattare il tema della soggettività intrattiene rapporti di frontiera, talvolta conflittuali, con la problematica psicoanalitica dell’inconscio. Affronteremo il movimento sinuoso di questi prestiti e di questi scambi nella sola prospettiva del problema molto generale della “falsa coscienza”. Da questo punto di vista, sarà necessario precisare il senso attribuito da Sartre e da Merleau-Ponty alla nozione di coscienza e, insieme, a quella di inconscio. Mostreremo quindi che il dissidio tra i due autori trova la sua origine anzitutto nella diversa funzione e nei diversi limiti che essi assegnano alla dimensione della riflessione. (shrink)

L’analisi informatica di testi filosofici, la creazione di database, ipertesti o edizioni elettroniche non costituiscono più unicamente una ricerca di frontiera, ma sono da molti anni una risorsa preziosa per gli studi umanistici. Ora, non si tratta di richiedere alle macchine un ulteriore sforzo per comprendere il linguaggio umano, quanto piuttosto di perfezionare gli strumenti affinché esse possano essere a tutti gli effetti collaboratori di ricerca. Questo articolo è concepito come il resoconto di un esperimento finalizzato a documentare come (...) le associazioni lessicali di un gruppo selezionato di testi medievali possa offrire qualche suggerimento in merito ai loro contenuti teorici. Computer analysis of texts, creation of databases hypertexts and digital editions are not the final frontier of research anymore. Quite the contrary, from many years they have been representing a significant contribution to medieval studies. Therefore, we do not mean to make the computer able to grasp the meaning of human language and penetrate its secrets, but rather we aim at improving their tools, so that they will become an even more efficient equipment employed in research activities. This paper is thought as a sort of technical report with the proposed task to verify if an automatic identification of some word associations within a selected groups of medieval writings produces suggestions on the subject of the processed texts, able to be used in a theoretical inquiry. (shrink)

La crescita esponenziale delle tecnologie di AI come il machine learning e le reti neurali, nonché l'integrazione tecnica dei sistemi cyber-fisici nella produzione, nei servizi logistici e nei processi industriali, rende il mondo dell'industria 4.0 sempre più vicino ed accessibile nei paesi industrializzati. La repentina transizione odierna dai processi di produzione di massa verso l'economia dell'informazione, che scaturisce da queste innovazioni, crea zone di ombra e penombra sul futuro incerto del mercato del lavoro umano. Come in ogni rivoluzione tecnologica, (...) la capacità umana di rimanere al centro del proprio processo di produzione sembra drammaticamente a rischio. Questo articolo si propone di operare un resoconto specifico dell'impatto che l'informatizzazione eserciterà sul mercato del lavoro. Dapprima, il lettore verrà introdotto ad un'analisi storica della metamorfosi del lavoro umano nella terza rivoluzione industriale, a seguito dell'introduzione di tecnologie di automazione, che permetterà di operare paragoni critici con la situazione odierna. Verrà quindi delineato un quadro saliente sulle opportunità e le complesse problematiche che l'automazione odierna e futura comporterà su un numero significativo di attività lavorative umane, a causa della disoccupazione, e sui prezzi di produzione. L'impatto delle tecnologie dette "disruptive", come l'AI, non si limita a conseguenze economiche. La perdita di una percentuale importante dei posti di lavoro produrrà profonde conseguenze indirette sulle strutture socio-simboliche e sulle pratiche organizzative delle comunità umane. Attorno alla nozione di "lavoro" orbita oggi una parte essenziale dell'universo simbolico delle società, la cui revisione porterà serie conseguenze esistenziali per g​ . (shrink)

: If a child’s development is made possible by interaction with his environment, involving an integration of affective and intellectual processes, dyslexia implies multiple cognitive deficits that cause learning difficulties and over time can affect a child’s sense of self. Inattentive behavior due to incomprehension of classroom tasks can cause compounding of gaps in learning that will lead to a lack of foundational skills. Vygotskij underlines how the zone of proximal development determines the difference between the child’s actual level (...) of development and the level of performance that he achieves under the guidance of a teacher, through imitation; the teacher must focus his efforts on identifying what the child is only able to do in collaboration today but will be able to do independently tomorrow. The main means of interaction between the teacher and the dyslexic child is the language that, materialized and objectified in external speech, then distilled into thought as internal speech can arm dyslexic children with foundational skills. Keywords: L.S. Vygotskij; Dyslexia; Language; Learning; Zone of Proximal Development Un approccio alla dislessia evolutiva da una prospettiva Vygotskijana Riassunto: Se lo sviluppo del bambino è reso possibile dall’interazione con il suo ambiente, attraverso l’integrazione di processi affettivi e intellettuali, la dislessia implica molteplici deficit cognitivi con conseguenti difficoltà di apprendimento, che col tempo possono condizionare la percezione che il bambino ha di sé. Il comportamento disattento in classe, dovuto all’incomprensione dei compiti assegnati, può generare un accumulo tale di lacune nell’apprendimento da condurre al mancato sviluppo di abilità fondamentali. Vygotskij sottolinea come la zona di sviluppo prossimale denoti la differenza tra il livello di sviluppo effettivamente raggiunto dal bambino e le prestazioni ottenute sotto la guida di un insegnante, per mezzo dell’imitazione del maestro. Compito dell’insegnante è concentrare gli sforzi al fine di individuare quanto il bambino è in grado di realizzare oggi in collaborazione, che domani sarà in grado di effettuare autonomamente. Il principale mezzo di interazione tra l’insegnante e il bambino dislessico è il linguaggio che, materializzato e oggettivato nel linguaggio esterno, successivamente condensato nel pensiero come linguaggio interno, può consentire ai bambini dislessici lo sviluppo di abilità fondamentali. Parole chiave: L.S. Vygotskij; Dislessia; Linguaggio; Apprendimento; Zona di sviluppo prossimale. (shrink)

Antropologia individualistica e democrazia -- Nuova antropologia. Soggetto e libertà nella democrazia di Tocqueville -- Sball-democrazia -- Simboli del potere -- Oltre la frontiera. Soggettività globale -- Ecity. Tecnica senza storia.

Quale sia la natura della coscienza è uno dei problemi più analizzati e discussi sia nella ricerca filosofica sia in quella scientifica. Ogni mese nel mondo vengono pubblicati diversi libri dedicati a questo argomento, e decine di riviste specialistiche ospitano articoli e saggi volti a chiarirne le varie componenti; sotto una tale pressione sono nate alcune riviste scientifiche dedicate esclusivamente all'argomento. A questo fiorire di ricerche corrisponde una quantità altrettanto elevata di approcci. Una rivista come il Journal of consciousness studies, (...) ad esempio, annovera contributi di filosofi e neurobiologi, scienziati cognitivi e psicologi gli uni accanto agli altri, a testimoniare proprio la varietà delle questioni e dei metodi di indagine che si addensano attorno ai fenomeni coscienti. Nel libro ho tenuto fede a questa molteplicità, descrivendo le principali teorie filosofiche accanto ai risultati empirici di psicologi e neurologi. Per ragioni di spazio e di taglio generale ho dovuto eliminare molto, e ogni volta penso a quanti autori e correnti di un certo rilievo ho dovuto tralasciare. Lo scopo principale di questo volume, tuttavia, non è quello dell'esaustività, quanto piuttosto di fornire un quadro per chi voglia orientarsi nel problema della coscienza, purché sia attrezzato di una buona dose di curiosità e di un po' di tenacia per poter affrontare qualche dettaglio più tecnico; non è dunque una summa enciclopedica di quel che si studia oggi sotto l'etichetta “coscienza”. Con questo spirito ho descritto, nel primo capitolo, le radici filosofiche del problema della coscienza rifacendomi a molti classici, alcuni dei quali davvero sorprendentemente attuali. Nel capitolo successivo ho analizzato i diversi risultati empirici sui quali si stanno costruendo le teorie più interessanti; il terzo capitolo presenta una serie di teorie filosofiche volte a difendere l'autonomia della coscienza dalle spiegazioni naturalistiche, e il filosofo David Chalmers fa la parte del campione di questo schieramento. L'ultimo capitolo propone invece le teorie più marcatamente naturalistiche, ed è il filosofo Daniel Dennett a portare il vessillo del rappresentante. I quattro capitoli che compongono il libro, dunque, alternano l'approccio filosofico, dedito a chiarire i presupposti concettuali, e quello naturalistico ed empirico, basato sulle tecniche sperimentali, per rendere conto proprio della varietà del problema coscienza, e di come esso rappresenti forse l'ultima frontiera con la quale noi esseri umani proviamo a ritagliarci un posto speciale tra ciò che ci circonda. È sufficiente volgersi alla storia della scienza per constatare le radici di una simile esigenza. Galileo Galilei ha spostato il nostro pianeta dal centro del cosmo ad una marginale periferia; Charles Darwin ci ha inserito, esseri naturali ed emotivi, nel mondo biologico al pari di ogni altra specie; Alan Turing, infine, ha mostrato che molta della nostra cognizione può essere trattata con metodi computazionali. La coscienza sembra l'ultimo baluardo che separa, categorialmente se non ontologicamente, la nostra specie da tutto il resto. L'eventualità di tradurla in termini neurobiologici è da molti considerata una chimera, e la liceità di una simile ipotesi è posta sotto scrutinio per evidenziarne i presupposti filosofici. Questo testo dovrebbe aiutare a capire quali sono gli snodi del problema e chi ha buone prospettive di cogliere nel segno. (shrink)

Ci imbattiamo in un confine ogni volta che pensiamo a un’entità demarcata rispetto a ciò che la circonda. C’è un confine (una superficie) che delimita l’interno di una sfera dal suo esterno; c’è un confine (una frontiera) che separa il Maryland dalla Pennsylvania. Talvolta la collocazione esatta di un confine non è chiara o è in qualche modo controversa (come quando si cerchi di tracciare i limiti del monte Everest, o il confine del nostro corpo). Talaltra il confine non (...) corrisponde a una discontinuità fisica o a una differenziazione qualitativa (come nel caso dei confini del Wyoming, o della demarcazione tra la metà superiore e la metà inferiore di una sfera omogenea). Ma, che sia netto o confuso, naturale o artificiale, sembra esservi per ogni oggetto un confine che lo separa dal resto del mondo. Anche gli eventi hanno confini, quantomeno confini temporali. Le nostre vite sono delimitate dalle nostre nascite e morti; una partita di calcio comincia alle quindici in punto e termina col fischio finale dell’arbitro alle sedici e quarantacinque. E a volte si dice che anche le entità astratte, come i concetti o gli insiemi, hanno dei propri confini. Se tutto questo parlare di confini abbia davvero un senso, e se rifletta la struttura del mondo o solo l’attività organizzatrice del nostro intelletto, è però oggetto di profonda controversia filosofica. (shrink)

" Quel contraste! quel brusque passage! La hiérarchie, la dis¬cipline, l'ordre que l'autorité se charge d'assurer, les dogmes qui règlent fermement la vie : voilà ce qu'aimaient les hommes du dix-septième siècle. Les contraintes, l'autorité, les dogmes, voilà ce que détestent les hommes du dix-huitième siècle, leurs successeurs immédiats. Les premiers sont chrétiens, et les autres antichrétiens ; les premiers croient au droit divin, et les autres au droit naturel ; les premiers vivent à l'aise dans une société qui se (...) divise en classes inégales, les seconds ne rêvent qu'éga-lité. Certes, les fils chicanent volontiers les pères, s'imaginant qu'ils vont refaire un monde qui n'attendait qu'eux pour devenir meilleur : mais les remous qui agitent les générations successi¬ves ne suffisent pas à expliquer un changement si rapide et si décisif. La majorité des Français pensait comme Bossuet ; tout d'un coup, les Français pensent comme Voltaire : c'est une révolution.Pour savoir comment elle s'est opérée, nous nous sommes engagés dans des terres mal connues. On étudiait beaucoup le dix-septième siècle, autrefois ; on étudie beaucoup le dix-¬huitième siècle, aujourd'hui. A leurs confins s'étend une zone incertaine, malaisée, où l'on peut espérer encore découvertes et aventures. Nous l'avons parcourue, choisissant pour la borner deux dates non rigoureuses : d'une part, les environs de 1680, et d'autre part, 1715...". (shrink)

At least since 2003, when the US President’s Council on Bioethics published Beyond Therapy: Biotechnology and the Pursuit of Happiness , there has been heated debate about the ethics of using pharmacology to reduce the intensity of emotions associated with painful memories. That debate has sometimes been conducted in language that obfuscates as much as it illuminates. I argue that the two sides of the debate actually agree that, in general, it is good to reduce the emotional intensity of memories (...) associated with traumatic events, when (as in the case of Post Traumatic Stress Disorder) the intensity of those memories is dis proportionate to the precipitating traumatic event. Both sides also agree that, in general—not as an ironclad rule—it is bad to reduce the emotional intensity of memories associated with difficult but normal human problems of living, when the intensity of the emotions is proportionate to those problems. Between those two areas of agreement, there is a zone of ambiguity, in which reasonable people, who proceed from different but equally ethical frameworks, may indeed reach different conclusions about the same set of facts. But I will argue that even in the zone of ambiguity, there is more agreement than the language favored by the different frameworks sometimes suggests. Ultimately, I suggest that if we see the extent to which the substantive differences between the two frameworks are smaller than their articulators’ language sometimes suggests, we can engage in a more productive conversation about whether a particular intervention will facilitate or diminish human flourishing. (shrink)

Riassunto: In questo lavoro intendo discutere alcune questioni metodologiche relative al dibattito sull’individuazione delle modalità sensoriali. In primo luogo, cercherò di distinguere tra un problema metafisico, che riguarda la natura dei sensi, e un problema di classificazione, che riguarda la loro tassonomia. I criteri comunemente impiegati per individuare i sensi dovrebbero essere in grado di affrontare entrambi i problemi. In secondo luogo, delineerò cinque zone grigie, ossia cinque gruppi di casi problematici, che gli autori interessati nel difendere un criterio (...) dovrebbero essere in grado di affrontare. Il fine di questo lavoro non è quello di discutere i criteri e le aree grigie per se, bensì quello di chiarire alcune premesse metodologiche sullo sfondo del dibattito che qui si sta considerando. Parole chiave: Individuazione dei sensi; Filosofia della percezione; Metafisica dei sensi; Classificazione dei sensi; Zone grigie Methodological Considerations on the Individuation of the Senses: In this paper, I discuss some methodological issues relevant to the debate on the individuation of the sensory modalities. First, I make a distinction between a metaphysical question related to the nature of the senses, and a classificatory question related to their taxonomization. The criteria commonly used to individuate the senses should be able to address both questions. Second, I articulate five grey areas, namely, five groups of problematic cases that authors interested in defending a specific criterion should be able to tackle. The aim of this paper is not to discuss these criteria and grey areas per se, but to clarify some methodological premises that frame the debate under consideration. Keywords: Individuation of the Senses; Philosophy of Perception; Metaphysics of the Senses; Classification of the Senses; Grey Areas. (shrink)

In _The Later Middle Ages,_ the third volume of his monumental _History of Political Ideas,_ Eric Voegelin continues his exploration of one of the most crucial periods in the history of political thought. Illuminating the great figures of the high Middle Ages, Voegelin traces the historical momentum of our modern world in the core evocative symbols that constituted medieval civilization. These symbols revolved around the enduring aspiration for the _sacrum imperium,_ the one order capable of embracing the transcendent and immanent, (...) the ecclesiastical and political, the divine and human. The story of the later Middle Ages is that of the "civilizational schism"—the movement in which not only the reality but the aspiration for the _sacrum imperium_ gradually disappeared and the unification of faith and reason dissolved. His recognition of this civilizational schism provides Voegelin with a unique perspective on medieval society. William of Ockham, Dante, Giles of Rome, and Marsilius of Padua all emerge in Voegelin's study as predecessors to modern thought; each turns to personal authority and intellectual analysis in an attempt to comprehend the loss of the _sacrum imperium_ as an authoritative ideal. Voegelin is further drawn into investigations that, despite insufficient attention by scholars, still bear relevance to the study of the later Middle Ages. The mysticism apparent in _Piers Plowman_ and the apocalyptic revolt of Cola di Rienzo are merely two reactions to the disintegration of wholeness. Yet the story of the later Middle Ages does not merely revolve around disintegration. Voegelin recognizes the emergence of the constitutional political tradition as the most positive development of this period. He is at his best when explaining the difference between the presence of a representative institution and the growth of communal consciousness. Voegelin's study of the English political pattern is matched only by his unique perspective on the German imperial zone, culminating in a fitting conclusion on Nicholas of Cusa—the one political thinker with the ability to evoke the unity of mankind beyond fragmentation. _The Later Middle Ages_ is at once a brilliant examination of the symbols that characterized medieval society and a remarkable predecessor to Voegelin's study of the modern world, beginning with the Renaissance and the Reformation. (shrink)

In vertebrates, single cell analyses of replication timing patterns brought to light a very well controlled program suggesting a tight regulation on initiation sites. Mapping of replication origins with different methods has revealed discrete preferential sites, enriched in promoters and potential G‐quadruplex motifs, which can aggregate into initiation zones spanning several tens of kilobases (kb). Another characteristic of replication origins is a nucleosome‐free region (NFR). A modified yeast strain containing a humanized origin recognition complex (ORC) fires new origins at NFRs (...) revealing their regulatory role. In cooperation with NFRs, the histone variant H2A.Z facilitates ORC loading through di‐methylation of lysine 20 of histone H4. Recent studies using genome editing methods show that efficient initiation sites associated with transcriptional activity can synergize over several tens of kb by establishing physical contacts and lead to the formation of early domains of DNA replication demonstrating a co‐regulation between replication initiation and transcription. (shrink)

The pursuit of a meaningful and purposeful existence has consistently been a universal human aspiration, even in the field of business. Individuals seek significance in every endeavour they undertake. In line with this notion, the Shrimad Bhagavad Gita (SBG) directs individuals towards the path of truth and purpose. The present study attempts to examine the effect of SBG-identified variable entitled as ‘Theory of Work’ or ‘Karma’ (consisting of no desire for fruit (NDF), non-attachment (NA), deterministic intellect (DI), righteous duty (RD), (...) success and failure as equal (SAF)) on self-efficacy (SE) among teachers in higher educational institutions (HEI) in India. It also aims to find the association between SE and goal performance and leadership effectiveness among the teachers of HEI. A judgemental sampling procedure was adopted to collect the data from HEI clustered across five different zones in the country. A total of 600 responses were collected through an online-administered questionnaire. The analysis results indicated that theory of work variables (i.e., NDF, DI, NA and RD) have a significant positive effect on SE, and SE positively affects the goal performance and leadership effectiveness. However, treating SAF as equal variables was not found to have a significant effect on SE. (shrink)

Ce double numéro de _Noesis _est issu du colloque « Europe, État, fédéralisme » que Mélanie Plouviez et Pierre-Yves Quiviger ont organisé à la Maison des Sciences de l’Homme et de la Société Sud-Est (MSHS-SE), à Nice, du 3 au 5 octobre 2017, dans le cadre du programme de recherche en droit, en philosophie du droit et en philosophie politique, qui associe depuis 2010 le Laboratorio Hans Kelsen (LHK) de l’Università degli studi di Salerno ; l’équipe « Normes, Sociétés, Philosophies (...) » (NoSoPhi) de l’Institut des sciences juridique et philosophique de la Sorbonne à l’Université Paris I Panthéon-Sorbonne (ISJPS) ; et, depuis 2012, le Centre de recherches en histoire des idées (CRHI) d’Université Côte d’Azur (UCA). Le choix du thème de l’Europe a été déterminé par le constat de l’accumulation des « crises européennes » depuis alors plus de dix ans : « constitutionnelle », « grecque », « des dettes souveraines », « de la zone euro », « ukrainienne », « des réfugié-e-s », « sécuritaire » ou e... (shrink)

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

Dioramas are multimedia installations used in museums and popular culture since the 19th century. I study two sets of anthropological dioramas: the ones made for the Museum of Natural History in New York by Franz Boas; and the ones fabricated at the New York State Museum in Albany by Arthur C. Parker. As I will show, dioramas are not only visual dis- plays but also installations with a proper materiality and temporality: they are the stage of multiple performances and work (...) as contact zones between objects, models, makers, and beholders. (shrink)

Secondo il sociologo Ulrich Beck, il dibattito contemporaneo sulle disuguaglianze sociali rappresenta un esemplare caso di studio di quel fenomeno di sistematica distorsione della «prospettiva scientifica dell’osservatore» che egli ha proposto di definire nazionalismo metodologico. In tale orizzonte di indagine è possibile, infatti, toccare con mano le «grandi zone d’ombra» – e i macroscopici errori – prodotti anche sul piano della ricerca empirica da una visione della società e della politica che tende programmaticamente a far propria «la logica dell’ottica (...) nazionale». Muovendo da alcuni celebri passi di Alexis de Tocqueville, il saggio si propone di mettere a fuoco le complesse dinamiche fondative che si pongono alla base di questo approccio territorializzato alla questione dell’eguaglianza, in un percorso di riflessione che chiama in causa alcuni dei più recenti contributi teorici sul tema. (shrink)

What is a national theoretical tradition in art history? Description of the history of art theory is based on the experience of the Russian Institute of Art History (The Zubov Institute), which was founded as a private educational institution and became a center of art studies. In fact, art theory and art history was actualized in Russia largely thanks to the Institute of Art History. Valentin Zubov and his colleagues had introduced a new viewpoint on the history of art as (...) an important and independent science with its specific place in Russian humanities. On the example of the Institute we examine the change of attitude to the science about art in the 1920-1930s, mostly under ideological pressure. The paperscrutinizes the process of actualization of a new branch of knowledge and its deactualization in the time when sociological method and Marxist theory became the basis for Soviet art studies. Thereby deactualization makes a non-ideological art theory one of cultural exclusion zones. Chang of scientific pragmatism in the field of art studies transforms its grammar and, in fact, destroys art studies themselves. (shrink)