Condensed detachment is usually regarded as a notation, and defined by example. In this paper it is regarded as a rule of inference, and rigorously defined with the help of the Unification Theorem of J. A. Robinson. Historically, however, the invention of condensed detachment by C. A. Meredith preceded Robinson's studies of unification. It is argued that Meredith's ideas deserve recognition in the history of unification, and the possibility that Meredith was influenced, through ukasiewicz, by ideas of (...) Tarski going back at least to 1939, and possibly to 1930 or earlier, is discussed. It is proved that a term is derivable by substitution and ordinary detachment from given axioms if and only if it is a substitution instance of a term which is derivable from these axioms by condensed detachment, and it is shown how this theorem enables the ideas of ukasiewicz and Tarski mentioned above to be formalized and extended. Finally, it is shown how condensed detachment may be subsumed within the resolution principle of J. A. Robinson, and several computer studies of particular Hilbert-type propositional calculi using programs based on condensed detachment or on resolution are briefly discussed. (shrink)

This essay considers the prospects of modeling spacetime as a phenomenon that emerges in the low-energy limit of a quantum liquid. It evaluates three examples of spacetime analogues in condensed matter systems that have appeared in the recent physics literature, indicating the extent to which they are viable, and considers what they suggest about the nature of spacetime.

Phase separation underlies the formation of biomolecular condensates. We hypothesize the cellular processes that occur within condensates shape their structural features. We use the example of transcription to discuss structure–function relationships in condensates. Various types of transcriptional condensates have been reported across the evolutionary spectrum in the cell nucleus as well as in mitochondrial and bacterial nucleoids. In vitro and in vivo observations suggest that transcriptional activity of condensates influences their supramolecular structure, which in turn affects their function. Condensate (...) organization thus becomes driven by differences in miscibility among the DNA and proteins of the transcription machinery and the RNA transcripts they generate. These considerations are in line with the notion that cellular processes shape the structural properties of condensates, leading to a dynamic, mutual interplay between structure and function in the cell. (shrink)

The physics of condensed matter, in contrast to quantum physics or cosmology, is not traditionally associated with deep philosophical questions. However, as science - largely thanks to more powerful computers - becomes capable of analysing and modelling ever more complex many-body systems, basic questions of philosophical relevance arise. Questions about the emergence of structure, the nature of cooperative behaviour, the implications of the second law, the quantum-classical transition and many other issues. This book is a collection of essays by (...) leading physicists and philosophers. Each investigates one or more of these issues, making use of examples from modern condensed matter research. Physicists and philosophers alike will find surprising and stimulating ideas in these pages. (shrink)

This paper contrasts and compares strategies of model-building in condensed matter physics and biology, with respect to their alleged unequal susceptibility to trade-offs between different theoretical desiderata. It challenges the view, often expressed in the philosophical literature on trade-offs in population biology, that the existence of systematic trade-offs is a feature that is specific to biological models, since unlike physics, biology studies evolved systems that exhibit considerable natural variability. By contrast, I argue that the development of ever more sophisticated (...) experimental, theoretical, and computational methods in physics is beginning to erode this contrast, since condensed matter physics is now in a position to measure, describe, model, and manipulate sample-specific features of individual systems – for example at the mesoscopic level – in a way that accounts for their contingency and heterogeneity. Model-building in certain areas of physics thus turns out to be more akin to modeling in biology than has been supposed and, indeed, has traditionally been the case. (shrink)

Kenneth Wilson won the Nobel Prize in Physics in 1982 for applying renormalization group, which he learnt from quantum field theory (QFT), to problems in statistical physics—the induced magnetization of materials (ferromagnetism) and the evaporation and condensation of fluids (phase transitions). See Wilson (1983). The renormalization group got its name from its early applications in QFT. There, it appeared to be a rather ad hoc method of subtracting away unwanted infinities. The further allegation was that the procedure is so horrendously (...) complicated that one cannot see the forest for the trees. The second allegation is justified in the applications that made it famous. But it is not true of the following example, which appears in Chowdhury and Stauffer (2000, 486-488). (shrink)

Covering the fundamentals as well as many special topics of current interest, this is the most concise, up-to-date, and accessible graduate-level textbook on quantum mechanics available. Written by Gerald Mahan, a distinguished research physicist and author of an acclaimed textbook on many-particle physics, Quantum Mechanics in a Nutshell is the distillation of many years' teaching experience. Emphasizing the use of quantum mechanics to describe actual quantum systems such as atoms and solids, and rich with interesting applications, the book proceeds from (...) solving for the properties of a single particle in potential; to solving for two particles ; to addressing many-particle systems. Applications include electron gas, magnetism, and Bose-Einstein Condensation; examples are carefully chosen and worked; and each chapter has numerous homework problems, many of them original. Quantum Mechanics in a Nutshell expertly addresses traditional and modern topics, including perturbation theory, WKBJ, variational methods, angular momentum, the Dirac equation, many-particle wave functions, Casimir Force, and Bell's Theorem. And it treats many topics--such as the interactions between photons and electrons, scattering theory, and density functional theory--in exceptional depth. A valuable addition to the teaching literature, Quantum Mechanics in a Nutshell is ideally suited for a two-semester course. The most concise, up-to-date, and accessible graduate textbook on the subject Contains the ideal amount of material for a two-semester course Focuses on the description of actual quantum systems, including a range of applications Covers traditional topics, as well as those at the frontiers of research Treats in unprecedented detail topics such as photon-electron interaction, scattering theory, and density functional theory Includes numerous homework problems at the end of each chapter. (shrink)

When presented with a situation involving an agent’s choice between alternative actions, a moral oracle says what the agent is allowed to do. The oracle bases her advice on some moral theory, but the nature of that theory is not known by us. The moral oracle’s test consists in determining whether a series of questions to the oracle can be so constructed that her answers will reveal which of two given types of theories she adheres to. The test can be (...) applied to moral theories in order to determine if they differ in their recommendations for action. Based on this test, a terminology is developed to specify different forms and degrees of distinguishability between moral theories, or types of theories, in terms of their recommendations for action. In conclusion, the test is applied to consequentialism and utilitarianism. (shrink)

The aim of this article is to give an example of how an exercise in post-critical educational research might be conceptualized. The example refers to an enquiry into building a public sphere around education in Poland. First, a post-critical approach in educational research is defined with reference to the two dominant perspectives of social research, namely the (neo)positivistic and the critical paradigm. Next, and following insights of Hannah Arendt and Jacques Rancière, the idea of building is presented in (...) terms of the persistent introduction of a new beginning into a social reality through acting in line with an assumption (an axiom) that, from the point of view of critical knowledge about the current status quo, seems fictional (or impossible). Such a persistent verification of an impossible axiom aims at establishing a sphere of exception from the dominant social order, offering—through the ideas of Alain Badiou and Giorgio Agamben—a nondialectical logic of social transformation. Finally, in conclusion the article focuses on the phenomenon of condensation as one of the key results of the exemplary research project analysed throughout the text. This points to the kind of knowledge that post-critical research projects are able to bring about. (shrink)

Based on a condensed historical overview of management as an artifact, the article argues that management is still suffused by an implicit paradigm of value extraction that is ideologically and culturally tinted and that we need to find a new foothold in theory and practice, a more universally valid approach with an encompassing awareness of societal well-being and long-term impact. The radically new approach proposed is based on free energy minimization, a concept from computational neuroscience, as a universally valid (...) principle derived from the biological imperative to survive that holds true for individuals and social systems alike. In order to reduce harmful free energy from entropy and stochastic adversity, an amplified way of perceiving and being aware of reality is required that needs to be cultivated. This is achieved through the guiding principle of Minding, an ongoing process of inner and outer awareness and caring consideration of oneself, others and the world around us, routed in a comprehensive consciousness including awareness of Body sensations, Emotions, Thoughts and Action impulses (BETA). This comprehensive, strategic awareness is proposed as a unifying, contextual framework for individual and collective well-being rather than a categorical imperative, and therefore may, when and where indispensable, include value extraction and value maximization if required for the overall objective of shared, long-term flourishing. The article also presents examples of implementation of the proposed approach for both individuals and organizations and briefly introduces MBSAT-Mindfulness-based Strategic Awareness Training, a training protocol designed specifically to enhance the competence of Minding, the guiding principle. (shrink)

P.F. Strawson’s Individuals contains a condensed version of an ontology of art. According to this ontology, musical and literary compositions are similar to types. They are abstract entities, instantiated in the performances of the piece of music or the copies of the literary work. Musical and literary compositions are “well-entrenched”, Strawson says – we cannot eliminate these abstractions, or perhaps we have no need to do so. Strawson’s ontology of art forms an integral part of what he calls his (...) “descriptive metaphysics”, and his resistance to the elimination of types and type-like entities is one example of his reservations against “revisionary metaphysics”.Nowadays, Strawson’s name is seldom mentioned in connection with the philosophy of art. Yet the general view of the ontology of art advocated in Individuals is still probably the one most widely held in analytical aesthetics today. Thus, for example, Stephen Davies adopts the same general position as Strawson in his article “Ontology of Art” , the best informed contemporary overview of the complex of problems surrounding the mode of existence of works of art. Unlike Strawson, Davies also adduces explicit reasons why concepts of musical and literary compositions cannot be successfully eliminated.Critically reviewing Strawson’s and Davies’ standpoints and arguments, I maintain that concepts of artworks can in fact be successfully eliminated, and that the bracketing of such notions leads to a better theoretical perspective on musical and literary communication. Throughout the paper, I speak for an open-minded approach to conceptual revision. (shrink)

The introduction of the essay shows the impossibility of considering both China and Europe as univocal cultural identities schematically opposed. Starting from this, the main goal of the article is to put into comparison the specific artistic experience of Chinese and European painting. The historical moment taken into account includes some examples from European painting between the late Middle Ages and the Nineteenth Century as well as some from Chinese painting between the Ming and Qing era. From this comparison, the (...) article aims to highlight some elements of discontinuity between European ontology of art and Chinese pictorial conception. Western portrait is considered as an expression of the individual character of its creator, as well as of the subject represented and of the collective character of the historical era in which it is conceived. On the contrary, Chinese landscape painting is considered as a manifestation of the “emptiness” of the author’s “non-self” and, at the same time, as an expression of the dynamic processes of nature exceeding both the limits of the subject and those of the historical context. While in the transition from the Renaissance to the Baroque, both the works of art and the handwork details condense the epochal taste (kunstwollen) and the spirit of the time (Zeitgeist), in China the historical and artistic processes are part of the process of Dao and express the flow of the supra-historical energy of qi. (shrink)

The essay condenses experiences of my work in Spanish universities in a constellation of five topics: 1. The actual situation of philosophy in Spain, 2. Her historical dimension, 3. The corresponding style of philosophical writing by the example of Ortega y Gasset, 4. Beyond the tension of traditionalism and modernity: the underestimated philosophy of Javier Zubiri, 5. Perspectives.

In lieu of an abstract, here is a brief excerpt of the content:Exception in Žižek’s ThoughtErik Vogt (bio)One cannot fail to be struck by the repeated occurrences and invocations of some logic of exception as well as by the proliferation of examples or stand-ins for exceptional positions (“Jew”; “woman”; “class struggle”) or exceptional collectives (“proletariat”; “slum dwellers”) in many of Slavoj Žižek’s writings. The significance of thinking exception is evident not only in Žižek’s powerful reconceptualization of (a supposedly outdated) ideology (...) critique and in his intriguing materialist account of the relationship between Judaism and Christianity, but also in his interventions into contemporary debates as to what constitutes proper politics. For this reason, it might be appropriate, in a first sketch, to attempt to weave together some of the threads that combine into Žižek’s (critique of the) logic of exception.11The Symptom and Its Logic of ExceptionAlready Žižek’s early brilliant elaboration of a contemporary ideology critique in terms of a powerful coarticulation of Marx and Freud analyzes the “social symptom” in light of its hidden logic of exception [Sublime Object 11–53]. Since the “social symptom” is not to be grasped as some imbalance external to universality, but rather as its constitutive moment, it marks “a point of breakdown heterogeneous” to a given universal field that at the same time is “necessary for that field to achieve its closure, its accomplished form” [21]. A symptomatic ideology critique will seize on the logic of exception implicit in the fissures of universality by deciphering its “falseness,” insofar “as it necessarily includes a specific case which breaks its unity, lays open its falsity” [21]. What is impossible, then, is the claim to some totality or universality without including in it “the point of exception functioning as its internal negation” [23]. This seems to suggest that the “social symptom” does not present any obstacles to its ideological-critical decipherment according to the logic of exception. However, Žižek makes clear immediately that it often does not effect the dissolution of the “social symptom”; on the contrary, it might even reinforce it, insofar as this interpretive procedure appeals to and relies on an addressee that continues to be figured in terms of consistency, completeness, totality. Consequently, this interpretive procedure of dissolving the symptom remains stuck in the very logic of exception that it attempts to unearth [73–74]. This is the reason why Žižek suggests supplementing this notion of the “social symptom” as ciphered message with the notion of fantasy. He describes the relation between symptom and fantasy in the following manner: “Symptom implies and addresses some non-barred, consistent big Other which will retroactively confer on it its meaning; fantasy implies a crossed-out, barred, non-whole, inconsistent [End Page 61] Other—that is to say, it is filling out a void in the Other” [74]. A contemporary ideology critique will therefore have to account for both the exceptional status of the social symptom and its underlying social fantasy. In other words, ideology critiques must consist of two stages, of two complementary procedures:—one is discursive, the “symptomal reading” of the ideological text [...] demonstrating how a given ideological field is a result of a montage of heterogeneous “floating signifiers,” of their totalization through the intervention of certain “nodal points”;—the other aims at extracting the kernel of enjoyment, at articulating the way in which [...] an ideology implies, manipulates, produces a pre-ideological enjoyment structured in fantasy.[125]In short, what is required from ideology critique is an interpretation of the social symptom in such a way that it brings to light the very fundamental fantasy that, precisely as a preideological blockage to interpretation, has then to be traversed and correlated to the identification with the symptom. The social symptom has to be grasped as master signifier and as objet a. And Žižek illustrates the working of (a theory of) ideology via anti-Semitism and its construction of the “Jew.”2Briefly, anti-Semitic ideology articulates the “Jew” through a network of symbolic “overdetermination”; that is, the “Jew” becomes the point of condensation for heterogeneous and often incompatible attributes. What has to be taken into account, moreover, is the inversion... (shrink)

The historicist approach is rarely challenged by art historians, who draw a clear distinction between art history and the present-centred pursuit of art criticism. The notion of the 'period eye' offers a relevant methodology. Bearing this in mind, I examine the nineteenth-century phase in the development of history painting, when artists started to take trouble over the accuracy of historical detail, instead of repeating conventions for portraying classical and biblical subjects. This created an unprecedented situation at the Paris Salon, where (...) such representations of history could be experienced as a collective 'dream-work', in Freud's sense. In France, this new pictorial language dates back to the aftermath of the Revolution, and the activities of the 'Lyon School'. Two artists, Richard and Révoil, were its leading proponents. However their initial closeness has obscured the differences in their approach to the past. Substituting for Freud's 'condensation' and 'displacement' the concepts of 'Resurrection' and 'Restoration', I analyse the pictorial language of the two painters, taking two works as examples. The conclusion is that Révoil, also a collector, was a precursor of the historical museum, which convinces through accumulating objects. Richard, however, employs technical and rhetorical devices to evoke empathetic reactions, and anticipates the illusionism of cinema. (shrink)

This book explores the notion of the human psyche ('soul') and its continuing usefulness in the background of the ongoing and always accelerating techno-scientific revolution. The main argument here follows the assumption that this revolution, while not necessarily being a threat to humankind, is often blind or ignorant as to its subject, the 'human being'. In the first chapters, the reader is invited to reflect on the notion of 'thinking' as a phenomenon of consciousness that transcends merely 'having thoughts'. Relating (...) thinking to consciousness requires reconsidering the phenomena of 'inspiration' and 'ecstasy'. Provided that such a thing as 'inspiration' exists, it makes sense to revise the solipsist or substantialist account often given of the human mind. The book defines inspiration as a 'clairvoyance of one's psyche', and ecstasy as the experience of this clairvoyance. Next, a case is made for synchronicity experiences as a key to a better understanding of the human psyche. While being enigmatic all throughout, synchronicity experiences, both on the individual and on the collective level, help overcome both subject/object and body/mind dualisms. It is not likely, though, that the solution they could offer will be readily accepted by (what is called) 'science' today, since it challenges one of the latter's basic premises, 'causality'. As a more concrete example of a condensed synchronicity experience, the author dwells on 'physiognomy'. In the final chapter, death and suffering are discussed as extreme, and therefore relevant, experiences of consciousness. The book interprets death in terms of 'enhanced subliminality', and 'suffering' as unconscious resistance against maturing. Generally, this book explores a psycho-philosophical tradition, rooted in Romantic thinking (from Schelling and Schopenhauer until Klages and Jung), which has hitherto been unjustly neglected, if not repressed, by mainstream materialism and positivism. It makes a strong case for an intellectual account of the soul. (shrink)

The Thirteenth Epode is an intriguing poem. Like Carm. i. 7 it concludes dramatically with a highly condensed episode from epic tradition, in this case drawn from the early life of Achilles; but, unlike the Ode to Plancus, Epodes 13 does not reveal even the name of the addressee. And whether in spite of or because of this, the poem has been highly praised for its purely lyrical qualities. The now famous critique of E. Fraenkel, for example, represents (...) the view of many: ‘A perfect poem,’ he calls it; ‘… its depth of feeling and beauty of expression and the harmonious blending of ideas of very different origin, make this ode superior to Odes 1. 7.’ The general approval of its poetic qualities might encourage a fresh attempt to discover any deeper significance it might have held for Horace's contemporaries. (shrink)

Mary Midgley's Science and Poetry tackles so many topics of importance that one wants it to be very good. Yet Midgley, a moral philosopher, makes one idea the measure of all things, so that the book is just good enough. Her topic is not really “science and poetry” but the failure of neurobiological reductionism to understand the human mind. That poets understand the mind better than scientists is the subtext of this collection of essays, but the poetic theories Midgley quotes (...) are too general to make much headway against science's prejudices about the arts' naive handling of the serious matters of consciousness, the operation of the brain, and connections between mind and body. Midgley needs to dig deeper into poetry and to provide better analyses of works like Wordsworth's “Tintern Abbey” and Shelley's A Defence of Poetry. She also needs to update her poetic references to include contemporaries such as A. R. Ammons, Patti Ann Rodgers, and Alison Deming, who make the science‐based topics that preoccupy Midgley the overt focus of their work. The valuable first section of the book presents capsule histories of science and its march toward dualism, from the Greeks to the Enlightenment, interspersed with poets' contrary views. Midgley succinctly traces the evolution of the theories of the mind/body split that such a campaign produced. She drops the “science and poetry” focus in the second section for her major concern—showing that contemporary scientists themselves, in pursuing scientific understanding, employ choice, intention, and cognition, the very factors denied by strict scientific materialist explanations of how the mind works. This is the neatest feature of the book—its witty turning of scientific discourse about the purely mechanistic operations of the mind back on the scientists themselves, who violate their own theories in stating them. Her favorite scientists to tweak in this way are the sociobiologist E. O. Wilson and the geneticist Richard Dawkins. When she needs to, Midgley lets a philosopher of language like John Searle handle others, such as Daniel Dennett and his claim that cultural ideas are simply genetically produced “memes.” Midgley's summary, however, does not do justice to the complexity of the debate about the nature of language as a window to the operation of the mind. Midgley's strength is in testing fundamental theoretical assumptions by applying common‐sense reasoning to them. For example, Descartes's mind/body dualism fails on the face of it because he uses socially constructed language, a product of mind, as he asserts the complete independence and autonomy of individual minds. Midgley's deft use of simple but revealing thought‐problems also helps make her case, and she is particularly good at alerting us to ordinary words that need clarification, such as “cause.” She's like a poet when she sensitizes us to the power of simple words in shaping scientific discourse. In the miscellaneous last section of the book Midgley provides examples of the contemporary dangers of the reductivist way of thinking, but the first two parts could have used livelier, more pointed dramatizations of the consequences of splitting the world into subjects and objects. Universal human rights and the right of all creatures to live in cooperation are what Midgley believes science ultimately sacrifices in its vision of competitive, reductive materialism. Scientists and social scientists such as Freud and Marx who use that “vision” have led us down disastrous paths. That science should learn to see the world as a cooperating, interacting, and living whole is her wish—and the subject of many of her other books. Science and Poetry would be more effective if condensed into a single, focused essay that concentrated on convincing Midgley's presumed audience—scientists who may have found themselves at the dead end of materialism as their own disciplines discover their limits and branch out into territory more familiar to poets. The book should interest students of literature who want an introduction to the many topics it treats, but they will find little to convince them that poets do indeed have important ideas about the human mind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Valerius Maximus and the Rhetoric of the New NobilityPatrick SinclairW. Martin Bloomer. Valerius Maximus and the Rhetoric of the New Nobility. Chapel Hill: University of North Carolina Press, 1992. viii + 287 pp. Cloth, $39.95.A new book on an imperfectly understood and neglected author is always welcome, and without a doubt this one makes a valuable contribution to our understanding of Valerius within the cultural and social conditions (...) in which he lived. The virtue of Bloomer’s work over earlier studies lies in his impulse to view Valerius’ collection of exempla as conditioned by the needs of its readers. Bloomer correctly emphasizes that Valerius’ stories largely derive from a common stock of episodes and anecdotes that was cultivated throughout the education system and especially by the declaimers. Bloomer scrutinizes the rhetorical structure Valerius gives to his individual exempla and his work as a whole, since it is in this structure that one sees the authentic stamp of Valerius’ own interests and, presumably, those of his readership. Bloomer sets out to use the evidence for Valerius’ method of organization, his handling of politically sensitive subjects, and his overt statements of his purpose to interpret Valerius’ work within its cultural context. But there are signs that Bloomer’s methodology may be at odds with itself—a conflict, moreover, that arises from and reflects the current rift among professional classicists about the relationship of traditional philological methods of analysis to the newer criteria of cultural studies (a subject much too large to address in this review).Bloomer has organized his book into six chapters with titled subdivisions, a bibliography, and an index. The first two introductory chapters are the most successful in reconciling methodologies. In chapter 1 Bloomer sketches what we know of the life of Valerius, describes his work, and characterizes the milieu in and for which Facta et Dicta Memorabilia was composed. Bloomer’s initial description of Valerius’ endeavor as one of “culling 967 stories from various authors and arranging them under categorical headings” (1) catches the ancient author in what is his most significant activity for Bloomer: excerpting, abstracting, shaping, and labeling exemplary anecdotes for the uses of declaimers. Bloomer discusses the scanty autobiographical information Valerius supplies at 2.6.8, but he is more interested in discerning the type of audience which must have been interested in Valerius’ collection of exempla. Bloomer’s view is that Valerius [End Page 151] wrote for “students and practitioners of declamation” (1), for whom he “provided a stock of rhetorical illustrations” and whom he taught by the example of his text how to “introduce, join and conclude such stories” (2). One might well have compared the no less exemplary habits of M. Porcius Latro, the elder Seneca’s paragon of declaimers in his generation. Latro (“Pilferer”?) controlled in his memory a prodigious cache of rhetorical structuring devices, including epiphonemata, enthymemes, commonplaces, and sententiae, and he regularly rehearsed these for deployment in his declamations (Controv. 1 praef. 23). More mention of Valerius’ relation to “flesh and blood” declaimers like Latro would give a fuller picture of his historical context.Bloomer identifies Valerius’ subject as the “classical past,” through which he conveys “the sensation of human nature observed, condensed, and communicated, all in an elevated if at times abstract Latin prose style.” Valerius’ work attests to the success of declamation at Rome, and it serves the practical needs of its readers in its attempt to alleviate the burden of acquiring a compendious knowledge of classical texts by serving as an abbreviated “vehicle of instruction and acculturation into the elite of Tiberian Rome” (4). Now tailoring oneself to the political and cultural climate of Tiberian Rome could involve a certain amount of risk and require a large measure of compromise, to judge by the accounts of the ancient historians. Tacitus documents several declaimers who rose socially through Sejanus’ sponsorship (e.g., Junius Otho and Bruttedius Niger, Ann. 3.66). After the fall of Sejanus, an eques Romanus named M. Terentius drew the conclusion that “tibi [sc. Tiberio] summum rerum iudicium di dedere, nobis obsequii gloria relicta est” (Tac. Ann. 6.8.4; Dio 58.19). This was the lesson of those... (shrink)

We discuss the hints for the disappearance of continuum space and time at microscopic scale. These include arguments for a discrete nature of them or for a fundamental non-locality, in a quantum theory of gravity. We discuss how these ideas are realized in specific quantum gravity approaches. Turning then the problem around, we consider the emergence of continuum space and time from the collective behaviour of discrete, pre-geometric atoms of quantum space, and for understanding spacetime as a kind of “condensate”, (...) and we present the case for this emergence process being the result of a phase transition, dubbed “geometrogenesis”. We discuss some conceptual issues of this scenario and of the idea of emergent spacetime in general. As a concrete example, we outline the GFT framework for quantum gravity, and illustrate a tentative procedure for the emergence of spacetime in this framework. Last, we re-examine the conceptual issues raised by the emergent spacetime scenario in light of this concrete example. (shrink)

Self-assembly processes of crystallization, micelle formation and virus assembly, by their creation of geometric order from disordered components, represent first-order phase transitions that arise through the formation of partially ordered intermediates. The self-assembly of protein subunits into the geometric shells of polyhedral viruses may proceed through formation of reverse micelles, and be driven by condensation of encapsidated nucleic acid complexed with the amino terminal polypeptides of the coat proteins. Restructuring of subunits on the fluid, micellar surface, analogous to processes on (...) the surfaces of growing crystals, then leads to symmetrical, icosahedral capsids. Such a pathway for viral assembly is attractive because it utilizes only physical properties inherent to the system, and it shares many characteristics that we know to be associated with those two other preeminent examples of self-assembly, micelles and crystals. BioEssays 27:447–458, 2005. © 2005 Wiley periodicals, Inc. (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)

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 126.4 (2005) 613-622 [Access article in PDF] The Triumph of Cupid: Marlowe's Dido Queen of Carthage Mary-Kay Gamel University of California, Santa Cruz e-mail: mkgamel@ucsc.eduThere is a lot for classicists to like in Marlowe's The Tragedy of Dido Queen of Carthage. There was a lot for theatergoers to like in Neil Bartlett's production of this play at the American Repertory Theatre (ART) in Cambridge, Massachusetts (...) (March 5–26, 2005).The script of Dido is based primarily on the Aeneid (Books I, II, and IV). Vergil's text contains many formal and thematic allusions to tragedy, especially in IV: the agonistic speeches; Anna's role as nutrix/confidante; comparisons of Dido to a raging Bacchant (301–3), Pentheus (469–70) and scaenis agitatus Orestes 471; and her thoughts of imitating the savage violence of Medea and Atreus 600–602. Aeneid IV raises the possibility that the poem will metamorphose from epic to tragedy, with Dido taking center stage from Aeneas.That is what happens in Ovid's Heroides 7, and it happens again in Dido Queen of Carthage. Marlowe probably wrote this play—his first—in 1585, when he was a twenty-one year old student at Cambridge University. An excellent Latinist, Marlowe did a superb translation of Ovid's Amores, probably before writing Dido. In writing Dido, Marlowe focused on Aeneid I, II, and IV, the books of the poem best known to ancient, Elizabethan, and modern audiences, and in a few places his characters speak Latin lines from the Aeneid. In dramatizing this material, Marlowe did not simply translate but made many changes in structure, characters, and language. Aeneas' account of the fall of Troy, for example, condenses all of Aeneid II (more than 800 lines) into 163 lines (still a very long speech, which includes horrific details not in Vergil: "young infants swimming in their parents' blood, / headless carcasses piled up in heaps" [II.i.193–94]).1 [End Page 613]Most significantly, Marlowe makes his gods Ovidian rather than Vergilian—selfish and petty, concerned only with status and pleasure, using human beings only to satisfy their desires. Jupiter is a middle-aged man making a fool of himself over a teenager: in the first scene he is not, as in the Aeneid, looking down from Olympus and already thinking about Aeneas, but rather trying to seduce Ganymede, a "female wanton boy," when Venus indignantly interrupts with "Ay, this is it!" (I.i.50).Venus' encounter with Aeneas in Carthage (Aeneid I.314–417) ends with Aeneas' unanswerable question, "Why talk we not together hand in hand / And tell our griefs in more familiar terms?" (I.i.245–46). Venus and Juno's plot to unite Dido and Aeneas is complete with sexual double-entendre: in the cave, Juno says, they will "interchangeably discourse their thoughts / Whose short conclusion will seal up their hearts" (III.ii.93–94). Costumes in the ART production reflected the gods' iconic status, though more in terms of Hollywood than ancient representations: Juno was a drag queen, Hermes an unearthly figure in gold paint with huge wings, while Venus was played by an African-American actress in white satin and spike heels (including her hunting outfit) with exaggeratedly "black" gestures and intonations—waving her long fingernails, arching her neck, posing her head, and calling Juno "sistah!" Bartlett was clearly not worried about using sexual and racial stereotypes to make an impact.Marlowe's mortals are dignified, yet wounded and vulnerable. His Dido is proud, independent, initially uninterested in Aeneas; his Iarbas genuinely loves Dido, warmly welcomes Ilioneus and the others; Anna is in love with Iarbas. All try to behave reasonably and honorably but are invariably thwarted by the gods' games. The ART Aeneas was deeply damaged by his experiences in Troy. A craggy man, wearing a scoured breastplate over worn fatigues, he staggered on, stooped, beaten. The text supports this interpretation: before beginning his speech about the fall of Troy, he says "memory... beats forth my senses from this... (shrink)

Degradation of eukaryotic RNAs that contain premature termination codons (PTC) during nonsense‐mediated mRNA decay (NMD) is initiated by RNA decapping or endonucleolytic cleavage driven by conserved factors. Models for NMD mechanisms, including recognition of PTCs or the timing and role of protein phosphorylation for RNA degradation are challenged by new results. For example, the depletion of the SMG5/7 heterodimer, thought to activate RNA degradation by decapping, leads to a phenotype showing a defect of endonucleolytic activity of NMD complexes. This (...) phenotype is not correlated to a decreased binding of the endonuclease SMG6 with the core NMD factor UPF1, suggesting that it is the result of an imbalance between active (e.g., in polysomes) and inactive (e.g., in RNA‐protein condensates) states of NMD complexes. Such imbalance between multiple complexes is not restricted to NMD and should be taken into account when establishing causal links between gene function perturbation and observed phenotypes. (shrink)

The heroic figure is a human fiction of the wholly singular. In the hero, discourses about ideals and exemplariness, extra-ordinariness and exceptionalness, agonality, transgressivity, or good and evil become condensed into a single individual. Thus, the hero is the opposite of the masses. As it is argued in this article, the answer to the question of what distinguishes a hero lies in the supererogatory moment, the reference to the hero’s quality of more than can be expected: the heroic figure (...) does more than he or she has to, more than duty requires of an ordinary person, and this is the reason they are heroized. However, this also points to a dialectic moment of the heroic in which the opposition between the hero and the many seems to be suspended. Following Niklas Luhmann, the hero represents the paradox of conformity through deviance, because through the example of their abnormality they produce in others a desire to imitate them. In the end, there is a collective appeal of the heroic that affects even the conceptual complement of the hero: the crowd which is characterized by the disappearance of the individual within it. Inspired by Luhmann’s sociological reflections on the heroic as well as Elias Canetti’s anthropological perspectives on the phenomena of the crowd, this article traces the rhetoric of the hero along its path from the singular to the plural. Against the backdrop of the analysis of the heroic in revolutionary Iran, a generalizable typology is proposed that distinguishes between the hero, the collective of heroes, the heroic collective, and collective heroism. This order reflects a progression that is analogous to the conjunction of the one and the many, moving qualitatively from the distinct figure of the hero to the indistinguishable masses. (shrink)

The Thirteenth Epode is an intriguing poem. Like Carm. i. 7 it concludes dramatically with a highly condensed episode from epic tradition, in this case drawn from the early life of Achilles; but, unlike the Ode to Plancus, Epodes 13 does not reveal even the name of the addressee. And whether in spite of or because of this, the poem has been highly praised for its purely lyrical qualities. The now famous critique of E. Fraenkel, for example, represents (...) the view of many: ‘A perfect poem,’ he calls it; ‘… its depth of feeling and beauty of expression and the harmonious blending of ideas of very different origin, make this ode superior to Odes 1. 7.’ The general approval of its poetic qualities might encourage a fresh attempt to discover any deeper significance it might have held for Horace's contemporaries. (shrink)

This article responds to and reflects upon the articles in this special issue. Specifically, it deals with the usage of theory in each of the articles, what we might see, as examples of re-descriptive usage in autonomous theorizing. The articles utilize different theories and varying intellectual resources—Foucault and Deleuze, Bourdieu, Levinas and Butler —to analyse the topic of the My School website and associated new accountabilities in Australia schooling. This article argues that their usage of the My School website must (...) be seen as a condensation symbol to signify a broader neo-liberal agenda in Australian schooling that has global as well as national elements to it. The fact that the social today is no longer straightforwardly homologous with the nation also challenges ‘methodological nationalism’ and suggests the pressing need to ‘deparochialize’ theory in research and reject a reading of Northern theory as universal. The article uses the provocations of these articles to reflect upon the necessity of theory in educational research more generally, and to consider its usage in research with different purposes, while accepting that theory should be endemic in all stages of research. Theory serves a different purpose in research with different goals; quantitative correlational research demands theory to move to explanation, interpretive research requires theory to strengthen interpretation and plausibility, while critical research utilizes theory to uncover the hidden as a step towards emancipation. These articles implicitly suggest alternative forms of accountability and politics, but I argue in conclusion that, additionally, we need a broader politics that will move us towards a non-utopian post neo-liberal social imaginary. (shrink)

If we need a figure to indicate the way in which the influence of Plato has passed through Europe, we must liken it, not to a river continually at the flood, but to an expanding atmosphere enveloping and pervading whatever it meets, an atmosphere with a perfume that has made some sick and others open their nostrils to take in the seed and substance of a new life. A river makes a linear path which, except perhaps for a few sinuosities (...) and an occasional overflow, can be traced with relative ease; but an atmosphere, enlarging itself in all dimensions, with attenuation here and condensation there and precise limits nowhere, offers neither clue nor pattern for the inquisitive historian who would, seek to plot its course. We may be prepared to find it anywhere. So it is with the metaphysics of Plato. No sphere of learning or of art has kept beyond its reach. Anyone who, by comprehending its particular incidence and its total range, would write the most remarkable single chapter in the history, of thought, would have to search the minds not merely of philosophers but also of saints, scientists, poets, painters, sculptors, statesmen, and educationists of all ages. He would even have to search for the breath of it among the innumerable works of fiction that tumble mechanically from our modern undiscriminating presses. The following, for example, is pure Platonism: “We come from a world where we have known incredible standards of excellence, and we dimly remember beauties which we have not seized again; and we go back to that world. Uncle Pio and Camila Perichole were tormenting themselves in an effort to establish in Peru the standards of the theatre in some heaven whither Calderon had preceded them.” To understand, alike in its emotional beauty and in its scientific severity, the metaphysic that underlies such charming phrases is perhaps an obligation, almost a necessity, and certainly a privilege. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Crossing Borders: Love between Women in Medieval French and Arabic LiteraturesCary Howie (bio)Sahar Amer, Crossing Borders: Love between Women in Medieval French and Arabic Literatures. Philadelphia: U of Pennsylvania P, 2008, xii + 254 pp.Sahar Amer’s Crossing Borders adds to the expanding bibliography on medieval sexualities by showing the resonances between certain female same-sex relationships in medieval French literature and analogous, though generally more explicit, relationships between women (...) in the medieval Arabic tradition. In the process, sexuality becomes a way of talking about the porous boundaries that constitute the field of Old French, and perhaps even Western, literature as such.Amer’s book couldn’t have arrived at a better time, as Sarkozy’s French government once again, in the name of French values, intervenes in the debates around religion and clothing in the public sphere, debates in which the old divides between France and its constitutive others—in this case, certain kinds of Islam and certain kinds of women— have once again come to the fore. By proposing that “medieval French writing is essentially a hybrid, cross-cultural project” (163), Amer contributes not just to the emerging sense of the Middle Ages’ postcoloniality (as articulated by Jeffrey Jerome Cohen and Sharon Kinoshita, among others) but also to the work being done by intellectual historians and cultural theorists such as Joan Scott and Diane Rubenstein on the fantastic investments that take place within and around French universalism (which could be said to inform the idea of the literary no less than the idea of the citizen).Crossing Borders begins with the notion of borders as “fluid spaces of cultural exchange, adaptation, and collaboration” (ix), and it is the emphasis on a more general sense of cultural exchange, more than the fact of borders per se, that will permeate the chapters that follow. (In fact, the border, like “the lesbian,” Amer’s polemical term of choice for the women she describes, may be important for her argument precisely insofar as it resists visibility, as it remains to some extent difficult to locate.) Amer’s reading of Old French texts, in dialogue with a handful of medieval Arabic narratives and erotic compilations, proceeds from an understanding of medieval culture in which there is “a continuity rather than a rupture between medieval and modern conceptions of alternative [End Page 156] sexualities” (9), and in which it is possible to argue for influences that are tough, if not impossible, to trace empirically. According to this logic, ideas and stories may have circulated “next to” more tangible material goods taken to and from the Arab Islamicate world (13), and French authors may have “culled some elements from Arabic material and wove[n] them into a literary fabric to suit their audience’s sensibilities” (163). This attentiveness to what “may have” happened (e.g., 44, 110) is one of the signature gestures of Amer’s critical poetics, which I am tempted to describe as an imaginative historicism, committed at once to the explanatory power of historical context and to what Amer will repeatedly call the “imagination of the audience” (e.g., 79).After an initial chapter outlining this “cross-cultural” poetics of contextualization and imaginative investment, chapter 2, “Crossing Linguistic Borders,” is dedicated to seven stanzas of a late twelfth-century poem, Étienne de Fougères’s Livre des manières, in which a long description is given of women who go “against Nature” by “join[ing] shield to shield without a lance” (32). Amer reads these military metaphors for female homoeroticism in light of Arabic sources including, for example, al-Jurjani’s eleventh-century Anthology of Metonymic Devices, in which one of the cited commonplaces observes, “They [lesbians] manifest a war in which there is no spear-thrusting” (36). Most provocatively, Amer argues for the Arabic provenance of two otherwise untranslatable words in Étienne’s text, “trutennes,” which she traces to an Arabic root meaning “the mons of the beloved” (40), and “eu,” which she interprets as an orgasmic onomatopoeia. From mons to moans, the “medieval French literary lesbian” is a condensation of forms and fantasies—and noises—that come from before and beyond medieval France. In fact, the... (shrink)

This Element offers an overview of some of the most important debates in philosophy and physics around the topics of emergence and reduction and proposes a compatibilist view of emergence and reduction. In particular, it suggests that specific notions of emergence, which the author calls 'few-many emergence' and 'coarse-grained emergence', are compatible with 'intertheoretic reduction'. Some further issues that will be addressed concern the comparison between parts-whole emergence and few-many emergence, the emergence of effective theories, the use of infinite limits, (...) the notion of intertheoretic reduction and the explanation of universal and cooperative behavior. Although the focus will be principally on classical phase transitions and other examples from condensed matter physics, the main aim is to draw some general conclusions on the topics of emergence and reduction that can help us understand a variety of case-studies ranging from high-energy physics to astrophysics. (shrink)

IntroductionIn May 2006, the small group of doctoral students working on ecophilosophy at the Higher Institute of Philosophy at K.U.Leuven invited the Dutch environmental philosopher Martin Drenthen to a workshop to discuss his writings on the concept of wilderness, its metaphysical and moral meaning, and the challenge social constructivism poses for ecophilosophy and environmental protection. Drenthen’s publications on these topics had already been the subject of intense discussions in the months preceding the workshop. His presentation on the workshop and the (...) three critical responses by Wim Bollen, Glenn Deliège, and Richard Kover are published here in a thoroughly revised form on the basis of further and ongoing discussions about the issues involved. Three further contributions to the discussion are added: one by Nathan Edward Kowalski, a young Canadian philosopher who studied in Leuven and wrote his as yet unpublished dissertation on “Evil in Nature,” a second one by Kingsley Goodwin who is currently writing a dissertation on deep ecology at University College in Dublin and, finally, my own unsystematic thoughts inspired by Martin Drenthen’s provocative and stimulating hermeneutics of our postmodern understanding of nature and wilderness, as well as the diverse critical responses to Drenthen’s views by the other contributors. I owe gratitude to all of them for enriching my own ecophilosophical thought and enlarging its horizon although as my fragmentary reflections show at the cost of yet greater uncertainty and more questions about the possibilities of arguing for a radical environmentalist position. Such a position would somehow connect or ground our moral obligation to preserve genuine non-human otherness, wild and free nature, in the non-human meaning of such nature and in our essential need to be in direct and concrete contact with that field of wild non-human meaning because we ourselves belong to nature, because we are not only and purely civilized but are also and most fundamentally wild and free. Three fundamental questions need to be distinguished: the question about our moral obligations regarding nature and its preservation, the metaphysical question about the nature of nature or the meaning of nature, and the question of the metaphysical grounding of our morals in general, and of our moral obligation regarding nature in particular, in the nature or meaning of nature. The complex intertwinement between these three questions is at the heart of Martin Drenthen’s reflections.The authors contributing to the present discussion approach the various issues from markedly different philosophical backgrounds and concerns: critical theory, anthropology, analytic philosophy, phenomenology, hermeneutics, and deep ecology are all to some degree or other brought to bear on the question of what wilderness means for us, why we are fascinated by it and what it actually and in the first place is.Another interesting difference between the five respondents to Martin Drenthen’s wilderness-philosophy relates to the place from which they write: while the Canadians Richard Kover and Nathan Edward Kowalski have wilderness of some sort still close at hand, the Belgians Wim Bollen and Glenn Deliège write from a place which has been thoroughly domesticated, cultivated, and industrialised for a long time. Martin Drenthen himself, of course, writes from the same kind of place as these last two, which explains why he only refers to the wilderness that he has read about in novels, seen in movies, or experienced as recreated in the reserves of the Netherlands. The Irish Kingsley Goodwin writes perhaps from a third, intermediate place that is not wild anymore but still much more natural than Belgium or the Netherlands are.The differences in philosophical approach and concern combined with the difference of place generate a rich tapestry of perspectives and voices wrestling with the fundamental questions of our perceived homelessness and alienation from nature, our cultural discontent, our longing for and need for radical alterity, of immanence and transcendence, of who we are and where we belong, and more concretely of whether there is more to ground our efforts to preserve nature than enlightened self-interest and subjective preference. Martin Drenthen deserves praise for inaugurating this fruitful discussion with his intriguing and highly paradoxical effort to hybridize a postmodern deconstruction of the idea and ideal of wilderness as unspoilt and true nature on the one hand with a new metaphysics of wilderness on the other. Arne Naess, who is generally regarded as the founding father of deep ecology, pointed out the positive and stimulating role that vagueness in the expression of ideas can play in political and philosophical debate. Such general and vague but highly suggestive expressions as ‘all life is one’ are not empty at all, as is often claimed; they are rather full of possibilities of ‘precisation’ and differentiation. Drenthen’s wilderness-philosophy is certainly not vague to the degree of ‘all life is one,’ but his expositions are similarly pregnant with a wealth of further questions, precisations, distinctions, and conceptual clarifications. Good examples of different kinds are to be found in the contributions of Nathan Edward Kowalski and Richard Kover. Kowalski points out that Drenthen’s notions of culture and wilderness need to be made more precise by distinguishing them from the notions of civilization and wildness such that wild cultures become a conceptual possibility. Richard Kover takes the lead from Drenthen’s question about the reason for our postmodern fascination for wilderness to confront it with our primordial fascination in terms of the dependence in the evolution of our subjectivity and our consciousness on the focused perceptual attention on wild forms.Glenn Deliège situates Martin Drenthen’s wilderness-philosophy in its original context of the Dutch debate on the preservation of nature, in particular on the new wilderness paradigm. According to this paradigm, the nature to be preserved should be true and pure, truly natural and wild nature, that is nature outside of and free from the cultivating and domesticating influence of humans. In the Netherlands, however, such nature no longer exists; it can only be preserved after it has first been artificially recreated. Deliège gives an informative summary account of the highly charged three-cornered debate between the adepts of this wilderness-paradigm, the proponents of the more traditional form of conservation of remnants of the typical European landscapes created by pre-industrial farming practices and the modern technocratic functionalists. This debate makes obvious that there are quite different views of the nature of nature and its value. Enter social constructivism: the contested nature of nature is nothing more than a social construct, an idea in a collective mind. The contestation itself is a struggle for authority and power between different such social constructs, any claim to scientific objectivity and objective truth for one’s image of nature is an arrogation of a truth which doesn’t exist and is potentially oppressive by silencing other views. Nature then is up for the grabs of politics, political negotiation, and compromise between various interest groups who all want to get some benefit from nature, some use-value.The problem with Drenthen’s effort to articulate a normative concept of nature which cannot be deconstructed in this way is the extreme formality and emptiness of his metaphysical concept of wilderness as that which is always ‘beyond’, always ‘more’ and which can never be exhausted by any image and construction of nature. Any more concrete determination is mere appearance; the thing in itself is a border concept of that which in fact cannot be grasped conceptually. Glenn Deliège is critical of this formality and emptiness from which it will be impossible to derive any concrete guidance for our conservation practices. He then goes on to defend the Arcadian tradition of our appreciation of nature as giving us a historically well-grounded orientation for those practices. Of course that Arcadian tradition is obviously a cultural construction but that doesn’t make it completely arbitrary and contingent since it is itself ultimately grounded in and open to modification by our concrete sensuous experiences of nature.Deliège here raises the very important issue of the relation between our concrete perceptual and bodily experiences in and with nature and our concepts and metaphysical images of nature. Drenthen himself approaches this issue from the hermeneutical perspective of our need to make sense of our experiences and to articulate their meaning. His confrontation with social constructivism and his effort to salvage something from its relativizing acid lead him, however, into the direction of a highly abstract and empty concept of wilderness.Richard Kover shows that perception is, indeed, the key to a radical critique of social constructivism. He does this with the help of the ecological anthropology of Paul Shepard, the structuralist anthropology of Claude Levi-Strauss and the phenomenology of Maurice Merleau-Ponty. It needs to be said here that Kover takes his leave from an unpublished paper by Martin Drenthen with the title “How to appropriate wilderness appropriately?” – the paper is accessible though on Drenthen’s web-site - in which Drenthen comments and reflects upon three contemporary wilderness-tales, one of them being Werner Herzog’s much-discussed documentary on Timothy Treadwell, an American environmentalist drop-out who lived thirteen summers among wild grizzlies in the Alaskan wilderness before being killed together with his girlfriend by a grizzly bear.Kover tries to show that we are not imprisoned in the mirror-cabinet of our mind or of our human sociality. To make his case, he starts from Paul Shepard’s thoughtful observation that the evolutionary emergence of the mind did not remove us from the natural world but actually connected us deeper with it. Through our mind we evolved more fully into it because our mind is primordially in our senses and in the ability to articulate a perceptual world. The natural world in the form of the system of natural species and their relations is the primary model for perceptual discriminations, for the fundamental discovery of order with its twin-aspects of distinction and discontinuity on the one side and relations and continuity on the other side. Our cognition is essentially perceptually based, our subjectivity is primordially informed by our inherence in the sensible world. Perceptual cognition is inherently intentional and relational, it is not an autonomous mental construction, it is rather in the world and informed by that which is perceived. The other is always intertwined with the subject. We are always already hooked up with the world, with the others, before we start reflecting, thinking, and conceptualizing. This is one of the major themes in Shepard’s work: what this insight means with regard to our relations to non-human otherness, in particular to our perceptual encounter with wild animals. In our encounter with non-human otherness, we are confronted with an essentially ambiguous sense of both affinity and disjuncture. Wild animals demonstrate to us that we are not homeless or alien to this world, that we fundamentally belong to it and are part of it. Their difference, however, shows us that there are different perspectives and ways of being in the world. “Thus the encounter with non-human others inform humans that we are both of the world and simultaneously not the world and there are horizons of significance beyond our own perspective.”Nathan Edward Kowalski comes to a similar conclusion when he situates our morality in the larger moral order of wild nature. According to Kowalski it is indeed a moral order though not our own, an Other to our morality but not simply a negative one. It is, as Drenthen says, a highly paradoxical amoral morality. But what can it mean to speak of morality here? For Kowalski it means that the issue is not merely the theoretical recognition and acknowledgment of axiological transcendence, of non-human values out there, but whether we will appropriately conform to and comport ourselves towards that axiological transcendence so that we can find a human homeland in wild nature instead of turning it into a wasteland. The question then is, how to fit our own human morality into this larger order and greater reality, to subordinate it to that greater reality as a part of it and encompassed but not denied by it so that we can be moral and natural at the same time, tender carnivores hunting the sacred game. Indigenous people follow a moral protocol in their relationship with non-human others which acknowledge and respects their autonomy, their alterity, and the sacred mystery of their different ways of being. They are not befriended but some of them are hunted and eaten – as an exchange in the gift-economy of nature.The problem of the homelessness and alienation from nature is discussed by Wim Bollen from the radically different vantage point of critical theory. In Adorno’s and Horkheimer’s Dialectic of Enlightenment the human story unfolds as a tragic effort to liberate ourselves from nature and to become fully human through rational control when in the end this effort turns against ourselves and instead of liberation and human flourishing we get social domination and repression of our natural needs. The frustrations and mutilations imposed upon us by a repressive civilization give rise to the regressive desire for a return to a natural existence. Referring to the myth of Odysseus and Circe as interpreted by Adorno and Horkheimer, Wim Bollen equates such a natural existence with animal life. In the light of contemporary knowledge about primitive existence, however, this equation is highly problematic. Palaeolithic foragers were already fully human in all respects. A life without civilization need not be an animal-existence.According to Adorno/Horkheimer, our subjectivity and autonomy have to be wrested from animal-nature through an exertive struggle that cannot but proceed by a threefold strategy of domination: the domination of non-human otherness, of human others, and of our own inner nature. The siren song of nature consists in the temptation to give up that struggle for the promise of an unreflective, non-alienated natural existence without toil.When Odysseus’ men give in to Circe’s seduction they are, however, not transformed into wild animals but into swine. According to Bollen this signifies that we cannot re-wild ourselves, that we remain imprisoned in civilization, either as master-subjects or as domesticated animals. Bollen, by the way, like Drenthen, does not distinguish conceptually between civilization and culture. Since re-wilding for Bollen means the impossibility of returning to animal-existence, which is actually the impossibility of becoming another species since biologically we are animals already, to be imprisoned in civilisation means nothing else than to be imprisoned in our humanity. The fact that we cannot become wild animals again – according to Paul Shepard, however, we are still wild animals – is indeed, as Bollen stresses, a trivial form of alienation. A more meaningful concept of alienation which can be put to critical use must refer to a culturally and historically determined frustration and deficit inside the cultural order that is to be overcome not by an impossible regression but by progressive politics leading beyond the three intertwined forms of domination. Not back to nature but forward towards a reconciliation of culture with nature! Such a reconciliation would neither collapse culture into the immanence of nature nor submerge nature into the transcendence of culture. According with the three forms of domination it would be a three-dimensional form of reconciliation.Odysseus’ men did not got what they thought were promised them: the complete liberation from the burden of being autonomous subjects, of being civilized, but they got something worthwhile, namely a certain from of pleasure, a limited and provisional relief and escape. Bollen sees a critical potential in these piggish pleasures after all and consequently even in the siren song of nature since these pleasures were only experienced because Odysseus’ men gave in to it. But one has to give in to this siren song critically if it is to unfold its liberating potential. The problem with pleasure though in bourgeois society is that it is necessarily betrayed, instrumentalized and sold.Kingsley Goodwin’s paper starts by defending deep ecology against the charge of asserting a naïve and dogmatic metaphysics of nature. For convenience sake, but not quite unproblematically, he identifies deep ecology with the environmental thought of Arne Naess. A metaphysics of nature for Naess is always part of a personal worldview. Worldviews which are partly inspired by ecology Naess calls ecosophies. Naess always stresses the personal character of such a worldview and the irreducible plurality of them. It used to be a common misunderstanding of the platform of deep ecology which Naess conceived together with George Sessions that it expressed in a condensed form the metaphysical beliefs of deep ecology. Naess’ intention, however, was to try to articulate in a general fashion the basic viewpoints on which the supporters of the deep ecology movement agreed. It would be possible then to derive these viewpoints from quite different worldviews. In light of this, I think, that Goodwin’s characterisation of the platform as “pragmatic and activist” is not quite appropriate.Goodwin goes on to compare Drenthen’s conception of wilderness and wildness with the similar position developed by Neil Evernden in his book The Social Creation of Nature. He like Naess in his personal ecosophy stresses the crucial role of perceptual experience of wild otherness to find an antidote to the relativity and contingency of our interpretations of nature. Evernden refers to studies on child development to argue for a non-dualistic and relational conception of the self, similar to Naess’ relational ontology. According to Goodwin, Drenthen, in spite of his hermeneutical approach remains too much indebted to the Western subject/object-dualism. The object, in this case wild nature, is pure otherness.With regard to a compost heap, Goodwin shows that we are not separated from nature by an inseparable gulf, that nature is close at hand, and that we can experience and explore it, appreciate the complex play of identity and difference it consists of, the exchanges and transformations and that we can identify with the organisms involved in these exchanges.*The proceeding remarks only highlight some of the prominent themes and considerations in the various contributions to this topical issue of Ethical Perspectives. Hopefully the reader will feel invited and enticed to read the articles themselves, starting, preferably of course, with the essay by Martin Drenthen, who sparked off this lively discussion on the moral meaning of wild nature. I am honoured and pleased to be able to introduce these rich explorations by such talented young environmental philosophers who are eager to develop environmental philosophy further and lead it into new directions. They all have to wrestle with and find answers to the challenge postmodern deconstruction and social constructivism pose for environmental philosophy. In the face of that challenge, it is even more difficult than it already was to provide solid and convincing arguments for the defence of wild and free nature beyond merely pragmatic arguments in terms of its utilitarian value for us. The reason for that defence is not clear-cut and proves to be just as evasive as the moral meaning of nature itself. But neither that reason nor that meaning are mere phantoms and mirages that vanish when we approach them and try to grasp them. They are more substantial, even if they will never have the solidity of a mathematical proof or a scientific measurement. Their locale is the lifeworld which from the point of view of scientific and logical precision and clarity is a messy place where subject and object, reason and heart, fact and value, experience and thought and, yes, nature and culture cannot be clearly separated. This has important consequences for environmental philosophy and its methodology. Conceptual analysis and logical argumentation have to become sensitive to the richness of experience in the lifeworld and to the diverse efforts of its articulation: i.e., they have to open themselves up and maybe even to subordinate themselves to phenomenological and hermeneutical approaches. For me personally this is one of the most important conclusions I draw from the discussion presented here. (shrink)

We give an introductory review of gauge/gravity duality, and associated ideas of holography, emphasising the conceptual aspects. The opening sections gather the ingredients, viz. anti-de Sitter spacetime, conformal field theory and string theory, that we need for presenting, in Sect. 5, the central and original example: Maldacena’s AdS/CFT correspondence. Sections 6 and 7 develop the ideas of this example, also in applications to condensed matter systems, QCD, and hydrodynamics. Sections 8 and 9 discuss the possible extensions of (...) holographic ideas to de Sitter spacetime and to black holes. Section 10 discusses the bearing of gauge/gravity duality on two philosophical topics: the equivalence of physical theories, and the idea that spacetime, or some features of it, are emergent. (shrink)

This article offers a close examination of a small selection of pedigrees taken from German Mendelian and eugenic scholarship of the 1920s and 1930s. It examines the procedures that became customary for presenting data on human inherited pathologies, as well as the frequent changes in the information content of those charts. Relevant biographical and genealogical data was removed, and important indications regarding the diagnostic methods applied by the investigating scholar were lost, as soon as a pedigree was charted or reproduced. (...) Data on healthy individuals was condensed, leading to an emphasis on the hereditary burden of pathological traits. At times, healthy individuals were entirely omitted, as were exogenous martial partners. These modifications paved the way for further theoretical amendments, including the addition of ‘carrier’ status to chosen individuals along the pedigree. With this addition, these pedigrees changed their ontological status, from empirical records of human reproduction to partially hypothetical illustrations of Mendelian theory itself. This process was complemented by the representation of theoretical genetic models in the format of a human pedigree. A comparison to practices of charting pedigrees still common today suggests that the processes hereby revealed are far from exceptional. In line with the ideas put forward by Ludwik Fleck, they are interpreted as germane to the way scientific ideas are communicated and propagated and to the scientific culture of genetics. The article also offers a refinement to Fleck’s analysis of textbook construction, which highlights the extent to which textbook examples differ from the original data on which they are based. (shrink)

The psychological writings of the Islamic philosopher Avicenna are noted for the hypothetical example he gives of the man suspended in space—the “Flying Man.” This example, which left its impress on the Latin scholastics and has engaged the attention of modern scholars, occurs thrice in his writings in contexts that are closely related, but not identical. Its third occurrence, which represents a condensed version, conveys the general idea. It states, in effect, that if you imagine your “entity,” (...) “person,” “self” to be created at birth fully mature, sound in mind and body, but suspended in temperate air in such a manner that this “self” is totally unaware of its body and physical circumstances, “you will find that it will be unaware of everything except the ‘fixedness’ of its individual existence.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Freedom to BreatheJan Söffner (bio)It almost goes without saying: During the current pandemic, breathing lost its mere subliminal existence as an automated subsystem of our conscious existence and gained an oppressive presence. It did so in medical terms, in the spread of a virus attacking the respiratory system. It did so in terms of the lockdowns that virtualized much of our physical existence, cutting breath off from being (...) part of the communal atmosphere we dwell in. It did so in terms of the fear of taking in the contaminated breath of others, or of letting others inhale our own viruses. It did so by forcing us to wear face masks that simultaneously protected and obstructed our breath, and made us constantly smell our own bad breath. It did so by means of a fear, and regulation-induced deformation of our embodied interaction–which forced us to avoid each other rather than share our embodied lives. Breathing emerged into consciousness in a way that problematized the permeability of our breathing bodies, promoting instead an increasingly monadic existence reducing that permeability–an existence allowing only for an extremely mediated partaking in the world and interacting with others, as if (or indeed) talking to images on a computer screen.This change to our everyday breathing activity, as I will argue, profoundly altered the "metaphor we live by" that breathing is: If the emotional and enacted feeling of being a breathing body is altered, and if the habits of breathing change, then the ways we organize and understand our lives using breathing as a metaphor will lead to different meanings. And these meanings can be centered around a new feel of longing for freedom–a feel by means of which the concept of freedom is changed as well.A bitter example is the now worldwide awareness, and, as I will argue, altered understanding of the rallying cry, "I can't breathe." Originating from the 2014 police murder of Eric Garner, these had also been George Floyd's last words, uttered while being suffocated by police officers in 2020. The agony condensed in these words provided for an even more powerful metaphor to be adapted by the Black American community and beyond: people who had not literally been suffocated, but for whom the phrase spoke on their systemic historical oppression. [End Page 145] "I can't breathe" became a metaphor upon which a continuing legacy of repressions was projected.Yet, the term "metaphor," as precise as it is, can be misleading, because it seems to suggest this act of generalizing the lack of breath to be an act of mere comparison: People who are suppressed and metaphorically lack the air to breathe would then simply compare their lives to the suffocation of George Floyd; the similarity between their suppression and his would then be brought down to an "as if," wherein Black communities would simply feel as if they were suffocated (while what their 'suffocation' really means would remain an open point). However, things are not that simple: Adopting the words "I can't breathe" as a "metaphor we live by" does not only turn George Floyd's last words into an iconic comparison; it also evokes and suggests suffocation as a "feeling of being," as an experiencing of one's own existence. "Metaphors we live by" (Lakoff and Johnson) reside on subliminal bodily re-enaction and embodied empathy, enabling us to experience a feeling of suffocation which–as a feeling–is as real as the coldness of anxiety (as Louise Bourgeois would have it [see Klemm et al. 321]) or the warmth of social inclusion. This experience of felt suffocation, in turn, helps us talk and think about the state of subaltern existence, by replacing the question of whether the subaltern can speak (per Gayatri Chakravorty Spivak [1988]) with the question of whether they can breathe. Doing so aids in expressing indignation, and provides conceptual and iconic clarity. The clarity and precision of such metaphors is not about concepts, but about existential feelings. And in order to provide for this particular precision, these metaphors do not only rely on acts of comparison; much more than this, they rely on acts... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Annual Meeting of the Society for Buddhist-Christian StudiesMontreal, Quebec, Canada, 6 –7 November 2009Sandra Costen Kunz and Amos YongThe Society for Buddhist-Christian Studies (SBCS) sponsored two sessions in conjunction with the 2009 annual meeting of the American Academy of Religion. The first session was titled “The Boundaries of Knowledge in Buddhism, Christianity and Science.” The theme for the second session was “Buddhist-Christian Dialogue in an Age of Science.”The (...) first session, a panel discussion of The Boundaries of Knowledge in Buddhism, Christianity and Science, edited by Paul Numrich (Göttingen: Vandenhouek and Rupricht, 2008), considered the epistemological questions raised by Buddhist, Christian, and scientific insights on the inadequacies of conceptualization and language for understanding reality. The project that produced the book was funded by the Templeton Foundation, which also generously supported this panel.After a welcome by moderator Miriam Levering (University of Tennessee), the book’s editor, Paul Numrich (Theological Consortium of Greater Columbus), gave a brief overview of the volume, followed by reflections on their chapters by two contributors: Dennis Hirota (Ryukoku University) and Paul Ingram (Pacific Lutheran University). Amos Yong (Regent University School of Divinity) responded to Hirota’s chapter, and Sandra Costen Kunz (Phillips Theological Seminary) responded to Ingram’s. Hirota and Ingram each made a few remarks on these responses, leading into an open discussion including other contributors to the book: John Albright (Lutheran School of Theology), Roger Blomquist (Argonne National Laboratory), Tom Christenson (Capital University), and David McMahan (Franklin and Marshall College).Hirota’s paper, based on his chapter “Shinran and Heidegger on Truth,” examined the epistemology of Shinran (1173–1263), founder of the Japanese Shin Pure Land Buddhist tradition. Hirota noted that for both Shinran and Martin Heidegger (1889–1976) [End Page 197] truth is less a matter of asserting propositions and more a matter of the recognition and turning away from prior perceptual distortion. This permits the emergence of a new structure of awareness, an emergence that parallels Thomas Kuhn’s paradigm shifts in scientific understanding.In his response, Yong called for a greater role for different “particularistic or even confessional approaches” within “the religion-science discussion.” He thus noted with appreciation the grounding of Hirota’s paper in a Buddhist tradition that is not “broadly Tibetan,” like much work in Buddhist-science dialogue. He compared and contrasted Shinran’s teachings about the corruption and purification of human reason with those of the Council of Dordt’s five-point condensation of Protestant reformer John Calvin’s soteriology, pointing out that both have a salvific intention.Ingram argued that while science has amassed reliable information about physical reality, and Buddhist and Christian practitioners have amassed reliable knowledge about the structures of human experience, all three traditions confront epistemological boundaries imposed by their methods of inquiry. Questions arising at these boundaries form the foundation for a science-Buddhism-Christianity trialogue. Noting that science demonstrates that “nature is rooted in a realm... only half-translated into our phenomenal experience,” Ingram reviewed how scientists and Buddhist and Christian practitioners “work back from relevant experiences on the phenomenal level, and then ask what hypothetical reality might constructively explain these experiences.”Kunz pointed out that in his examples of “working back” from experience toward hypotheses, Ingram cites many reasons for epistemological humility. Noting her research on how methods of Christian spiritual discernment might yield hypotheses for reducing the ecological crisis, she argued that Christians who have ignored the boundaries of human knowledge have contributed to this crisis. She suggested that if Western Christians who teach spiritual discernment took Buddhist and current neuroscience insights about human knowing more seriously, their teaching practices might differ less from those of non-Western Christians.The second session, chaired by Amos Yong (Regent University), was a roundtable discussion of Paul O. Ingram’s book Buddhist-Christian Dialogue in an Age of Science (Rowman and Littlefield, 2008). Respondents included Mark Unno, associate professor of East Asian religions at the University of Oregon; Nancy Howell, professor of theology and philosophy of religion at Saint Paul School of Theology in Kansas City, Missouri; Benjamin Chicka, PhD candidate in the philosophy of religion and theology at Claremont Graduate University; and former... (shrink)

The concept of scientific field lacks a definition in a form allowing the distinction of whether a particular academic area of study is or is not a true scientific field. Starting with the classic definition by Whitley of a field as a “reputational work organization,” this essay extracts eleven explicit and implied features of a field from Whitley’s definition and discussion, extending his analysis. The article reviews Hambrick and Chen’s model of field formation as an “admittance-seeking social movement.” Hambrick and (...) Chen argue that strategic management followed that model with success, offering the SIM Division of the Academy of Management as an unsuccessful example. The article notes errors in their assessment of SIM, argues that Hambrick and Chen are really offering a model of what I term condensation and promulgation of a field and that their model cannot be used to determine whether a field exists. The article applies the extended Whitley model of a field to examine three candidate fields within SIM: corporate social responsibility (CSR)/corporate social performance (CSP), stakeholder theory, and corporate political activity (CPA). I conclude that none is technically a field, and considering as well the comments of three senior scholars who contributed to the symposium, the article discusses the potential trajectory of fields in SIM. (shrink)

BackgroundIn childhood cancer care, healthcare professionals must deal with several difficult moral situations in clinical practice. Previous studies show that morally difficult challenges are related to decisions on treatment limitations, infringing on the child's integrity and growing autonomy, and interprofessional conflicts. Research also shows that healthcare professionals have expressed a need for clinical ethics support to help them deal with morally difficult situations. Moral case deliberations (MCDs) are one example of ethics support. The aim of this study was to (...) describe the MCD-related outcomes that healthcare professionals in childhood cancer care considered important, before MCDs were implemented, in order to facilitate the implementation of MCDs in childhood cancer care in Sweden.MethodsThis study is based on qualitative data. Healthcare professionals, mostly representing registered nurses, nursing assistants and physicians, working at childhood cancer care centres in Sweden, were invited to respond to the translated and content validated European MCD Outcomes Instrument, before participating in regular MCDs. Answers to the main open-ended question, included in the questionnaire, was analysed according to systematic text condensation.ResultsData was collected from 161 responses from the healthcare professionals. The responses included healthcare professionals’ perceptions of which MCD-related outcomes they found important for handling moral challenges. Three different themes of important outcomes from the analysis of the data are presented as follows:Interprofessional well-being in team interactionson a team level;Professional comfort when dealing with moral challengeson a personal level; andImproved quality of care for the child and the familyon a care level.ConclusionsHealthcare professionals in childhood cancer care considered it important that ethics support could enhance the well-being of interprofessional teams, support healthcare professionals on an individual level and improve quality of care. The results of this study can be used in current and future training for MCD-facilitators. When knowing the context specific important MCD-outcomes, the sessions could be adapted. Managers in childhood cancer care would benefit from knowing about the specific important outcomes for their target group because they could then create relevant working conditions for clinical ethics support. (shrink)

I offer an account of how the quantum theory we have helps us explain so much. The account depends on a pragmatist interpretation of the theory: this takes a quantum state to serve as a source of sound advice to physically situated agents on the content and appropriate degree of belief about matters concerning which they are currently inevitably ignorant. The general account of how to use quantum states and probabilities to explain otherwise puzzling regularities is then illustrated by showing (...) how we can explain single-particle interference phenomena, the stability of matter, and interference of Bose–Einstein condensates. Finally, I note some open problems and relate this account to alternative approaches to explanation that emphasize the importance of causation, of unification, and of structure. 1 Introduction2 Two Requirements on Explanations in Physics3 What We Can use Quantum Theory to Explain4 The Function of Quantum States and Born Probabilities5 How These Functions Contribute to the Explanatory Task6 Example One: Single-Particle Interference7 Example Two: Explanation of the Stability of Matter8 Example Three: Bose Condensation9 Conclusion. (shrink)

ABSTRACTThe paper examines the relevance of the nomological view of nature to three discussions of tide in the thirteenth century. A nomological conception of nature assumes that the basic explanatory units of natural phenomena are universally binding rules stated in quantitative terms. Robert Grosseteste introduced an account of the tide based on the mechanism of rarefaction and condensation, stimulated by the Moon's rays and their angle of incidence. He considered the Moon's action over the sea an example of the (...) general efficient causality exerted through the universal activity of light or species. Albert the Great posited a plurality of causes which cannot be reduced to a single cause. The connaturality of the Moon and the water is the only principle of explanation which he considered universal. Connaturality, however, renders neither formulation nor quantification possible. While Albert stressed the variety of causes of the tide, Roger Bacon emphasized regularity and reduced the various causes producing tides into forces. He replaced the terminology of ‘natures’ by one of ‘forces’. Force, which in principle can be accurately described and measured, thus becomes a commensurable aspect of a diverse cosmos. When they reasoned why waters return to their place after the tide, Grosseteste argued that waters return in order to prevent a vacuum, Albert claimed that waters ‘follow their own nature’, while Bacon held that the ‘proper force’ of the water prevails over the distant force of the first heaven. I exhibit, for the thirteenth century, moments of the move away from the Aristotelian concerns. The basic elements of these concerns were essences and natures which reflect specific phenomena and did not allow for an image of nature as a unified system. In the new perspective of the thirteenth century the key was a causal link between the position of the Moon and the tide cycle, a link which is universal and still qualitative, yet expressed as susceptible to quantification. (shrink)

BackgroundAn ethics reflection group is one of a number of ethics support services developed to better handle ethical challenges in healthcare. The aim of this article is to evaluate the significance of ERGs in psychiatric and general hospital departments in Denmark.MethodsThis is a qualitative action research study, including systematic text condensation of 28 individual interviews and 4 focus groups with clinicians, ethics facilitators and ward managers. Short written descriptions of the ethical challenges presented in the ERGs also informed the analysis (...) of significance.ResultsA recurring ethical challenge for clinicians, in a total of 63 cases described and assessed in 3 ethical reflection groups, is to strike a balance between respect for patient autonomy, paternalistic responsibility, professional responsibilities and institutional values. Both in psychiatric and general hospital departments, the study participants report a positive impact of ERG, which can be divided into three categories: 1) Significance for patients, 2) Significance for clinicians, and 3) Significance for ward managers. In wards characterized by short-time patient admissions, the cases assessed were retrospective and the beneficiaries of improved dialogue mainly future patients rather than the patients discussed in the specific ethical challenge presented. In wards with longer admissions, the patients concerned also benefitted from the dialogue in the ERG.ConclusionThis study indicates a positive significance and impact of ERGs; constituting an interdisciplinary learning resource for clinicians, creating significance for themselves, the ward managers and the organization. By introducing specific examples, this study indicates that ERGs have significance for the patients discussed in the specific ethical challenge, but mostly indirectly through learning among clinicians and development of clinical practice. More research is needed to further investigate the impact of ERGs seen from the perspectives of patients and relatives. (shrink)

Newly edited by Konrad Koerner (University of Ottawa), with an introduction by Clemens Knobloch (Universitat Siegen)The importance of Wegener's Untersuchungen uber die Grundfragen des Sprachlebens can only be compared to that of Karl Buhler's Sprachtheorie. Even now, however, Wegener's work remains virtually unknown to the English speaking world. Wegener's main work was published in 1885. It has its origin in two lectures given in 1883 and 1884 at school teacher meetings held in the Magdeburg area and it still recalls those (...) original occasions and maintains much of the oral style. Part of the volume treats the subject in a systematic and theoretical manner; other sections contain vivid examples and are characterized by a considerable didactic effort. The book is held together by leitmotif-questions, such as 'How do we understand language?' and 'How does language function as a means of everyday communication?'. We witness the experiences of the talented school teacher and the observations of the innovative dialect researcher combined, condensed, and conceptually ordered.In spite of the relatively unsystematic form of presentation, the book remains thoroughly consistent in thought and argument. In the Untersuchungen we have before us the outline of a communicative and functional view of language structure, of the analysis of speech, and of semantics. (shrink)

Quantum gravity is understood as a theory that, in some sense, unifies general relativity (GR) and quantum theory, and is supposed to replace GR at extremely small distances (high-energies). It may be that quantum gravity represents the breakdown of spacetime geometry described by GR. The relationship between quantum gravity and spacetime has been deemed ``emergence'', and the aim of this thesis is to investigate and explicate this relation. After finding traditional philosophical accounts of emergence to be inappropriate, I develop a (...) new conception of emergence by considering physical case studies including condensed matter physics, hydrodynamics, critical phenomena and quantum field theory understood as effective field theory. This new conception of emergence is unconcerned with the ideas of reduction and derivation (i.e. it holds that we may have emergence with reduction or without it). Instead, a low-energy theory (or model) is understood as emergent from a high-energy theory if it is novel and autonomous compared to the high-energy theory, and the low-energy physics is dependent in a particular, minimal sense on the high-energy physics (this dependence is revealed by the techniques of effective field theory and the renormalisation group). While novelty is construed in a broad sense, the autonomy comes essentially from the underdetermination of the high-energy theory by the low-energy theory, which reflects the minimal way in which the emergent, low-energy theory depends on the high-energy one. It results from the scaling behaviour of the theories and the limiting relations between them, and is demonstrated by the renormalisation group and effective field theory techniques, the idea of universality, and the phenomenon of symmetry-breaking. These ideas are important in exploring the relationship between quantum gravity and GR, where GR is understood as an effective, low-energy theory of quantum gravity. Without experimental data or a theory of quantum gravity, we rely on principles and techniques from other areas of physics to guide the way. As well as considering the idea of emergence appropriate to treating GR as an effective field theory, I investigate the emergence of spacetime (and other aspects of GR) in several concrete approaches to quantum gravity, including examples of the condensed matter approaches, the ``discrete approaches'' (causal set theory, causal dynamical triangulations, quantum causal histories and quantum graphity) and loop quantum gravity. (shrink)

A theory of probabilities of probabilities is articulated and defended. Hume's argument against higher probabiHties is critically evaluated. Conflicting probability assignments for a hypothetis or theory may result from the appHcation of different methods or perspectives, for example, those of consensual authority and individual ratiocination. When we have conflicting probabilities we may assign probabilities to the diverse probabilities initially obtained. These second level probabilities may also conflict as a result of applying diverse methods or perspectives, and the same is (...) true of higher order probabilities. However, when higher order probabilities are normalized to obtain weights that are used to average the probabilities of the next lower level, the averaging process will yield convergence towards a single first order probability condensing higher order information. An infinite averaging process can be finitely calculated to obtain a coherent assignment. Hence there is no vicious regress of probabilities. Memory beliefs illustrate the convergence of an infinite hierarchy. (shrink)

Sound propagation within certain non-relativistic condensed matter models obeys a relativistic wave equation despite such systems admitting entirely non-relativistic descriptions. A natural question that arises upon consideration of this is, “do devices exist that will experience the relativity in these systems?” We describe a thought experiment in which ‘acoustic observers’ possess devices called sound clocks that can be connected to form chains. Careful investigation shows that appropriately constructed chains of stationary and moving sound clocks are perceived by observers on (...) the other chain as undergoing the relativistic phenomena of length contraction and time dilation by the Lorentz factor, \, with \ the speed of sound. Sound clocks within moving chains actually tick less frequently than stationary ones and must be separated by a shorter distance than when stationary to satisfy simultaneity conditions. Stationary sound clocks appear to be length contracted and time dilated to moving observers due to their misunderstanding of their own state of motion with respect to the laboratory. Observers restricted to using sound clocks describe a universe kinematically consistent with the theory of special relativity, despite the preferred frame of their universe in the laboratory. Such devices show promise in further probing analogue relativity models, for example in investigating phenomena that require careful consideration of the proper time elapsed for observers. (shrink)

Assertive community treatment (ACT) is a widely propagated team approach to community mental health care that ‘assertively’ engages a subgroup of individuals with severe mental illness who continuously disengage from mental health services. It involves a number of interested parties – including clients, carers, clinicians and managers. Each operates according to perceived ethical principles related to their values, mores and principles. ACT condenses a dilemma that is common in psychiatry. ACT proffers social control whilst simultaneously holding therapeutic aspiration. The clients’ (...) perspective of this dilemma was studied in interviews with 12 clients using the ‘grounded theory’ approach. Results suggest that clients’ disengagement is as much a historical and cultural phenomenon as a result of lack of insight. Many clients had experienced rejection of early help–seeking behaviour and all had been subject to coercive interventions. These coercive interventions were experienced as an attack on identity. All felt that their voice had not been listened to in previous interactions with psychiatric services. Consequentially the clients had an increased level of arousal around issues of power, which needs to be incorporated when examining the ethics of community psychiatry. Traditional notions of the difference between persuasion and coercion – for example – may need to be adapted for this client group. Results are compared with the provider perspective. We conclude that the perspectives differ on two key dimensions. Such an empirical approach to examining psychiatric ethics may ensure that we incorporate the subjectivities of various interested parties in the clinical decision–making process. (shrink)

The rigid recoil of a crystal is the accepted mechanism for the Mössbauer effect. It’s at odds with the special theory of relativity which does not allow perfectly rigid bodies. The standard model of particle physics which includes QED should not allow any signals to be transmitted faster than the speed of light. If perturbation theory can be used, then the X-ray emitted in a Mössbauer decay must come from a single nuclear decay vertex at which the 4-momentum is exactly (...) conserved in a Feynman diagram. Then the 4-momentum of the final state Mössbauer nucleus must be slightly off the mass shell. This off-shell behavior would be followed by subsequent diffusion of momentum throughout the crystal to bring the nucleus back onto the mass shell and the crystal to a final relaxed state in which it moves rigidly with the appropriate recoil velocity. This mechanism explains the Mössbauer effect at the microscopic level and reconciles it with relativity. Because off-mass-shell quantum mechanics is required, the on-mass-shell theories developed originally for the Mössbauer effect are inadequate. Another possibility is that that the recoil response involves a non-perturbative effect in the standard model which could allow for a non-local instantaneous momentum transfer between the crystal and the decay, as proposed for example by Preparata and others in super-radiance theory. The recoil time of the crystal is probably not instantaneous, and if it could be measured, one could distinguish between various theories. An experiment is proposed in this paper to measure this time. The idea is to measure the total energy radiated due to bremsstrahlung from a charged Mössbauer crystal which has experienced a recoil. Using Larmor’s formula, along with corrections to it, allows one to design an experiment. The favored idea is to use many small nano-spheres of Mössbauer-active metals, whose outer surfaces are charged. The energy radiated then varies as the charge squared divided by the recoil time. This can then be measured with the extreme sensitivity available in Mössbauer experiments. If it turns out that experiments prove the need for off-mass-shell theory, then this would have profound implications for all of condensed matter physics. It would mean that an off-mass-shell theory like those considered by Stueckelberg, Horwitz, Piron, Greenberger, and many others are required to describe nature. The inclusion of these would be a major shift in the foundations. It would mean that there are new dynamic variables—the rest masses of particles. The ability to measure the diffusion relaxation time should prove useful also in chemical analysis, and provide a new class of analytical methods for material science. This problem is also interesting because the Mössbauer effect is a phenomenon where the solid-state environment dramatically and indisputably influences the probability of a nuclear process. (shrink)

By Carl Gillett, Illinois Wesleyan University. Ontological reductionism has long dominated the sciences and intellectual life more broadly. It holds that a ‘final theory’ in physics would, in principle, suffice to explain all natural phenomena and that, ultimately, the entities of such a theory, like quarks with their properties of spin, charm and charge, are all that actually exists. Recently, however, a mounting challenge to this hegemonic reductionism has been focused around ‘emergent’ entities. On one hand, philosophers and a range (...) of writers in Science and Religion have provided new theoretical resources in anti-reductionist, ‘emergentist’ views of the structure of nature. Whilst on the other hand, a parade of eminent scientists, from disciplines as varied as condensed matter physics, evolutionary biology, the sciences of complexity, and cognitive science, have all argued that their empirical findings provide actual examples of ‘emergence’ in nature. (shrink)