Este não é um livro sobre marketing. É um livro sobre a existência, avisa o filósofo Luiz Felipe Pondé, logo na abertura de Marketing existencial. Seu objetivo não é indicar caminhos para o mercado, nem auxiliar os leitores a serem consumidores mais felizes. É analisar por que a produção de bens em nossa época foi, pouco a pouco, se confundindo com os anseios existenciais dos indivíduos e deixou de atender à mera satisfação de necessidades básicas. Neste século XXI, a difusão (...) de bens de signifi cado passa à vanguarda do mercado, conduzido por um marketing existencial que busca vender produtos não apenas materiais, mas, sobretudo, os imateriais, na forma de bálsamos para as angústias mais profundas das pessoas. Em sua provocante reflexão, o autor recorre à filosofia da existência – de Kierkegaard a Sartre, de Unamuno a Camus – para examinar como as questões essenciais dos seres humanos permanecem vivas e sem resposta, mesmo na sociedade do cartão de crédito. O AUTOR Luiz Felipe Pondé é filósofo, professor da Pontifícia Universidade Católica de São Paulo (PUC-SP) e da Fundação Armando Álvares Penteado (FAAP). É autor de, entre outros, Os Dez Mandamentos (+ um) e coautor de Por que virei à direita (ambos pela Três Estrelas). É colunista da Folha de S.Paulo. (shrink)

O politicamente correto pode fazer mal? Uma filosofia politicamente incorreta é o novo título de Luiz Felipe Pondé para o Guia politicamente incorreto da filosofia, lançado em 2012. Com texto revisitado pelo autor e uma nova introdução, a obra questiona se o pensamento politicamente correto pode fazer mal. De acordo com Pondé, sim. "Antes de tudo, ele nos faz covardes. À medida que ele se torna uma ferramenta jurídica e de linchamento público nas redes sociais, ele começa a devastar a (...) virtude da coragem, sem a qual ninguém diz, pensa ou faz nada que tenha valor a não ser aquilo que for 'correto'." Esta nova edição da Globo Livros adquire um novo valor com a efervescente discussão sobre o tema. Saiba mais. (shrink)

O poeta Vinícius de Moraes ensinava a amar "porque não há nada melhor para a saúde que um amor correspondido". Se não há nada mais importante do que amar, pensar o amor em suas diversas formas e vínculos é fundamental. Em Amor para corajosos, o filósofo Luiz Felipe Pondé conduz o leitor por um passeio sobre o tema. Não se trata de um manual para amar melhor ou um estudo acadêmico. Na sua tradicional prosa ao mesmo tempo provocativa e elucidativa, (...) Pondé escreve uma série de ensaios que podem ser lidos aleatoriamente ou na ordem sugerida. Ele parte de uma diferença filosófica entre o que seria um "amor kantiano" - que busca estabilidade e respeito - e um "amor nietzschiano" - aquele da paixão avassaladora. O foco principal é o amor romântico chamado pelos medievais de "doença da alma". Pondé usa a filosofia, as ciências sociais e a cultura para analisar questões eternas e outras mais contemporâneas. O amor pode conviver com rotinas? O amor tem cura? É ético abrir mão do amor em nome de obrigações familiares? Como saber se você é um canalha ou uma vagabunda? É possível confiar numa mulher? Como curar a atávica insegurança masculina? E quando o amor morre? Como o próprio título sugere, Amor para corajosos - Reflexões proibidas para menores vai instigar o leitor ao exercício do amor. Afinal, segundo o próprio Pondé, o amor é uma experiência prática, jamais teórica. "Se você nunca entendeu a razão de a literatura estar cheia de exemplos de pessoas que "morrem de amor", nenhuma teoria do amor vai salvá-lo do vazio que é nunca ter sofrido de amor". (shrink)

O artigo explora a relação do ser humano com o inefável e quais os caminhos para a presença de Deus na consciência religiosa, de acordo com Abraham Heschel, através da visão bíblica de mundo, nas seguintes categorias: sublime, maravilhoso, mistério, temor e glória. O resgate desses sentimentos dentro da religião é fundamental para a experiência da fé.

Seria um abuso sexual o príncipe roubar um beijo da Bela Adormecida? Quem brinca de polícia e ladrão pode virar bandido? Games violentos criam assassinos? Mas quem nunca matou uma formiga? E quem nunca "roubou pão na casa do João"? O filósofo Luiz Felipe Pondé se une aqui a Ilan Brenman, psicólogo e premiado autor de livros infantis, para fazer um panorama do politicamente correto e discutir suas influências na formação das crianças e, consequentemente, dos adultos que elas se tornarão. (...) Os autores mostram que essa verdadeira patrulha do pensamento tem nos feito perder a capacidade de interpretar a vida, com seus símbolos e suas ironias. Com isso, vemos um número cada vez maior de pessoas com dificuldades em lidar com as emoções que sentem, deprimidas e inseguras. A obra provoca a refletir: talvez o lobo mau não viva apenas nos contos de fadas, mas esteja a nos espreitar na escola, na família, na política, na sociedade, enfim. Para enfrentá-lo, ser livre para pensar e se expressar é fundamental. (shrink)

A linguagem apofática é um gênero discursivo estreitamente relacionado à Teologia Negativa, cuja formulação mais acabada se encontra na obra do Pseudo-Dionísio (séc. V), místico que funda uma tradição negativa que se perpetuará durante toda a Idade Média e Moderna. Na contemporaneidade diversos autores (DERRIDA, 1995 e 1997; FRANKE, 2007; PONDÉ, 2003; VEGA, 2004 e 2009 e outros) têm destacado a retomada desse gênero discursivo nas artes, na literatura e nas ciências humanas de forma geral. A linguagem apofática é, portanto, (...) um discurso que visa à própria transcendência e se orienta para a denúncia de um vazio intrínseco à linguagem e ao mundo que dela se origina, de tal modo que o Deus que aí comparece desliza sob nossa linguagem sem se deixar prender em nossas teias discursivas. No presente texto a impossibilidade do nome de Deus torna-se metáfora para se refletir, a partir do exemplo da mística de Angelus Silesius, sobre as possibilidades de um pensamento negativo cujos fundamentos sejam o esvaziamento da linguagem, que se vê despojada de sua capacidade de dizer o mundo, e o aprendizado do não-saber. Palavras-chaves: Linguagem apofática; Linguagem; Angelus Silesius; não-saber.Apophatic language is a genre closely related to negative theology, whose the most accomplished formulation is found in the Pseudo-Dionysius work (fifth century), who founded a mystical tradition that perpetuated throughout the Middle and Modern Ages. Several authors in contemporary such as Derrida (1995 and 1997), (Franke, 2007), (Pounde, 2003), (Vega, 2004 and 2009), and others, have highlighted the resumption of that genre in the Arts, Literature and the Humanities in general. Apophatic is, thus, a discourse that seeks transcendence, and it orients itself to denounce the emptiness intrinsic to language as well as to world, so that the God that there appears slips under our language without being caught in our discursive webs. In this text the impossibility of God's name becomes a metaphor to reflect, from the example of the mystique of Silesius Angelus, on the possibility of a negative thought whose foundations are the emptiness of the language, which finds itself stripped of its ability to tell the world, and from the learning of the not-knowing. Keywords: Apophatic language; Failure of language; Angelus Silesius; not-to knowing. (shrink)

A dynamic description model of the flight path a dragonfly takes is required in order to derive the encounter frequency of the dragonfly males visiting a pond. It is considered as the first part of a realistic description of the regulation of dragonfly density at the pond by behavioural interaction. Since the dragonfly males fly strictly along the shoreline of the pond, their displacement may be perceived as a quasi linear movement. The flight paths of dragonflies were (...) recorded in field by registering at regular time intervals the number of the shoreline section. in which the dragonfly was staying at that moment. The recorded flight paths show a wide variety from circling around the pond or flying widely to and fro to remaining in a narrow sector of the shoreline . The records were classified into 9 flight style groups. The flight style is temperature dependent, but there are also individual differences between the dragonflies. The strategy adopted for model building is to start with the most simple assumptions and parameters. The dynamic performance of each model is assessed by simulations. The model has to be extended until the simulated flight path patterns resemble the observed patterns. In a model with one parameter the displacement for every time interval is given by a stochastic decision using the probabilities evaluated from the observed frequencies of step length . This model was run with different sets of data. The simulated patterns using the data from all records together slightly resemble some observed patterns. They represent, however, only a small range of the variability observed. With data from the different style groups or the single records the simulated patterns are much more variable, but they are too irregular and contain too many turns . Therefore the description model was extended by a second parameter determining the direction of each step. The probability of turning is dependent on the number of steps already taken in the same direction . The probabilities are evaluated from the observed frequencies of step series. With the data from all records together, this model yields patterns more similar to the observed flight paths but they still represent only a restricted range of the observed variability. The patterns obtained using the data from the different style groups or from the single records cover the full range of the observed variability and they resemble closely the observed patterns even in minute details . Thus this description model together with the data from the flight style groups is accepted as fully sufficient for the present purpose. The simulations allow the assessment of the range of chance variability . The assumptions implied in the description model were corroborated by statistical tests. The approach developed here for the quantification of the behaviour of dragonflies is generally applicable to stochastic behaviour. Um die Häufigkeit der Kämpfe zwischen Libellenmannchen am Gewässer vom Verhalten der einzelnen Individuen ableiten zu können, wurde ein dynamisches Modell des Flugverhaltens einzelner Libellen aus Freilandbeobachtungen abgeleitet. Das Modell soll ein erster Schritt zu einer realistischen Beschreibung sein, wie bei Libellen die Individuendichte durch Verhaltensinteraktionen geregelt wird. Da die Libellenmannchen streng an der Uferlinie entlang fliegen, kann ihre Flugbahn als quasi eindimensionale Bewegung aufgefaßt werden. Die Flugbahnen einzelner Männchen registrierte ich, indem ich in regelmäßigen Zeitintervallen die Nummer des'Uferabschnitts , in dem sich die Libelle gerade aufhielt, auf Tonband sprach. Die registierten Flugbahnen sind sehr verschiedenartig. Zwischen Bahnen, bei denen die Libellen immer in einer Richtung um das Gewässer kreisten, bis zu solchen, bei denen sie in einem engen Uferbereich hin and her flogen, gibt es alle Übergänge . Die Flugbahnen warden in 9 Gruppen verschiedener Flugstile eingeteilt. Der Flugstil ist temperaturabhängig and individuell verschieden. Die Strategie der Modellentwicklung war, mit einem Modell mit möglichst einfachen Voraussetzungen and Parametern zu beginnen, seine dynamische Leistung mit Simulationen zu prüfen, und die Modellbeschreibung so lange zu erweitern, bis die simulierten Flugbahnmuster den tatsächlich beobachteten Mustern gleichen. Im ersten Modell wurde die Ortsveränderung in jedem Zeitintervall mit einer stochastischen Entscheidung bestimmt, bei der Wahrscheinlichkeiten verwendet warden, die sich aus den beobachteten Haufigkeiten der Schrittweiten ergaben . Simulationen dieses Modells mit den aus allen Flugbahnregistrierungen gemeinsam ausgewerteten Daten ergaben Flugbahnmuster, die zwar manchen beobachteten ähnelten, aber nur einen kleinen Bereich der beobachteten Vielfalt darstellten. Mit den Daten aus den einzelnen Flugstilgruppen ergab sich insgesamt eine grofie Variabilitat, die simulierten Flugbahnen waren aber zu unregelmäßig and enthielten zu viele Richtungswechsel . Deshalb wurde das Modell durch einen Parameter erweitert, der für jedes Zeitintervall die Flugrichtung bestimmt. Die Wahrscheinfchkeit umzukehren hängt davon ab, wieviele Zeitintervalle bereits die gleiche Richtung beibehalten wurde . Die Wahrscheinlichkeitswerte dafür warden aus den beobachteten Haufigkeiten der Schrittserien in eine Richtung bestimmt. Dieses Modell ergibt in Simulationen mit den aus allen Registrierungen gemeinsam ausgewerteten Daten Flugbahnen, die den Originalen ähnlich sind, aber nur einen beschränkten Bereich der vielfalt darstellen. Simulationen mit den Daten aus den einzelnen Flugstilgruppen dagegen ergeben die vollebeobachtete Variabilitat and die erhaltenen Flugbahnmuster gleichen den beobachteten Originalen auch in kleinen Einzelheiten . Dieses Modell kann deshalb zusammen mit den Daten der einzelnen Flugstilgruppen als befriedigende Beschreibung des Flugverhaltens angesehen werden. Die Simulationen erlauben, den Bereich der zufälligen Variabilitat abzuschätzen . Die im Modell gemachten Annahmen warden durch statistische Tests bestätigt. Der hier zur Beschreibung des Verhaltens von Libellen entwickelte Ansatz ist allgemein anwendbar auf stochastisches Verhalten. (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)

This volume is by no means out of place for a reader in the twenty first century as resemblances between the age of the machine and our own digital age are surprisingly numerous, particularly with reference to the patterns of intellectual response to unprecedented stimuli. The worrisome parallelisms and analogues are purposefully kept off stage for the imaginative audience to complement the plot of the real drama of the Industrial Revolution as it was witnessed by such imaginative medievalist 'knights' as (...) Carlyle, Cobbett, Southey, Pugin, Ruskin and Morris, intelligent thinkers who performed the universal 'type' rather than the subjective or egocentric in so far as their intellectual responses to the discrepancy between two dissimilar epochs was concerned. The reader is, therefore, expected to be engaged with the arguments of the 'neo-feudal', the 'moral-aesthetic' and the utopian 'social-aesthetic' arguments at the core of the book both imaginatively and intellectually. On the first level, he is requested to shuttle between two centuries separated by the length of a different century. On the second, however, he is expected not only to appreciate the artistically excellent literary works of prominent belletrists, but also to examine the clever polemics they developed as methods of treatment and persuasion aiming at a solution of the social and psychological problems that arose from the incongruity between the present and the past, with specific references to such significant concepts as those of time, history, progress and authority which are examined against the superheated touchstones of democratization, liberty, laissez-faire ethics, mechanization, poverty and social protest in the industrial city. (shrink)

Translator's introduction -- Mir Damad's introduction -- 1st qabas. On the kinds of creation (huduth) and the divisions of existence according to them, establishing the bases of judgment, and defining the area of dispute -- 2nd qabas. On the three kinds of essential antecedence and constructing the demonstration by way of essential priority (taqaddum bi'l-dhat) -- 3rd qabas. The two kinds of separate posteriority and constituting the demonstration by way of eternal priority -- 4th qabas. Quotations from the book of (...) god and the traditions of his messenger, and from the traditions of the lofty and pure imams -- 5th qabas. Concerning the mode of existence of the unqualified natures and the path of the demonstration by the mode of the existence of the nature -- 6th qabas. On the continuity of time and motion; setting up the course of the demonstration with respect to the continuity of the magnitude of time according to the natural system in two ways; establishing the finitude of extended continuous quantity; and invalidating a numerical infinity -- With respect to successive temporal creatures -- 7th qabas. A series of abridged arguments, unsound dialectical arguments, and criticism of certain syllogisms and controversial sophistical doubts according to the two extremes of the two groups -- 8th qabas. Inquiry into the power of God and his will after completing what remains in the care of the intellect, through the use of decisive utterance, to solve some of the difficulties and dilemmas caused by doubt and the confusions arising from idle fancies -- 9th qabas. On establishing the intelligible substances and the stages of the system of existence in the two chains of beginning and return -- 10th qabas. The decisive doctrine on the secret of predetermination (qada') and fate (qadar), how evil is related to predetermination, the colocynth of truth on prayer and its granting, and the return of the command to god in the beginning and the end -- Glossary-- Bibliography. (shrink)

Um bate-papo entre três pensadores pop sobre um assunto que interessa a todo mundo: como ser feliz O livro é resultado do debate entre Cortella, Karnal e Pondé em comemoração aos 15 anos da Editora Planeta no Brasil, realizado em maio de 2018. Durante uma hora e meia, os três discutiram o que é felicidade, o que ela significa, que caminhos podem nos levar a sermos pessoas mais felizes. Como sempre fazem, citaram outros filósofos e pensadores, deram exemplos pessoais e (...) terminaram mostrando que ser feliz é possível – não o tempo todo, mas é possível para todos. (shrink)

The Bhagavad-gita is the main source-book on yoga and a concise summary of India's Vedic wisdom. Yet remarkably, the setting for this classic of spiritual literature is an ancient Indian battlefield. At the last moment, the great warrior Arjuna begins to wonder about the real meaning of his life. In the Bhagavadgita, Lord Krsna brings His disciple from perplexity to spiritual enlightenment. Bhagavad-gita As It Is is the largest-selling, most widely used edition of the Gita in the world.

Introdução: A pressão expiratória final positiva-pressão expiratória final zero (PEEP-ZEEP) é uma técnica fisioterapêutica para desobstrução brônquica. Objetivo: Avaliar os efeitos agudos da PEEP-ZEEP comparada à hiperinsuflação manual (HM) em pacientes críticos traqueostomizados em relação à segurança e eficiência para higiene brônquica. Métodos: Indivíduos submetidos à ventilação mecânica invasiva por cânula de traqueostomia foram aleatorizados em dois grupos, um que recebia a técnica PEEP-ZEEP primeiramente, e outro que recebia HM. A coleta das variáveis cardiorrespiratórias foi realizada antes, 1 minuto e (...) 30 minutos após cada técnica, bem como o peso da secreção pulmonar aspirada. Resultados: Para 18 pacientes com média de idade de 66,4 (17,3) anos, não foram encontradas diferenças entre grupos para nenhuma das variáveis hemodinâmicas e respiratórias. A quantidade de secreção pulmonar removida também foi semelhante entre as técnicas. Conclusão: PEEP-ZEEP e hiperinsuflação manual não diferem entre si em relação à depuração de secreções brônquicas e variáveis cardiorrespiratórias. (shrink)

Die Frage nach der Verantwortung für globale Armut laesst sich auf mindestens zwei Weisen stellen – als Frage nach der (retrospektiven) Verantwortung für das Auftreten dieses Problems oder als Frage nach der (prospektiven) Verantwortung für dessen Behebung. Dieses Kapitel wird sich vor allem auf die zweite Frage konzentrieren: Inwiefern sollte die Verantwortung, Armut zu bekaempfen, als kollektive Verantwortung verstanden werden? Für viele von uns werden diese Pflichten nur im weiten (schwachen) Sinne kollektiv sein, naemlich in dem Sinne, dass die kollektive (...) Ebene für die Entscheidungsfindung und die Handlungsbewertung primaer ist. Kollektivitaet von Verantwortung im engen Sinn erfordert hingegen staerkere epistemische Verknüpfungen der Gruppenmitglieder sowie eine Bekenntnis zum gemeinsamen Ziel. Wo diese bereits bestehen, da koennen wir von kollektiver Verantwortung in diesem starken Sinn sprechen und entsprechend von den Mitgliedern dieser Gruppen einen groesseren Einsatz für das Endresultat erwarten. (shrink)

The Leslie matrix model for discrete population growth has been modified and used several times in population dynamics. A review is given of the basic model and of its principal modifications. The modifications relating to the influences of ‘internal’ or ‘external’ factors to the population are studied with greater detail. The same applies to models where the population is divided in stages rather than in age classes. In the same line, Hadjibiros studied a more general model, where the transition matrix (...) corresponds to a population divided in stages of unequal duration, and where the time varying influences of the ‘internal’ or ‘external’ factors are included. This model offers the possibility of computer simulation of the population dynamics of a natural population represented by a demographic vector. Some kind of relationship is proposed between the general matrix model and the Lefkovitch matrix ; the elements of which, obtained by regression techniques from census data, describe the biological dependance of a stage i at time t + 1 on a stage j at time t. (shrink)

Fārābī; views on education; Islamic religious education; Islamic philosophy.

Esse trabalho sistematiza a experiência de um estudo de caso realizado por um coletivo de pesquisadores em formação no grupo de LEPEL/FACED/UFBA. Têm em consideração, condições objetivas concretas de uma pesquisa em rede, promovida a partir de um trabalho voltado para elevar o pensamento teórico-metodológico de pesquisadores. Os resultados apontam que uma consiste formação de pesquisadores em rede, visando elevar o pensamento teórico-metodológico, requer estudos em uma rigorosa matriz categorial de referência marxista, cuja concepção histórica se pauta em conceber de (...) forma crítica o intercâmbio do modo de produção econômico capitalista, que engendra a produção do conhecimento científico. (shrink)

"Interplanetary travel is very tempting and exciting because the sky is filled with unlimited globes of varying qualities. the desire to travel to other planets can be fulfilled by the process of yoga, which serves as a means by which one can transfer oneself to whatever planet one likes - possibly to planets where life is not only eternal and blissful but where there are multiple varieties of enjoyable energies. Anyone who can attain the freedom of the spiritual planets need (...) never return to this miserable land of birth, old age, disease and death." --Back cover. (shrink)

The following note has on purpose to introduce interested students to logicism. Our objective is not to show any new interpretation or thesis about logicism or its rebirth between the 60s and 80s of the last century. What we will do is systematically show the evolution of logicism from Frege to Russell-Whitehead, with greater emphasis on this latest development, and approach some problems that arise within that movement, for example: The logical paradoxes and the principle of intuitive comprehension, the impredicative (...) definitions and the semantic paradoxes, the Ramified Hierarchy and real numbers, the axiom of reducibility and the impossibility of reducing mathematics to logic, etc. (shrink)

Resenha de Frans de Waal. The Age of Empathy: Nature's Lessons for a Kinder Society. London: Souvenir Press, Paperback Edition, 2011.