This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * * ‘Kraftledningarna / spända i köldens rike / norr om all musik.’ TOMAS TRANSTRÖMER Attention! You are not dreaming, you are drifting into sleep. You are feeling veeeerrry sleepy now. The curvature of the earth is causing you to shift away from the pinpoint that you circled yesterday on a map, your eyes hazed. That was also a today, in a novel fashion—the today of days long gone, of clouds long transformed into rain, or else snow drifts. That’s okay, you know this: in cathedrals of bone we find arcs that keep us warm. In drift- wood we find the puzzles that madden us all night, Tetris dreaming. In from our past, deriving steam, straight lines, axes, branches, kindling. Attention! Does anyone here speak Spanish? Si? Bueno! Dream with me. Cry out in your sleep. Step fearfully out onto the ice and drift awhile, inside a massive Perspex speech-bubble dream. A massive bubble longing to become detergent. The louvres of a ribcage snapping shut. Awe. Curvature of the earth is a con job: ask a dervish. Hail an imaginary cab in a hail-struck avenue and wait for the popcorn to drop. Stop, drifter! In the pharmacies and in the alleys, popping rocks while money men drift by in stockings, purling and unfurling their ways, their means. Attention, people!ion hurts. Reading too much into things I know nothing about, the niceness of the void or else a philosopher’s mouth sewn shut. I know about that, at least: the madness of seeking asylum in antipodean dreams, drifting for weeks at a time on a boat more abstract than surreal. Oh, fuck Life of Pi! Heaven basks like a warm, square meal but I can’t get there from here. There is no shark travelling at speed X while I zoom at speed Y in the opposite direction. I can’t use a lasso. I no longer have fits. I am no, mad. Too bad. Attention! Ambient doom slash moon. Over! The curvature of a yawn, a dream sewn shut. This skin, that knows my dreams, forgets me. Fruit tingles, wet on the tongue: get me some analogue hits, expressways to frozen, lakeside moon-dream voiceovers. The narrator’s cues infuse the afternoon, the canoes, with nostalgia. Somewhere, out there, we become driftories. We lie down in atoms and the clinamina bore. We fight against our own handwritten lies, type marching letters into files and save. Awe. Fidelity is a kind of surveillance. Current A. Attention! It was never my intention to score cheap points at the expense of polar bears, of driftwood, shores. The cockatoos roar. Their explosive chatter could strip a pine tree raw. Implant in me some destructive grace, to drift. Planetoid lamps all along the turnpike’s busy arcs. Extreme emissions of things. Drift-rings. The target of my gaze, sewn shut. Your eyes rising slower than a star from what you read, condensed into steam, here, north of all music. Driftories, signal fires, smoke: disappear. Go back to sleep now. No, we were never here. (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * * 1. To drift is to be propelled by currents. 2. Sentences are textual currents. 3. To drift is to be com pelled with currents. 4. To be compelled is to be overcome by some force. 5. To be overcome by some force requires the instantiation of a weightless body (virtual or actual), upon which and through which a force can operate. 6. Forces can be physical, cognitive, unconscious and sensory. 7. Forces of drift have no particular telos; they incline bodies without knowable destination. 8. Drifting is nomadic, where nomadism includes movements between places, times (also time-zones), genres, thought and cognitive states. 9. Forces are attractors; attractivity is a force. 10. Attractivity is a relation between force and body. 11. Attractivity is relation of exteriority; it is of the domain of the foreign. 12. To drift is to become the prey of attraction, the prey of the foreign. 13. In the movement of becoming prey, one can either be eaten or feed into a re-composition of things. 14. Drifting is liminal; it can be equally productive and destructive. 15. The deviated course implied by drifting may yield novelty, yet may equally yield a perpetual deferral of any positionality. 16. The state of drifting is necessary to the creation of novelty. 17. The state of drifting can inhibit the creation of novelty. 18. The modern drift was celebrated as a form of emancipation, through the liberation of urban structures traced on foot, to the negation of banal tasks in riding on the open highway. In the attention economy, drifting has become a paradigm of labour, precarious and otherwise. 19. To drift in a novel fashion requires a necessary threshold between distraction and re-attraction. 20. Re-attraction is a form of going off-track, yet implies the fidelity to an alter force. Re-attraction is eccentric in inclination, that is, decentred, casting alter orbits of orientation. 21. Eccentricity is a form of drift defined as a body inflected by the force of heterogeneous inclination. Eccentricity is the fidelity to the becoming-foreign of the body as prey to attractivity. 22. Drift as eccentricity is equal to the creation of novel modes of inclination alter to the limits of normative orbits of determinate trajectories. 23. The effects of eccentric drifting can only be known post-movement. 24. All modes of drifting (natural and cognitive) are relative to some former position, although distances and their capacity for measurement are inconsistent. 25. Eccentric drifting does not result in relativism. Drifting is transitional, and, like a Moiré pattern, produces interferences between things. 26. Where there is drifting there are both side-effects and side-affects, which feed-back into the inclination of drift itself. 27. Side-effects and side-affects may produce conditions and sensibilities of failure. 28. The ethics of drifting play out in the responsiveness to side-effects/side-affects. 29. Eccentric drifting is not algorithmic, informational, strategic nor opportunistic; it is tactically lived experience. 30. Eccentric drifting is a dance with contingency, of repositioning a body (a body includes thought) through the affirmation of re-attraction. 31. Eccentric drifting is a form of love, a love of existence that proceeds strategic coupling with ideas, people, situations, places and so forth. 32. As a form of love, eccentric drifting can generate changes of state (and even changes of State). 33. Currents that propel/compel a state of eccentric drifting may be imaginary; a possible current includes the attractive force to that which is not (yet) present. 34. Eccentric drifting is not only a state of transitional movement, but most importantly includes the fabrication of imaginary forces that could propel/compel a given body and its spheres of interaction. 35. These sentences comment on drift, but are not exemplary of drifting. (shrink)

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

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * The gaze drifts where the stare dares not. The gaze is attentive while the stare is intent. Dériver : Equally to drift and/or to derive. —When drifting then, something must be taken along. Something must be derived from the drift. Something of oneself must always become other. Incorporating the other, incorporating oneself as other. Je est un autre , Rimbaud disait; 1 this in his last letter to Georges Izambard, a final correspondence to a former mentor and friend, from whom he was drifting away, having derived much. The drift is a control incomplete. To drift is to come closer and closer, but to always be turning away, pulling apart, pulling oneself apart. It is parabolic in the sense that it is always eluding a formerly established intent. Of all axes, it never finds room to rest. Filling new spaces, always changing places, ever escaping the Cartesian; the indubitable pinpointing of position. It is never pinned down. Love together what we will be apart. Once together, we will drift apart. Il le faut . Attention is held; it traces the path. It follows each point which traces the arc, the line, the swerve. It is not concerned with the figure being drawn, but rather the movement between one point and the next. The smallest movement. The clinamen of De Rerum Natura is the smallest of swerves, it is nothing more than the minimum — nec plus quam minimum . Michel Serres says of the clinamen , that it is an absurdity — a logical, geometrical, mechanical, physical absurdity. 'The clinamen, from here (its state of absurdity), finds refuge in subjectivity; it passes from the world to the soul, from the physical to the metaphysical, from the theory of inert bodies in freefall to the theory of the free movements of the living.' 2 So this swerve is something of the mind and something of the body, both in action, rather than a body which is merely acted upon. Swerve, however, has a connotation of suddenness. It is a movement which is made to avoid an otherwise inevitable impact. Drift, on the other hand, is the unleashing of something which is then allowed to follow a more complex series of forces. These forces now come from within as well as without. It is no longer tethered; now following tides, winds, flows or pitched slopes, now acting on its own. We are not atoms in freefall. Our attention long ago pulled us from this precipitous descent. We now live, ourselves, as one of the many forces. In the drift, as with the gaze, there is an ease. ‘Ease is the proper name of this unrepresentable space.’ It is the space nearest, the next, the neighboring space. To occupy this space requires a turn, a shift or a drift. It cannot be reached by proceeding straight ahead. ‘..the space adjacent, the empty place where each can move freely, in a semantic constellation where spatial proximity borders on opportune time (ad-agio, moving at ease) and convenience borders on the correct relation.’ 3 Intention always seeks to straighten this line, to make it less complex, to isolate the point of departure and the desired destination. It believes there can be two points and, between them, there must be a straight line. Can there be? Maybe. Must there be? Never. Straight lines may exist, but they can never be followed to the finish. After leaving this point, we will never reach that one without being buffeted at least a little — at least the least. One foot in front of the other, this is a very restrictive dance, less even than a two-step. Straight lines lead only to lost intentions, being the shortest and quickest way to get there. When attention drifts it slowly turns away from the intended target, leaving it for something which pulls the attention away. Now we are for a moment free; all at once we can pivot, now we can waltz. Drifting along the page, deriving from what is seen. Reading is seeing; the movement of the eyes as they drift. Reading in the eyes what has been seen, what has been derived from the act of reading. Reading eyes drift back and forth down the page, now and then jump back and forth, up to the top, one word, back down, quickly a few pages back, now gaze out towards the horizon. When attention drifts it is the gaze that follows. Our attention is not restricted to the path the words follow, but links them together; deriving what is to be seen, rather than read. La philosophie fait voir . ‘Thus, philosophers speak through proverbs, and demonstrate. They connect their imaginations with foreign rings, flown into famous tombs.’ 4 Now drifting off to sleep, dreams come as unintended visions. To dream is pure drift, vision without an object, gazing into the dark, reading the unknown of the night. NOTES: Arthur Rimbaud, Poésies (Paris: Bibliothéque de Cluny, 1958), 57. Michel Serres, La Naissance de la Physique (Paris: Les Editions de Minuit, 1977), 10. Translation courtesy of R.H. Jackson. Giorgio Agamben, The Coming Community (Minneapolis: University of Minnesota, 1993), 25. Louis Aragon, Une Vague des Rêves (Paris: Editions Seghers, 2006), 10. Translation courtesy of R.H. Jackson.  . (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN INTENTION & ATTENTION thread: Jeremy Fernando, Sitting in the Dock of the bay, watching... * R.H. Jackson, Reading Eyes * Gina Rae Foster, Nyctoleptic Nomadism: The Drift/Swerve of Knowing * Bronwyn Lay, Driftwood * Patricia Reed, Sentences on Drifitng * David Prater, drift: a way * * * * * Australia, Summer, 2012. …. essential humanity exists, and runs its course, within a system whose first principle is the preservation of balance. And arching over it all, is the logos of The Dreaming. How shall we state this when we fully understand it I do not know, but I should think we are more likely to ennoble it than not. Equilibrium ennobled is abidingness.” 1 On return to birthplace I write. Caught between jetlag and surprise, a relentless sun cracks my skin. Upright words fall under cockatoo roars. The attempt to settle, to be attentive, is shaken. Some kind of Dreaming surrounds and elements intrude without consent. Homeless at home. Exhausted, I fight sleep’s hard currents. Their victory would confuse the body clock, so the in-between wins. Half-there — half-awake — here in this place — I am driftwood. Driftwood: wood floating in or washed ashore by a body of water. A severed limb set adrift from the birthing body. Tossed from home it’s cast into processes of wind, water, sand, bacteria, decay and movement. Driftwood is orphaned members at the mercy and agency of weather, currents, submersion, and being thrown into dry world. Driftwood — singular plural. White man got no dreaming. Him go ‘nother way. White man, him go different Him got road belong himself. 2 photo: Bronwyn Lay The old man comes from the northern rivers. A while ago, he could no longer pay attention to wage slavery, so retreated north to be with dead redgum that lay abandoned in dry riverbeds. Derived from driftwood peoples tossed here by the sea, he followed the fragile river veins of his birth. He walked along water bodies and through country’s lungs. Some kind of displaced ancestral song compelled his leathered hands to pick up centuries old driftwood from flood plains. It emerged from under muddy creeks, was flung up by salt soaked coves, pushed underground by cracks in the claypan and lay embedded in mud and salinized soil. Smoothed and grooved in equal measure, the branches were marked by an organic alphabet that preceded him. As he held the wood, he touched decomposing circles that started with a blast and never ceased writing into abandoned flesh. When the ute was full the old man returned home having been away with the stuff that ‘growed him up’. His shed filled with red sawdust and the sound of tools at labour. His hands sculptured driftwood. History carved into itinerant skin. I sit opposite the old man. His body no longer holds the repetition of carpentry. He can no longer gift driftwood its detail. Outside redgum bits lie scattered around the fence line and beside the dam. He crouches over an unreliable computer researching the massacres of indigenous peoples that occurred along the same river veins that ‘growed him up’ long ago. Staring into the remnants of frontier resistance that he and I inherit, his eyes nurture fire. He discovers severed limbs and the slicing of tribes. In the ashes of sentences he sifts the lies that smoulder into our histories. In the 30’s the anthropologist Stanner said that due to certain factors — lack of change and isolation — the ideal and real come very close together in indigenous Dreaming. They are a people who were able to defeat history. 3 “If the Ideal and the Real drift too far away from one another (as they did at the end of the middle ages and seem increasingly to do this century) men face some difficult options. They have to change their way of life, or their philosophy, or both, or live unhappily somewhere in-between.” 4 Stanner says Indigenous Dreaming is blackfella thinking. 5 Dreamtime is not ethereal, not utopic, or otherworldly. It’s fused with the real and it’s not mine. I might never understand, but it’s the substance of my home. This here place ‘growed me up’. Is driftwood the unhappy in-between? Is it a radical itinerant written upon by currents? Where are we? The settler restless? photo: Alison Pouliot I return to the bush late one night, tired from high talk in city cafes, to find the old man at his computer. He’s either researching his white farming ancestors, or tracing unrecorded massacres of blackfellas. I laugh, “You know Dad, if you were indigenous you might go out by the dam and sing up your ancestors rather than try find them on a screen.” He peers over his glasses. His stare delivers an ancestral scold. He’s white man. Of course he archives. This is our way. One may see that, like all men, he is a metaphysician in being able to transcend himself. With the metaphysician goes a mood and spirit, which I can only call a mood or spirit of assent, neither despair nor resignation, optimism not pessimism, quietism nor indifference. The mood, and the outlook beneath it, make him hopelessly out of place in a world in which the renaissance has triumphed only to be perverted, and in which the products of secular humanism, rationalism and science challenge their own hopes, indeed their beginnings.” 6 The clinamen sometimes comes abstract — the rarefied swerve of possibility. But in the place we gather &mdash where this text has landed — in the heart of settler colony denial — the clinamen reminds of familiar violence and goes maximum. The earth’s swerve. Topography’s tip. Physics gone violent. Here, drift is initiated by the tear of flesh, scurvy voyages, frontier blood and the deracination from belonging. Here, war precedes drift. We all got tossed. Here. Pay attention. The country has its own gaze. ‘Lest we forget’. The seasonal turn on aborescent substances starts with a fall, an upwards rupture, a drop, a cut, a storm, a violence, a loss, forced migration, refugees, agricultural imperialism, settler wheat and poisoned rations. Pay attention to aftermath debris. Don’t drift too far from the real. History hasn’t settled into the water. It still tosses limbs back and forth. Surrounded by the backdrop of Dreaming country the old man archives and dreams. Both ways of settling into the real. But lest we forget, time, in this place, has no textual tick — tock. Our bodies know this, even though we persist with shipwreck illusions. It’s difficult being here. Here. Pay inattention. I walk through eucalyptus, over dried out clay pans and under kookaburras. It’s been two years in-between. This time country speaks strong underfoot. Forget books, forget texts, forget other lands and times, beginning and end. Be here. All falls raw. Leaves drop and refuse to compost. Bark untethers quick. Light denudes worlds. The heated horizon melts monoliths. It’s enough to make Cartesians shiver. Awake. Refuse the temptation to run. Have enough courage to drift into here. Love with a gum tree. Stand with her whole and dissolving. She moves light between our limbs, tossing them to wind. She — the original romance — is the dream that dares touch flesh and reaches over nightmares with elemental desire. I gaze and lose me. There’s no distance. The land that ‘growed me up’ speaks with symbiotic breath. There’s no division, no separation, no other. The gum is plastic arborescence. You be my body for me, always were. …..but I wake to driftwood histories and recall slaughters. Drifted, wicked fellow citizen — the other is someone else’s blind sleep. Betrayal maintains the other as mine. Archives reveal this place doesn’t belong to me. Body articulates that it became here. Gumtree cares not………her arms take me in anyway. “Like all men he is a philosopher in being able to use his power of abstract reason. His genius, his metier, and in some sense — his fate is that because of endowment and circumstance this power has channelled itself mainly into one activity, making sense out of social relations among men living together.” 7 The old man excavates seven generations of settler ancestors. They’re an ordinary lot with written-upon skin. He records genocides that occurred alongside his peoples fertility. Bodies rise from riverbeds like sovereign sacrifices. It hurts. It disrupts. He labours at the past with gestures that might go unnoticed in a country suffocated by rich amnesia. Inside walls, he seems attentive to historical details. Outside he seems inattentive to time, lost to us and embedded in a family of active matter — the bush. His driftwood skin appears around my eyes - grooves of experience, the rush of cruel sun, the push of blind winds, and the love of everything. The sovereign’s reluctant children are thrown here by, with and through blood, but country gets in and sculpts us here. photo: Chris Corrigan “But his abstractions do not put him at war with himself.” 8 The kangaroo family appears at dusk. When the sun is soft I follow the old man into the back paddock. Children skip behind us. In-between generations, I step into the old man’s driftwood leanings. My feet find traces of his understanding – the archivist that reads trees. Here, on home dirt, inattention and attention collapse as we wander into where we are. The roo family gaze at us. Through the grass the old man’s wooden finger articulates kin’s details. He points to the head male, the mother holding a joey in pouch and the young warriors side by side. My children, quieter than ever, meet the laser - eyed silence of another family. In half-light Dad, me, and the kids mirror the kangaroo constellation and stand gentle together. At the bushblock’s limit we encounter ancestral desires. White peoples are subject to driftwood histories. We’re severed limbs attempting to fuse here now, with what was, only to discover our skin becomes racked and embedded with the weather. Into the shelter and fissures of this difficult and ambiguous inheritance, I fall into dream light until balance saturates. Light breaks when the kangaroos move. They bounce someplace else without effort or impact. We turn and tread through the dark towards home. It’s time to sleep. Driftwood skin covers the country. Dreaming is still. photo: Bronwyn Lay NOTES W.E.H. Stanner, The Dreaming and Other Essays , (Melbourne: Black Inc. Agenda, 2009), 72. Ibid., 56. Stanner is recalling one intelligent old man who said to him, “with a cadence almost as though he had been speaking in verse.” Ibid., 60. Ibid., 69. Ibid., 58. Ibid., 67. Ibid., 68. Ibid., 59.  . (shrink)

David Keyt presents a clear and accurate new translation of the the fifth and sixth books of Aristotle's Politics, together with a philosophical and historical commentary. The Politics is a key document in Western political thought; it raises and discusses many political issues, theoretical and practical, which are still widely debated today. The major topics of these two books are equality, democracy, tyranny, revolution, and reform.

David Houston Jones builds a bridge between practices conventionally understood as forensic, such as crime scene investigation, and the broader field of activity which the forensic now designates, for example performance and installation art, as well as photography. Contemporary work in these areas responds both to forensic evidence, including crime scene photography, and to some of the assumptions underpinning its consumption. It asks how we look, and in whose name, foregrounding and scrutinising the enduring presence of voyeurism in visual (...) media and instituting new forms of ethical engagement. Such work responds to the object-oriented culture associated with the forensic and offers a reassessment of the relationship of human voice and material evidence. It displays an enduring debt to the discursive model of testimony which has so far been insufficiently recognised, and which forms the basis for a new ethical understanding of the forensic. Jones's analysis brings this methodology to bear upon a strand of contemporary visual activity which has the power to significantly redefine our understandings of the production, analysis and deployment of evidence. Artists examined include Forensic Architecture, Simon Norfolk, Melanie Pullen, Angela Strassheim, John Gerrard, Julian Charrière, Trevor Paglen, Laura Poitras and Sophie Ristelhueber. The book will be of interest to scholars working in art history, visual culture, literary studies, modern languages, photography and critical theory. (shrink)

In the most radical rereading of the opening chapters of Genesis since the Zohar, David Kishik reveals the post-secular and post-human implications of an ancient text that is part of our cultural DNA.

David Levine and Mathew Bowker explore cultural and political trends organized around the conviction that the world we live in is a dangerous place to be, that it is dominated by hate and destruction, and that in it our primary task is to survive by carrying on a life-long struggle against hostile forces. Their method involves the analysis of public fantasies to reveal their hidden meanings. The central fantasy explored is the fantasy of a destroyed world, which appears most (...) commonly in the form of post-apocalyptic and dystopian narratives. Their special concern in the book is with defenses against the painful consequences of the dominance of this fantasy in the inner world, especially defenses involving the use of guilt to assure that something can be done to repair the destroyed world. Topics explored include: the formation of internal fortresses and their projection into the world outside, forms of guilt including bystander guilt and survivor guilt, the loss of and search for home, and manic forms of reparation. (shrink)

Assorted fruit from forty years' writing, these essays by David Braybrooke discuss (in Part One of the book) a variety of concrete, practical topics that ethical concerns bring into politics: people's interests; their needs as well as their preferences; their work and their commitment to work; their participation in politics and in other group activities. Essays follow on the justice with which theme matters are arranged for and on the common good in which they are consolidated. Justice here inspires (...) a 'departures' approach, which moves from agreement on departures from commutative justice to agreement on measures of distributive justice needed to forestall such departures. Another essay (first published here) radically undermines the odd but entrenched belief that utilitarianism classically licenced, even prescribed, systematically sacrificing the happiness of some people to give others greater pleasure. Part II and Part III of the book concentrate upon the subject of settled social rules, which are devices for securing the objectives treated in Part I. Part II shows that rules are ubiquitous in ethics, since there are no virtues without rules, just as there are no (justified) rules; without virtues. Part Two also shows that rules are as ubiquitous in social phenomena as the causal regularities sought by one school of social science. Part III captures the dialectic of history at least in part by a logical analysis of changes in rules following the onset of quandaries. It then considers how political choices can be both prudent, by keeping within duly considered incremental limits, and yet imaginative enough to escape the recent embarrassments generated by social choice theory. Characteristically versatile in topic and style, Braybrooke offers original light on all theme subjects. One reader has commented, ' His] prose is elegant and always a pleasure to read. Some of the pieces are nothing short of brilliant.' Which did the reader have in mind? Readers may differ (they already have) on just which pieces they would rank highest. (shrink)

In Paradise Wild, David Oates addresses this and many other provocative questions as he explores the persistent myth of Eden from several different angles. As a lifelong mountaineer and reader of nature literature, as a scholar, as a descendant of naturalist William Bartram, and as a gay ex-Baptist who took to the mountains to test his masculinity, Oates has thought deeply about how nature and culture interact in our lives and about the contemporary debate over wilderness and environment. Paradise (...) Wild brings all these elements together in a lively, genre-hopping book that will move readers emotionally and intellectually, at the same time that it contributes to the ongoing debate in scholarly and environmental circles over the meaning of "nature" and "wilderness." Paradise Wild tells stories, explores major scholarship and literature of nature, and analyzes how the misapplied myth of Eden has mired Americans in a hopeless "Paradise Lost" mentality that belies the true, ever-present wildness in our lives. Oates argues that mourning for a lost paradise is a dead end that cannot help us combat the real damage we're doing to ourselves and the rest of the world. He proposes a healthy re-mythologizing of the Eden story as a way of celebrating "wildness" -- the Eden in each moment and in each cell, that cannot be lost. His book is about welcoming that wildness into the midst of daily life. This bold and original work will appeal to general readers as well as to scholars and students with an interest in environmental literature and philosophy, nature writing, cultural studies, and queer studies. (shrink)

What is the cultural value of illegal works that violate the copyrights of popular fiction? Why do they persist despite clear and stringent intellectual property laws? Drawing on the disciplines of new media, law, and literary studies, Illegal Literature suggests that extralegal works such as fan fiction are critical to a system that spurs the evolution of culture. Reconsidering voices relegated to the cultural periphery, David S. Roh shows how infrastructure--in the form of legal policy and network distribution--slows or (...) accelerates the rate of change. He analyzes the relationship between intellectual property rights and American literature in two recent copyright disputes. And, in comparing American fan fiction and Japanese dojinshi, he illustrates how infrastructure and legal climates detract from or encourage fledgling creativity. Illegal Literature fills a crucial gap between the scholarly and the popular by closely examining several modes of marginalized cultural production. Roh makes the case for protecting an environment conducive to literary heresy, the articulation of an accretive rather than solitary authorial genius, and the idea that letting go rather than holding on is important to a generative creative process. In a media ecology inundated by unauthorized materials, Illegal Literature argues that the proliferation of unsanctioned texts may actually benefit literary and cultural development. (shrink)

Citizens in the contemporary world have become alienated from politics because they conceive of it as an instrumental activity. David Antonini argues that Hannah Arendt's thought can help us recover meaningful political experience: a distinct experience of politics in which citizens can speak and act together.

In Science, Order and Creativity, David Bohm and F. David Peat argue that science has lost its way in recent years and needs to go beyond a narrow and fragmented view of nature and embrace a wider holistic view that restores the importance of creativity and communication for all humanity - not just scientists. The result of a close collaboration by one of the 20th century's greatest physicists and thinkers, David Bohm, with leading science writer F. (...) class='Hi'>David Peat, provides a rare combination of profound reflection and clear exposition that can be appreciated by anyone concerned with science and its importance in our lives. This new edition includes a new preface and an extended additional chapter by Peat which draws upon further discussions with David Bohm before the latter's death in 1992. A fascinating diagnosis and considered proposal for a cure for science's ills, it is also very accessible entry point to the work of David Bohm. Bohm and Peat contend that science has lost its bearings in the last century in favour of a narrow, abstracted, fragmented approach to nature and reality. Tracing the history of science, Bohm and Peat offer intriguing new insights into how scientific theories come into being, how to eliminate blocks of creativity and how science can lead to a deeper understanding of society, the human condition and the human mind itself. (shrink)

The orphaned son of an Anglican clergyman, David Hartley was originally destined for holy orders. Declining to subscribe to the Thirty-Nine Articles, he turned to medicine and science yet remained a religious believer. This, his most significant work, provides a rigorous analysis of human nature, blending philosophy, psychology and theology. First published in two volumes in 1749, Observations on Man is notable for being based on the doctrine of the association of ideas. It greatly influenced scientists, theologians, social reformers (...) and poets: Samuel Taylor Coleridge, who named his eldest son after Hartley, had his portrait painted while holding a copy. In Volume 1, Hartley utilises Newtonian science in his observations. He presents a theory of 'vibrations', explaining how the elements of the nerves and brain interact as a result of stimulation, creating 'associations' and emotions. (shrink)

Why does agency-the capacity to make choices and to act in the world-matter to us? Why is it meaningful that our intentions have effects in the world, that they reflect our sense of identity, that they embody what we value? David Kyuman Kim addresses these crucial questions by uncovering the political, moral, philosophical, and religious dimensions of human agency. Through a critical engagement with the work of theorists such as Judith Butler, Charles Taylor, and Stanley Cavell, Kim argues that (...) late modern and postmodern agency is found most effectively at work in what he calls "projects of regenerating agency" or critical and strategic responses to loss. Agency as melancholic freedom begins and endures, Kim maintains, through the moral and psychic losses associated with a broad range of experiences, including the moral identities shaped by secularized modernity and the multifold forms of alienation experienced by those who suffer the indignities of racial, gender, class, and sexuality discrimination and oppression. Kim calls for renewing the sense of urgency in our political and moral engagements by seeing agency as a vocation, where the aspiration for self-transformation and the human need for hope are fundamental concerns. (shrink)

In this uniquely and timely collection, David LaRocca offers us a thoughtful reminder that the very possibility and urgent task of thinking, of our acting and judging, ethics and politics, rests upon a willing exposure to an aspect of our everyday and ordinary experience that is hard to grasp and eludes most, perhaps all, epistemic criteria. Metaphysicians, mystics, and moral perfectionists of all stripes have called this 'the transcendental', thus risking the fatal misunderstanding that this means only 'the transcendent', (...) leading to the dualist assumption that we are citizens of two separate (earthly and heavenly) cities or (phenomenal and noumenal) worlds. Yet the truth is far more simple, if much harder to accept and then also live by. We are what we are, here and now. Yet we're not, therefore, irrevocably bound by what thus is said 'to be' -- much less by the proverbial powers that will always be -- in what we can still further imagine and aim or hope for, against the odds, as it were. In this brilliantly edited and introduced anthology, LaRocca presents us with the broadest selection of authors, philosophers, visionaries, and artists, who have expressed this simple, difficult truth and freedom in the most profound and varied ways."--Hent de Vries's review, p. [i]. (shrink)

Wars have played a momentous role in shaping the course of human history. The ever-present specter of conflict has made it an enduring topic of interest in popular culture, and many movies, from Hollywood blockbusters to independent films, have sought to show the complexities and horrors of war on-screen. In The Philosophy of War Films, David LaRocca compiles a series of essays by prominent scholars that examine the impact of representing war in film and the influence that cinematic images (...) of battle have on human consciousness, belief, and action. The contributors explore a variety of topics, including the aesthetics of war as portrayed on-screen, the effect war has on personal identity, and the ethical problems presented by war. Drawing upon analyses of iconic and critically acclaimed war films such as Saving Private Ryan (1998), The Thin Red Line (1998), Rescue Dawn (2006), Restrepo (2010), and Zero Dark Thirty (2012), this volume's examination of the genre creates new ways of thinking about the philosophy of war. A fascinating look at the manner in which combat and its aftermath are depicted cinematically, The Philosophy of War Films is a timely and engaging read for any philosopher, filmmaker, reader, or viewer who desires a deeper understanding of war and its representation in popular culture. (shrink)

Among the many instruments devised by students of mathematical sciences in ancient Greece, the monochord provides one of the best opportunities to examine the methodologies of those who employed it in their investigations. Consisting of a single string which could be divided at measured points by means of movable bridges, it was used to demonstrate theorems about the arithmetical relationships between pitched sounds in music. This book traces the history of the monochord and its multiple uses down to Ptolemy, bringing (...) together all the relevant evidence in one comprehensive study. By comparing the monochord with a number of other ancient scientific instruments and their uses, David Creese shows how the investigation of music in ancient Greece not only shares in the patterns of demonstrative and argumentative instrument use common to other sciences, but also goes beyond them in offering the possibility of a rigorous empiricism unparalleled in Greek science. (shrink)

An edition of the recently discovered notebook used in the seventeenth-century by John Wallis to teach language to the 'deaf mute' Alexander Popham, who could not inherit unless he could speak - one of the most famous cases in the history of deaf education. David Cram and Jaap Maat place the work in its personal, social, and scientific contexts.

Widely regarded as the founder of the Islamic philosophical tradition, and as the single greatest philosophical authority after Aristotle by his successors in the medieval Islamic, Jewish, and Christian communities, Alfarabi was a leading figure in the fields of Aristotelian logic and Platonic political science. The first complete English translation of his commentary on Aristotle's Topics, Alfarabi's Book of Dialectic, or Kitāb al-Jadal, is presented here in a deeply researched edition based on the most complete Arabic manuscript sources. David (...) M. DiPasquale argues that Alfarabi's understanding of the Socratic art of dialectic is the key prism through which to grasp his recovery of an authentic tradition of Greek science on the verge of extinction. He also suggests that the Book of Dialectic is unique to the extent to which it unites Alfarabi's logical and political writings, opening up novel ways of interpreting Alfarabi's influence. (shrink)

The material reprinted in this two-volume set, first published in 1989, covers the first eighty-five years in responses to George Berkeley’s writings. David Berman identifies several key waves of eighteenth-century criticism surrounding Berkeley’s philosophies, ranging from hostile and discounted, to valued and defended. The first volume includes an account of the life of Berkeley by J. Murray and key responses from 1711 to 1748, whilst the second volume covers the years between 1745 and 1796. This fascinating reissue illustrates the (...) breadth and diversity of the early reaction to Berkeley’s philosophies, and will help students and academics form a clear image of both Berkeley’s work and his reputation through the eyes of his contemporaries. (shrink)

Milan, David An atheist and his christian friend are engaged in cordial conversation. The latter is taken aback and is rather indignant when his atheist friend declaims, 'On this question of the existence of god I believe that our respective positions are much closer than you imagine'. The Christian's firm riposte is that, by definition, such a harmony of viewpoints is impossible. Unfazed, his non-believing friend offers a thoughtful defence of his claim. He begins, 'You know that, since time (...) immemorial, humankind has taken unto itself all manner of gods, and that almost all of these tribal deities have long since vanished into obscurity.'. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:NOTES AND DISCUSSIONS 161 2) You wish him to become what he is not, and no longer to be what he is now (literally: what he is now, no longer to be [283d 2-3]). 3) You wish for his death, since you wish him no longer to be (283d 5-6). The obvious way of dealing with this argument is to make precisely the distinction made by the author of (...) the Dissoi Logoi at V, 15: we should say to Dionysodorus, "Your conclusion that the friends of Cleinias wish for his death is the result of an illegitimate step: you went from 'you wish him not to be ignorant' to 'you wish him not to be'. To have made this step is to have ignored the distinction between existence with respect to some particular thing, i.e., ignorance, and existence in general." (A later critic might point out to Dionysodorus that he has confused the copulative and existential uses of the verb "to be.") It now becomes possible to return to the question, which of the two formulations, (a) or (b), does the author of the Dissoi Logoi presuppose? On the basis of the Euthydemus passage, it seems likely that he presupposed both. The conclusion of Dionysodorus' argument is (b), that Cleinias does not exist, but his conclusion is based upon (a) that Cleinias both is (ignorant) and is not (wise). The Euthydemus passage shows clearly that the words "if someone denies that the man exists" are considerably less of a non sequitur than might first appear. CONCLUSmN. The fallacy-solving distinction of Dissoi Logoi, u 15 was probably understood by Plato~ although not clearly formulated until Aristotle. How is this fact to be assimilated? Is the Dissoi Logoi (or at least this section) much later than has hitherto been presupposed? Or have scholars simply failed to credit its author with this important distinction? Until we have additional studies of the treatise, further discussion would be premature. ROSAMOND KENT SPRAGUE University o] South Carolina HUME'S A LETTER FROM A GENTLEMAN, A REVIEW NOTE In his biography of David Hume, E. C. Mossner notes that on May 21, 1745 there appeared in two Edinburgh newspapers the following advertisement: This Day will be published, and sold by the Booksellersin Town, A LETTER from a Gentlemanto his Friend at Edinburgh: containing some Observations on a Specimenof the PrinciplesconcerningRELIGION and MORALITY, said to be maintain 'd in a Booklately published,intituled, A Treatiseo] Human Nature, &c.I This Letter, Mossner discloses, was sent by David Hume to his friend Henry Home (later Lord Kames), and its publication was, he suggests, the "last 7A later passagein the Euthydemus, 293b ft.,in whichSocratesuses obstructive tactics when the sophistswish to movefrom "knowingx" to "knowingsimpliciter" seems to me to point in this direction.See R. K. Sprague,Plato's Use o] Fallacy (London, 1962),22-23, and passim on secundumquid. 1See The Li]e o] David Hume (Edinburgh: Thomas Nelson & Sons, Ltd., 1954), pp. 153162,esp.p. 160. 162 HISTORY OF PHILOSOPHY frantic effort" by Hume's friends to stem the rising opposition to his appointment to the vacant chair of Ethics and Pneumatical Philosophy at Edinburgh University. Mossner was obliged to report further, however, not only that this effort had been in vain, but also that what "may well constitute an important document in the further interpretation of some aspects of the Treatise" has "never been located." z Now a copy of the Letter has been located. It was purchased from a Birmingham bookseller in December, 1966, by the National Library of Scotland. And, with admirable celerity, a facsimile edition of it has been published by the Edinburgh University Press. Adding still further to the value of this important discovery is the accompanying Introduction which describes the events, parties, and personalities which occasioned the Letter. The editors tell us that John Pringle first offered to resign his chair of philosophy in June, 1744, two years after he had taken leave to accept the position of Physician-General to the British forces in Flanders. He sent his offer to John Coutts, Lord Provost of Edinburgh, and Courts, in turn, suggested to Hume that he apply. Had Pringle not delayed... (shrink)

Is something true because we believe it to be so or because it is true? How can a culturally bound community achieve scientific knowledge when values, attitudes, and desires shape its beliefs? In this book an eminent philosopher considers various schools of thought on the nature of truth. David Weissman argues that truth exists in the correspondence between statement and fact: what can be said about our world can be measured against a reality that has a character and existence (...) independent of any property we ascribe to it. Weissman begins by evaluating the transcendental paradigm of Kant that has exercised enormous influence in the development of Western thought over the past two hundred years. He develops his critique of the Kantian model, in which value judgments underlie the perception or construction of truth, asserting that it is seriously flawed because it renders a determination of truth impossible. Weissman examines various value-driven perspectives on truth developed by such philosophers as Foucault, Derrida, and Rorty, for whom truth is only the set of affirmations, principles, and procedures sanctioned by power and value. However, says Weissman, truth is the required adjunct to desire. Knowing who we are, where we have been, and the consequences of what we have done is the essential preparation for choosing what to do next. We must respect the integrity of a world we have not made and find our way within it with the help of attitudes and desires that have been informed by truth. (shrink)

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

The prelims comprise: Introduction How it Works Sources of Error and Uncertainty DNA Typing Results as Legal Evidence The Legal Reception of DNA Typing DNA Typing and the Judicial Assessment of Scientific Evidence Social Impact: Criminal Investigation and Adjudication Conclusion Notes.

The shape and turnover of photoreceptor membranes appears to depend on associated actin filaments. In dipterans, the photoreceptor membrane is microvillar. It is turned over by the addition of new membrane at the bases of the microvilli and by subsequent shedding, mostly from the distal ends. Each microvillus contains actin filaments as a component of its cytoskeletal core. Two myosin I‐like proteins co‐localize with the actin filaments. It is suggested that one of the myosin I‐like proteins might be linked to (...) the microvillar membrane. By interacting with the actin filaments, this motor should move the membrane of a microvillus in a distal direction, thus providing a possible mechanism for the turnover of the membrane.A vertebrate photoreceptor cell contains a small cluster of actin filaments in its connecting cilium at the site where new transductive disk membranes are formed. Disruption of the actin filaments perturbs disk morphogenesis. The most likely explanation for this perturbation is that the process of initiating a new disk is inhibited. Conventional myosin (myosin II) is found in the connecting cilium with the same distribution as actin. A simple model is proposed to illustrate how the actin–myosin system of the connecting cilium might function to initiate the morphogenesis of a disk membrane. (shrink)

Ranson, David Review of: The blessing of mercy: Biblical perspectives and ecological challenges, by Veronica M. Lawson, Northcote, VIC: Morning Star, 2015, pp. 86, $19.95.

In lieu of an abstract, here is a brief excerpt of the content:American Journal of Philology 122.2 (2001) 270-274 [Access article in PDF] Elizabeth S. Belfiore. Murder among Friends: Violation of "Philia" in Greek Tragedy. New York: Oxford University Press, 2000. xix + 282 pp. Cloth, $55. In explaining the kinds of situations that are dreadful or pitiable, Aristotle tells us in the Poetics (1453b14-23) that all actions occur between friends (philoi), enemies, or neither: the classification is evidently meant to (...) be exhaustive, and the third term, is added to the usual binary, friend or foe, for the sake of greater precision. Acts between enemies or neutral parties do not arouse pity, apart from the nature of the event itself (pathos). What one wants, then, is situations in which they occur en tais philiais, such as brother killing brother, son father, mother son, son mother, and the like--in other words, to judge from the instances Aristotle offers, when violence takes place within the family. The somewhat odd phrase, "within affective relationships"--embraces familial bonds, whereas en tois philois would, I believe, have suggested rather friends who are unrelated by blood.Such, at least, is my interpretation of the passage. Elizabeth Belfiore disagrees: in an appendix to the first chapter of her book, in which she discusses my published views on the question, she maintains that here "the noun philos surely has the same range as philia, and both refer primarily, if not exclusively, to relationships among close blood kin" (20). Whatever the sense of philos, however, Aristotle clearly means that tragedy is best at eliciting pity when it deals with tensions within the family, and, as Belfiore notes, such bonds are "central to more than half" the extant tragedies (xv)--and relations by marriage are not included in this figure. Of those fragmentary plays whose plots can be reconstructed with some confidence (Belfiore analyzes 141), 69 involve harm or the threat of harm to blood relatives, according to Belfiore. A dozen more focus on spouses, again classified separately under the heading "reciprocal relationships," which covers also xenia and suppliancy (202-3), although Belfiore (6) notes that Aristotle lists marriage under philia sungenikê (NE 9.4; EE 7.6-7), while guest-friendship belongs rather to koinônikê (supplication is not discussed in NE 8-9). "Reciprocal relationships" is thus a problematic class, since it includes bonds that the Greeks would, I think, have seen as quite distinct. Be that as it may, "Murder among Kin" might have been a more suitable title for this volume, especially [End Page 270] given that violence between friends in the narrow or modern sense is virtually nonexistent in Greek tragedy. It is an unfortunate consequence of broadening the meaning of philos that this circumstance goes unexplained in Belfiore's discussion.Before examining Belfiore's argument in more detail, let me first give an overview of the structure of the book. It falls into two halves of about equal length. The first part consists of a general overview of philia relations in Greek literature, followed by close readings of five tragedies. These include Euripides' Iphigenia in Tauris, where the danger is fratricide; Aeschylus' Suppliant Women, the theme of which is defined as "the suppliant bride"; Sophocles' Philoctetes, which is treated as a play about xenia; Euripides' Andromache; and Sophocles' Ajax, in which suicide is taken to be a violation of the most intimate kind of philia, that which obtains with oneself (the chapter title is "Killing One's Closest Philos").The second part consists of three appendices, the first of which summarizes the plots of the surviving tragedies other than the five singled out for treatment in the body of the text. These are arranged by category: blood kinship, subdivided in turn into "parent harms child," "child harms parent," "sibling harms sibling," and "harm to other blood kin" (17 plays in all); reciprocal relationships, covering marriage, xenia, and "suppliancy"; and exceptional plays, including Sophocles' Ajax and Euripides' Andromache. Within each subcategory, plays are treated by author, with individual works arranged in alphabetical order of the English titles. Thus, "parent harms child" begins with Aeschylus' Eumenides, followed... (shrink)

Over the past two years, several political commentators have drawn on Plato’s Republic to shed light on our last presidential election. Many of these authors emphasize the features of democracy that make it especially susceptible to demagoguery, which heralds the arrival of tyranny, and then go on to relate this to Donald Trump’s political ascension. The problem with these analyses is that they tend to unquestioningly adopt Plato’s pessimistic view of democracy. While Plato’s criticisms do have the virtue of making (...) us aware of democracy’s weaknesses, we would argue that our present political circumstances did not issue from these flaws. This makes these criticisms irrelevant. Other commentators come closer to the mark when they talk about Plato’s passages addressing the person of the tyrant in Book IX, but what is lacking in these accounts is a context that more fully explains why the tyrant is what he is, in Platonic terms. In this essay we argue that other parts of the Republic, particularly Book IV, can tell us much more about Trump and his presidency. This part of the dialogue deals with Plato’s conception of human nature, which he presents in his discussion of the soul or psyche [ψυχή]. An examination of these passages will grant us insight into the Trump’s actions and utterances and show that the president is not only intellectually but also temperamentally unqualified for his office, which should give citizens good cause for worry. (shrink)

Included are essays in epistemology, metaphysics, and philosophical psychology by one of the most important twentieth-century continental philosophers.