The article presents an analysis of a mystical practice of letter permutation conceived as part of the practice of “kavannah” in prayer. This practice was articulated by a 13th century anonymous ecstatic kabbalist writing in Catalonia. The anonymous author draws on earlier sources in the kabbalah and Ashkenazi spirituality. The article explores the wider connection between ecstasy and ritual, particularly prayer in the earlier stages of Judaism and its development in medieval theology and kabbalah. The anonymous author (...) describes a unique permutation technique capable of inducing ecstatic experiences as part of the liturgical ritual. (shrink)

This article reevaluates the mystical techniques and experiences peculiar to Abraham Abulafia’s Kabbalah and attempts to offer an alternative approach to their dominant understanding, which largely depends on Moshe Idel’s work. Current scholars of Jewish mysticism have a habit of highlighting the “unique character” of Abulafia’s mystical practices while asserting that they cannot be compared with the induction techniques and the psychophysical phenomena typical of hypnosis. While generally agreeing with the scholars discussed that the hyperactivation of the mind found (...) in Abulafian Kabbalah contrasts sharply with the mental relaxation attained through the mystical practices of other religious traditions, the present study takes issue with the current view of Abulafian Kabbalah’s relation to hypnotic procedures, processes, and states. This work addresses the issues present with the current view and offers a more inclusive model for interpreting Abulafia’s Kabbalah, drawing from psychiatrist Roland Fischer. (shrink)

In the course of his studies on Kabbalah, Moshe Idel has written on the influence of Kabbalists on philosophy. He suggests that Spinoza was influenced by the Kabbalah regarding his expressions “Deus sive Natura“ and “amor Dei intellectualis.” The 13th-century ecstatic Kabbalist Rabbi Abraham Abulafia and many authors after him cited the numerical equivalence of the Hebrew words for God and Nature: elohim = ha-teba` = 86. This striking numerical equivalence may be one of the sources of Spinoza’s (...) expression “Deus sive Natura.” The same Kabbalist used the Hebrew expression “ahabah elohit sikhlit“ (“divine intellectual love”), which may underlie Spinoza’s expression “amor Dei intellectualis.” Abulafia’s expression “ahabah elohit sikhlit“ is repeated by the popular 15th-century Maimonidean philosopher, Rabbi Abraham Shalom. (shrink)

Addressing the alleged "great secrets" contained in Scripture, Spinoza wrote in the Theological Political Treatise : "I have also read, and for that matter, known personally, certain Kabbalistic triflers. I've never been able to be sufficiently amazed by their madness". Were these words Spinoza's only reference to the Kabbalah, we would hardly have any reason to believe that his attitude toward the Kabbalistic literature was anything but dismissive. However, in a 1675 letter to Henry Oldenburg, Spinoza stressed that he (...) shared the view that "all things are in God" with certain ancient traditions of the Hebrews, "corrupted as they have been in many ways"... (shrink)

Objective: Atypical patterns of language lateralization due to early reorganizational processes constitute a challenge in the pre-surgical evaluation of patients with pharmaco-resistant epilepsy. There is no consensus on an optimal analysis method used for the identification of language dominance in MEG. This study examines the concordance between MEG source localization of beta power desynchronization and fMRI with regard to lateralization and localization of expressive and receptive language areas using a visual verb generation task.Methods: Twenty-five patients with pharmaco-resistant epilepsy, including six (...) patients with atypical language lateralization, and ten right-handed controls obtained MEG and fMRI language assessment. Fourteen patients additionally underwent the Wada test. We analyzed MEG beta power desynchronization in sensor (controls) and source space (patients and controls). Beta power decrease between 13 and 35 Hz was localized applying Dynamic Imaging of Coherent Sources Beamformer technique. Statistical inferences were grounded on cluster-based permutation testing for single subjects.Results: Event-related desynchronization of beta power in MEG was seen within the language-dominant frontal and temporal lobe and within the premotor cortex. Our analysis pipeline consistently yielded left language dominance with high laterality indices in controls. Language lateralization in MEG and Wada test agreed in all 14 patients for inferior frontal, temporal and pari... (shrink)

This text deals with Moshe Idel’s perspective on the connections between Maimonide’s philosophy and Abulafia’s esoteric thought. Idel analyses their thinking under the aspect of their appearance, inter-relation, and inner dynamics. Idel’s analysis reveals that Maimonide’s attempt to issue an esoteric book, one that would give back to Judaism a lost esoteric science, gave a particular impulse to the development of Jewish mysticism, and especially to the ecstatic Kabbalah. Maimonide attempted to transform philosophy into a mystic instrument of understanding (...) the secrets of the Torah. This fact determined Abulafia to re-signify the Maimonidean thought and to integrate it into a limit experience of “unio mystica”. In this context, several aspects concerning the arcanization and the super-arcanization of philosophical and mystical texts are discussed. (shrink)

This article opens with a brief phenomenological comparison between Gershom Scholem’s Major Trends in Jewish Mysticism and Moshe Idel’s Kabbalah: New Perspectives. Scholem’s book is diachronic or historical in approach while Idel’s is primarily synchronistic, focusing on devekut (devotion) in Jewish Mysticism, the concept of Unio Mystica, a variety of mystical techniques, Kabbalistic theosophy, theurgy, and Kabbalistic hermeneutics. The author concentrates on four characteristics of Idel’s studies in Kabbalah and Jewish mysticism: ecstatic Kabbalah, the definition of Jewish mysticism, Hasidism (...) as a spiritual movement and the study of Jewish magic. In addition he discusses key criticisms leveled at Idel’s treatment of these subjects. (shrink)

This article deals with the incompatibility of Christian and Jewish stereotypes in asceticism and tries to establish new models for approaching ascetic tendencies within the latter. In the context of halachic regulations we examine different ascetic aspects within Judaism, with a special focus on medieval Spain. In this area we observe a certain interaction between Jewish and Sufi trends, esp. in the works of Bachja ibn Paquda, Abraham bar Chijja and Abraham Maimonides. In the works of these authors (...) we find tripartite models of asceticism which signify the path to the deity. In a comparison with Sufi texts such as those of Al-Gazali, the three levels of repentance/law, meditation/path and the recognition of the divine truth are shown to be intertwined in a similar way, and all describe the way of the philosopher or mystic to the highest knowledge. In a further section this tripartite schema is compared to kabbalistic texts with their ideas of ascent and union with the divine within ecstatic kabbalah. In the first example we observe how an erotic impulse may lead to an ascetic way of life and how the horizontal move out of society leads to a vertical ascent of the soul and the foundation of a new, mobile society. In the second text we also detect the three intertwined stages of our model and see how ascetic preparations lead to an erotic union of the mystic’s soul with the divine intellect. Asceticism is described in both texts as a mode of transformation and the path between two extremes, which finally leads to intimate knowledge of the deity. (shrink)

We present some techniques in c.c.c. forcing, and apply them to prove consistency results concerning the isomorphism and embeddability relations on the family of ℵ 1 -dense sets of real numbers. In this direction we continue the work of Baumgartner [2] who proved the axiom BA stating that every two ℵ 1 -dense subsets of R are isomorphic, is consistent. We e.g. prove Con). Let K H, be the set of order types of ℵ 1 -dense homogeneous subsets of R (...) with the relation of embeddability. We prove that for every finite model L, : Con iff L is a distributive lattice. We prove that it is consistent that the Magidor-Malitz language is not countably compact. We deal with the consistency of certain topological partition theorems. E.g. We prove that MA is consistent with the axiom OCA which says: “If X is a second countable space of power ℵ 1, and { U 0,\h.;, U n−1 } is a cover of D ▪ X x X -} x,x> ¦ x ϵ X } consisting of symmetric open sets, then X can be partitioned into { X i \brvbar; i ϵ ω } such that for every i ϵ ω there is l such that D ⊇ U l ”. We also prove that MA+OCA [xrArr] 2 ℵ 0 = ℵ 2. (shrink)

It is commonly argued that an undesirable feature of a theoretical or phenomenological model is that salient observables are sensitive to values of parameters in the model. But in what sense is it undesirable to have such ‘fine-tuning’ of observables? In this paper, we argue that the fine-tuning can be interpreted as a shortcoming of the explanatory capacity of the model: in particular it signals a lack of a particular type of explanatory depth. The aspect of depth that we probe (...) relates most closely to a lack of sensitivity to changes in parameters associated with such models. In support of this argument, we develop a schema—for models that arise broadly in physical settings—that quantitatively relates fine-tuning of observables to a lack of depth of explanations based on these models. We apply our schema in two different settings in which, within each setting, we compare the depth of two competing explanations. The first setting involves explanations for the Euclidean nature of spatial slices of the universe today: in particular, we compare an explanation provided by the big-bang model of the early 1970s with an explanation provided by a general model of cosmic inflation. The second setting has a more phenomenological character, where the goal is to infer from a limited sequence of data points, using maximum entropy techniques, the underlying probability distribution from which these data are drawn. In both of these settings we find that our analysis favors the model that intuitively provides the deeper explanation of the observable of interest. We thus provide an account that relates two ‘theoretical virtues’ of models used broadly in physical settings—namely, a lack of fine-tuning and explanatory depth—and argue that finely tuned models sacrifice explanatory depth. (shrink)

Edward O. Wilson’s recent decision to abandon kin selection theory has sent shockwaves throughout the biological sciences. Over the past two years, more than a hundred biologists have signed letters protesting his reversal. Making sense of Wilson’s decision and the controversy it has spawned requires familiarity with the historical record. This entails not only examining the conditions under which kin selection theory first emerged, but also the organicist tradition against which it rebelled. In similar fashion, one must not only examine (...) Wilson’s long career, but also those thinkers who influenced him most, especially his intellectual grandfather, William Morton Wheeler (1865–1937). Wilson belongs to a long line of organicists, biologists whose research highlighted integration and coordination, many of whom struggled over the exact same biological riddles that have long defined Wilson’s career. Drawing inspiration (and sometimes ideas) from these intellectual forebears, Wilson is confident that he has finally identified the origin of the social impulse. (shrink)

The thought about this book has been developed with the view of adding value to the teaching of Research Methodology for undergraduate and graduate students in developing economies like Sierra Leone. At the same time, it is a very useful tool for professionals engaged in research as part of their work life and for which their understanding of the dichotomy between Research Methods and Research Methodology needs to be addressed. It is divided into distinct sections, which makes it very easy (...) for the beginner researcher to understand the difference in concepts used, while at the same time enhancing their basic understanding of scientific tool(s) needed to pursue ontological research, with the aim of adding new value in the body of knowledge. The main motivation for producing the first edition is based on the following: ● To write a book that focused on using and applying the techniques of research methodology in a research setting. ● To write a book that is accessible to students and practicing researchers in developing country like Sierra Leone, where the subject matter is not so well taught, but critical in developing knowledge capacity for graduates entering the profession of research. ● To pursue critical research, particularly in the social science field pertaining to Econometrics, Sociology, Development Economics and many more. (shrink)

It is questionable whether counterfeiting in many areas of life contributes to unethical behavior to a wider extent. If the notion is supported by data, then the moral damage in a society could be prevented by reducing the counterfeit self and behavior to a bare minimum. This study aimed at empirically testing the measurement model of counterfeit self of Wood et al. (2008) among Indonesians as well as theoretically reviewing counterfeit self roles in unethical behavior. The participants of this study (...) were 1,655 high school students (764 males, 891 females; Mage = 15.76 years old; SDage = 1.08 years) recruited through a purposive sampling technique in North Sumatera and West Kalimantan, Indonesia. The data analysis technique used was Confirmatory Factor Analysis. The results showed that the counterfeit self model--comprised of counterfeit self dimensions, namely Self-alienation (ALIEN), Inauthentic Living (LIVE), and Accepting External Influence (EXT)--was supported by the empirical data. However, the dimension of EXT could not be represented by its indicators. The study contributed to the psychological body of knowledge that the EXT dimension might need to be excluded from the measurement of counterfeit self on teenagers, especially in Indonesia and other Eastern countries. (shrink)

Immediate experience localizes the self within the limits of the physical body. This spatial unity has been challenged by philosophical and mystical traditions aimed to isolate concepts of mind and body. A more direct challenge of the spatial unity comes from a well-defined group of experiences called 'autoscopic phenomena' , in which the subject has the impression of seeing a second own body in an extrapersonal space. AP are known to occur in many human cultures and have been described in (...) healthy, as well as neurological and psychiatric populations. In this article we investigate the phenomenology of AP as described in the writings of the ecstatic Kabbalah of the thirteenth century, and search for similarities and differences with respect to AP from these and other populations. The article discusses potential common research areas between cognitive science and the science of religious experience. (shrink)

Two of God’s holiest names are אלוהים (Elohim) and יהוה (transliteration: YHVH, Yahweh, or Jehovah). In Genesis 1 the creator is Elohim, while in Genesis 2 the creator is Yahweh. There is only one text that reveals the deep and hidden meaning of these names and the differences between their respective versions of Creation. That text is the Sefer Yetzirah or Book of Creation, and it is the only text attributed to the prophet Abraham by many within the Chasidic (...) rabbinical community. “According to a reliable tradition, it was Rabbi Akiba who actually wrote the Sefer Yetzirah, even though its teachings are attributed to Abraham” (Kaplan, 1979: p. 185). The author contends that this allegedly “Abrahamic” text has never been properly deciphered and authenticated—until now! Deciphering this text reveals an Old Babylonian oral tradition of Base 60 mathematics that is encrypted within יהוה which explains the original conceptualization of monotheism’s God and Creation. Within the Jewish mystical tradition of Kabbalah, deciphering יהוה reveals the long-lost Razah D’Oraytah (the Secret of Knowledge, the Secret of the Torah, or the Secret of the 22 Foundation Letters). 2 Kings 25:18 tells us that Seraiah, the last High Priest of Solomon’s Temple, was murdered by the Neo-Babylonian King Nebuchadnezzar when he destroyed the temple in 586 BCE. Kabbalistic tradition tells us that Seraiah would have been the last High Priest to know the “Secret of the Torah.” Since that time, the Jewish people have considered themselves in exile from Zion (Jerusalem), and from God Himself. The Jewish people are anticipating a Moshiach (Messiah or “Anointed One”) to reveal the lost “Secret of the Torah” said to be encrypted in יהוה. With the coming of this “Messiah,” the expectations are for that “savior” to physically lead the diaspora of “Chosen People” out of their exile and to the “Promised Land.” While laying no claim to a mantle of religious authority, this article’s author is convinced that he has successfully deciphered the lost meaning and “pronunciation” of the Holy Tetragrammaton (יהוה). The author then applied this recovered mathematical יהוה template to interpret the deep and hidden meaning of both Genesis 1 and Genesis 2. (shrink)

After revelations of participation by psychiatrists and psychologists in interrogation of prisoners at Guantánamo Bay and Central Intelligence Agency secret detention centers, the American Psychiatric Association and the American Psychological Association adopted Position Statements absolutely prohibiting their members from participating in torture under any and all circumstances, and, to a limited degree, forbidding involvement in interrogations. Some interrogations utilize very aggressive techniques determined to be torture by many nations and organizations throughout the world. This paper explains why psychiatrists and psychologists (...) involved in coercive interrogations violate the Geneva Conventions and the laws of the United States. Whether done with ignorance of professional ethical obligations or not, these psychiatrists and psychologists have crossed an ethical barrier that may best be averted from re-occurring by teaching medical students and residents in all medical specialties about the ethics principles stemming from the 1946–1947 Nuremberg trials and the Geneva Conventions, together with the Ethics Codes of the World Medical Association and the American Medical Association; and, with regard to psychiatric residents and psychological trainees, by the teaching about The Principles of Medical Ethics With Annotations Especially Applicable to Psychiatry and the Ethical Principles of Psychologists and Code of Conduct, respectively. In this way, all physicians and psychologists will clearly understand that they have an absolute moral obligation to "First, do no harm" to the human beings they professionally encounter. (shrink)

This book is concerned with the relationship between processes of accumulation and aspects of distribution. The analyses of Ricardo and Marx are reevaluated and redeveloped in the light of advances made by von Neumann, Sraffa and more contemporary theoreticians. Joint production systems are integrated into the analysis, which allows the authors to define the effect of the theorem of non-substitution, and to reconsider the problem of obsolescence and the choice of technique.

An analysis of Paul Tillich's three‐volume Systematic Theology and Pitirim A. Sorokin's The Ways and Power of Love: Types, Factors, and Techniques of Moral Transformation reveals how a metaphysical dialogue on God and love contributes to scientific and theological scholarship on altruism. This article focuses on similarities and differences in Tillich and Sorokin. Similarities include a belief in the importance of the ontological/love connection and the conclusion that a special state, ecstasy, is integral to the experience of genuine love. Differences (...) serve to complement rather than negate. For example, Tillich's recognition that ecstatic connections with the divine within finitude are fragmentary balances Sorokin's view that these ecstatic peaks are reached only by the few. The similarities give resonance and point to the overall creation, while the differences often serve as counterpoint to balance the ideas of the scientist and the theologian. (shrink)

Moshe Idel, Cabalistii nocturni Traducere de Ana-Elena Ilinca, Ed. Provopress, Cluj-Napoca, 2005.

This article explains the foundation of knowledge acquisition through discourses involving research methodology and research methods; differences between the two concepts is exemplified, with the former (research methodology) addressing philosophical underpinnings around the process of research, and through which human epistemic quest for knowledge is addressed, while the latter (research methods) addresses problems involving the application of qualitative or quantitative techniques (in some cases mixed-methods) in answering the researchers' underpinning research questions / hypothetical postulations. Challenges surrounding research ethics is relevantly (...) addressed with a view of explaining issues needed in ensuring research processes are successfully accomplished through ‘detailed eye for issues’, for example, the application of skills needed to access research participants without inflicting harm unethically. (shrink)

During the past decade or two the influence of theories of language and meaning has made itself felt in almost every field of study, either because, as in the case of psychology and the social sciences, meaning phenomena were part of the subject matter, or because, as in the case of physics and philosophy, the language used in the study demanded analysis and clarification. In recent years there has been developed, especially by H. D. Lasswell and his associates, a technique (...) known as content analysis, which attempts to characterize the meanings in a given body of discourse in a systematic and quantitative fashion. (shrink)

1. The individual -- 2. Torah -- 3. God -- 4. The meaning of life -- 5. Teshuva and self-growth -- 6. Middot/character traits -- 7. Listening to the inner child -- 8. Prayer -- 9. The spiritual importance -- 10. One's relationship to others (bein adam Le-chaveiro) -- 11. Zionism -- 12. The holiness of the body -- 13. Universal values -- 14. Rav Kook describing his own inner world.

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 9.4 (2002) 349-351 [Access article in PDF] Mystical States or Mystical Life?Buddhist, Christian, and Hindu Perspectives Marek Marzanski and Mark Bratton THIS IS AN ORIGINAL and conceptually precise paper. It is a significant attempt to bring religion and psychiatry into conversation. With particular reference to three Oriental epistemologies—Tibetan and Zen Buddhism and Tantric Hinduism—Caroline Brett seeks to offer a means of differentiating mystical states from (...) psychotic ones. She is critical of reductionism in modern psychiatry that seeks either to elide religious experience into psychopathology, or seeks too sharp a distinction between them. Brett claims, by implication, to offer a more fundamental level of discrimination between religious experience and psychopathology than the "cognitive problem-solving model" that Jackson and Fulford propose (1997a).In both mystical and psychotic states, the author argues, there are radical alterations in the structure of experience. Psychotic states, however, result from failures to complete, or, at least, to negotiate smoothly, the transition from a commitment to an epistemology based on illusory reality to one structured according to ultimate reality—a reality that is brought into focus through an alignment of transcendent vision and mundane cognition. Although this epistemological "stuck-ness" can manifest itself in action as destructive behavior, for example, psychological isolation or social and occupational dysfunction, the basis of the distinction between mystical and psychotic states lies in real differences in the states themselves.In our view, there is a tendency in much psychiatric and theological literature to homogenize mystical states and to treat experiences that (arguably) occur on a number of different levels as if they were on the same level. It is still widely thought that a mystical consciousness can somehow be abstracted from the religious traditions out of which this consciousness emerges. It is assumed that we can talk about experience in abstraction from the shared consciousness produced by schooling in a specific historical religion (Shannon 1985, 493). Thus, the altered mystical state of a Zen Master or Saint Teresa of Avila in ecstasy are regarded as identical states of consciousness. Yet it is far from clear that mystical states can be talked about without explicit reference to the language and tradition in which the self is formed, or, in terms that would have different meanings in Abrahamic and Oriental religious traditions, un-selfed. [End Page 349]There is a related tendency to regard religious doctrines as attempts to interpret mystical experience, as second-order reflections on the language of experience, as if religious doctrines were local religious dialects into which core experiences could be translated. We suggest, rather, that there is an iterative relationship between a mystical experience and the religious framework out of which it emerges. Religious doctrines are better seen as sets of instructions designed to guide the movement of prayer, and the movement of prayer, in turn, exemplifies the religious doctrine that shapes it.So could mystical states within the framework of Tibetan and Zen Buddhism and Tantric Hinduism better be understood as exemplification's of the worldviews of those particular religious traditions? For example, the relinquishing of ego structures, the dissolution of subject/object boundaries, the yielding of the contrastive identity between experience and the world, and progress toward undifferentiated union of the self with the cosmic self, seem to exemplify the monist cosmology associated with some of those traditions. By the same token, the psychotic state could be interpreted as an exemplification of an existential stance that has for some reason defected from the movement toward transcendental cognition. The point is that the "real differences" Brett identifies in the two states cannot be understood apart from the religious epistemology and doctrines, which those states, positively or negatively, exemplify. "So far 'from mystical states' being a sort of paradigm of certainty, they have authority only within a frame of reference which is believed in on quite other grounds and are therefore properly to be tested according to their consistency with this" (Williams 1991, 149)The force of Brett's paper, like Jackson and Fulford, is to identify the boundaries... (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)

Paul usually ends his letters with salutations to believers who meet in someone else’s house. Far from being individualistic, these greetings also include people from different house churches. Considered from a functional angle, these greetings cement relationships between house churches. Within an ubuntu worldview, the oral praxis of sereto (Sepedi) or isiduko (IsiXhosa) (praise-poetry) establishes and confirms relationships between members of the same community (family, clan or tribe). The question is how such praxes affect women who belong to such communities. (...) Contribution: This article is a comparative analysis of how some of the salutations used at the end of some of Paul’s epistles touch on gender relations in the same way as the ubuntu oral praxis of sereto or isiduko touches on gender relations among members of a community (family, clan or tribe). (shrink)

In the seventeenth century, the Jewish mystical tradition which is known as Kabbalah was integrated into the curriculum of studying the Hebrew Bible and the Talmud. Kabbalah became popular in these times in the wake of the dissemination of Isaac Luria’s teachings, in particular within the Jewish communities in Prague and Amsterdam, where members of the Horowitz family took a leading role. Kabbalistic psychology was applied to the whole Jewish lifestyle then, and to the understanding of Jewish tradition. Kabbalistic intentions (...) of prayer intensified the expectation of redemption, and during the messianic movement initiated by Shabtai Zvi, the kabbalistic meaning of repentance was also adapted in prayer books composed for so-called Conversos, who had to familiarize themselves with Jewish tradition. The article exemplifies this process by a Spanish anthology of prayers, Libro entitulado ensenha à pecadores, and shows the historical impact of Kabbalah in the field of Jewish education. (shrink)

To Dean Volek and Assembled Panel:Needless to say, the incident that transpired the morning of February the 8th was regrettable to all concerned—to Mrs. Horvath, who had to play witness to such a spectacle of savagery outside her office window, to the students who witnessed the same, to the college itself, which had to clean up the mess, literally as well as with the press—and of course my sincerest apologies to the local chapter of the Audubon Society, whose more enthusiastic (...) members have unfortunately discovered my home address. While on my current and indefinite leave of absence from my instructor position, I have had ample time to ponder things, and I write this letter as an unofficial explanation for the.. (shrink)

GROWING EACH DAY provides an inspirational message and an appropriate prayer for every single day of the year, in a convenient daily calendar format updated through 2003 with room for daily notes. They are perfect companions for daily doses of strength and thought.

This is a review of an important textbook that provide the basics of research methods skills to an absolute beginner. It sets the basics of what a beginner researcher or students needs to know in pursuit of their journey of epistemological venture, both in the use of qualitative and quantitative research.

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Playtexts: Ludics in Contemporary LiteratureWalter E. BromanPlaytexts: Ludics in Contemporary Literature, by Warren Motte; 233 pp. Lincoln: University of Nebraska Press, 1995, $31.50.When readers early encounter such stuff as “Thus in the category of agôn, for example, hide-and-seek would tend toward paidia, whereas chess would tend toward ludus” (p. 7), they suspect that this book will be a rugged and humorless read, in spite of the fun hinted (...) at in the title. Much of the book turns out to fulfill this dread. There is no escaping the sour smell of academic jargon: “to privilege,” “to foreground,” “to marginalize,” “diegetic frame,” etc., or the tangled infelicities of academic prose.Professor Motte sets out to examine a series of texts, “... each text considered a different ludic economy with its own rules and norms, but all texts defined as language games” (p. 15). While struggling through the discussions of Gombrowicz’s Ferdydurke, André Breton’s Nadja, or Albertine Sarrazin’s Astragal, one catches glimpses of a book that might have assumed sumptuous flesh. This is especially true in the chapter on Nabakov’s Pale Fire, which is quite interesting and well written. Nabakov’s is “an agonistic game that pits Kinbote against Slade, the Sladeans against Kinbote, Kinbote against us the readers, Nabakov against Kinbote, we the readers against Nabakov” (p. 81). This is a game in which Nabakov offers his readers “a full partnership in the creative process” (p. 82). I was forced to recognize that I had enjoyed reading Pale Fire, all the while only being aware of a minim of these ludic convolutions!A major problem with this book and with the books Professor Motte discusses can be shown most vividly in the chapter on Georges Perec’s La Disparition, where the game is to write an entire novel without using the letter “e.” This “literary machine” is supposed to be geared for expressing the iron impositions of life and its ineluctable loss and lack. I suspect that this semantic juice is squeezed out only by critical legerdemain. The discussion merely succeeds in convincing me that this literary tour de force might be suitable for Guinness’s Book of Records, but would likely be a boring read. It reminds me of a Rube Goldberg contraption or of Johnson’s dog walking on its “hinder legs.” Calling this a lipogram linked to Greek antiquity does little to rinse away the sweaty scent of useless exertion.Professor Motte includes a quotation from Eco referring to Swift’s book-making machine in the Grand Academy of Lagado, which provides a sinister and ludicrous image of much of this ludic literature. Eco sees the text as a “combinatory, ludic machine” (p. 191). This literature as machine and game is remarkable for its lack of any concern for the reader: “... the game is finally less vital for us than it seems to have been for Gombrowicz” (p. 68). Compare this with Dryden who took it as axiomatic that the audience’s “concernment” is of vital importance. Now, though, the readerly text is supplanted by the writerly (p. 163). René Bellato builds up “a narrative technique based on the systematic [End Page 243] frustration of the reader’s expectations...” (p. 166). A kind of apex of readerly boredom is devised in Harry Matthew’s literary machine “Matthew’s algorithm”—exemplified by the permutational poetics in Le Savoir des rois, where the same verse is given endless alterations of word order. There lurks a sniffy implication that if you don’t go along with this sort of game you aren’t a good reader. I don’t mind straining to be a good reader if the reward is commensurate with the effort. Professor Motte never explains why we ought to bother.Professor Motte presents various interesting theories of play, as diverse as Huizinga’s Homo Ludens and Freud, but his own position is not easy to discern. He seems to be sympathetic with Calvino’s notion that “all literature is play” (p. 142). For this to be true, the definition of ludics or play would have to have a Humpty Dumpty squishiness. It would have to be ample... (shrink)

Reinforcement Learning is a promising technique for creating agents that can be applied to real world problems. The most important features of RL are trial-and-error search and delayed reward. Thus, agents randomly act in the early learning stage. However, such random actions are impractical for real world problems. This paper presents a novel model of RL agents. A feature of our learning agent model is to integrate the Analytic Hierarchy Process into the standard RL agent model, which consists of three (...) modules: state recognition, learning, and action selecting modules. In our model, the AHP module is designed with {\\it primary knowledge} that humans intrinsically have in a process until a goal state is attained. This integration aims at increasing promising actions instead of completely random actions in the standard RL algorithms. Profit Sharing is adopted as a RL method for our model, since PS is known to be useful even in multi-agent environments. To evaluate our approach in a multi-agent environment, we test a PS RL method with our agent model on a pursuit problem in a grid world. Computational results show that our approach outperforms the standard PS in terms of learning speed in the earlier stages of learning. We also show that the learning performance of our approach is superior at least competitive to that of the standard one in the final stages of learning. (shrink)

Cost-based abduction, which is a technique for identifying the best explanation for a given observation based on the assumption of a set of hypothesis, is a useful knowledge processing framework for practical problems such as diagnosis, design and planning. However, the speed of reasoning of this approach is often slow. To overcome this problem, Kato et al. previously presented a more efficient cost-based abduction system, that utilized the A * search technique, however, the time and space complexities in this technique (...) are exponential, so the identification of the optimal solution is difficult in practical applications. In this paper, we present three new systems in which the user can define the computational complexity, for identification of a near-optimal solution. First, we introduce two search control techniques; a real-time A * search approach in which the user can define the look-ahead depth or space, and the multi-agent real-time A * approach in which the user can define the number of real-time A * agents used in the search. We describe the implementation of three cost-based abduction reasoning systems for predicate logic knowledge bases and test the proposed systems using a diagnostic logic circuit problem. The results show that proposed systems can identify a near-optimal solution according to the predefined polynomial order of complexity, including the selection of either linear or exponential computational complexity. It is also shown that inference time and success rate are dependent on the user-defined parameters, that the three proposed systems exhibit similar performance characteristics, and that they all offer significant speed advantages over the previously described technique. (shrink)

The major portion of this important work is the "Summary of the Republic." Coordinated with Grube’s translation, it proceeds book by book, first summarizing a chunk of text anywhere from a couple of Stephanus sections to several pages, then commenting in lettered notes of from two lines to four and a half pages. More technical material, aimed at advanced students and scholars, appears occasionally in smaller type. There is a fine bibliography. The format is successful: the book is easy to (...) use and attractive in appearance. (shrink)

Recently the General Synod of the Church of England agreed to approve liturgical resources— Prayers of Love and Faith—for blessing same-sex couples. This decision was the result of a long process of discernment concerning matters of sexuality and identity called Living in Love and Faith. This article aims to critique some of the background ethical and theological assumptions at work in the Living in Love and Faith resources, specifically the way the role of asceticism is conceived in them. I argue (...) that while there are promising references to formation of desire through discipline and restraint in the LLF resources, their ascetic intuitions remain limited to world-related goods, neglecting the significance of bodily practices for God-related goods and for our final flourishing. Paying attention to the theological dimensions of Christian ascetic practice will also reveal the importance of concrete limitations for ascetic formation of desire. I argue that such limits are required for unravelling the transcendent capacities of human desire. At the end of the article, I make some suggestions as to how the revitalisation of not just ethical but theological ascetic praxis can be helpful in navigating the Church of England's current disagreement with respect to same-sex unions. (shrink)

Our lives take place within specific time-space contexts, and in everyday life these contexts are taken as self-evident. Simultaneously, we have accepted the classical idea of fixed, permanent and acontextual truths. This paper argues that people use and are aware of various time-space contexts, and have implicitly created knowledge and approaches that work within them. The paper further argues that explicit consideration of time-space contexts should influence the tools, techniques and methods we use when making sense of each situation, and (...) determining the management interventions we make. (shrink)

We examine the relationships among religious governance, especially Islamic governance quality (IGQ), national governance quality (NGQ), and risk management and disclosure practices (RDPs), and consequently ascertain whether NGQ has a moderating influence on the IGQ–RDPs nexus. Using one of the largest data sets relating to Islamic banks from 10 Middle East and North Africa (MENA) countries from 2006 to 2013, our findings are threefold. First, we find that RDPs are higher in banks with higher IGQ. Second, we find that RDPs (...) are higher in banks from countries with higher NGQ. Finally, we find that NGQ has a moderating effect on the IGQ–RDPs nexus. Our findings are robust to alternative RDP measures and estimation techniques. These results imply that the quality of disclosure depends on the nature of the macro-social-level factors, such as religion that have remained largely unexplored in business and society research, and, therefore, have important implications for policy makers. (shrink)

This paper examines the Bahāʾī philosophy with all its religious values and humanitarian practices to assess their relevance to the modern times. The rationale behind the choice of this subject was to find out whether the Bahāʾī philosophy could be yet another force and potential ideology to offer a solution to modern time challenges that are faced globally. Using a qualitative research design, the data was collected through a content analysis and close reading of Bahāʾī scriptures, tablets, letters and other (...) library sources. A close study of the Bahāʾī doctrines, values and faith revealed that the Bahāʾī philosophy extended the message of uniting the whole humanity by uniting all religions and sects, despite their apparent differences. All religions, according to the Bahāʾī faith, are manifestations of God and work towards an identical and universal divine plan to educate the human race. The social ethics of the Bahāʾīs emphasized upon the “oneness of humanity”, abolition of racial discrimination, class distinction, and religious prejudices, without any need of priesthood or rigid rituals of worshipping. If implemented and complied universally in principle, the Bahāʾī philosophy could be one of the potential ideologies to resolve the racial and religious conflicts. (shrink)

'This is an unusually ambitious book... a considerable achievement. It raises important issues, and affords many valuable insights in the course of its historical reflections.' -Maurice Wiles, Journal of Theological Studies 'Every issue and thinker is expounded clearly and concisely, with attention always drawn to strengths as well as weaknesses. To this non-specialist the argument was always accessible and regularly persuasive.' -The Expository TimesCanon and Criterion in Christian Theology provides an original and important narrative on the significance of canon in (...) the Christian tradition. Abraham shows that the move to treat canon as a criterion of truth has had unsuspecting consequences for the history of theology and philosophy, from the Fathers to modern feminist theology. (shrink)

Theodor Adorno is one of this century's most influential thinkers in the areas of social theory, philosophy, aesthetics, and music. Throughout the essays in this book, all of which concern musical matters, he displays an astonishing range of cultural reference, demonstrating that music is invariably social, political, even ethical. Adorno's insistence on the social character of aesthetic works will come as no surprise to those familiar with his writings, although many may be surprised by the volume's somewhat colloquial tone. This (...) colloquialism, in dialogue with Adorno's unceasing rigor, stems from the occasional sources of many of the essays, mainly public lectures and radio addresses. As such, this volume represents an important and, for English-language readers, largely unfamiliar side to Adorno. His arguments move more quickly than in his more formal and extended musicological works, and the writing is much more accessible and generous than his usually dense and frequently opaque prose. This volume includes essays on prominent figures in music (Alban Berg, Anton von Webern, Arturo Toscanini), compositional technique (the prehistory of the twelve-tone row, the function of counterpoint in new music), and the larger questions of musical sociology for which Adorno is most famous, including the relation of interpretation to audience, the ideological function of opera, and the historical meaning of musical technique. The essay on the sociology of music, for example, represents an early statement of what would soon become trademark principles of his mode of musical analysis, serving as a catalyst for his famous study Introduction to the Sociology of Music. Some forty years after most of these essays were written, they remain fresh and relevant. In part, this is because Adorno's method has only recently begun to make substantial inroads into Anglo-American musicology. And the interdisciplinary nature of his thought provides a precursor for today's interdisciplinary studies. (shrink)