The expressivist account of knowledge attributions, while claiming that these attributions are nonfactual, also typically holds that they retain a factual component. This factual component involves the attribution of a belief. The aim of this work is to show that considerations analogous to those motivating an expressivist account of knowledge attributions can be applied to belief attributions. As a consequence, we claim that expressivists should not treat the so-called factual component as such. The phenomenon we focus on to claim that (...) belief attributions are non-factual is that of normative doxastic disagreement. We show through several examples that this kind of disagreement is analogous to that of the epistemic kind. The result will be a doxastic expressivism. Finally, we answer some objections that our doxastic expressivism could seem to face. (shrink)

It has been suggested that metallothioneins, discovered about 45 years ago, play a central role in heavy metal metabolism and detoxification, and in the management of various forms of stress. The metal‐regulatory transcription factor‐1 (MTF‐1) was shown to be essential for basal and heavy metal‐induced transcription of the stress‐responsive metallothionein‐I and metallothionein‐II. Recently it has become obvious that MTF‐1 has further roles in the transcriptional regulation of genes induced by various stressors and might even contribute to some aspects of malignant (...) cell growth. Furthermore, MTF‐1 is an essential gene, as mice null‐mutant for MTF‐1 die in utero due to liver degeneration. We describe here the state of knowledge on the complex activation of MTF‐1, and propose a model with MTF‐1 as an interconnected cellular stress‐sensor protein involved in heavy metal metabolism, hepatocyte differentiation and detoxification of toxic agents. BioEssays 23:1010–1017, 2001. © 2001 John Wiley & Sons, Inc. (shrink)

In the 1970s and 1980s, a multitude of cognitive rehabilitation programs proliferated to facilitate recovery after brain injury. However only a few programs provided a framework for ameliorating disturbances in the cognitive, psychological, and interpersonal spheres of the brain-injured patient. Greatly influenced by Leonard Diller and Yehuda Ben-Yishay’s ideas and methods, George P. Prigatano began, in early 1980, a holistic neuropsychological rehabilitation program at the Presbyterian Hospital in Oklahoma City (Oklahoma). The objective of this paper is to summarize the contributions (...) of George P. Prigatano to neuropsychological rehabilitation and clinical neuropsychology during his 50th year of practice. The main body of the paper is structured in three sections. The first section briefly explains the history of neuropsychological rehabilitation in the twentieth century and the emergence of holistic neuropsychological rehabilitation programs in the 1970s. The second section describes the contributions of George P. Prigatano to neuropsychological rehabilitation and clinical neuropsychology (written by AGM). In the third section, the second author (GPP) prepared an autobiographical statement, which attempts to summarize some of the personal and professional experiences which influenced his work. George P. Prigatano’s contributions to neuropsychological rehabilitation and clinical neuropsychology are essential to understanding the therapeutic approaches currently used in the treatment of brain-injured patients. (shrink)

Give me your fingers.Under this hair shirt steams the vocabularyof flesh, crosshatched into meaning.– Vievee Francis, Horse in the DarkThis exercise in vocabularies of vulnerability seeks to think...

This article investigates a little-known computational and mnemonic device invented in c. 1348 by the English Carmelite friar John of Northampton, the details of which are known from a treatise written in or before 1394 by Richard Maidstone, a theologian and fellow member of the Carmelite Order. John’s anulus took the form of a metal finger ring whose wearer could use the complex arrangement of its alphanumeric inscriptions to make a range of calendrical calculations as well as predict the (...) times of the mean conjunctions of the sun and moon. In addition to reconstructing the principles by which this unusual instrument functioned, the article concludes by placing the anulus in the wider context of the computistical and astronomical sciences practised in fourteenth-century Europe. (shrink)

The cortical visual mechanisms involved in processing spatial relationships remain subject to debate. According to one current view, the ''dorsal stream'' of visual areas, emanating from primary visual cortex and culminating in the posterior parietal cortex, mediates this aspect of visual processing. More recently, others have argued that while the dorsal stream provides egocentric coding of visual location for motor control, the separate ''ventral'' stream is needed for allocentric spatial coding. We have assessed the visual form agnosic patient DF, whose (...) lesion mainly affects the ventral stream, on a prehension task requiring allocentric spatial coding. She was presented with transparent circular disks. Each disk had circular holes cut in it. DF was asked to reach out and grasp the disk by placing her fingers through the holes. The disks either had three holes (for forefinger, middle finger, and thumb) or two holes (for forefinger and thumb). The distance between the forefinger and thumb holes, and the orientation of the line formed by them, were independently varied. DF was quite unable to adjust her grip aperture or her hand orientation in the three-hole task. Although she was able to orient her hand appropriately for the two-hole disks, she still remained unable to adjust her grip aperture to the distance between the holes. These findings are consistent with the idea that allocentric processing of spatial information requires a functioning ventral stream, even when the information is being used to guide a motor response. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Hume Studies Volume 30, Number 1, April 2004, pp. 51-85 Scratched Fingers, Ruined Lives, and Acknowledged Lesser Goods CASS WELLER It is not contrary to reason to prefer the destruction of the whole world to the scratching of my finger. It is not contrary to reason for me to choose my total ruin, to prevent the least uneasiness of an Indian, or person wholly unknown to me. It (...) is as little contrary to reason to prefer even my own acknowledged lesser good to my greater, and have a more ardent affection for the former than the latter. (T 2.3.3.6; SBN 416)1 Everyone is familiar with the cases Hume parades in this passage when he dramatically displays just how far one's preferences and other passions can go without being contrary to reason. His general point is tediously clear. Whatever failing there is in one who prefers the destruction of the world to the scratching of his finger or chooses his total ruin to prevent the least uneasiness of a person wholly unknown to him, it is not a failing of reason, unless this preference and choice involve false suppositions of fact, existence, or mathematics. But they do not according to Hume. So they are not contrary to reason. At the same time, anyone who is given to worrying and fretting over the text will be initially somewhat at a loss to explain in any further detail the nature of the phenomena Hume flaunts as not flouting reason and how they relate to one another. For example, is the notion of preference at work that of a settled judgment of value or that of a blind impulse to be understood only in terms of strength of desire? Is the character Hume inhabits in the first person one who simply finds himself with a blind urge to keep his finger scratch-free or one who Cass Weiler is Associate Professor of Philosophy, University of Washington, Seattle, WA 98195, USA. e-mail: [email protected] 52 Cass Weller has a settled policy of keeping his finger scratch-free viewed as more valuable than anything else. Is preferring my lesser good to my acknowledged greater good the practical counterpart of self-consciously believing that Ï• and not p? Or is it, rather, a common form of weakness? And if so, how is it related to the two previous cases? Although most discussions of Hume's views on practical reason refer to this passage, I know of no extended discussion of the three notorious cases.2 This is no doubt due in part to the fact that the details do not really matter for understanding the main point. A mental state not involving a false belief of experience or a priori reason cannot be contrary to reason.3 Nevertheless, I think it is a good idea to try and figure out just what Hume is saying and that by digging right here we may hope to uncover important aspects of Hume's theory of evaluation, motive, and reason. The task is to get a more detailed view of Hume's own theoretical understanding of the preferences and choices he exhibits as not contrary to reason, in particular whether a preference is an evaluative attitude, and how it may conflict with an acknowledged interest. To this end we will have to go beyond what is adequate for a reader's understanding of the preferences in their narrow rhetorical context. Hume himself invites the reader, inadvertently or not, to look for the wider Humean explanation of preferring one's acknowledged lesser good to the greater by deploying the analogy of a one pound weight's raising a hundred through the advantage of its situation. This idea connects with other passages in the Treatise, as we shall see, in particular with Hume's discussion of the preference for the contiguous over the remote at T 3.2.7 (SBN 534-9). With a clearer view of Hume's understanding of the preferences we will be in a better position to ask about the sort of criticism persons with such preferences are subject to. And, to tip my hand, we will see that Hume... (shrink)

This book is an expanded catalogue of an exhibit of mid‐fifteenth‐ through seventeenth‐century drawings, woodcuts, engravings, and etchings emphasizing hands as objects of study, as teaching tools, and as reflections of the human being. In addition, it contains an extended introduction by the curator of the exhibit, Claire Richter Sherman, and four essays by other contributors on pertinent topics: the hand as an instrument of the intellect, manual reckoning, music, and chiromancy . These essays, which precede the catalogue itself, are (...) only loosely connected to the exhibit, but each deals with its subject clearly and crisply.In his composition on the hand as a means of expression, Martin Kemp traces the legacy of ancient thought as reflected in the various anatomical drawings from Leonardo through the detailed Bidloo prints. Kemp concludes that the hand remains “a prime mechanism for personal expression—for the manifestation of individual character and identity.” In the following essay Sachiko Kusukawa provides a succinct sketch of finger numeration, noting that a system alluded to by ancient authors was fully described by the Venerable Bede in the eighth century. Bede also wrote of a method of using the hand as a mnemonic aid in determining the proper date for Easter and other movable feasts. Finger counting remained popular throughout the Middle Ages but gradually fell into disuse in the West by the sixteenth century and was merely quaint by the eighteenth. Kusukawa does not, unfortunately, suggest a reason for the decline, but the spread of computation with Arabic numerals was surely a major factor.Next, Susan Forscher Weiss discusses the use of the hand in teaching music theory and scales. Although there are some indications of this practice in antiquity, variations on a system developed in the eleventh century by Guido of Arezzo were used to teach music through the sixteenth century. Finally, Brain P. Copenhaver discusses the history of the pseudoscience chiromancy . Already in existence in antiquity, palmistry, and other forms of divination, flourished despite the prohibitions of the church. Copenhaver concludes with a witty discussion of the hard times on which palmistry has fallen recently in California.As for the catalogue, it consists of eighty‐three monochrome illustrations, each with an extensive commentary about the artist, the subject, and the reason the item was included in the exhibit. These descriptions are frequently fascinating short essays in themselves, enticing the reader to investigate further. The organization is thematic rather than chronological, with six divisions : “Reading the Writing on Hands,” “Handiwork of the Creator,” “Messengers of the World,” “Knowledge on Hand,” “Whole World in the Hand,” and “Guiding Hands.” The faults are minor. Although the themes of the divisions themselves are clearly described in Sherman's introduction, several of the illustrations seem to have only a general association with the stated theme. A few are filled with details too small to be legible in the necessary reduction of plates to fit the book. Most of the illustrations, however, are excellent examples of the main subject of the exhibit and are fascinating studies in their own right.Generally, this volume is a valuable work for anyone interested in the history of the hand in science and the arts. The four prefatory essays are particularly instructive, and the prints are reproduced clearly, with elaborate descriptions of their historical context and their meaning. Accordingly, this book is much more than merely a catalogue; it is an important work in its own right. Throughout, the substantial references to other works indicate directions for further study. One only regrets that the exhibit itself was shown in only two venues. (shrink)

continent. 1.4 (2011): 286—310. This mad play of writing —Stéphane Mallarmé Somewhere in between mathematics and theory, light and dark, physicality and projection, oscillates the poetry of Alessandro De Francesco. The texts hold no periods or commas, not even a capital letter for reference. Each piece stands as an individual construction, and yet the poetry flows in and out of the frame. Images resurface from one poem to the next, haunting the reader with reincarnations of an object lost in the (...) grass or a representation of a pear in a Dutch still life, embedded in cycles of cinematic close ups and multiple dimensions. As a whole, De Francesco’s oeuvre suggests, to use the title of one of his works, a redefinition —linguistic, epistemological, personal. The poem The End (un’agenda) (The End (an agenda)) opens with a quote by literary theorist Maurice Blanchot, which may be translated as follows: Speaking is not seeing. Speaking frees thought from this optical imperative that in the Western tradition, for thousands of years, has subjugated out approach to things, and induced us to think under the guaranty of light or under the threat of its absence.[1] In writing, De Francesco seeks to redefine our approach to things. His poems, like Blanchot’s writings, speak to both illuminate and to obscure. The reader hangs in an absence of reality within language that necessitates an attempt at interpretation, yet renders such a search ultimately futile. De Francesco draws the anonymous images that appear in this poem from the city of Paris, his current home. The fragmented narrative depicts an inner doubt of realness, calling for a confirmation of a physical existence beyond verbalization and cogitation. Cyclical references to film throw into question the reliability of the reality he creates. The light, sometimes red and safe, other times absent and murky, cannot necessarily be trusted as a guaranteed means of illumination. Blanchot’s distinction between language and visualization, and the relationship of each to reality, though linked specifically to The End (un’agenda) , can be a lens through which to read any of the three works that follow. assente obliqua (absent oblique) is composed of descriptions of six still life paintings, ranging from Dutch masterpieces of the seventeenth century to 1960s minimalism. The actual images of the paintings are absent, and the text is the sole source and object of a virtual reality created around the artwork. “Absent oblique” refers to the light source placed outside of the frame, which both informs and distracts viewing of the scene. Although mere description can be unreliable and unsatisfying in its necessary limitation, the representational act of description is shown as more than just a human want. It is a need, a means by which to grapple with an unsure reality. As the illustrations progress, they descend into abstraction and chaos. The precariously placed plate triggers the movement: the bottle bursts and the objects collapse into the movement of a tracking film camera. corpo estraneo in moto ascensionale (foreign body in ascending motion) is prose poetry in action. Its objective tone of description is skewed by the subjectivity of the narrative as horrific images are relayed in fragmented but matter-of-fact manner. A “foreign body” is both a mass of cancerous cells, and a corporeal description, and the poem takes the reader on a journey back and forth between the two, destination unclear. Beyond a questioning of the real, corpo estraneo in moto ascensionale is an examination of the possible. De Francesco’s poetry becomes a camera obscura through which to observe the constant flux of light and dark that blurs our reality. His work is colored by the idea of apo koinou , a Greek term meaning “from the common” that involves a construction of two clauses with a shared word or phrase. Through such melting of meaning, De Francesco creates a fluid ambiguity that is nonetheless grounded in bodily concepts. In assente obliqua , the reader is confronted with a description of a still life that rapidly transforms into a more chilling scene: the membrane of the mushroom in the basket emerges behind the white cloth a body could hide itself that asks for help In the realm of pure description, there is a mushroom that peeks out from behind a white cloth in a basket. Behind the white cloth, too, there could be a body, hiding, asking for help. Such an elision elicits disorienting mistrust in temporality, but also expands the planar possibilities of syntactical meaning. A white cloth is not merely a construct in still life painting, but veil that both shields and reveals potential mysteries. It is a proposed alternative to a traditional Western binary of subjectivity and objectivity. The apo koinou construction is rare in modern English, having slipped out of use after its resurgence in Old English poetry. De Francesco reintroduces this blur of object and subject relations into a modern light. He draws inspiration from a device used by Gruppo 63 founder and avant-garde poet Antonio Porta tended toward repetition of phrases in third person perspective. In Italian, it is perfectly grammatically correct to omit the subject, including only a verb conjugation. Gender, even humanity unknown, the subject dissolves into the action, thus giving to the poetry the power to change the reader’s perception of who or what is actually acting. To further push the relative boundaries of experience, De Francesco expands his written poetry into what he calls “reading environments.” In these sound experiments, De Francesco’s voice reading his poetry is manipulated by real time digital voice processing. The written is transformed to the spoken, and then injected with currents of electric sound. “At each activation of word in the darkness,” (from The End (un’agenda) ) language is permutated into a nonphysical yet all-encompassing being. In these projects, realized all over Europe, De Francesco continues his examination of the word’s potency beyond the page and into an “n-dimensional space,” where the lines between nature and affect are intertwined. To publish excerpts of De Francesco’s oeuvre is to show screen shots of full-length film, to read pull quotes from a philosophy treatise. In these poems, there are questions, not to be answered, but to be questioned again. The words will oscillate in and out of the square construction found in his poems, out of the borders of the page, out of the rectangle of the laptop screen. NOTES (1) Blanchot, Maurice. The Infinite Conversation . Trans. Susan Hanson. Minneapolis: University of Minnesota Press, 1993. 27. EDITORS' NOTE The .pdf above contains about twenty pages of translation and the original Italian poetry. Below we provide only a brief account. The End (an agenda) Parler, ce n’est pas voir. Parler libère la pensée de cette exigence optique qui, dans la tradition occidentale, soumet depuis des millénaires notre approche des choses et nous invite à penser sous la garantie de la lumière ou sous la menace de l’absence de lumière. —Maurice Blanchot in this n-dimensional space i could spy on myself from the cracks while going back and forth from the summer to the wardrobe from the night to the parking lot but something filters in through the half-closed shutters becomes an event enunciation we stay without explanation like parallel curves on the back of a solid growing older she enters the garden always repeats certain phrases the elevator to be redone the neighbor’s music the steps the pavement furls like the leaves of a fern when touched she is framed from behind while she moves rocking she covers distances slowly a bag overflows from the wardrobe something stirs inside but then the suitcase comes open not even by my hand it’s the objects that are starting to filter out the little red haired monster watches idling the appointments written on one of your agendas two years old still seem urgent each letter holds itself upright on the page with flourishes and arabesques each angle has its own geography i’m trying to describe the path the fingers trace on the carpet the zipper takes the opposite route we are suspended on the stairs above the water in the center is the summer seen from above the darkness of the city passes from one headlight to the next the surfaces of our arms cohere and are shiny underneath the blinking of a sign each pore is an open expanse the body dreams the hair gives form to the possible some daring swimmers were throwing themselves into the seine they swam upstream up to the first quay look there could exist behind the screen a room where even when the lamp is out and the curtains drawn even when the suitcase wasn’t closed everything seemed red everything calm construction of a four-dimensional tetrahedron by R. Courant – H. Robbins, What is Mathematics? Oxford University Press, 1941  . (shrink)

Der vorliegende Band enthalt sechs teilweise stark iiberarbeitete Aufsatze, die in der Zeit zwischen der Niederschrift des Buches Theorienstrnkturen und Theoriendynamik, Springer-Verlag 1973, im folgenden mit [Theoriendynamik] bezeichnet, und der Monographie The Strncturalist View of Theories. A Pos­ sible Analogue of the Bourbaki Programme in Physical Science, Springer-Ver­ lag 1979, im folgenden kurz [Strnkturalismus] genannt, entstanden sind. In diesen Abhandlungen werden jeweils gewisse Aspekte des strukturalistischen Theorienkonzeptes behandelt. Am starksten iiberarbeitet wurden die Auf­ satze II, IV, V und VI, die (...) urspriinglich in englischer Sprache erschienen waren. Vier der sechs Arbeiten, namlich I, III, IV und VI, bilden auBerdem erweiterte Fassungen von Vortragen. Obwohl das zweite Buch [Strnkturalismus] durch P. Feyerabends ausftihr­ liche Diskussion der strukturalistischen Auffassung im British Journal for the Philosophy of Science, Dezember 1977, angeregt worden ist, stellt es seinem Ansatz und Aufbau nach eher den Versuch einer systematischen Kurzdarstel­ lung des strukturalistischen Vorgehens nach seinem letzten Stande dar. Dem­ gegeniiber entstanden die hier verOffentlichten Artikel stets aus einem ganz be­ stimmten AnlaB. Diese Anlasse konnte man schematisch in drei Klassen unter­ teilen: Entweder ging es darum, eine anschauliche intuitive Ein/iihrnng zu lie­ fern (I und V); oder die Aufgabe bestand darin, die Beziehung zu anderen philosophischen Positionen. wie z. B. derjenigen L. Wittgensteins, H. Putnams, K. Poppers oder T. S. Kuhns. zu analysieren (II. III und IV); oder es sollte zu den wichtigsten und bis dahin verOffentlichten Kritiken Stellung bezogen wer­ den (wie in VI). (shrink)

The sense of agency is a basic feature of our subjective experience. Experimental studies usually focus on either its attributional aspects or on its motoric aspects. Here, we combine both aspects and focus on the subjective experience of the time between action and effect. Previous studies [Haggard, P., Aschersleben, G., Gehrke, J., & Prinz, W.. Action, binding and awareness. In W. Prinz, & B. Hommel, Common mechanisms in perception and action: Attention and performance. Oxford: Oxford University Press] have shown a (...) temporal attraction in the perceived times of actions and effects, but did directly not study the relation between them. In three experiments, time estimates of an interval between an action and its subsequent sensory effect were obtained. The actions were either voluntary key press actions performed by the participant or kinematically identical movements applied passively to the finger. The effects were either auditory or visual events or a passive movement induced to another finger. The results first indicated a shortening of the interval between one’s own voluntary action and a subsequent effect, relative to passive movement conditions. Second, intervals initiated by observed movements, either of another person or of an inanimate object, were always perceived like those involving passive movements of one’s own body, and never like those involving active movements. Third, this binding effect was comparable for auditory, somatic and visual effects of action. Our results provide the first direct evidence that agency involves a generalisable relation between actions and their consequences, and is triggered by efferent motor commands. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Destruction and Transcendence in W. G. SebaldMark R. McCullohIFor all the Saturnine pessimism of W. G. Sebald's application of Walter Benjamin's view of historical process (an attitude toward history expounded upon at length in an influential work by Susan Sontag), the author's sense of irony about the human predicament is irrepressible. 1 Human beings seem destined to remain prisoners of various paradoxes—they both create and destroy, they are capable (...) of acts of love as well as bitterness and hate, they make efforts to document and communicate, but at the same time they tend to forget and are given to suppressing the truth, they are driven by ideals, yet remain hobbled by imperfection. Art and music, passed on from generation to generation, seem to be the most common way that human beings transcend the strictures of their imperfections, inadequacies, and their finitude. And to the extent that art indeed survives over time, and continues to be perceived and appreciated by beholders, the aesthetic enterprise succeeds. However, ultimately, as the Book of Ecclesiastes and Shelley's "Ozymandias" remind us, all human endeavor is in vain, and, to assume the perspective of physical cosmology for a moment—and in this regard Benjamin's cosmic vision appears painfully accurate—our speck of earth, dwarfed by a vast universe the true immensity of which has been revealed by the Hubble Telescope, will one day be ground to dust and debris like the rings of Saturn, and our sun will exist only as a burned-out hulk. But such a future world, devoid of beholders, and devoid of creators and their artifacts, is not Sebald's primary subject, even though it clearly forms the teleological backdrop for his third novel, The Rings of Saturn (1995, English version 1998). Rather, Sebald pursues his art in spite of a terminal prospect that will ultimately confront our [End Page 395] planet and solar system. His primary subject, the effect of trauma on individual and collective experience, is instead closely linked with the passing of Europe as a tradition, as an idea—as an idiosyncratic and innovative, but inherently corrupt contributor to cultural history. In the course of his narratives he also addresses the redemptive role of art in memorializing the past and attempting to capture the passing present. In both respects he attends to the humane and the sublime as well as the tragic and the grotesque.Paraphrasing the art historian Svetlana Alpers, one early reviewer of Sebald's novel Austerlitz (2001) points out the self-contradictory nature of preserving the transient moment in art:Why create visual art at all when everything on earth must be represented in its inexorable transitoriness; why paint earthly scenes with such incredible care and precision as if they were permanent? 2The care and precision of the painter's craft (in this case, the Dutch still-life painter David Bailly) are devoted to the representation of a scene that is by its very nature transient and even tenuous—like the scenes of sublime beauty in Sebald's fiction, the artist's depiction "courts and admits" its own fragility. What Bailly does visually, Sebald attempts in words. Take, for instance, the following passage from Vertigo, Sebald's first novel, which was titled in German (with considerably more irony) Schwindel. Gefühle 3 :At a hairpin bend I looked out of the turning bus down into the depths below and could see the turquoise surfaces of the Ferstein and Smaranger lakes, which, even when I was a child, on our first excursions into the Tyrol, had seemed to me the essence of all conceivable beauty.(p. 176)The author has already prepared the reader for this moment of awe by remarking on the otherworldly "slow-motion quality" of the waterfalls descending from the mountain cliffs and on the boulders in their screes spreading downwards into the wooded hillsides, "screes which reached from the mountains down into the forests like pale fingers into dark hair..." (p. 176). Examined closely, the passage in question suggests both the enduring power of natural beauty and, especially with its precise reference to an automobile long since out of production and unfamiliar to... (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 SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Momma taught us to keep a clean house. Dust the wood furniture every two weeks. Clean the bathrooms once a week. Wipe down the baseboards once a season (Those damn baseboards. I still got bruises on my knees from scrubbing those things). Sweep away the cobwebs—and pray that those spiders are either dead or delirious (Livin in the country don’t mean you like bugs, especially the ones with too many legs ). Didn’t matter that the house was full of stuff: Great-Grandma’s heirloom dresser, that weird Mammy salt shaker and matching Uncle Tom pepper grinder (Where the hell did Momma get those P.O.S.’s?), the outdated drapes from Belks, Dad’s favorite wooden TV tray, and that uuuuugly love seat that some crazy uncle thought was a glorious find from the Salvation Army (Momma tried to make it pretty with some pillows, but no amount of love could help that seat). Spring Cleaning meant pullin all that furniture away from the walls and holdin your breath to see what time collected in the crevices. Then you gotta be careful not to breathe out too heavy cause the dust would go flying fore you got a chance to catch it. If you didn’t, you’d quickly find out if you’re allergic to dust. Quarter cup of lemon Lysol in a bucket of steaming water and an old wash rag. Maybe two. A dust towel and citrus-scent Pledge. Me and my brothers would fight over who cleaned what. Somehow the twins always got the easy stuff: vacuuming or moving dirt around with the feather-duster. Finishing in enough time to fly down the street on their bikes with the neighborhood kids. Older sister never got off that easy. Each of my stubby fingers morphed into plump, lemon-fresh golden raisins by the time that whole damn house was done. I would finish just in time to sit with Nadine on the porch, counting the seconds til the sun turned off and the fireflies fluttered on. The craziest thing: despite all that cleaning, the house still smelled like Momma’s cookin. That Old House. Might have been some of Grandma’s and Great-Grandma’s cookin mixed in there too. Pork chops. Ham hock soaked in collards. Pinto beans and mustard greens. Corn bread and my Auntie’s famous macaroni and cheese. Didn’t matter if the oven was cold and the valve of the gas stove had been shut for days. A stranger woulda thought someone’d been slavin away in that kitchen for a week straight. No Sweet Citrus & Zest Fabreze back then. Lysol would mask the odors for a little while. Not long enough to overpower the 50 years of goodness marinated in buttermilk, kneaded with lard, and fried in Crisco that’d been embedded in the wallpaper and window treatments. All that grime—dead skin, hair follicles, Carolina clay, carpet lint, yippee-little-dog fur—was evidence of life. We were a socially-awkward newly-minted teenager, two rowdy twin boys, a multi-tasking mother, and a road-warrior father. Eventually a strangely-feline Yorkie was added to the mix. And don’t forget about the stray distant relative stopping by unannounced. No corner of that damn house was unmarked. Hand-sewn pillows in the living room that we were forbidden to breathe on somehow had tiny burnt orange paw prints on them (sneaky little dog). It drove Momma crazy. And tore up my fingernails. They still won’t grow back right. Wipe all that shit off just for it to build up again. But that house was inherited and fully paid for. No reason to move. I did move. I was ready to move on. Move up. Move out. Over that small town. Into the big city. Here the streets take on the smells of Momma’s house. Plus piss, shit, and unbathed skin. A hot day means everything cooks and stews in its own juices, making the stench 10x more intense. The apartment is another story. 11 floors up. Big, east-facing windows. Great view of the skyline dotted with some green foliage. And the great lake. Immaculate. Odorless. Not even a trace of tobacco from the previous tenant’s bad habits. No lingering scent of lemon Lysol. No street stench seeping through the window panes. No stray cat hairs. Or dog fur. Not a speck of dust. Futon. Throw pillows. Photos. Knickknacks. Bowls of fresh citrus. Cursedly-assembled desk set from IKEA. Yet the void is too big to fill. Too clean. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:ChatGPT:a psychomachiaChristopher Norris (bio)The human mind is not, like ChatGPT and its ilk, a lumbering statistical engine for pattern matching, gorging on hundreds of terabytes of data and extrapolating the most likely conversational response or most probable answer to a scientific question. On the contrary, the human mind is a surprisingly efficient and even elegant system that operates with small amounts of information; it seeks not to infer brute (...) correlations among data points but to create explanations.—Satya P. MohantyIt remains to be seen whether AI poems will eventually go beyond intended or unintended parody and trigger emotional responses in human readers that run deeper than wry amusement.... Current AI poets are in essence mining the metaphors that humans have already formed and planted in texts–in the view of Robert Frost, 'The richest accumulation of the ages is the noble metaphors we have rolled up." Could AI create genuinely novel metaphors, rather than only variations of those we humans have come up with already?—Keith HolyoakeNoteThis poem started out as a debate in clearly-marked dialogue form (alternating roman and italic print) between an advocate of ChatGPT who thinks that 'strong' AI is, or will soon be, capable of writing 'authentic' poetry, and a poet who resists that claim on various grounds, personal and philosophical. The opening, strict-form sonnet proposes that the issue be tested by running it (the poem itself) past the software and seeing what results as the sonnet-sequence unfolds from that speculative source-point. As it goes along, the sonnet-forms multiply, the contending viewpoints seem to merge or even change sides, the roman-italic alternation breaks down, and the project (theirs or mine?) loses its intended clarity of theme and treatment. I include the poem here as a kind of performative commentary on the way that thematic concerns or intentions may get lost once the AI software really starts doing its wondrous, intriguing, or humanly ominous thing.One way to test this thing, ChatGPT:Let's run a really strict-form poem on it,Like a Petrarchan or Shakespearean sonnet,Then input 'do thou likewise,' just to seeWhat comes out. Does the poem rhyme and scan [End Page 77] Correctly yet, as claimed, hit off the styleConvincingly, and thereby close the fileOn what's unique about the species 'man'?If so, you'll find it difficult to tellWhat's what with this example of the kind,Along with other cases you may findWorth putting to the online test as well.And don't get spooked if, like myself, you're proneTo think you're someone (something?) else's clone.You crease me up, you poets, with your fearsThat some new bit of software (albeit oneOf quite superior powers) might have outdoneYou in those self-apportioned special spheresOf excellence where you and some few peers,Each special, each unique, affect to shunAll thought that your fine poems may just runOn lines devised by AI gadgeteers.A nice idea, last refuge of the weakIn mind but good in heart, the valiant fewTo whose deluded faith it falls to holdOut still for what you fantasists may seekYet scarcely hope to find: new ways to doThe genius thing, transmute base stuff to gold!Read slowly, sensitively; don't permitYourself, dear reader, nobbled as no doubtYou've been by those who have the techno-clout,To take that stuff on board and let a bitOf pseudo-Keats, spoof Yeats, identikit'Stuffed-owl'-grade Wordsworth, or what else they toutAs the real deal demand you read withoutDiscerning what no moving finger's writ.Just hearken, let your quickened sense respondTo all that yet eludes the furthest reachOf AI artefacts. They had you connedAt first, though soon you missed the living speechUn-missed by those who cannot hear beyondWhat any tin-eared programmer could teach.Let's bring the reader in on this, I say.We've need of them, we disputants with much [End Page 78] At stake in different ways, they there to payOur... (shrink)

17 November 1979 You were reading a somewhat retro loveletter, the last in history. But you have not yet received it. Yes, its lack or excess of address prepares it to fall into all hands: a post card, an open letter in which the secret appears, but indecipherably. What does a post card want to say to you? On what conditions is it possible? Its destination traverses you, you no longer know who you are. At the very instant when from (...) its address it interpellates, you, uniquely you, instead of reaching you it divides you or sets you aside, occasionally overlooks you. And you love and you do not love, it makes of you what you wish, it takes you, it leaves you, it gives you. On the other side of the card, look, a proposition is made to you, S and p, Socrates and plato. For once the former seems to write, and with his other hand he is even scratching. But what is Plato doing with his outstretched finger in his back? While you occupy yourself with turning it around in every direction, it is the picture that turns you around like a letter, in advance it deciphers you, it preoccupies space, it procures your words and gestures, all the bodies that you believe you invent in order to determine its outline. You find yourself, you, yourself, on its path. The thick support of the card, a book heavy and light, is also the specter of this scene, the analysis between Socrates and Plato, on the program of several others. Like the soothsayer, a "fortune-telling book" watches over and speculates on that-which-must-happen, on what it indeed might mean _to happen, to arrive, to have to happen_ or _arrive, to let _or _to make happen _or _arrive, to destine, to address, to send, to legate, to inherit_, etc., if it all still signifies, between here and there, the near and the far, _da und fort_, the one or the other. You situate the subject of the book: between the posts and the analytic movement, the pleasure principle and the history of telecommunications, the post card and the purloined letter, in a word the transference from Socrates to Freud, and beyond. This satire of epistolary literature had to be farci, stuffed with addresses, postal codes, crypted missives, anonymous letters, all of it confided to so many modes, genres, and tones. In it I also abuse dates, signatures, titles or references, language itself. J. D. "With _The Post Card_, as with _Glas_, Derrida appears more as writer than as philosopher. Or we could say that here, in what is in part a mock epistolary novel, he stages his writing more overtly than in the scholarly works.... _The Post Card_ also contains a series of self-reflective essays, largely focused on Freud, in which Derrida is beautifully lucid and direct."—Alexander Gelley, _Library Journal_. (shrink)

BackgroundTraumatic brachial plexus injury (TBPI) causes a sensorimotor deficit in upper limb (UL) movements.ObjectiveOur aim was to investigate the arm–forearm coordination of both the injured and uninjured UL of TBPI subjects.MethodsTBPI participants (n = 13) and controls (n = 10) matched in age, gender, and anthropometric characteristics were recruited. Kinematics from the shoulder, elbow, wrist, and index finger markers were collected, while upstanding participants transported a cup to their mouth and returned the UL to a starting position. The UL (...) coordination was measured through the relative phase (RP) between arm and forearm phase angles and analyzed as a function of the hand kinematics.ResultsFor all participants, the hand transport had a shorter time to peak velocity (p < 0.01) compared to the return. Also, for the control and the uninjured TBPI UL, the RP showed a coordination pattern that favored forearm movements in the peak velocity of the transport phase (p < 0.001). TBPI participants' injured UL showed a longer movement duration in comparison to controls (p < 0.05), but no differences in peak velocity, time to peak velocity, and trajectory length, indicating preserved hand kinematics. The RP of the injured UL revealed altered coordination in favor of arm movements compared to controls and the uninjured UL (p < 0.001). Finally, TBPI participants' uninjured UL showed altered control of arm and forearm phase angles during the deceleration of hand movements compared to controls (p < 0.05).ConclusionThese results suggest that UL coordination is reorganized after a TBPI so as to preserve hand kinematics. (shrink)

The potential benefits of priming intermittent theta burst stimulation with continuous theta burst stimulation have not been examined in regard to sensorimotor oscillatory activities recorded in electroencephalography. The objective of this study was to investigate the modulatory effect of priming iTBS delivered to the motor cortex on movement-related and mirror visual feedback -induced sensorimotor event-related desynchronization, compared with iTBS alone, on healthy adults. Twenty participants were randomly allocated into Group 1: priming iTBS—cTBS followed by iTBS, and Group 2: non-priming iTBS—sham (...) cTBS followed by iTBS. The stimulation was delivered to the right primary motor cortex daily for 4 consecutive days. EEG was measured before and after 4 sessions of stimulation. Movement-related ERD was evaluated during left-index finger tapping and MVF-induced sensorimotor ERD was evaluated by comparing the difference between right-index finger tapping with and without MVF. After stimulation, both protocols increased movement-related ERD and MVF-induced sensorimotor ERD in high mu and low beta bands, indicated by significant time effects. A significant interaction effect favoring Group 1 in enhancing movement-related ERD was observed in the high mu band [F = 4.47, p = 0.049], compared with Group 2. Our experiment suggests that among healthy adults priming iTBS with cTBS delivered to the motor cortex yields similar effects with iTBS alone on enhancing ERD induced by MVF-based observation, while movement-related ERD was more enhanced in the priming iTBS condition, specifically in the high mu band. (shrink)

The article examines the crisis aspects of the generational dichotomy of the digital society in the challenges of postmodern culture. The theoretical basis of the study is the cultural and anthropological aspects of the influence of information technologies on the formation and self-affirmation of modern youth in the context of their value orientations and the formation of behavioral models on this basis. The purpose of the work is an interdisciplinary analysis of the problem of unfolding the life situation of the (...) young generation of digital culture, named by the French philosopher, culturologist and pedagogue M. Serre as "boy/girl with a finger". The development of the theoretical discourse of M. Serra's philosophical ideas is outlined and the peculiarities of the construction of personal identity in the postmodern digital communicative space are considered. The peculiarities of the transformation of the worldview principles of the young generation "boy/girl with a finger" in the context of axiological changes have been studied. The relevance of turning to the sociocultural analysis of contemporary foreign analysts for the Ukrainian philosophical and pedagogical thought has been demonstrated, which made it possible outline the signs of information revolutions, generalize and actualize philosophical reflection on self-identification of the individual. The philosophical discourse of a valuable worldview toolkit for solving psychological, pedagogical and educational crisis problems is explained, which deepens the understanding of the phenomenon of generational dichotomy and promotes effective interaction in the cultural and educational space. The work uses the methodology of the cultural approach, based on the ideas of A. Shyuts, P. Berger, T. Lukman, according to which the world of the individual must be understood in his everyday life, in relation to specific ideas, goals and behavioral motives, focusing on the study formal structures of everyday human relations. (shrink)

Gordon Baker and I had been colleagues at St John’s for almost ten years when we resolved, in 1976, to undertake the task of writing a commentary on Wittgenstein’s Philosophical Investigations. We had been talking about Wittgenstein since 1969, and when we cooperated in writing a long critical notice on the Philosophical Grammar in 1975, we found that working together was mutually instructive, intellectually stimulating and great fun. We thought that we still had much to say about Wittgenstein’s philosophy, and (...) it seemed to us that misinterpretations of passages in the Investigations were so extensive that it would be worth trying to write a detailed analytical commentary. It is difficult to recapture the excitement of those early days in being among the first to work on the microfilms and, subsequently, on the photocopies of Wittgenstein’s Nachlass. We spent many hundreds of hours poring over the typescripts and the often only semi-legible manuscripts, fascinated and privileged to be able to try to follow the development of the thoughts of a great philosophical genius. We talked endlessly about what we had found in Wittgenstein’s manuscripts and typescripts, and debated how it should be understood. The first fruit of our labours was Wittgenstein – Understanding and Meaning. Its guiding idea was to draw attention to the manner in which Wittgenstein linked the concepts of meaning, understanding and explanation, and so to bypass the connections between meaning, truth and truth-conditions that so fascinated philosophers of the 1970s, and to abandon the red-herring of assertion-conditions and anti-realism. After a hiatus of four years, during which time we wrote a controversial book entitled Frege – Logical Excavations and a polemical book on contemporary philosophy of language – Language, Sense. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:167 THE HUME LITERATURE FOR 1982 The Hume literature from 1925 to 1976 has been thoroughly covered in my book Fifty Years of Hume Scholarship: A Bibliographical Guide (Edinburgh University Press, 1978; £9.50), which also lists the main earlier writings on Hume. Publications of the years 1977 to 1981 were listed in Hume Studies in previous Novembers. What follows here will bring the record up to the end of (...) 1982. Readers are invited to inform me of any omissions, and to send me offprints of their own articles and reviews. The intention is to maintain a complete bibliographical record of critical work on Hume, by the regular publication in Hume Studies of an annual bibliography, with addenda consisting of items omitted through ignorance in previous years. References to recently-appearing reviews (of books from earlier lists) are given at the end. The following abbreviations of journal titles are used here: APQAmerican Philosophical Quarterly JHIJournal of the History of Ideas JHPJournal of the History of Philosophy JPJournal of Philosophy PASProceedings of the Aristotelian Society PBPhilosophical Books PQPhilosophical Quarterly PRPhilosophical Review RIPRevue Internationale de Philosophie RMReview of Metaphysics TLSTimes Literary Supplement Other abbreviations should be obvious enough, and mainly follow the British Standard (no. 4148). 168 AIKEN, H. D. 'The Originality of Hume's Theory of Obligation', Phil. & Phenomenol. Res. 42, 374-83. BADIA CABRERA, M. A. 'Milagro, testimonio y verdad. El significado de la crítica de Hume', Dialogos (Puerto Rico) 17, 37-52. BAIER, A. 'Hume's Account of our Absurd Passions', JP_ 79, 643-51. [652] BARON, M. 'Hume's Noble Lie: An Account of his Artificial Virtues', Can. J. Phil. 12, 539-55. BERRY, CJ. Hume, Hegel and Human Nature, pt. 2 (55124 ). The Hague, etc. [Hume Studies 9 (1983) 200-3] BERRY, CJ. 'Hume on Rationality in History and Social Life', History & Theory 21, 234-47. BUNZL, M. 'Humean Counterfactuals', JHP 20, 171-7. CALLICOTT, J. B. 'Hume's Is/Ought Dichotomy and the Relation of Ecology to Leopold's Land Ethic', Environmental Ethics 4, 163-74. CAPALDI, N., KING, J. & LIVINGSTON, D. 'The Hume Literature of the 1970s', Philosophical Topics 12, no. 3, 167-92. COLWELL, G.G. 'On Defining Away the Miraculous', Philosophy 57, 327-37. DAVIES, B. An Introduction to the Philosophy of Religion, 52-9 and 108-18. Oxford. DEL BARCO COLLAZOS, J. L. 'Evidencia y verdad en la epistemologia de Hume', Anuario filosófico 15, 175-84. DEL BARCO COLLAZOS, J. L. 'La teoría de la impresión en Hume', Anuario filosofico 15, 85-112. DRAPER, T. 'Hume and Madison: The Secrets of Federalist Paper No. 10', Encounter 58, (Feb.) 34-47. FARR, J. 'Humean Explanations in the Moral Sciences', Inquiry 25, 57-80. FERN, R. L. 'Hume's Critique of Miracles: An Irrelevant Triumph', Relig. Studies 18, 337-54. FITZPATRICK, J. 'Lonergan and Hume [I-IV: various aspects]', New Blackfriars 63, 122-30, 219-28, 275-86, 364-72. 169 FLAGE, D.E. 'Relative Ideas Revisited: A Reply to Thomas', Hume Studies 8, 158-71. FLAGE, D.E. 'Hume's Dualism', Nous 16, 527-41. FLEW, A. 'Another Idea of Necessary Connection', Philosophy 57, 487-94. FLEW, A. '"Hume on Space and Geometry": One Reservation ', Hume Studies 8, 62-5. [66-9] FORBES, D. 'Natural Law and the Scottish Enlightenment', in R. H. Campbell & A. S. Skinner, The Origins and Nature of the Scottish Enlightenment, 186204. Edinburgh. FORCE, J. E. 'Hume and Johnson on Prophecy and Miracles: Historical Context', JH_I 43, 463-75. FRIEMAN, J. 'Boswell Confronts Hume: An Encounter with the Great Infidel', Free Inquiry 2, 22-5. GALGAN, G.J. The Logic of Modernity, 118-36 ('Hume: The Breakdown of Certitude'). New York S London. HALL, R. 'The Hume Literature for 1981', Hume Studies 8, 172-7. HALLER, R. Urteile und Ereignisse, 76-85 ('Humes Analyse'). Munich. HAUSMAN, A. 'It Ain't Necessity, So... (with Apologies to George Gershwin)', Hume Studies 8, 87-101. HILL, E. 'Hume and the Delightful Tragedy Problem', Philosophy 57, 319-26. HOERSTER, N. 'David Hume', in N. Hoerster, Klassiker des philosophischen Denkens, vol. 2, 7-46. Munich. JONES, G. E. 'Vindication, Hume and Induction', Can. J. Phil. 12, 119-29. JONES, P. 'Laughter', PAS... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Cambridge History of Philosophy in Late AntiquityJohn RistLloyd P. Gerson, editor. The Cambridge History of Philosophy in Late Antiquity. 2 vols. Cambridge-New York: Cambridge University Press, 2010. Pp. 1313. Cloth, $240.00.1313 pages, including 915 pages of text and 200 of bibliography; 51 authors—in about 800 words! The editor of the present Cambridge History makes plain that his new two-volume monument is the successor to Armstrong’s Cambridge History (...) of Late Greek and Early Medieval Philosophy—8 contributors—and is intended to build on its strengths and correct its deficiencies in the light of some 40 years of highly successful investigation of the thought of late antiquity. The result is a professional structure in which the “giants” (Plotinus and Augustine) are awarded comparatively modest coverage, while figures often neglected, such as Damascius, of whom our understanding has greatly increased of late, are given much more space. Damascius secures 30 pages: the only individual to get more is Porphyry (33), while Augustine has 29 and Plotinus 24 (four more than Hierocles). There are those (as Tacitus might have put it) who will fear that the wood has been lost for the trees, and at least it must be said that one overall impression of these volumes is that some of their authors are recounting what will be of interest to a worldwide group of aficionados whose number can be counted on the fingers of a mutilated hand—and the importance of which lies less in philosophical achievement than in the handing on of a great tradition.Gilbert Ryle is supposed to have asserted that in France everyone can talk about philosophy but that there are no philosophers; some of Gerson’s more philosophically minded readers may find their prejudices confirmed that in late antiquity there were many who talked about Plato and Aristotle but few who understood what they were trying to do. For it is clear that a general theme of the present volumes is that in late antiquity philosophers were largely concerned to “interpret” Plato and (especially after Porphyry) Aristotle while occasionally seizing the opportunity not merely to rubbish their similarly-engaged predecessors but to add (if shamefacedly) something of their own. Except, that is, for the Christians, whose enterprise was very different and who, quite properly, are more visible in Gerson’s account of late antique thought than in that of Armstrong (though there remain strange omissions in a work on this scale: Methodius, Ambrose, Evagrius).Gerson has tried to contextualize his story by including short (and helpful) historical introductions by Elizabeth DePalma Digeser to the various epochs with which his volumes are concerned, and which can perhaps be divided into four sections: pre-Plotinian Platonism [End Page 136] (plus extras) from Cicero to Numenius; later pagan Platonism, including extensive treatment of the Neoplatonic commentators on Aristotle; Christian thought before Constantine; and later Christian philosophy-cum-theology. Rounding off the volume are introductions to the transition from “ancient” to “medieval” thought in the Latin West (Gersh), in Byzantium—a remarkably honest presentation of a largely stagnant philosophical world by Ierodiakonou and Zografidis—and (in a magisterial improvement on what is to be found in Armstrong) in Islam (Cristina d’Ancona) where (inter multa alia) the roots of the virtually inevitable later destruction of a flourishing philosophical tradition founded by al-Kindi and al-Farabi are identified in the more “orthodox” and theocratic approach—here there are Byzantine parallels—of the followers of al-Ash’ari (885).Gerson’s readers can inspect philosophical wisdom and conceptual muddle among late antique intellectuals—Christians, a few Muslims, pagans—down to Scotus Eriugena and al-Farabi. But some of them may suspect that an opportunity has been lost to reflect on the origins and nature of early Christian thought, and to ask why Christians soon jumped for Platonism rather than Stoicism (Aristotle, let alone Epicurus, was not—yet—considered a serious option)—and that is not intended as criticism of the excellent, if brief, treatment of important Christian thinkers such as Origen. But it was an adventure for Christians to begin to philosophize, and when they embarked on this adventure—here the significance... (shrink)

Being conscious is intrinsic. Suppose P, a conscious human being, “shrinks” by losing an atom from her left index finger. Suppose that at the very first instant at which P has lost that atom, the atoms that then compose her remain just as they were immediately before “the loss.” This implies—assuming MS for reductio—that, just as those atoms compose a conscious object after the loss, so they composed a conscious object before the loss. Name that latter object ‘the atom-complement’.

In lieu of an abstract, here is a brief excerpt of the content:IS EVERY HUMAN BEING A PERSON?* ROBERT SPAEMANN Ludwig-Maximilians-Universitat Munich, Germany I. DEFINING THE QUESTION THE PAPAL encyclical, Evangelium vitae (EV), declares solemnly that "... the direct and voluntary killing of an innocent human being is always gravely immoral" (EV 57). This unconditional ethical obligation to respect every human life is justified by reference to "the incomparable dignity of the human person." Such an unconditioned claim is made upon (...) us by the face of every human being we meet. The encyclical supports this claim of intuitive perception with two arguments. First and foremost, the claim to unconditional respect is based biblically and theologically on the recognition of the human being as the imago Dei. The human is the "image" of God. Humans, however, are not unconditioned simply taken in themselves ; merely as such, theirs is a most conditioned, finite being, which can be transformed from living to dead with hardly the lifting of a finger. And yet, such violence, while always possible for us physically, is absolutely impossible on another level. In the human being something "reveals" itself to us that is more than any finite and conditioned mode of being; thus, the term "image." In contrast to mere pictures, which are images only in an accidental sense, the human is created as image. Human being is being an image. Thus human being participates in the 'Translated by Richard Schenk, O.P. 463 464 ROBERT SPAEMAN incorruptibility of the One of whom the human is an image. Human beings are called to eternal life. The second and secondary argument is based on the consequences of not respecting the unconditioned dignity of the human being. The encyclical points out that an order of law in which the freedom from being at another's free disposition is lacking does not deserve the name of law; it is merely an organization of the power of the stronger over the weaker. In section nineteen the pope mentions a theory held by some who would acknowledge only those humans as subjects of legal rights who already manifest certain signs of personal autonomy. He also speaks of the theory of those who would "identify the dignity of the person with the capacity for explicitly verbal communication." Not included in this category are therefore the unborn, the dying, and severely impaired or senile humans; although not mentioned by the encyclical, it must be added that by this theory infants are excluded as well. In his book, Practical Ethics,1 the most influential proponent of this theory, Peter Singer, has declared outright that the life of a human infant is of less value than that of an adult pig.2 Because the encyclical argues for the most part theologically, it does not deal closely with the arguments proposed by Singer and his followers in their attempt to eliminate human rights and to claim that not all human beings are persons.3 The Holy Scriptures do not speak of "persons" as such, but simply of human beings. For revelation, humanity is one single family: all that are begotten of humans belong to this family. The conviction that even newlyborn children possess human dignity is reflected in the infancy 1 Peter Singer, Practical Ethics (Cambridge: Cambridge University Press, 1979). An expanded second edition appeared in 1993 (Cambridge University Press). 2 "A week-old baby is not a rational and self-conscious being, and there are many nonhuman animals whose rationality, self-consciousness, awareness, capacity to feel, and so on, exceed that of a human baby a week, a month, or even a year old. If the fetus does not have the same claim to life as a person, it appears that the newborn baby does not either, and the life of a newborn baby is of less value than the life of a pig, a dog, or a chimpanzee" (Singer, Practical Ethics, 122-23; in the second edition this statement appears with slight modifications on p. 169). 3 Cf. also Norbert Hoerster, Abtreibung im saekularen Staat: Argumente gegen den Paragraphen 218 (Frankfurt, 1991). IS EVERY HUMAN BEING A PERSON? 465 narratives of the Gospel, where shepherds and kings worship the child at Bethlehem. The conviction that human being begins... (shrink)

Sometimes I think: I'm flying. And why am I flying? Because of the dress. The flesh, I think, is multiplying itself. Here are the children, I think, going away from me and coming to me. If all is one, I think, why this split?My body of thought is likewise made of a womb of wombs. Whatever it begets begets its own body [in this sense I may be said to be multiparous].I am beautiful like a snip of ivory. My face (...) is like the negative of another woman's face. Whatever she does I do moving backward.I spread a hundred fingers up against the wind and the wind dries the lacquer. At these parties I have no given name. I may be called Flora and I may be called Rosamund. The images of color that I set up in space redeem me.In the morning. After the dreams. I see the white body stitched in bed. My corporal body. The veins that store the precious fluid. What I think have they hauled up there from the deep?I get up as in the miracle that Our Teacher Rabbi Loew worked upon a lump of clay and turn on the stove.Sometimes the light bounces off of forks and knives into the eyes. The light of the fork into the eye of the fork and the light of the knife into the eye of the knife.What am I what am I I am thinking flattening out knives and forks on those wooden headstones they call a table?The bread is the showbread and the butter is the clot of my blood. What are they looking for in these blue thighs?The kitchen windows [as in the ancient Icelandic language] are the wind's eye. This is the house and these are the children's table-napkins.... Now. When everything is in place. I am waterboiling. Water pours out of the mouth of the tap into the mouth of the kettle and I am thinking about these hairs that I have. About the hundreds of thousands of fine threads that rise at night in utter silence from the skin. The walls close in on me but my head. As in the Book of Creation. Extracts from nothingness black streams.Through the drinking glasses I see a great field of ice. A white antelope eating a fish.... What am I with a round shoulder and milk muttering prices of chemicals. The cash registers cut the boundaries of my skin.In supermarkets with thousands of tins of canned peas ought to ambulate people covered with hair. Let them block one another's cart like they once did in the hippodromes of Byzantium.Let them speak—with those colorful rags that they tie around their necks—into mouthpieces of telephones. Let their voices run crisscross like stifled crow calls between wires inside the earth. Why have they enclosed me—I, who can cover entire fields like Bermuda grass—within the confines of an electric bell?At 7:20. As if down the ladder of angels painted by Raphael. The child descends the wooden staircase. His toes are depressed precisely according to the divine image of grief. Each toe and its mirror reflection in the other foot.The forest creatures on the pajama fabric with their mouths gaping open as in the sudden vision seen by our primogenitor when they spread the coat of many colors before him and said: Surely he has been torn to pieces.... When the child turned inside me and stood in the placental fluid with his head to the ground, the two of us were the complete converse figure. One head toward the outer boundary, the other head toward the middle point.It was unnatural how the head emerged. Why did it pierce the membrane in which it was enfolded and discharge the water?Windows previously shut were torn apart. Lids of cookware dropped to the floor. This rupture [Michael. Michael.] gave birth to unreason.The child [in my imaginations he is chasing gadflies] is sitting at the table waiting for his cornflakes. He is eating them flake by flake and inside every flake are little crystals of sugar.This game [being able to hold shreds of sugar inside tiny dents] fills his heart.... The light that radiates in every thing is the light of late autumn. I play with it the age-old game. Ask for its name and it replies.The kitchenware too bear their names [just as they bear the form].... I can write an inner play about The Non-Intervention of Time in Kitchenware. Time will get the leading role.In Act One it will set out [like Ulysses] on a journey. The kitchenware will stay put, each ware in its respective place, within daily life.In Acts Two and Three time will travel so far that one or two wares should drop out of place.Act Four will be called Fatal Incidence and Act Five, The Return of Time.... I shout [an inner shout] Dolores Dolores as if I had a friend whose name were like that.How do you do Dolores [I say in my heart] and exchange recipes for dresses with her.Then Dolores sets out in both directions at once. The direction of the great bird in the sky and the direction of Nachlat Binyamin St.... I can see [by means of two mirrors] my silk dressing gown.The silk dressing gown enfolds me and prepares me for verbal exchange. It enables me to communicate information. If it slides down I kneel down until it slides up [and then I kneel down].... When I think of recollection I wonder how the image of myself gets duplicated.The bathtub gets duplicated and the light above the bathtub. Time sends a facsimile of itself.In the black margins outside the sheet of paper hides my mother. Come out come out she is calling to me like you would to a snail.At that time were created the archetypes of things.The complete washbasin. The complete mirror. Next to every sound was inscribed the right clef.Every movement was a perfectum mobile: I jump and by force of this jump I jump again.... Through the window I see the crow called Salpeter.Good morning Old Salpeter. Did you get your black robe back from the dry cleaner?Sometimes you see me obliquely from the right and sometimes obliquely from the left. What am I? A very strange female crow?I adore your rich language. This single word of yours that has in it all the verb stems.... What is so logical about the sky? The window frame.The window frame is like the twelve apostles. Three in each lintel and in their midst [behind the nebula] is sitting the child Michael.The motion of a doll turned over and the motion of the trains sent by him flying in the air are the divine edict. Get'p get'p he tells me all of you and go'ver there.... See Dolores how simple everything is: There is the kitchen. There is the child. There is the wooden staircase.Whom are we to thank for this grace. The colors are so right Dolores and the shapes precise. Every thing I spell out is cut with utmost perfection for the space allotted to it and for the sequence of time.... My biography may easily be canceled.First cancel the alienation. Then cancel the kneeling in the dark. The joy of the assigned date. The bridal veil and the porcelainware.If a medical ground is required I can say I have edema.... I like the words earth quake.Sometimes I think the earth is quaking and the words are not and sometimes the words are quaking and the earth is not.The great catfish know the earth is about to quake and the Chinese who paint the words with a fine paintbrush six lines for the earth and fifteen for this quake set guards to watch the great catfish who knows what is about to take place.... As if after a very severe accident I have to practice life anew.My physiotherapist tells me: Now a slight movement with the right hand. Now a shake of the head.I learn to press handles. To turn sharply in this or that direction.Lately when they ask me anything I pretend that the reply answers the question.Look Dolores how I refute the theory about the formation of species:I take a bubble of soap from the sink and elevate it to the sun.... There is a thing Dolores and it is infinitely good and I shall not tell you what it is.You can hear it in the first hours of the night when darkness is gaping. It has the property of withdrawing into a point tiny as a tittle.Or you can search for it in places where there appears to be something and there is not. (shrink)

Das Ergebnis unserer kurzen Untersuchung, die sich noch viel weiter ausdehnen ließe, ist folgendes: Die Lehre von der Seelenwanderung im Islam hängt aufs engste zusammen mit dem S e k t e n t y p u s : der Steigerung des Persönlichkeits- und Individualitätstriebes, wie sie sich einerseits in der Apotheose des verborgenen Imäm, andererseits in der Dramatisierung des Schicksals der menschlichen Seele kundtut. Die alten Religionen und Kulturen auf dem synkretistischen Boden Vorderasiens haben dazu ebenso das Material geliefert (...) wie der Ferne Osten, vornehmlich Indien, nicht zuletzt aber hat zu ihrer Ausbildung auch manche bedeutende Persönlichkeit der islamischen Theologie und das fromme Volksgemüt beigetragen in seiner Art, transzendente Zusammenhänge durch Glauben an die Wiederkehr des verehrten Heiligen zu erfassen, und so daran mitgewirkt, eine ursprünglich politische Sezession in eine religiöse zu verwandeln. Der Seelenwanderungsglaube gewährt seinen Anhängern eine wichtige Möglichkeit zur Deutung von Schuld und Sühne, der Theodizee und der Tatsache der Verschiedenheit der Religionen ; er vertieft das Gemeinschaftsgefühl durch die Theorie der seelischen Verwandtschaft und des Seelenaustauschs zwischen sich nahe-stehenden Personen, und er erklärt, wie ein Heiliger vergottet werden kann. Seine Rolle im Islam mag abseitig sein, aber sie ist nicht unerheblich. (shrink)

This article explores three ways in which a cognitively entrenched mindreading (or 'theory of mind') system may bias our thinking as cognitive scientists. One issues in a form of tacit dualism, impacting scientific debates about phenomenal consciousness. Another leads us to think that our own minds are easier to know than they really are, influencing debates about self-knowledge, and about mindreading itself. And the third results in a bias in favour of empiricist over nativist accounts of cognitive development. The discussion (...) throughout is tentative and speculative, and can be regarded as an appeal for caution, as well as a call for further research. (shrink)

continent. 1.3 (2011): 201-207. “Poetry is experience, linked to a vital approach, to a movement which is accomplished in the serious, purposeful course of life. In order to write a single line, one must have exhausted life.” —Maurice Blanchot (1982, 89) Nikos Karouzos had a communist teacher for a father and an orthodox priest for a grandfather. From his four years up to his high school graduation he was incessantly educated, reading the entire private library of his granddad, comprising mainly (...) the Orthodox Church Fathers and the ancient classics. Later on in his life he sold the library for money, only to buy a little more time before he went broke again: “I carry sorrow like a cage/ I got no birds/ as I come back from her hair/ I see the profit emptied/ cool from terror.” (1993, Ι, 101) Nowadays—and ridiculously recently—we are more than apt to speak of a certain insouciance pertaining to the Greek form of expenditure: expenditure without any type of investment, sometimes not (even) symbolic. In the vaults of the European unconscious, this imprudent stance still conjures a “capital punishment” in the form of de-capitation, reflecting back the fear of excess and the terror of its consequences.1 Thus the Greek way of living is very close to what a stranger could have termed as “the Greek way of dying.” Yet, what is not often understood is that the Greek esprit , the same one that invented the maxim μηδ?ν ?γαν (“nothing in excess”), does not experience death solely as an imminent fear of bankruptcy. For it miraculously combines its unconditional acceptance with the promise of a resurrection that is always there in the scents of Spring, from Dionysus to the orthodox Christ: “Everyone resurrects himself through dying [….] Resurrection is the switching of mortalities.” (2002, 94) Hence, if an entire library was imprudently traded for a plate with seven olives, a sliced tomato and some fresh goat cheese, let us not be fooled: this is not the meal of the pauper, but that of “an aristocrat from God” (1993, II, 491) feeding his eloquent loudmouth, ridiculously cut open in an otherwise rock-solid caput . *** To speak of the Greek experience is to speak about a half-dead language that still utters in life what is seemingly excluded from it and thus forbidden to be talked about: death. Death as anything that is out of this world, as something that will never return . Still, along with an experience of death that recently waned as a worn-out academic fashion, the Greek experience is dead too. Nearly 2300 years of written words separating Homer from the fall of Byzantium equal 500 books on a library traded for money: “I am with the killed. Hence my deepest solitude. I do not feel this tremendous macho society, beyond from the fact that it is a ruthlessly consuming one. It is me who pays all the time .” (2002, 57) Let us do the math and see how much this dealing with the Greek experience is costing the poet and how much dealing with the Greek experience might cost us today. *** “I do not guarantee a single word.” (Karouzos, 1993, II, 454) Through its various dialects and forms, the Greek language speaks through an incessant historical dissemination. Anyone who is aware of this terrifying polymorphy and still calls himself a poet, must stand against a white sheet of paper, pen-in-hand, with a very particular duty: to be as fully inconsistent as possible. In the formally ironic uniqueness of the poem, the poet functions as “a band-aid for lesser and greater antinomies.” (1993, I, 251) Of course these antinomies are not exhausted in language—they are historical, political and, alas, existential. Yet, beyond appearances , it is language that ruthlessly encodes them through history, submitting the poet to the temptation of placing them one next to the other on a single white sheet. The closer their neighboring, the greater the scattering of the writer in the ironic uniqueness of the paper. In a work where poetic license is described as a “freedom-impasse” (2002, 51), this task is undertaken in full conscience of its personal consequences: “what I am interested in is to escape my individuality (envisioning the non-ego) […] Nevertheless, my dissociations never achieve duration.” (2002, 74-75) Hence, though poetry is the “deserted direction of will,” (1998, 62) the stance of the poet is not that of a Nietzschean “great man.”2 Whereas drunkenness provides a thread between the poem and the excess it both presupposes and infuses (“Poetry always enlarges. ‘Drunkenness’ is nothing more than that,” (2002, 85)), whereas language flashes in loudmouth spurts of déraison (“When I am alone I do something else. I utter words. For example, while having my ouzo and listening to music I am most likely capable of randomly shouting ‘Electricity!’” (2002, 138)), the poet never gives in to the double affirmation that would eventually risk the “element of pleasure in discourse.” (2002, 80)” It is exactly because the gap of the antinomies is so vast that poetry is not meant to be written with a hammer. Neither does writing consist in a reevaluation of those elements. In short, poetry is not an affirmation of difference, but the surprising beauty of chiming antinomies. We might never transcend them, but it is up to us to put them together. Yet again, this voisinage is not to be identified with the necessity of chance as an eternal return.4 On the contrary it is a return from that very return : Let us treat Yes as a No to No and No as a Yes […] And let us not forget that this pissed affirmation crumbled down Nietzsche’s intellect in the dark paths of this world. (2002, 88) This return from the “vicious circle” should in no way be taken as a form of artistic prudence. Rather it can be seen as a dribble of demonic inconsistency as Dionysus transforms himself into a Christ that is in turn de-theologized: “Who can forbid that? Every man is capable of his own theology, nothing can stop him.” (2002, 73-74) This is a turn towards an existential vision of the world, historically coinciding with a particular political defeat of the Left, to which the poet devoted all his life: after the defeat of the popular front I raised the question “why do we exist?” while others were asking “why we failed.” (2002, 57)5 But most of all it is a return to poetry that exceeds the existential question itself, going beyond the issue of faith. Poetry comes in as a question of return after a defeat that is confessed in full profanity. Though it accepts the necessity of the defeat, it does not affirm it. Though it negates it, the negation is not in the name of a promise to be delivered in the kingdom of heavens. Following a historical and existential defeat, poetry is born post mortem . It signals a return to Christ as “groundless religiousness in the surprise of the real as such” (2002, 72) which is at once a return to the refuge of childhood. It is not a question of endurance towards an eternal return. Rather it is a question on the possibility of an existential return. Returning in a world as someone who cannot enjoy any returns exactly because he is averse to guarantees. A return without returns. *** PHOTOCOPY OF HAPPINESS When I was young I used to pin down cicadas and step on ant nests. I used to stand there silent for hours. With threads I decapitated bees. Now I am a dead man breathing. (Karouzos, 1993, II, 336.) The return to the “paradise of childhood” (2002, 68) constitutes the devouring refuge of its own memory when defeat becomes the synonym of adulthood. The political struggles of a young communist in a country torn up by a civil war right after World War II fraught with incarcerations and exiles. Historically they resulted in the defeat of the communist movement in Greece and opened up a long turbulent road that would peak in the dictatorship of 1967. Existentially they led to a series of disillusionments: mental breakdown, divorce, abandonment of studies in law school. To the question “why do we exist” the answer was poetry. Still this exposé should not be read as a sweeping chronography of a man. For it actually happens to coincide with the historical fate of a nation that after its modern constitution never stopped dreaming of the glories of its past youth, in a present that was (and is) sweepingly disappointing. But isn’t this return to youth finally a way of compensating for a loss of youth that necessarily results in a losing adulthood? Will Greeks, the eternal children of Plato and Nietzsche, ever learn? How to return without dying, how to remember without wasting time? WE ARE IN THE OPEN MEANING Living the coldest mauve night right across Parthenon I went to take a piss on some foliage and I was enjoying the foliage as it was steaming. (Karouzos, 1993, II, 340) Beyond the historical tragedies of modern Greece and away from any personal disappointments, the relation that this land holds with language and history is mediated through the Greek light—whose omnipresence is the very condition of its transcendence. All historical contradictions from Dionysus to Christ took place under this light; all those disseminated dialects were spoken beneath its warmth. To paraphrase Lévinas,6 light is both the condition of the world and of our withdrawal from it—a withdrawal towards the invisibility of God, of the dead, of meta-physics, resulting from the temptation that all is still here, behind this light the visibility of which they once evaded: “birds, the allurement of God.” (1993, I, 17) Under that luminous sky, if Greeks can do anything at all, it is to envision a return that will never come. All they can do is write poetry—which is doing nothing; other than lending an ear to a disseminated language whispering a unity that cannot be promised, as an adulthood in defeat is ready to recognize. Trying “to trap the invisible in visibility” (1993, II, 483) they forget that they have grown up and one day they die—with the promise of return. Hence an additional meaning must be given to this return to childhood. It does not signal salvation but rather its promise. To the ears of an aged continent it means that the return to/of poetry is a losing game, a return without returns. “Europe, Europe… you are nothing more than the continuation of Barabbas.” (1993, I, 295) *** “Life is not there to verify theories.”7 The records show that Karouzos was finally given a second-class pension from the Greek government, at the time when he was being recognized by the literary press as one of Greece’s major contemporary poets. Being neither a bourgeois nor a nobelist, he proclaimed himself to be an anarcho-communist, unconditionally faithful to the utopia of a classless society. He also drank, heavily. “Capitalism made an animal out of man/ Marxism made an animal out of truth/ Shut up.” (1993, II, 369) Perhaps one of the most scandalous divides of our times has been the one between the living and the dead, the latent prohibition that the living should not be concerned with the dead based on the mere impossibility of the dead to be concerned with the living in the first place. What adds to this scandal is that this divide abuses anything that cannot return to us by subsuming it under the same futility. Hence death is no longer “loss” in the usual sense. It no more refers to the things we lost but to our “loss” (of time, money and well-being) as we insist to dwell on them. Death is a waste —of time. It is this waste that we find in the insouciance of Greek expenditure; the waste in dealing with a language that most of its historical part is no longer spoken (a dead language); the waste in translating a poet who is ex definitio untranslatable; the waste of his vision, his money, his life. The waste of dealing with anything that cannot return and that cannot bring in any returns . But it is also the waste of life that poetry itself presupposes, the waste of dealing with invisibility, with anything that is out of this world and thus invokes the fear of death that is in turn—and surprisingly— nowhere to be found. Instead of death, what is there, beyond the light, is the being without us (to recall the Lévinasian il y a ), the mumble of our own nothingness which constitutes the price to be paid for writing poetry under an evergreek light. To understand this to-and-fro, is to realize that poetry is something out of this world that nevertheless takes place in this world, by virtue of this world. But to ridiculously equate this to-and-fro with death as non-existence, is to exile poetry along with its own possibility from this same old world: I do not believe that poetry will ever disappear from this world. […] But I am also sure that it does not have many chances of playing, as you say, a redemptive role in our vertiginous technological future. Without being endangered as a creative need, it will be placed on the side of history. (2002, 32) It is mainly there that we would like to locate the meaning of Nikos Karouzos’s poetry today. If we are willing to include the Greek original it is because we consider that it will be both a waste of time for us to do so (since most of you cannot read Greek) and because it might induce you to the even larger waste of learning it. We would additionally be glad if this small introduction served as an equally wasteful, academically useless piece of reading, gesturing towards a taboo of investing in anything Greek—that is in anything dead among the living, in anything that will never come back and maybe was never here in the first place. This is the only way to reserve for ourselves the possibility of poetry and preserve the light of its promise. “To return: that is the miracle.” (1993, I, 17) Athens, Greece July 10, 2011 NOTES 1 “ Capitale (a Late Latin word based on caput “head”) emerged in the twelfth to thirteenth centuries in the sense of funds, stock of merchandise, sum of money or money carrying interest.[…] The word and the reality it stood for appear in the sermons of St. Bernardino of Siena (1380-1444) ‘… quamdam seminalem rationem lucrosi quam communiter capitale vocamus ’, ‘that prolific cause of wealth that we commonly call capital’” (Braudel, 1992, 232-233). 2 “A great man – a man whom nature has constructed and invented in the grand style – what is he? First : there is a long logic in all of his activity, hard to survey because of its length, and consequently misleading; he has the ability to extend his will across great stretches of his life and to despise and reject everything petty about him, including even the fairest, ‘divinest’ things in the world.” (Nietzsche, 1968, 505, §962) 3 Cf. Deleuze, 1986, 186-9. 4 “Return is the being of becoming, the unity of multiplicity, the necessity of chance: the being of difference as such or the eternal return.” (Deleuze, 189)5 In this 1982 interview Karouzos refers to the defeat of the communist movement in Greece after the civil war of 1946-1949 between the Governmental Army and the Democratic Army of Greece, the military division of the Greek communist party. Karouzos’s father was a member of the communist National Liberation front (EAM) members of which formed the mainl resistance movement (ELAS) in Greece during WWII. The poet was a member of the United Panhellenic Organization of Youth (EPON), which was a youth division of EAM. After the end of the war, ELAS was called to disarmament in view of the formation of a National Army. The members of EAM resigned from the government of national unity and a series of protests led to a 3 year civil war between ELAS and the Government Army. After the defeat of ELAS the Communist party was outlawed and many communists were exiled in deserted Greek islands. Karouzos, who took action in the Greek resistance and was active during the Greek civil war, was exiled in Icaria on 1947 and in Makronisos on 1953 where he was called two years earlier to do his military service. 6 “Existence in the world qua light, which makes desire possible, is then, in the midst of being, the possibility of detaching oneself from being. To enter into being is to link up with objects; it is in effect a bond that is already tainted with nullity. It is already to escape anonymity. In this world where everything seems to affirm our solidarity with the totality of existence, where we are caught up in the gears of a universal mechanism, our first feeling, our ineradicable illusion, is a feeling or illusion of freedom. To be in the world is this hesitation, this interval in existing, which we have seen in the analyses of fatigue and the present.” (Lévinas, 1988,43-4) 7from a TV interview. THE POETRY OF NIKOS KAROUZOS From Redwriter [ Ερυθρογρ?φος ], in Collected Works, Vol . II, Athens: Ikaros. 1993, 463-4. [Athens: Apopeira, 1990, 9-10.] JESUS ANTI-OEDIPUS* Why were we once saving till the fifth day the Paschal lamb? The scriptures say: with this victim’s meat we ought to cleanse all of our senses. To give life to the whitest wave miraculous odors in the extension of the chest. Ideals to death. For us to witness the illustrious dawns of Absinthe and for the soul to be a deeply carved ornament on the fore we named will. Then many deer running amidst the evergreen growth with watery hymns, then, the unintended angels descending with heights spiraling in their momentum offer themselves to the luminous Adventure. Whence the need for speech and our sufferings covered with flags like the glorified dead. An incorporeal finger pointing at the flamboyant and fragrant holocausts within the tired horizons and the exhausted breadths with joys of the mistletoe on fire and shivering all of the green-leaved love. Something would have chirped again had we not driven it away— maybe the ewe’s grass. Something would have called us to the eternal resurrection— maybe the grace of spring. But now our heart is fiercely blinded, withdrawn to the appearances of Hades. Silence and ice incessantly cover the Infant Spirit in thatched times. While the cherry trees are dreaming faintly glowing in absolute darkness there’s nothing the Babylonians can contemplate in labs with automatic colored lights. How to rejoice now in the fifth day of the lamb? We have forked the stars. We’ve gradually become supposedly sublime with plucked chimeras in our hands. Avenged relentlessly by science. *Though the poem appears in a 1990 collection, it was actually written in 1968. Hence the reader must be aware in not associating Karouzos’ Anti-Oedipus with the famous 1972 work of Deleuze and Guattari, given that the former precedes the latter. ΙΗΣΟΥΣ ΑΝΤΙ-ΟΙΔΙΠΟΥΣ Γιατ? κρατο?σαμε κ?ποτε ?ς την π?μπτη μ?ρα το πασχαλιν? πρ?βατο; Τα κε?μενα λ?νε: μ’ αυτο? του θ?ματος το κρ?ας ?πρεπε να καθαρ?σουμε ?λες τις αισθ?σεις. Για να δ?σουμε κ?μα στη ζω? λευκ?τατο θαυμ?σιες ευωδι?ς στην ?κταση του στ?θους. Ιδανικ? στο χ?ρο. Για να βλ?πουμε τα λαμπρ? χαρ?ματα του ?ψινθου και να ’ναι η ψυχ? στ?λισμα βαθυχ?ρακτο της πλ?ρης που την ε?παμε θ?ληση. Τ?τε πολλ?ς δορκ?δες τρ?χοντας αν?μεσα στην καταπρ?σινη φ?ση με τους υδ?τινους ?μνους, τ?τε, κατεβα?νοντας οι αθ?λητοι ?γγελοι με κυλινδο?μενο το ?ψος στην ορμ? τους χαρ?ζονται της αστραφτερ?ς Περιπ?τειας. ?θεν η μιλι? γι’ αυτ? χρει?ζεται και τα δειν? σκεπ?ζονται ωσ?ν τους τιμημ?νους νεκρο?ς με σημα?ες. Ασ?ματο δ?χτυλο δε?χνει τα φλογ?δη και μοσχοβ?λα ολοκαυτ?ματα στους κουρασμ?νους ορ?ζοντες στα εξουθενωμ?να πλ?τη καθ?ς αν?βουν οι χαρ?ς του νερα?δ?ξυλου και τρ?μει ολ?κληρη η πρασιν?φυλλη αγ?πη. Κ?τι θα κελαηδο?σε π?λι αν δεν το δι?χναμε— μπορε? της προβατ?νας το χορτ?ρι. Κ?τι θα μας καλο?σε στην απ?ραντη αν?σταση— μπορε? του ?αρος η χ?ρη. Μα η καρδι? μας ?γρια τυφλ?θηκε π?ρασε στα φαιν?μενα του ?δη. Σιγ? και π?γος αδι?κοπα σκεπ?ζει στους αχυρ?νιους καιρο?ς το Ν?πιο Πνε?μα. Την ?ρα που ονειρε?ονται οι βυσσινι?ς και λ?μπουν αμυδρ? μεσ’ στο απλ?τατο σκοτ?δι τ?ποτα δε στοχ?ζονται οι βαβυλ?νιοι στα εργαστ?ρια με τ’ αυτ?ματα χρωματιστ? φ?τα. Π?ς να χαρο?με πια την π?μπτη μ?ρα του προβ?του; Φουρκ?σαμε τ’ αστ?ρια. Γ?ναμε σιγ?-σιγ? δ?θεν υπ?ροχοι με μαδημ?νες χ?μαιρες στα χ?ρια. Μας ν?μεται σκληρ? η επιστ?μη. From: Redwriter [Ερυθρογρ?φος], in Collected Works, Vol. II, Athens: Ikaros. 1993, 472. [Athens: Apopeira, 1990, 18.] DIALECTΙCS OF SPRING Christ the straight angle; Christ the Pythagorean theorem. Christ the infinitesimal calculus from above the blessed Sets Christ. Christ the tessellation of massive particles Christ the zero mass. Hence we spray numbers and fields of lust. We are carabineers of diseased logic plus something— Observed means observer and Hekate The darkness luminous and light in the dark Astarte banqueters demons from today. ΔΙΑΛΕΚΤΙΚΗ ΤΟΥ ΕΑΡΟΣ Χριστ?ς η ορθ? γων?α· Χριστ?ς το πυθαγ?ριο θε?ρημα. Χριστ?ς ο απειροστικ?ς λογισμ?ς ?νωθεν ?λβια Χριστ?ς τα Σ?νολα. Χριστ?ς η ψηφιδογραφ?α στα μαζικ? σωμ?τια Χριστ?ς η μ?ζα μηδ?ν. ?ρα ψεκ?ζουμε αριθμο?ς και πεδ?α λαγνε?ας. Ε?μαστε τυφεκιοφ?ροι νοσο?σης λογικ?ς και κ?τι-- παρατηρο?μενο σημα?νει παρατηρητ?ς και Εκ?τη σκ?τος το π?μφωτο και φως εν τ? σκοτ?? η Αστ?ρτη συνδαιτημ?νες δα?μονες απ’ ?ρτι. From: Redwriter [Ερυθρογρ?φος], Athens: Apopeira, 1990, 18. [1993, II, 472]. CREDO (as we are used to say in Latin) Α I believe in one Poet expelled from heavens / fugitive from the god and vagabond, Empedocles / and here on earth / exile on the earth etc. of Baudelaire /. Β I believe in one Computer inside thunder and through matter. Γ Suffering undefiled / substantive / the Poet uplifts himself slow-burning suicidal implying lengthy sleeps. Δ Cutting down on prospective mistakes. Ε Of all things visible and invisible officiating the onion-peelings. Ζ The Poet has nothing / see the departed /. Η I believe in one Poet that says: madness I enjoy; he ridicules existence; let me light up from my mana. Θ Syntax he doesn’t care about when musicality commands him. Along with still more licenses, and Ts are played according to the concept sound anywhere. E.g. the winters here, he winters there; it will not come—I will not rest, etc. etc. Ι The Poet exercises thought until it’s stripped down. Κ And if he’s Greek he must always study the fineness of Attica, in light, mountains, fields and sea. For this fineness teaches language. Λ And if he’s deeply destined the Poet expresses the unexplainable of the explained; he happens to be a rightful heir to the scientist and his predecessor. Μ On the froth he does not last; the Poet blusters at the bottom of the pot. Ν Flamebred and never redeemed. Ξ The Poet must sometimes say: what a consumption of presence — be a bit lonely for a change! Ο The Poet is twilit. Π He is susceptible of deaths and resurrections. Ρ He looks from the corner of his eye and exists in a glance. Σ He follows behind the mother. Τ Eveningless when it comes to age. Υ I believe in one Poet who says: let the purities coincide. Until the Corinth of the Universe or even further. Φ In a higher despair. Χ In a brighter quintessence. Ψ In one sensation that lifts off. Ω Forgiving everyone. CREDO (ως ε?θισται να λ?με λατινιστ?) Α Πιστε?ω εις ?να Ποιητ?ν εκτ?ς ουρανο? / φυγ?ς θε?θεν και αλ?της, Εμπεδοκλ?ς / και επ? της γης / εξ?ριστος π?νω στη γη κ.λπ. του Βωδελα?ρου /. Β Πιστε?ω εις ?να Υπολογιστ?ν εντ?ς κεραυνο? και δια της ?λης. Γ Υποφ?ροντας ?χραντα / ουσιαστικ?ν / ο Ποιητ?ς ανατε?νεται βραδυφλεγ?ς αυτ?χειρας εξυπακο?οντας πολ?ωρους ?πνους. Δ Τα υποψ?φια λ?θη λιγοστε?οντας. Ε Ορατ?ν τε π?ντων και αορ?των ιερουργ?ντας την αποκρομμ?ωση. Ζ Ο Ποιτ?ς ?χει τ?ποτα / βλ?πε τους αναχωρ?σαντες /. Η Πιστε?ω εις ?να Ποιητ?ν που λ?ει: η τρ?λα μ’ αρ?σει· γελοιοποιε? την ?παρξη· ας αν?ψω απ’ τη μ?να μου. Θ Συνταχτικ? δεν το γνοι?ζεται στην προσταγ? της μουσικ?τητας. Μαζ? και μ’ ?λλες ακ?μη λευτερι?ς, και τα νυ πα?ζονται κατ? την ?ννοια ?χος οπουδ?ποτε. Π.χ. τον χειμ?να εδ?, το χειμ?να εκε?· δε θ? ’ρθει – δεν θα καταλαγι?σουμε, κ. λπ. κ.λπ. Ι Ο Ποιητ?ς γυμν?ζει τη σκ?ψη σε απογ?μνωση. Κ Κι αν ε?ναι ?λληνας οφε?λει να σπουδ?ζει π?ντοτε της Αττικ?ς τη λεπτ?τητα, σε φως, βουν?, χωρ?φια και θ?λασσα. Διδ?σκει γλ?σσα η λεπτ?τητα το?τη. Λ Κι αν ε?ναι βαθι? πεπρωμ?νος ο Ποιητ?ς εκφρ?ζει το ανεξ?γητο του εξηγητο?· τυγχ?νει ν?μιμος δι?δοχος του επιστ?μονα και προκ?τοχ?ς του. Μ Στον αφρ? δεν ?χει δι?ρκεια· στο πατοκ?ζανο μα?νεται ο Ποιητ?ς. Ν Φλογοδ?αιτος και ποτ? ξελυτρωμ?νος. Ξ Ο Ποιητ?ς κ?ποτε πρ?πει να λ?ει: μεγ?λη καταν?λωση παρουσ?ας – γενε?τε και λ?γο μοναξι?ρηδες! Ο Ο Ποιητ?ς ε?ναι αμφ?φλοξ. Π Επιδ?χεται θαν?τους και αναστ?σεις. Ρ Ακροθωρ?ζει και υπ?ρχει σε ξαφνοκο?ταγμα. Σ Ε?ναι ουραγ?ς της μητ?ρας. Τ Αν?σπερος απ? ηλικ?α. Υ Πιστε?ω εις ?να Ποιητ?ν που λ?ει: να συμπ?σουν οι αγν?τητες. Μ?χρι την Κ?ρινθο του Σ?μπαντος ? μακρ?τερα. Φ Σε αν?τερη απελπισ?α. Χ Σε φαειν?τερη πεμπτουσ?α. Ψ Σε μια α?σθηση που πτηνο?ται. Ω Συγχωρ?ντας τους π?ντες. From Large Sized Logic [ Λογικ? μεγ?λου σχ?ματος ], Athens: Erato, 1989, n.p. [1993, II, 521-3]. (shrink)

The processes underlying motor decision-making have recently caught considerable amount of scientific attention, focusing on the integration of empirical evidence from sensorimotor control research with psychological theories and computational models on decision-making. Empirical studies on motor decision-making suggest that the kinematics of goal-directed reaching movements are sensitive to the level of target uncertainty during movement planning. However, the source of uncertainty as a relevant factor influencing the process of motor decision-making has not been sufficiently considered, yet. In this study, we (...) test the assumption that the source of target uncertainty has an effect on motor decision-making, which can be proven by analyzing movement variability during the time course of movement execution. Ten healthy young adults performed three blocks with 66 trials of goal-directed reaching movements in each block, across which the source and level of reach target uncertainty at movement onset were manipulated (“no uncertainty”, “extrinsic uncertainty”, “intrinsic uncertainty”). Fingertip position of the right index finger was recorded using an optical motion tracking system. Standard kinematic measures (i.e. path length and movement duration) as well as variability of fingertip position across the time course of movement execution and at movement end were analyzed. In line with previous studies, we found that a high level of extrinsic target uncertainty leads to increased overall movement duration, which could be attributed to increased path length in this condition, as compared to intrinsic and no target uncertainty (all p <.001). Movement duration and path length did not show any differences between the latter two conditions. However, the time course analysis of movement variability revealed significant differences between these two conditions, with increased variability of fingertip position in the presence of intrinsic target uncertainty (Condition × Sampling point: p =.01), though considerably less than under high extrinsic target uncertainty (p ≤.001). These findings suggest that both the level and source of uncertainty have a significant effect on the processing of potential action plans during motor decision-making, which can be revealed through the analysis of the time course of movement variability at the end-effector level. (shrink)

Mismatch brain responses to unpredicted rare stimuli are suggested to be a neural indicator of prediction error, but this has rarely been studied in the somatosensory modality. Here, we investigated how the brain responds to unpredictable and predictable rare events. Magnetoencephalography responses were measured in adults frequently presented with somatosensory stimuli that were occasionally replaced by two consecutively presented rare stimuli [unpredictable rare stimulus and predictable rare stimulus ; p = 0.1 for each]. The FRE and PR were electrical stimulations (...) administered to either the little finger or the forefinger in a counterbalanced manner between the two conditions. The UR was a simultaneous electrical stimulation to both the forefinger and the little finger. The grand-averaged responses were characterized by two main components: one at 30–100 ms and the other at 130–230 ms latency. Source-level analysis was conducted for the primary somatosensory cortex and the secondary somatosensory cortex. The M55 responses were larger for the UR and PR than for the FRE in both the SI and the SII areas and were larger for the UR than for the PR. For M150, both investigated areas showed increased activity for the UR and the PR compared to the FRE. Interestingly, although the UR was larger in stimulus energy and had a larger prediction error potential than the PR, the M150 responses to these two rare stimuli did not differ in source strength in either the SI or the SII area. The results suggest that M55, but not M150, can possibly be associated with prediction error signals. These findings highlight the need for disentangling prediction error and rareness-related effects in future studies investigating prediction error signals. (shrink)

In a series of influential papers and in his groundbreaking book Knowledge in a Social World Alvin Goldman argues that sometimes “know” just means “believe truly” (Goldman 1999; 2001; 2002b; Goldman & Olsson 2009). I argue that Goldman's (and Olsson's) case for “weak knowledge”, as well as a similar argument put forth by John Hawthorne, are unsuccessful. However, I also believe that Goldman does put his finger on an interesting and important phenomenon. He alerts us to the fact that (...) sometimes we ascribe knowledge to people even though we are not interested in whether their credal attitude is based on adequate grounds. I argue that when in such contexts we say, or concede, that S knows that p , we speak loosely. What we mean is that S would give the correct answer when asked whether p . But this doesn't entail that S knows that her answer is right or that S knows that p . My alternative analysis of the Hawthorne-Goldman-Olsson examples preserves the view that knowledge requires, even in the contexts in question, true (firm) belief that is based on adequate grounds. (shrink)