Intellectuelen hebben veel politieke schade aangericht. In hun studeerkamer bedachten zij wereldvreemde theorieën die geheel voorbijgingen aan de weerbarstige werkelijkheid. Gelukkig zijn er ook steeds politieke denkers geweest die het vaandel van het gezond verstand hooghielden. Gezond verstand bevat 24 helder geschreven portretten van zulke denkers en een analyse van hun belangrijkste intellectuele bijdrage aan de ontwikkeling van een vrije samenleving. Een eerbetoon aan wijze, dappere filosofen met inspirerende denkbeelden.

Previous work has shown that concerns of breast cancer patients after finishing radiotherapy are responsive to conversations with radiographers during the treatment period. This study seeks to further understand radiographer and patient experiences, determine shared priorities for improvement in clinical interaction and develop communication guidelines and training to help radiographers support patients.Methods: Using the principles of Experience-Based Co-Design, semi-structured interviews were held with N = 4 patients and N = 4 radiographers, followed by feedback events to validate findings. Patients and (...) radiographers exchanged experiences in a joint co-design session, agreed with shared priorities and generated ideas for further support. A survey was conducted for process evaluation. To scale up findings, UK-wide representatives from patient networks and radiographers and managerial staff provided consultative input utilizing an iterative, adaptive procedure.Results: Radiographers expressed a need for support with “difficult conversations,” especially those on Fear of Cancer Recurrence, and their appropriate management. Important pointers for reassuring communication were identified, including: being treated like a person, knowing what to expect, and space to ask questions. The co-design process was rated positively by both staff and patients. Thematic collation of findings and mapping these on literature evidence resulted in the “KEW” communication guidelines for radiographers: Know, Encourage, Warmth. National stakeholder consultations validated and helped fine-tune the training model. The resulting training package, included: trigger videos, a simulated patient scenario and interactive handouts on fears of cancer recurrence and the patient pathway.Conclusions: The co-design process captured good practice to help standardize quality in empathic communication in the radiotherapy service. The resulting KEW: Know, Encourage, Warmth guidelines, and training package are user-centered as well as evidence-based. Supplementing single-site co-design with national consultative feedback allows for the development of interventions that are relevant to the clinical practice, even in detail, and helps to generate appropriate buy-in for roll out on a wider scale after evaluation.Trial Registration:www.ClinicalTrials.gov ID: NCT03468881. (shrink)

The present discussion of dialectic thought is an extension of Van's original discussion of “realism” as the dialectic synthesis of conservatism (theism) and liberalism (empiricism) as approaches to thought.

Bioethics and Global Bioethics are currently among the most visible programs in ethics in the global academic community. It was my good fortune to have met Dr. Van Rensselaer Potter in 1963, long before he coined the term “Bioethics” and emerged as America's first Bioethicist, maintaining “The Wisconsin Tradition” established by John Muir and Aldo Leopold. Van believed that all ethics are properly based on a pan-cultural scientific knowledge base. How it is that ethics are related to knowledge, and to (...) values and morals, is the subject of this discussion. (shrink)

Dr. Van Rensselaer Potter was always quick to point out that a viable ethics must be based upon a viable scientific knowledge base. The implications are clear, that a global ethics must be based upon a global philosophy. The present discussion provides the conceptual basis for a Global Philosophy, specifically a global theology with criteria of belief for a mature Global Bioethics.

Filosoof en arts Marli Huijer, de opvolger van René Gude als Denker des Vaderlands, is geen studeerkamergeleerde, al schreef ze meerdere boeken, zoals het recente Ritme en Discipline. Ze is geen tegen-, geen mee-, maar een tussendenker, ze wil de stemmen van allerlei verschillende mensen laten klinken. In de interviews in Het leven is niet leuk als je je mond houdt praat Peter Henk Steenhuis met haar over haar inspiratiebron Hannah Arendt, haar overstap van haar werk bij de methadonpost (...) in Beverwijk naar de filosofie, haar bijdrage aan het Filosofisch Elftal van Trouw, hoe wij met elkaar omgaan, hoe je jezelf kunt disciplineren, Simone de Beauvoir en Martha Nussbaum, de participatiesamenleving, omgaan met teleurstellingen, bevolkingsonderzoeken. In deze veelheid van onderwerpen benadrukt Huijer keer op keer dat het belangrijk is je vrijmoedig uit te spreken.00. (shrink)

Aan de hand van het meesterwerk van Bach reflecteert Kessels op zijn eigen leven. Hij verbindt de wendingen, kenteringen, harmonie en disharmonie uit Bachs muziek aan episodes uit zijn persoonlijke geschiedenis. Het gevolg van Kessels' zoektocht is dat de lezer onwillekeurig ook over het eigen leven gaat nadenken. Het ogenschijnlijk particuliere project van 'Het welgetemperde gemoed' krijgt zo een universele zeggingskracht.0Kessels laat zien hoe hij streeft naar harmonie en verzoening van tegenstellingen, zich verdiept in de klassieke filosofie, de ideeënleer ontdekt (...) en zich als filosoof op de markt begeeft om het 'ideeënkijken' in praktijk te brengen. Hij is een denker die doener wil zijn, een gespletene die een geheel wil worden, een sterveling die het goddelijke zoekt. Hij wil zelf muziek worden, het eigen gemoed en dat van anderen temperen, zoals Bach het getemperde klavier laat klinken. Maar uiteindelijk blijkt dat het zuivere ideaal nooit te realiseren is: mensen zijn nu eenmaal zot en troebel. Muziek kan alleen een spiegel zijn. (shrink)

Loven is het verheerlijken en aanbidden van wat ons bevattingsvermogen en begrip te boven gaat. Dat maakt het een religieuze aangelegenheid: het voorwerp van lof is transcendent, blijvend en troostrijk. Wanneer het over menselijke, imperfecte zaken gaat, zoals de politiek, weten we dat we lof moeten behoeden voor afgoderij. Daarom spreken we in die context in plaats van aanbidding over loven als begrensde rechtvaardiging, als een rationele afweging. In de politiek klinken geen lofzangen. De taal van de politiek moet (...) de spreektaal van het volk zijn over het hier en nu, de echte wereld van de mogelijkheden, niet het transcendente hiernamaals. Het is een menselijke wereld waar we vat op hebben, waar we elkaar in de ogen kunnen zien, vanuit rationele overwegingen waardering kunnen toekennen en onthouden, in plaats van op onze knieën neer te vallen en eer te betonen aan een rechtvaardigheid en genade die ons begrip te boven gaat. Politiek is een realistische ontgoocheling voor en door het volk en dat is precies wat haar zo waardevol maakt. (shrink)

This volume tackles Gödel's two-stage project of first using Husserl's transcendental phenomenology to reconstruct and develop Leibniz' monadology, and then founding classical mathematics on the metaphysics thus obtained. The author analyses the historical and systematic aspects of that project, and then evaluates it, with an emphasis on the second stage.

Current dynamic epistemic logics for analyzing effects of informational events often become cumbersome and opaque when common knowledge is added for groups of agents. Still, postconditions involving common knowledge are essential to successful multi-agent communication. We propose new systems that extend the epistemic base language with a new notion of ‘relativized common knowledge’, in such a way that the resulting full dynamic logic of information flow allows for a compositional analysis of all epistemic postconditions via perspicuous ‘reduction axioms’. We also (...) show how such systems can deal with factual alteration, rather than just information change, making them cover a much wider range of realistic events. After a warm-up stage of analyzing logics for public announcements, our main technical results are expressivity and completeness theorems for a much richer logic that we call LCC. This is a dynamic epistemic logic whose static base is propositional dynamic logic (PDL), interpreted epistemically. This system is capable of expressing all model-shifting operations with finite action models, while providing a compositional analysis for a wide range of informational events. This makes LCC a serious candidate for a standard in dynamic epistemic logic, as we illustrate by analyzing some complex communication scenarios, including sending successive emails with both ‘cc’ and ‘bcc’ lines, and other private announcements to subgroups. Our proofs involve standard modal techniques, combined with a new application of Kleene’s theorem on finite automata, as well as new Ehrenfeucht games of model comparison. (shrink)

Waarom komen vrouwelijke denkers in curricula, filosofische cursussen en overzichtswerken zo weinig aan bod? Door de eeuwen heen hebben talloze vrouwen zich weliswaar verdiept in een veelheid aan filosofische thema's, maar vaak zijn deze denkers onzichtbaar gebleven. Van de twaalfde-eeuwse filosofe Hildegard van Bingen zullen de meesten wel hebben gehoord, maar wat van haar tijdgenote Mechtild van Magdeburg? Uit recentere tijden is Hannah Arendt inmiddels wereldberoemd, maar de namen Gloria Anzaldúa en Werewere Liking zullen misschien alleen de specialisten bekend in (...) de oren klinken. Uitgesloten van officiële onderwijsinstellingen namen vele vrouwelijke denkers hun toevlucht tot andere vormen van filosofie bedrijven, zoals briefwisselingen. En dat levert een onschatbare rijkdom aan filosofische bronnen op, zoals dit boek laat zien. Werk van 69 vrouwelijke denkers uit 25 eeuwen wordt bij elkaar gebracht. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

Digital farming technologies promise to help farmers make well-informed decisions that improve the quality and quantity of their production, with less labour and less impact on the environment. This future, however, can only become a reality if farmers are willing to share their data with agribusinesses that develop digital technologies. To foster trust in data sharing, in Europe the EU Code of Conduct for agricultural data sharing by contractual agreement was launched in 2018 which encourages transparency about data use. This (...) article looks at the EU Code through the lens of literature on trust and contract agreements. We agree with the makers of the EU Code that a contract can make an important contribution to trust relationships as it is needed to mitigate the detrimental effects of power relationships between experts and non-experts. Building on Onora O’Neills perspective to trust, however, we argued that a contract can only be successful in fostering trust when information is comprehended by the more vulnerable party in this relationship who has to sign the contract, the more powerful partner takes responsibility to provide that information, and information is tailored to the information needs of the party signing the contract, even when data are re-used over a longer period. In addition, we think that differences between trust relationships and relationships of accountability, give reason to add to informed consent other more substantive ethical components in a more encompassing code of conduct. (shrink)

In the value sensitive design literature, there has been little attention for how values may change during the adoption and use of a sociotechnical system, and what that implies for design. A value change taxonomy is proposed, as well as a number of technical features that allow dealing with value change.

Wellbeing describes how good life is for the person living it. Wellbeing comes in degrees. Subjective theories of wellbeing maintain that for objects or states of affairs to benefit us, we need to have a positive attitude towards these objects or states of affairs: the Resonance Constraint. In this article, we investigate to what extent subjectivism can plausibly account for degrees of wellbeing. There is a vast literature on whether preference-satisfaction theory – one particular subjective theory – can account for (...) degrees of wellbeing. This is generally taken to be problematic. However, other subjective theories – namely, desire-satisfaction, judgment- and value-fulfillment theories – do not suffer from the same difficulties. We introduce two models of degrees of wellbeing a subjectivist can employ: the Relative and the Absolute Model, and defend the claim that both models face difficulties. In particular, we argue that a subjectivist theory should describe instances of depression as instances of low degrees of wellbeing. We also argue that a reduction of desires may sometimes improve one’s degree of wellbeing, an idea we call the Epicurean Intuition. We then argue that the Relative Model fails to account for the disbenefit of certain types of depression, while the Absolute Model fails to meet a central commitment of subjectivism – the Resonance Constraint – and is unable to accommodate the Epicurean Intuition. The upshot of the paper is that subjectivist theories cannot account for degrees of well-being in a plausible way. (shrink)

Explanatory pluralism has been defended by several philosophers of history and social science, recently, for example, by Tor Egil Førland in this journal. In this article, we provide a better argument for explanatory pluralism, based on the pragmatist idea of epistemic interests. Second, we show that there are three quite different senses in which one can be an explanatory pluralist: one can be a pluralist about questions, a pluralist about answers to questions, and a pluralist about both. We defend the (...) last position. Finally, our third aim is to argue that pluralism should not be equated with “anything goes”: we will argue for non-relativistic explanatory pluralism. This pluralism will be illustrated by examples from history and social science in which different forms of explanation (for example, structural, functional, and intentional explanations) are discussed, and the fruitfulness of our framework for understanding explanatory pluralism is shown. (shrink)

Digital energy platforms play a central role in the transition toward a more sustainable energy system. This research explores the effect of digital energy platforms on public values. We developed and tested a novel public value framework, combining values already embedded in energy and digitalization regulations and emerging values that have become more relevant in recent debates. We analyzed value changes and potential value tensions. We found that sustainability is prioritized, security is broadened to include cybersecurity, and values relevant for (...) digital technologies, such as control over technology, have also become relevant for the energy system. This has resulted in three value tensions: preserving a well-functioning energy system, self-determination, and ensuring a level playing field and public control. A sustainable energy system requires governments to address these value changes, value tensions, and connected societal and political challenges related to the implementation of digital energy platforms. (shrink)

Twenty-five years ago, robotics guru Joseph Engelberger had a mission to motivate research teams all over the world to design the ‘Elderly Care Giver’, a multitasking personal robot assistant for everyday care needs in old age. In this article, we discuss how this vision of omnipotent care robots has influenced the design strategies of care robotics, the development of R&D initiatives and ethics research on use of care robots. Despite the expectations of robots revolutionizing care of older people, the role (...) of robots in human care has remained marginal. The value of world trade in service robots, including care robots, is rather small. We argue that the implementation of robots in care is not primarily due to negative user attitudes or ethical problems, but to problems in R&D and manufacturing. The care robots currently available on the market are capable of simple, repetitive tasks or colloquial interaction. Thus far, also research on care robots is mostly conducted using imaginary scenarios or small-scale tests built up for research purposes. To develop useful and affordable robot solutions that are ethically, socially and ecologically sustainable, we suggest that robot initiatives should be evaluated within the framework of care ecosystems. This implies that attention has to be paid to the social, emotional and practical contexts in which care is given and received. Also, the political, economic and ecological realities of organizing care and producing technological commodities have to be acknowledged. It is time to openly discuss the drivers behind care robot initiatives to outline the bigger picture of organizing care under conditions of limited resources. (shrink)

### ­ In Who shall go first? A multicriteria approach to patient selection for first clinical trials of cardiac xenotransplantation, Kögel et al recommend the inclusion of patients who (1) have a (high) medical need for an allograft, (2) have the capacity to benefit from a xenograft, (3) have a ‘real’ choice between enrolment in a first-in-human clinical trial and an alternative life-sustaining treatment option and (4) have no clear record of previous non-compliance.1 As the authors discuss, patient selection must (...) promote the goal of gaining reliable and valid knowledge about the risks and benefits of cardiac xenotransplantation. While the four criteria outlined above certainly promote this goal, we argue it is crucial to add a fifth criterion emphasising the need to include diverse populations, particularly regarding sex, age, ethnicity and socioeconomic background.i In this commentary, we present two arguments for our claim and discuss the impact of neglecting diversity from the first trials on. ### The scientific rationale for including diverse populations First, including diverse populations in the first clinical trials of cardiac xenotransplantation enhances the scientific value of the data by assessing safety and efficacy among various populations. Treatment response can differ among patient (sub)groups as a result of genetic, physiological and socioeconomic factors.2 By including diverse populations from the first trials on, researchers can identify these …. (shrink)

We study classical modal logics with pooling modalities, i.e. unary modal operators that allow one to express properties of sets obtained by the pointwise intersection of neighbourhoods. We discuss salient properties of these modalities, situate the logics in the broader area of modal logics, establish key properties concerning their expressive power, discuss dynamic extensions of these logics and provide reduction axioms for the latter.

China communicates strategic narratives about artificial intelligence in digital media productions to create a shared meaning about its actions and its image in the global race to develop AI. Building upon the literature in emotions and strategic narratives, this study seeks to clarify which emotions are discursively used in China’s international AI narratives, and their function and significance. Specifically, the study investigates emotion discourses in AI-focused videos disseminated on China’s international broadcasting. The analysis reveals that pride, hope and fear discourses (...) have multiple functions in China’s international AI narratives on CGTN. Hope is used to represent China as a key competitor in the global AI race, who is catching up to the US. China uses pride to showcase its advances in AI applications, to highlight its transformation of traditional industries, and to identity itself as equal to the US. Fear is used to frame US’s perception of China’s AI developments, to suggest their crisis of confidence, but also to refute the “China threat”. Additionally, the fear discourse is used to deliberate anticipated risks, particularly on job loss and data privacy. These emotion discourses forge China’s identity as a future global AI power. The paper then discusses how these findings contribute to key debates about Chinese discourse and media strategy. (shrink)

■ ■ 1 the historical context I am not of their age or time and so have not personally heard their voices or seen their faces, but I know this by what is ...

The global COVID-19 pandemic has created a crisis of suffering. We conceptualize suffering as a deeply existential issue that fundamentally changes people indelible ways and for which there are no easy solutions. To better understand its effects and how people can flourish in the midst of this crisis, we formally introduce and elaborate on an Existential Positive Psychology Model of Suffering (EPPMS) and apply that to the COVID-19 global pandemic. Our model has three core propositions: (a) suffering reveals existential concerns, (...) (b) existential anxiety impairs one's ability to find meaning, and (c) cultivating meaning is the primary way to address suffering and allay existential anxiety, eventually leading to flourishing (and potentially growth). We apply this model to the COVID-19 pandemic, including how to build meaning, and discuss clinical implications. (shrink)

The method of positron emission tomography illustrates the circular logic popular in subtractive neuroimaging and linear reductive cognitive psychology. Both require that strictly feed-forward, modular, cognitive components exist, before the fact, to justify the inference of particular components from images after the fact. Also, both require a "true" componential theory of cognition and laboratory tasks, before the fact, to guarantee reliable choices for subtractive contrasts. None of these possibilities are likely. Consequently, linear reductive analysis has failed to yield general, reliable, (...) componential accounts. (shrink)

I analyze three forms of the slippery slope argument (two logical and one empirical) using two questions: 1) in the context of what kind of norms are we considering a first step on a possible slope: statute law, precedent law, positive morality, or critical morality? 2) What is meant by "If we allow this first step"? The conclusion is that the argument's greatest force is in a context of institutionalized norms, like law, whereas its importance in morality is only marginal.

This paper presents a study of the effect of working memory load on the interpretation of pronouns in different discourse contexts: stories with and without a topic shift. We discuss a computational model (in ACT‐R, Anderson, 2007) to explain how referring expressions are acquired and used. On the basis of simulations of this model, it is predicted that WM constraints only affect adults' pronoun resolution in stories with a topic shift, but not in stories without a topic shift. This latter (...) prediction was tested in an experiment. The results of this experiment confirm that WM load reduces adults' sensitivity to discourse cues signaling a topic shift, thus influencing their interpretation of subsequent pronouns. (shrink)

The precautionary principle is often invoked in relation to pregnant women and may be one of the underlying reasons for their continuous underrepresentation in clinical research. The principle is appealing, because potential fetal harm as a result of research participation is considered to be serious and irreversible. In our paper, we explore through conceptual analysis whether and if so how the precautionary principle should apply to pregnant women. We argue that the principle is a decision-making strategy underlying risk-benefit decisions in (...) clinical research, which can be applied to pregnant women. However, the current application is a strong one, leading to the promotion of absolute exclusion or, less often, absolute inclusion of pregnant women. In order to change this paralyzing situation, a shift toward weak precautionary thinking is necessary. Instead of automatic extreme precaution, a balance will be found between harms and potential benefits of including pregnant women in clinical research. (shrink)

Information is a notion of wide use and great intuitive appeal, and hence, not surprisingly, different formal paradigms claim part of it, from Shannon channel theory to Kolmogorov complexity. Information is also a widely used term in logic, but a similar diversity repeats itself: there are several competing logical accounts of this notion, ranging from semantic to syntactic. In this chapter, we will discuss three major logical accounts of information.

In this paper I will discuss why (un) marked expressionstypically get an (un)marked interpretation: Horn''sdivision of pragmatic labor. It is argued that it is aconventional fact that we use language this way.This convention will be explained in terms ofthe equilibria of signalling games introduced byLewis (1969), but now in an evolutionary setting. Iwill also relate this signalling game analysis withParikh''s (1991, 2000, 2001) game-theoretical analysis ofsuccessful communication, which in turn is compared withBlutner''s: 2000) bi-directional optimality theory.

This paper deals with Dooyeweerd's radical thesis, i.e., his thesis that reason necessarily has a 'religious root' (radix = root). This thesis was Dooyeweerd's main justification for his own religious philosophy. First I argue that the arguments Dooyeweerd puts forward do not warrant his radical thesis. Secondly, I argue that Dooyeweerd's thesis itself is ambivalent between the theses (i) that religious commitments form the transcendental conditions for philosophical thinking and (ii) that religious commitments are constitutive for philosophy and (iii) that (...) religious commitments are regulative for philosophy. Each of these interpretations, I argue, is exposed to serious objections and leads to what Vincent Brummer has called 'the dilemma of a Christian philosophy'. I argue that Brummers solution for this dilemma is untenable. Since Dooyeweerd's radical thesis is untenable as it stands, so is his justification of his project of a 'Christian philosophy' ; and since Brummers solution to the dilemma is untenable as well, so is his justification of that project. In the last section of this paper I offer an alternative justification for such a project. The central concept therein is 'properly functioning noetic faculties'. (shrink)

This paper aims at contributing to a research agenda in engineering ethics by exploring the ethical aspects of engineering design processes. A number of ethically relevant topics with respect to design processes are identified. These topics could be a subject for further research in the field of engineering ethics. In addition, it is argued that the way design processes are now organised and should be organised from a normative point of view is an important topic for research.

In the study of women in academia, the focus is often particularly on women’s stark underrepresentation in the math-intensive fields of natural sciences, technology, and economics. In the non-math-intensive of fields life, social and behavioral sciences, gender issues are seemingly less at stake because, on average, women are well-represented. However, in the current study, we demonstrate that equal gender representation in LSB disciplines does not guarantee women’s equal opportunity to advance to full professorship—to the contrary. With a cross-sectional survey among (...) N = 2,109 academics at mid-level careers in the Netherlands, we test the hypothesis that in LSB, female academics perceive to hit a “thicker” glass ceiling—that is, they see a sharper contrast between the high representation of women at the lower compared to the top levels. We test whether this predicts female academics’ lower estimated chances to reach full professorship relative to men in LSB. We introduce a novel perceived glass ceiling index, calculated based on academics’ perceptions of the share of women and men in their direct work environment minus their perceptions of gender ratio among full professors in their field. Results confirm that the perceived glass ceiling is thicker in the non-math-intensive LSB compared to math-intensive NTE fields. Furthermore, only in LSB, women perceived a thicker glass ceiling than men. Moreover, only among female academics, the thicker the perceived glass ceiling, the lower their estimated chances to become full professor 1 day. Combined, a moderated mediation showed that for women only, a thicker perceived glass ceiling in LSB compared to NTE disciplines predicted their lower estimated chances to advance to full professor level. No such mediation occurred for men. We conclude that women’s higher numerical representation in LSB disciplines does not negate a male-dominant normative standard about academic leadership and success. Paradoxically, the perceived odds for female academics to reach the top of their field are lower in fields where they are relatively highly represented, and this may pose unique barriers to women’s perceived opportunities for career success. (shrink)