This paper is devoted to the formulation and investigation of a dynamic semantic interpretation of the language of first-order predicate logic. The resulting system, which will be referred to as ‘dynamic predicate logic’, is intended as a first step towards a compositional, non-representational theory of discourse semantics. In the last decade, various theories of discourse semantics have emerged within the paradigm of model-theoretic semantics. A common feature of these theories is a tendency to do away with the principle of compositionality, (...) a principle which, implicitly or explicitly, has dominated semantics since the days of Frege. Therefore the question naturally arises whether non-compositionality is in any way a necessary feature of discourse semantics. Since we subscribe to the interpretation of compositionality as constituting primarily a methodological principle, we consider this to be a methodological rather than an empirical question. As a consequence, the emphasis in the present paper lies on developing an alternative compositional semantics of discourse, which is empirically equivalent to its non-compositional brethren, but which differs from them in a principled methodological way. Hence, no attempts are made to improve on existing theories empirically. Nevertheless, as we indicate in section 5, the development of a compositional alternative may in the end have empirical consequences, too. First of all, it can be argued that the dynamic view on interpretation developed in this paper suggests natural and relatively easy to formulate extensions which enable one to deal with a wider range of phenomena than can be dealt with in existing theories. Moreover, the various approaches to the model-theoretic semantics of discourse that have been developed during the last decade, have constituted a ‘fresh start’ in the sense that much of what had been accomplished before was ignored, at least for a start. Of course, this is a justified strategy if one feels one is trying to develop a radically different approach to recalcitrant problems. However, there comes a time when such new approaches have to be compared with the older one, and when an assessment of the pros and cons of each has to be made. One of the main problems in semantics today, we feel, is that a semantic theory such as Montague grammar, and an approach like Kamp’s discourse representation theory, are hard to compare, let alone that it is possible to unify their insights and results.. (shrink)

This paper presents an analysis of wh-complements in Montague Grammar. We will be concerned primarily with semantics, though some remarks on syntax are made in Section 4. Questions and wh-comple ments in Montague Grammar have been studied in Hamblin (1976), Bennett (1979), Karttunen (1977) and Hauser (1978) among others. These proposals will not be discussed explicitly, but some differences with Karttunen's analysis will be pointed out along the way.

This paper presents three claims concerning boundaries, dependence and parthood. The claims are intuitively plausible, but cannot, at face value, all be true on pain of contradiction. Each of the three claims is shown to be more plausible than its converse and some solutions to the puzzle are presented.

Conceptual Engineering (CE) is thought to be generally aimed at ameliorating deficient concepts. In this paper, we challenge this assumption: we argue that CE is frequently undertaken with the orthogonal aim of _conceptual adaptation_. We develop this thesis with reference to the interplay between technology and concepts. Emerging technologies can exert significant pressure on conceptual systems and spark ‘conceptual disruption’. For example, advances in Artificial Intelligence raise the question of whether AIs are agents or mere objects, which can be construed (...) as a CE question regarding the concepts AGENT and OBJECT. We distinguish between three types of conceptual disruption (conceptual gaps, conceptual overlaps, and conceptual misalignments) and argue that when CE occurs to address these disruptions, its primary aim is not to improve concepts, but to retain their functional quality, or to prevent them from degrading. This is the characteristic aim of CE when undertaken in philosophy of technology: to _preserve_ the functional role of a concept or conceptual scheme, rather than _improving_ how a concept fulfills its respective function. (shrink)

How is it possible that modern scholars have labeled Maximus of Tyre, a second-century CE performer of philosophical orations as a sophist or a 'half-philosopher', while his own self-presentation is that of a genuinme philosopher? If we take Maximus' claim to phislophical authority seriously, his case can deepen our understanding of the dynamic nature of Imperial philosophy. Through a discursive analysis of twelve Imperial intellectuals alongside Maximus' dialexies, the author proposes an interpretative framework to assess the purpose behind the representation (...) of philosophy, rhetoric, and sophistry in Maximus' oeuvre. This is thus as yet the first book-length attempt at situating the historical communication process implicit in the surviving Maximean texts in the concurrent context of the Imperial intellectual world. (shrink)

Research on behavioral ethics is thriving and intends to offer advice that can be used by practitioners to improve the practice of ethics management. However, three barriers prevent this research from generating genuinely useful advice. It does not sufficiently focus on interventions that can be directly designed by management. The typical research designs used in behavioral ethics research require such a reduction of complexity that the resulting findings are not very useful for practitioners. Worse still, attempts to make behavioral ethics (...) research more useful by formulating simple recommendations are potentially very damaging. In response to these limitations, this article proposes to complement the current behavioral ethics research agenda that takes an ‘explanatory science’ approach with a research agenda that uses a ‘design science’ approach. Proposed by Joan van Aken and building on earlier work by Herbert Simon, this approach aims to develop field-tested ‘design propositions’ that present often complex but useful recommendations for practitioners. Using a ‘CIMO-logic’, these propositions specify how an ‘intervention’ can generate very different ‘outcomes’ through various ‘mechanisms’, depending on the ‘context’. An illustration and a discussion of the contours of this new research agenda for ethics management demonstrate its advantages as well as its feasibility. The article concludes with a reflection on the feasibility of embracing complexity without drowning in a sea of complicated contingencies and without being paralyzed by the awareness that all interventions can have both desirable and undesirable effects. (shrink)

Bespreking van enkele spraakmakende ideeën-romans geschreven tegen het einde van de 19e en begin van de 20e eeuw, o.a. van Dostojevski, Thomas Mann, Proust en Hermann Broch.

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

This article analyzes the changes in The Handmaid’s Tale’s moral and political outlook as it tracks different forms of complexity in the novel, the film, and the TV series. While the sense of female empowerment increases with each adaptation of this tale of forced sexual servitude in fictional theocratic state of Gilead, the essay argues that Hulu’s TV series develops an intriguing interaction between the interiority of Margaret Atwood’s 1985 novel and the exteriority emphasized in Volker Schlöndorff’s 1990 film. In (...) so doing, the TV series Escher-twists across related binaries between activity/passivity and personal/political actions as well. By expanding, displacing, and creatively intersecting storylines which the novel cut short, the series weaves an intricate perspectival web that invites the viewer to participate in its mind games. (shrink)

Presents a concise introduction to the partition analysis of questions and outlines a theory of answerhood based on that.

The aim of this paper is to critically explore whether crowdsourced Big Data enables an inclusive humanitarian response at times of crisis. We argue that all data, including Big Data, are socially constructed artefacts that reflect the contexts and processes of their creation. To support our argument, we qualitatively analysed the process of ‘Big Data making’ that occurred by way of crowdsourcing through open data platforms, in the context of two specific humanitarian crises, namely the 2010 earthquake in Haiti and (...) the 2015 earthquake in Nepal. We show that the process of creating Big Data from local and global sources of knowledge entails the transformation of information as it moves from one distinct group of contributors to the next. The implication of this transformation is that locally based, affected people and often the original ‘crowd’ are excluded from the information flow, and from the interpretation process of crowdsourced crisis knowledge, as used by formal responding organizations, and are marginalized in their ability to benefit from Big Data in support of their own means. Our paper contributes a critical perspective to the debate on participatory Big Data, by explaining the process of in and exclusion during data making, towards more responsive humanitarian relief. (shrink)

The book presents a new logical framework to capture the meaning of sentences in conversation. It is based on a richer notion of meaning than traditional approaches, and allows for an integrated treatment of statements and questions. The first part of the book presents the framework in detail, while the second demonstrates its many benefits.

Emerging technologies can have profound conceptual implications. Their emergence frequently calls for the articulation of new concepts, or for modifications and novel applications of concepts that are already entrenched in communication and thought. In this paper, we introduce the notion of “conceptual appropriation” to capture the dynamics between concepts and emerging technologies. By conceptual appropriation, we mean the novel application of a value-laden concept to lay a contestable claim on an underdetermined phenomenon. We illustrate the dynamics of conceptual appropriation by (...) analyzing the concept NATURE and its uptake in three discourses of emerging technology: cellular agriculture, solar geo-engineering, and biomimicry. We argue that NATURE and its cognate NATURALNESS are strongly valanced concepts upon which different stakeholders lay a claim. In doing so, stakeholders advance distinct conceptions of nature, typically to suit their own interests. Our case-studies illustrate how in discourses on emerging technology, the application of value-concepts is entangled with ideological stakes and power dynamics. (shrink)

This book examines two problems in Private law which are posed by the 'Good Samaritan': First, is an intervener under a legal duty to come to the aid of a fellow human being and does he incur any criminal or tortious liability if he fails to do so? Second, having intervened, is an intervener entitled to reimbursement of expenses, remuneration, reward, or compensation for any loss he might have suffered? Does or should the remedy depend on the success of the (...) intervention? The author examines and compares the varied responses of the Roman, French, German, and English legal systems to these problems. (shrink)

In this article, I discuss the illness and recovery of the depressed Moses Herzog, the protagonist of Saul Bellow’s novel _Herzog_ ( 1964 ). Using this novel as a case study, I criticize a one-sided (neuro)biological and drug-based approach to depression. Referring to the hermeneutic anthropology of philosophers like Paul Ricoeur and Marya Schechtman, I argue that the treatment of depression could benefit from a broader approach that takes into account existential and social-cultural factors as well as biological factors. I (...) suggest that narrative psychiatry offers a framework wherein various models of mental illness may be combined in ways that move beyond a pro/contra bio-psychiatry binary. By investigating depression using philosophical ideas and a literary text, this article aims to illustrate how the humanities may contribute to our thinking about depression. (shrink)

What is the significance of empirical moral psychology for metaethics? In this article we take up Michael Ruse’s evolutionary debunking argument against moral realism and reassess it in the context of the empirical state of the art. Ruse’s argument depends on the phenomenological presumption that people generally experience morality as objective. We demonstrate how recent experimental findings challenge this widely-shared armchair presumption and conclude that Ruse’s argument fails. We situate this finding in the recent debate about Carnapian explication and argue (...) that it illustrates the necessary role that empirical moral psychology plays in explication preparation. Moral psychology sets boundaries for reasonable desiderata in metaethics and, therefore, it is necessary for metaethics. (shrink)

Bullying is one of the most impactful deviant actions that affects workers' personal health and work experience. Bullying is a quite distinctive deviant behavior as targets are subjected to transgressions that could last for months or longer. Even though a number of actions can be taken to resolve bullying between all parties, from the viewpoint of the target it is hard to resolve the situation. As a result, hierarchical influence may be necessary to prevent bullying in the first place. A (...) possible solution, therefore, is focusing on how leaders can impact the bullying behavior. This research argued and showed that ethical leadership is negatively associated with being bullied through tackling one of its most important antecedents of bullying: the design of the work environment. That is, ethical leaders could be shown to improve employees' workload (quantitative work environment) and poor working conditions (qualitative work environment), which was related to decreased bullying. (shrink)

Human papillomavirus (HPV) is one of the most common sexually transmitted infections. It is a leading cause of cervical cancer in women but the virus is increasingly being linked to several other cancers in men and women alike. Since the introduction of safe and effective but also expensive vaccines, many developed countries have implemented selective vaccination programs for girls. Some however argue that these programs should be expanded to include boys, since (1) HPV constitutes non-negligible health risks for boys as (...) well and (2) protected boys will indirectly also protect girls. In this paper we approach this discussion from an ethical perspective. First, on which moral grounds can one justify not reimbursing vaccination for the male sex? We develop an ethical framework to evaluate selective vaccination programs and conclude that, in the case of HPV, efficiency needs to be balanced against non-stigmatization, non-discrimination and justice. Second, if vaccination programs were to be expanded to boys as well, do the latter then also have a moral duty to become immunized? Two arguments in favor of such a moral duty are well known in vaccination ethics: the duty not to harm others and to contribute to the public good of public health. However, we argue that these are not particularly convincing in the context of HPV. In contrast, we believe a third, more powerful but also more controversial argument is possible. In our view, the sexual mode of transmission of HPV constitutes an additional reason to believe that boys in fact may have a moral obligation to accept vaccination. (shrink)

Scholarly discourse on “disruptive technologies” has been strongly influenced by disruptive innovation theory. This theory is tailored for analyzing disruptions in markets and business. It is of limited use, however, in analyzing the broader social, moral and existential dynamics of technosocial disruption. Yet these broader dynamics should be of great scholarly concern, both in coming to terms with technological disruptions of the past and those of our current age. Technologies can disrupt social relations, institutions, epistemic paradigms, foundational concepts, values, and (...) even the nature of human cognition and experience – domains of disruption that are largely neglected in existing discourse on disruptive technologies. Accordingly, this paper seeks to reorient scholarly discussion around a broader notion of technosocial disruption. This broader notion raises three foundational questions. First, how can technosocial disruption be conceptualized in a way that clearly sets it apart from the disruptive innovation framework? Secondly, how does the notion of technosocial disruption relate to the concordant notions of “disruptor” and “disruptiveness”? Thirdly, can we advance criteria to assess the “degree of social disruptiveness” of different technologies? The paper clarifies these questions and proposes an answer to each of them. In doing so, it advances “technosocial disruption” as a key analysandum for future scholarship on the interactions between technology and society. (shrink)

Extensive overview and critical analysis of various approaches to the semantics of questions.

The meta-ethical commitments of folk respondents – specifically their commitment to the objectivity of moral claims – have recently become subject to empirical scrutiny. Experimental findings suggest that people are meta-ethical pluralists: There is both inter- and intrapersonal variation with regard to people’s objectivist commitments. What meta-ethical implications, if any, do these findings have? I point out that current research does not directly address traditional meta-ethical questions: The methods used and distinctions drawn by experimenters do not perfectly match those of (...) meta-ethicists. However, I go on to argue that, in spite of this mismatch, the research findings should be of interest to moral philosophers, including meta-ethicists. Not only do these findings extend the field of moral psychology with new data and hypotheses, but they also provide tentative evidence that touches on the adequacy of theses in moral semantics and moral metaphysics. Specifically, they put pressure on argum... (shrink)

Over the course of human history there appears to have been a global shift in moral values towards a broadly ‘liberal’ orientation. Huemer argues that this shift better accords with a realist than an antirealist metaethics: it is best explained by the discovery of mind-independent truths through intuition. In this article I argue, contra Huemer, that the historical data are better explained assuming the truth of moral antirealism. Realism does not fit the data as well as Huemer suggests, whereas antirealists (...) have underappreciated resources to explain the relevant historical dynamics. These resources include an appeal to socialization, to technological and economical convergences, to lessons learned from history, to changes induced by consistency reasoning and to the social function of moral norms in overcoming some of the cooperation problems that globalizing societies face. I point out that the realist’s explanans has multiple shortcomings, that the antirealist’s explanans has several explanatory virtues, and conclude that the latter provides a superior account of the historical shift towards liberal values. (shrink)

In a recent article, David distinguishes between two interpretations of Tarski’s work on truth. The standard interpretation has it that Tarski gave us a definition of truth in-L within the meta-language; the non-standard interpretation, that Tarski did not give us a definition of true sentence in L, but rather a definition of truth, and Tarski does so for L within the metalanguage. The difference is crucial: for on the standard view, there are different concepts of truth, while in the alternative (...) interpretation there is just one concept. In this paper we will have a brief look at the distinction between these two interpretations and at the arguments David gives for each view. We will evaluate one of David’s arguments for the alternative view by looking at Tarski’s ‘On the concept of truth in formalized languages’, and his use of the term ‘extension’ therein, which, we shall find, yields no conclusive evidence for either position. Then we will look at how Tarski treats ‘satisfaction’, an essential concept for his definition of ‘true sentence’. It will be argued that, in light of how Tarski talks about ‘satisfaction’ in Sect. 4 of ‘CTF’ and his claims in the Postscript, the alternative view is more likely than the standard one. (shrink)

Zes bijdragen tot de theorie van het dialectisch materialisme.

In 1961 the Centre for the Study of the History of Education at Ghent University, Belgium published the first issue of the multilingual journal _Paedagogica Historica: International Journal of the History of Education_. This book celebrates its fiftieth volume. In fourteen contributions written by different generations of historians of education, it demonstrates that in an era where the history of education at university level is at risk, both the journal and the discipline are pulsing, and alive and kicking. Was the (...) journal a trendsetter or a follower, and which position did it take with respect to the International Standing Conference for the History of Education? These are questions addressed in the first section of this book. In the second section, a number of articles show national and transnational developments of the history of education. In their diversity, they make clear how the national and the transnational together characterize the discipline. They show why journals in this domain should stimulate the development of broader concepts and theories in order to put national and regional cases in a broader scientific context and to make them attractive for international readership. In the last section authors turn their minds to the future of the history of education. They write about the shaping of new trends and about moving beyond borders, focusing on, among other things, the challenge of neurosciences and of digital humanities. This book was originally published as a special issue of _Paedagogica Historica_. (shrink)

Rybakov (1984a) proved that the admissible rules of IPC are decidable. We give a proof of the same theorem, using the same core idea, but couched in the many notions that have been developed in the mean time. In particular, we illustrate how the argument can be interpreted as using refinements of the notions of exactness and extendibility.

Amsterdam University Press is a leading publisher of academic books, journals and textbooks in the Humanities and Social Sciences. Our aim is to make current research available to scholars, students, innovators, and the general public. AUP stands for scholarly excellence, global presence, and engagement with the international academic community.

Amsterdam University Press is a leading publisher of academic books, journals and textbooks in the Humanities and Social Sciences. Our aim is to make current research available to scholars, students, innovators, and the general public. AUP stands for scholarly excellence, global presence, and engagement with the international academic community.

Amsterdam University Press is a leading publisher of academic books, journals and textbooks in the Humanities and Social Sciences. Our aim is to make current research available to scholars, students, innovators, and the general public. AUP stands for scholarly excellence, global presence, and engagement with the international academic community.

AMP‐activated protein kinase (AMPK) is an evolutionarily conserved cellular switch that activates catabolic pathways and turns off anabolic processes. In this way, AMPK activation can restore the perturbation of cellular energy levels. In physiological situations, AMPK senses energy deficiency (in the form of an increased AMP/ATP ratio), but it is also activated by metabolic insults, such as glucose or oxygen deprivation. Metformin, one of the most widely prescribed anti‐diabetic drugs, exerts its actions by AMPK activation. However, while the functions of (...) AMPK as a metabolic regulator are fairly well understood, its actions in neuronal cells only recently gained attention. This review will discuss newly emerged functions of AMPK in neuroprotection and neurodegeneration. Additionally, recent views on the role of AMPK in autophagy, an important catabolic process that is also involved in neurodegeneration and cancer, will be highlighted. (shrink)

Volume 20, Issue 9, September 2020, Page 58-60.