Two seemingly contradictory tendencies have accompanied the development of the natural sciences in the past 150 years. On the one hand, the natural sciences have been instrumental in effecting a thoroughgoing transformation of social structures and have made a permanent impact on the conceptual world of human beings. This historical period has, on the other hand, also brought to light the merely hypothetical validity of scientific knowledge. As late as the middle of the 19th century the truth-pathos in the natural (...) sciences was still unbroken. Yet in the succeeding years these claims to certain knowledge underwent a fundamental crisis. For scientists today, of course, the fact that their knowledge can possess only relative validity is a matter of self-evidence. The present analysis investigates the early phase of this fundamental change in the concept of science through an examination of Hermann von Helmholtz's conception of science and his mechanistic interpretation of nature. Helmholtz (1821-1894) was one of the most important natural scientists in Germany. The development of this thoughts offers an impressive but, until now, relatively little considered report from the field of the experimental sciences chronicling the erosion of certainty. (shrink)

Do the changes that have taken place in the structures and methods of the production of scientific knowledge and in our understanding of science over the past fifty years justify speaking of an epochal break in the development of science? Gregor Schiemann addresses this issues through the notion of a scientific revolution and claims that at present we are not witnessing a new scientific revolution. Instead, Schiemann argues that after the so-called Scientific Revolution in the sixteenth and seventeenth centuries, a (...) caesura occurred in the course of the nineteenth century that constituted a departure from the early modern origins of science. This change was characterized by the loss of certainty on the part of the scientists, by the steadily increasing importance of scientific communities (rather than individuals), and by the systematic intertwinement of scientific and societal development. As to present science, Schiemann admits that important changes have occurred, but he denies the conflation of nature and culture: even the OncoMouse is a natural organism, though a seriously damaged one. (shrink)

This work stresses the illogical manner in which mathematics has developed, the question of applied mathematics as against 'pure' mathematics, and the challenges to the consistency of mathematics' logical structure that have occurred in the twentieth century.

In 1980 Morris Kline wrote this engaging book, in which he took on many of the myths about the nature and history of mathematics. This new edition will probably be as seldom read as the original, which is too bad because it contains important messages, including perhaps some comfort for anomalies researchers. I will briefly present an overview of the book’s contents, and then say what I think these comforts are. · · · The ancient Greeks developed the seed of (...) what we now think of as mathematics. Kline points out that their mathematical concepts arose from consideration of the natural world, and then the fact that numbers, shapes, and relationships corresponded to things in the real world convinced them that reality itself was in some mystical way generated by numerical principles. The regular patterns that they found in geometric forms and simple integers reflected the regularities of nature, and so provided keys to understanding how things were, and why they were that way. The faith that mathematics lay behind the mundane world of observations became an unquestioned truth, at least as important as the practical techniques the Greeks devised, and passed along through the Middle East and the medieval period to modern Europe. (shrink)

In this paper, I describe some aspects of the phenomenon of "experimental mathematics" in order to discuss whether it constitutes a subdiscipline or a particular style of mathematics. My conclusion is that neither of these notions accurately capture the complex culture of experimental mathematics.

The diagnosis of death by neurological criteria (colloquially known as ‘brain death’) is accepted in some form in law and medical practice throughout the world, and has been endorsed in principle by the Catholic Church. However, the rationale for this acceptance has been challenged by the accumulation of evidence of integrated vital activity in bodies diagnosed dead by neurological criteria. This paper sets out 10 different Catholic responses to the current crisis of confidence and assesses them in relation to a (...) Catholic understanding of philosophical anthropology. Having considered each of these responses, none is found to provide good grounds for the moral certainty about death needed for current transplant practice to be ethically acceptable. Unless adequate grounds for the use of neurological criteria can be restored, current transplantation practice will have become what Pope John Paul II called a ‘furtive, but no less serious and real, form of euthanasia’. (shrink)

This paper develops a phenomenological account of what it is to lose a primitive and pervasive sense of certainty. I begin by considering Wolfgang Blankenburg’s descriptions of losing common sense or natural self-evidence. Although Blankenburg focuses primarily on schizophrenia, I note that a wider range of phenomenological disturbances can be understood in similar terms—one loses something that previously operated as a pre-reflective, unquestioned basis for experience, thought, and practice. I refer to this as the loss of certainty. (...) Drawing upon and integrating themes in the work of Wittgenstein and Husserl, I propose that losses of certainty centrally involve the inability to tolerate a certain kind of uncertainty. The contrast between having and lacking certainty is to be construed in terms of differing patterns or styles of nonlocalized, practical, bodily anticipation. I conclude by showing how this conception enables us to better understand various different disturbances to which human experience is susceptible. (shrink)

Michael G. Titelbaum presents a new Bayesian framework for modeling rational degrees of belief—the first of its kind to represent rational requirements on agents who undergo certainty loss.

This paper presents the concept of ‘religious certainty’ I have developed by drawing inspiration from Wittgenstein’s notion of ‘certainty’. After describing the particular traits of religious certainty, this paper addresses two difficulties derived from this concept. On the one hand, it explains why religious certainty functions as such even though all its consequences are far from being absolutely clear; on the other hand, it clarifies why, unlike the rest of certainties, the loss of religious (...) class='Hi'>certainty does not result in the collapse of the world-picture made up of all certainties. Subsequently, it analyzes to what extent the teacher can teach religious certainty by acting as a facilitator for its acquisition–if desired—particularly bearing in mind that religious certainty cannot be attained at will. These basic teaching guidelines have several advantages. First, they make it possible to know the nature of religious certainty even better. Second, and most importantly, the fact of having adopted the perspective of a teacher who tries inculcating a religious certainty contributes to detecting and preventing forms of indoctrination that, arguably, might go unnoticed even when attempting to properly present religious certainty—or rather, this way of being religious—in current schools to foster understanding thereof. (shrink)

The many conflicting views that have given rise to the contemporary crisis in religious thought can be traced to certain figures who have played a major role in the shaping of present-day thinking. An exploration of the ideas of these philosopher-theologians, from Schleiermacher and Kierkegaard to Barth, Tillich, Maritain, Berdyaev, Buber, and such lesser figures as Dietrich Bonhoeffer, Harvey Cox, Thomas Altizer, and Richard Rubenstein, has been the chief objective of the author of this work. His survey of modern and (...) contemporary religious thinking, which he conducted within a predominantly Protestant framework, has convinced him that a common theme runs through the writings of the men examined by him: the problem of God is inseparable from the problem of modern man. "In the minds of theologians," the author asserts, "the loss of certainty about God is at base a loss of a sense of ultimacy which gives depth and purpose to everyday living.... And so, in responding to the loss of ultimacy, modern theology has reintroduced the question of man himself: his life and death, his experiences of tragedy, joy, guilt, acceptance, loss, and love." While pointing to the radical differences among theologians in their explanations of man's loss of faith, Idinopulos suggests that the theological options offered by such men as Barth, Tillich, Maritain, Berdyaev, and Buber are of paramount importance for the understanding of today's religious thinking. In his final chapter, the author makes a critical appraisal of the chief representatives of "secular theology," such as Bonhoeffer, Cox, and Altizer; and analyzes Rubenstein's peculiar theory of Holy Nothingness, or "Sacred Void out of which we came and to which we return." The author's analysis makes clear the extreme confusion, and even outright absurdity, into which men have been led by the self-styled "Theologians in a World Come of Age," which is the title of the chapter. The volume closes with a selected bibliography for each of the authors discussed and a comprehensive index.--B. M. B. (shrink)

Personal, creative writing as a process for reflection on patient care and socialization into medicine (“reflective writing”) has important potential uses in educating medical students and residents. Based on the authors’ experiences with a range of writing activities in academic medical settings, this article sets forth a conceptual model for considering the processes and effects of such writing. The first phase (writing) is individual and solitary, consisting of personal reflection and creation. Here, introspection and imagination guide learners from loss (...) of certainty to reclaiming a personal voice; identifying the patient’s voice; acknowledging simultaneously valid yet often conflicting perspectives; and recognizing and responding to the range of emotions triggered in patient care. The next phase (small-group reading and discussion) is public and communal, where sharing one’s writing results in acknowledging vulnerability, risk-taking, and self-disclosure. Listening to others’ writing becomes an exercise in mindfulness and presence, including witnessing suffering and confusion experienced by others. Specific pedagogical goals in three arenas-professional development, patient care and practitioner well-being – are linked to the writing/reading/listening process. The intent of presenting this model is to help frame future intellectual inquiry and investigation into this innovative pedagogical modality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:The Betrayal of Substance: Death, Literature, and Sexual Difference in Hegel’s “Phenomenology of Spirit” by Mary C. RawlinsonShannon Hoff (bio)Mary C. Rawlinson, The Betrayal of Substance: Death, Literature, and Sexual Difference in Hegel’s “Phenomenology of Spirit” New York: University Press, 2021, 215 pp. ISBN 978-0-231-19905-6Mary rawlinson shows that to be genuinely receptive to a philosophical text one must be creative, and she brings the Phenomenology of Spirit to (...) life with her reading. It speaks of and to experience, and she makes it resound as such, matching its aptitude with her own rich descriptions of the character of experience. The reader is bound to learn a lot from her careful and vivid analyses of consciousness, self-consciousness, reason, and spirit, where she displays her power to digest a text that is almost impossibly unwieldy. Both students and scholars of Hegel’s philosophy will find satisfaction here: her book will spark understanding and excitement in inexperienced readers and hone approaches to complex issues of interpretation in experienced ones.Rawlinson opens The Betrayal of Substance with the provocative thesis that Hegel “writes with both hands” (xv). On the one hand, he affirms the abundance of difference in life by insisting on the material realization of the abstract concept, on the life of the singleton (her translation of das Einzelne) as the site of this realization, and on the difference intrinsic to identities (xiii). On the other hand, she says, he aims at a science of logic beyond phenomenology, where singularity has been erased and difference comprehended, such that “nothing is other to it”; this is “an unrelenting insistence on an absolute [End Page 225] detachment from life” (53). Rawlinson tracks this severance of concept and life throughout the Phenomenology: in the abandonment of sensuousness in sense-certainty; in the thing’s dissolution in perception; in “the ‘loss of reality’ of the play of forces”; in the struggle to the death, where self-consciousness “risks life absolutely” (66); in stoicism and skepticism, which “install an absolute difference between life and thought” (47). The life of the singleton is severed from the concept by the production (on the part of the unhappy consciousness) of “ethics, culture, morality, and religion as institutional infrastructures sustaining the self-transcendence of the singleton in the ‘we’ of a community” (66); by reason’s erasure of singularity in its accomplishment of a universal consciousness (68); by perpetual reference to the Bacchanalian revel, that “frenzy of the group that survives [the singleton’s] collapse” (xxx). (Indeed, one of the book’s contributions is its illumination of the prevalence of the image of the revel in Hegel’s text.)In response, Rawlinson asserts the need for a double reading of this double writing: (1) to affirm the capacious narrative that dislodges “ready-made abstractions” and engages the “thick richness of life,” because that is where the truth lies (xxix–xxx); and (2) to oppose Hegel’s “completion” of the phenomenological project and the departure from it to logic, and with it the erasure of the singleton. The book reflects the style of this double reading at each turn, in turns rebellious and appreciative, at ease with its own ambiguity toward Hegel. Rawlinson produces three central pieces of evidence for her critique, three “dangling threads [that] refuse to be woven into the completed fabric of absolute knowing[:] sexual difference, the mortality of the singleton,... and the differences of style in art and literature” (xv). Her critique of Hegel’s abandonment of life sets in relief the critical centrality of Hegel’s identification of maternal love as “the most dangerous force with which the state must contend” (68): this love is a clear instance of affirmation of the singleton over the “we” in which it is submerged. Finally, Rawlinson opposes the idea that truth is “the fully realized series of shapes of knowing and figures of truth” in which “science will have been the truth of phenomenology” with the hypothesis instead that “phenomenology will prove to have been the truth of science” (xliv).Itself beginning several times, The Betrayal of Substance thematizes Hegel’s multiple beginnings and the insight ref lected thereby... (shrink)

This study explores the relationship between the scoring structure and the win or loss of a badminton match, while providing quantitative analytic data using binary entropy to determine the uncertainty of said win or loss. Scoring structure data were collected from the official match records of the top 16 events of the World Badminton Championships from 2006 to 2020 as collection objects and were analyzed by means of notational analysis. Our entropy analysis showed that the main factor affecting (...) the certainty of win or loss in men’s singles, men’s doubles and mixed doubles comes from the number of leading points, and in women’s singles and women’s doubles from whether the current point is closer to the match point. Our binary-entropy analysis based on scoring structure showed that, to maintain high uncertainty so that players stay competitive, the scoring points of two sides should differ in less than 5; in addition, the decisive factors for victory strongly depend on gender, also justifying research results of previous studies. (shrink)

The ordinary concept of death is analysed and compared with revisionary medical definitions, especially those based on irreversible loss of brain function. Prior critics of revisionary definitions have focused on the locus, the brain; I am concerned with the irreversibility condition. I argue that 1) the irreversibility condition is ambiguous, 2) it has unacceptable epistemic and other consequences on any plausible construal, and 3) irreversibility is not part of the ordinary concept of death. I conclude that recent medical definitions (...) seek illegitimately to obtain the certainty of a weak construal of 'irreversible' along with the freedom from moral obligation of the strong construal. (shrink)

There is currently great anxiety among literary critics and theorists about literary criticism’s loss of identity, both as an identifiable, coherent discipline with a recognizable set of problems and as a body of authoritative and well-founded convictions about literature and its history. Part of the reason for this anxiety is that everything that was until recently considered relatively unproblematical has now been rendered problematical. The hermeneutic of suspicion emerges as an interpretative strategy, pitting itself against the hermeneutic of belief; (...) radical indeterminacy of meanings challenges the certainty of traditional epistemology which authorized the objectivity of meaning, text, and context; and the whole of the Western metaphysical tradition is “inscribed” in any piece of writing which undermines the traditional notions of canon-formation, evaluation, and responsible criticism. Traditional literary theory assumes literary works to be structures of determinate meaning accessible by objective critical procedures. It is this assumption, and along with it a number of critical practices, which are challenged by the contemporary interest in the indeterminacy of meaning. In deconstruction, the thesis of indeterminacy takes its most radical and thoroughgoing form, so that all modernist critical stances from new Criticism to phenomenological, psychoanalytical, structuralist, marxist, and reader-response criticisms are put into question. This renders the scene of contemporary criticism and its theory highly volatile, since every theoretical claim or critical practice has become vulnerable to the deconstructive critique, even if this critique itself requires some form of certainty to question any critical theory or practice. (shrink)

This article presents findings from an interview study of human rights practitioners who assist relatives of the disappeared from Chechnya with their complaints before the European Court of Human Rights (ECtHR). These practitioners work for nongovernmental organizations (NGOs). The study contributes to the scant literature on NGO litigation before the ECtHR and to the social scientific literature on how human rights are actively practiced. It investigates the NGOs’ intermediary position between the ECtHR and the relatives of the disappeared in Chechnya. (...) Consequently, this article asserts that a significant aspect of this position lies in the practitioner’s capacity to mediate between an ambition to externalize local grievances to the ECtHR and the relatives’ hopes that the ECtHR can bring certainty to the uncertain loss of their disappeared relatives. From this position, several dilemmas emerge as to how international legal mechanisms can provide remedies following disappearances. (shrink)

This paper argues that the notion of explicit belief in Ortega y Gasset (1946) and Wittgenstein (1969) requires a non-intellectualist understanding of certainty, what is called vital certainty. It is argued that the normative role of the hinge propositions prevents skeptic doubt and, in turn, enables epistemology. This normative role is understood as a-epistemic, even if we can affirm a sui generis use of ''I know''. Finally, skeptical reading is discussed as a possible case of loss of (...) certainty, and how vital certainty responds to these cases. (shrink)

The texts of the ancient skeptics resurfaced in the sixteenth century. How the Reformation and the subsequent confessionalization process interacted with the revival of skepticism remains disputed. Some historians contend that skeptical methods, especially those of Sextus Empiricus, were co-opted by French Catholic polemicists in the service of “counter-reformation”; others suggest that they were suppressed on both sides of the confessional divide by the new church-state establishments that were anxious to protect certainty and impose unity. Where these scholars agree, (...) however, is on the historical trajectory of skeptical techniques: the loss of certainty in theology and the emergence of tolerance. The disputations on sacred scripture of Roberto Bellarmino and William Whitaker, the pre-eminent controversialists of late-sixteenth-century Roman Catholicism and English Calvinism, respectively, reveal the perdurance of skeptical techniques through the Reformation. They also reveal their unstable functionality. Bellarmino proposed papal supremacy as a solution to the insufficiency of reason. Whitaker then challenged the traditional foundations of ecclesiastical authority while simultaneously advancing a principle of scriptural hermeneutics that depended upon institutionally-codified dogmatic statements. Both polemicists engaged in epistemological warfare without surrendering their own claims to certainty; both established stricter ways for their churches to achieve that certainty; neither sought to promote tolerance. (shrink)

In this essay I propose to facilitate a dialogue between the thoughts of conceptual artist and philosopher, Daya Krishna, and the work of literary artist, Vikas Swarup. The central concept that will be “interrogated” in this dialogue is that of knowledge. I will apply my understanding of Daya Krishna’s conceptualization of the knowledge enterprise on to Vikas Swarup’s attitude toward knowledge as embodied in his 2005 novel, Q & A. This exercise serves to create a context in which conceptions of (...) knowledge from diverse fields (hardcore philosophy and popular culture) can be in dialogue with one another, and thereby enhance meaning. Daya Krishna observes that the loss of certainty and proof in our postmodern age erodes the concept of knowledge. He alternately suggests new indicators with which to define knowledge, indicators which factor in chance and probability, and take into account inherent moral qualities of knowledge. I argue that this alternative model of knowledge finds an expression in Swarup’s novel. (shrink)

The paper presents an author’s translation of fragments of previously unpublished in Russian «Psychology of Worldviews» by the German philosopher Karl Jaspers. The excerpts have been chosen to illustrate the basic considerations of the philosopher and psychiatrist regarding the metaphor of the shell introduced to describe a rigid worldview standpoint that people take to obtain support and shelter from the vulnerability and the uncertainty of environment, while, at the same time, paying for the seeming stability and certainty with the (...) loss of their vitality and intensity of experiencing their own life. As Jaspers highlights, the shell as antinomic in its nature, and the inner contradictions related to the antinomies are resolved at the psychological level of existence, when the shell is melted and moulded into a new form, rather than at the level of formal logic, involving the reason. The author also supplies the translation with some comments and his own considerations on the topic. (shrink)

In this book, authors from a variety of disciplines examine how the interpretative disciplines deal with the lack or loss of certainty for their signs and texts.

The basic question concerning the compatibility of donation after circulatory death protocols with the dead donor rule is whether such protocols can guarantee that the loss of relevant biological functions is truly irreversible. Which functions are the relevant ones? I argue that the answer to this question can be derived neither from a proper understanding of the meaning of the term “death” nor from a proper understanding of the nature of death as a biological phenomenon. The concept of death (...) can be made fully determinate only by stipulation. I propose to focus on the irreversible loss of the capacity for consciousness and the capacity for spontaneous breathing. Having accepted that proposal, the meaning of “irreversibility” need not be twisted in order to claim that DCD protocols can guarantee that the loss of these functions is irreversible. And this guarantee does not mean that reversing that loss is either conceptually impossible or known to be impossible with absolute certainty. (shrink)

Corruption involves greed, money, and risky decision-making. We explore the love of money, pay satisfaction, probability of risk, and dishonesty across cultures. Avaricious monetary aspiration breeds unethicality. Prospect theory frames decisions in the gains-losses domain and high-low probability. Pay dissatisfaction (in the losses domain) incites dishonesty in the name of justice at the individual level. The Corruption Perceptions Index, CPI, signals a high-low probability of getting caught for dishonesty at the country level. We theorize that decision-makers adopt avaricious love-of-money aspiration (...) as a lens and frame dishonesty in the gains-losses domain (pay satisfaction-dissatisfaction, Level 1) and high-low probability (CPI, Level 2) to maximize expected utility and ultimate serenity. We challenge the myth: Pay satisfaction mitigates dishonesty across nations consistently. Based on 6500 managers in 32 countries, our cross-level three-dimensional visualization offers the following discoveries. Under high aspiration conditions, pay dissatisfaction excites the highest- (third-highest) avaricious justice-seeking dishonesty in high (medium) CPI nations, supporting the certainty effect. However, pay satisfaction provokes the second-highest avaricious opportunity-seizing dishonesty in low CPI entities, sustaining the possibility effect—maximizing expected utility. Under low aspiration conditions, high pay satisfaction consistently leads to low dishonesty, demonstrating risk aversion—achieving ultimate serenity. We expand prospect theory from a micro and individual-level theory to a cross-level theory of monetary wisdom across 32 nations. We enhance the S-shaped Curve to three 3-D corruption surfaces across three levels of the global economic pyramid, providing novel insights into behavioral economics, business ethics, the environment, and responsibility. (shrink)

This paper examines parents experiences of medical decision-making and coping with having a critically ill baby in the Neonatal Intensive Care Unit (NICU) from a cross-cultural perspective (France vs. U.S.A.). Though parents experiences in the NICU were very similar despite cultural and institutional differences, each system addresses their needs in a different way. Interviews with parents show that French parents expressed overall higher satisfaction with the care of their babies and were better able to cope with the loss of (...) their child than American parents. Central to the French parents perception of autonomy and their sense of satisfaction were the strong doctor–patient relationship, the emphasis on medical certainty in prognosis versus uncertainty in the American context, and the sentimental work" provided by the team. The American setting, characterized by respect for parental autonomy, did not necessarily translate into full parental involvement in decision-making, and it limited the rapport between doctors and parents to the extent of parental isolation. This empirical comparative approach fosters a much-needed critique of philosophical principles by underscoring, from the parents perspective, the lack of emotional work" involved in the practice of autonomy in the American unit compared to the paternalistic European context. Beyond theoretical and ethical arguments, we must reconsider the practice of autonomy in particularly stressful situations by providing more specific means to cope, translating the impersonal language of rights" and decision-making into trusting, caring relationships, and sharing the responsibility for making tragic choices. (shrink)

The basic question concerning the compatibility of donation after circulatory death (DCD) protocols with the dead donor rule is whether such protocols can guarantee that the loss of relevant biological functions is truly irreversible. Which functions are the relevant ones? I argue that the answer to this question can be derived neither from a proper understanding of the meaning of the term “death” nor from a proper understanding of the nature of death as a biological phenomenon. The concept of (...) death can be made fully determinate only by stipulation. I propose to focus on the irreversible loss of the capacity for consciousness and the capacity for spontaneous breathing. Having accepted that proposal, the meaning of “irreversibility” need not be twisted in order to claim that DCD protocols can guarantee that the loss of these functions is irreversible. And this guarantee does not mean that reversing that loss is either conceptually impossible or known to be impossible with absolute certainty. (shrink)

The articles published in this issue of Ethical Perspectives all relate to the social and political consequences of phenomena such as uncertainty and anxiety. The biennial Multatuli Lecture, held in Leuven on May 12th, 2001, addressed this very theme. In her paper, “Anxiety and Uncertainty in Modern Society”, Mary Douglas, one of the keynote speakers at the conference, puts forward the view that certainty is only possible when uncertainty is held in check by some kind of institution. Citing examples (...) from her vast experience of various cultural systems, she argues that the loss of certainty in contemporary society, lamented by many, should hardly come as a surprise. Modern demography, technology and forms of labour have contributed to the decline of many traditional institutions, and increased the flexibility and open-endedness of our experience. Douglas realizes that a return to traditional forms of community, and hence greater certainty, is a chimera. She argues that we should rather examine our desire for greater certainty, and prepare ourselves to live with uncertainty, without regrets.In “Habit and History”, Robert Bellah recalls the distinction between elaborated and restricted speech codes — described by Mary Douglas in her book Natural Symbols — and employs it to interpret the contemporary tension between individual autonomy and social solidarity. For Bellah, the history of modernity is an account of the ever increasing dominance of personal freedom, elaborated speech codes and a critical spirit at the expense of ritual practices, loyalty to social institutions and the sense of community. He suggests that we will only succeed in building livable futures once we have given up the illusion of autonomy as something absolute. Instead of viewing elaborated code and restricted code as mutually exclusive, Bellah wishes to explore the possible complementarities between the two, while acknowledging that only the restricted code gives meaning to our lives.Any wish to eradicate the causes of anxiety takes it for granted that a society released from the throes of anxiety would be a desirable one. In his article, “Whistling in the Dark”, Rudi Visker questions this assumption, drawing on a tradition of thought that seeks to emphasize anxiety's revelatory function: anxiety, as Mary Douglas also pointed out, can teach us a valuable lesson about our situation, about the limitations human lives are subject to. Rather than a condition that is produced by identifiable causes, anxiety should be considered as something that is there from the start, and society's task would then be to give this ineradicable anxiety an acceptable outlet or structure.Many critics of modernity posit a close relationship between the decline of traditional meaning systems and the increasing discontent among certain groups within society. Recently, more empirical research is being carried out in order to ascertain whether such a relationship indeed exists. In their paper, “The Malaise of Limitlessness”, Mark Elchardus and Jessy Siongers present the results of an investigation into the influence of de-traditionalization on various indicators of social discontent and social well-being, among young people of secondary-school age in Belgium. Although the concept of a tradition, thus also `de-traditionalization', is notoriously difficult to pin down, Elchardus and Siongers find evidence to support the view that the modernization process, with its increased individual choice and greater self-reflection, has led to the loss of meaningful reference points, and that this, in turn, is associated with uncertainty and malaise. Interestingly, there is also evidence of a correlation between social malaise and various attitudes such as intolerance, authoritarianism and anti-democratic feelings.While the previous contributions hint at what might be called an ethical form of sublimation, where anxiety is contained and directed towards acceptable objectives, Duston Moore's article, “Revolutionary Eros”, raises the prospect of an explicitly political form of sublimation. In this wide-ranging commentary on Marcuse's masterwork, Eros and Civilization, Moore works out the far-reaching political and economic consequences of what at first sight would seem to be a matter for private individuals: desire and its repression by nature and culture . For Marcuse, the performance principle is only one among an entire field of alternate possibilities for directing surplus-repression. The full critical force of Marcuse's argument lies in the suggestion that there may be other ways, that surplus-repression might be transformed, thus leading to new kinds of social relations and new, as yet unimagined forms of labour. (shrink)

Recent stories of corporate insiders avoiding losses and, in some cases, generating enormous personal profits as their companies crumbled have led investors to question the integrity of American business and the fairness of the United States stock markets. The SEC tries to ensure the fairness of the stock markets by making and enforcing laws against unfair practices such as insider trading. In the United States, when insiders trade stock based on non-public information, they have broken the law and betrayed the (...) trust that has been placed in them.This study used student subjects to test the relationship between the likelihood of trading based on insider information and subjective probabilities of deterrents and motivations for insider trading. Expected gain, guilt, cynicism, and fairness of laws were the determinants that had a significant relationship with the intent to trade based on insider information. This study also found support for prospect theory with regard to insider trading. The results indicate that subjects are more likely to trade based on insider information to avoid a loss than to achieve an abnormal gain. The study also finds evidence of social desirability response bias. (shrink)

We evaluate the consistency of different constructs affecting risk attitude in individuals’ decisions across different levels of risk. Specifically, we contrast views suggesting that risk attitude is a single primitive construct with those suggesting it consists of multiple latent components. Additionally, we evaluate such constructs as sensitivity to losses, diminishing sensitivity to increases in payoff, sensitivity to variance, and risk acceptance (the willingness to accept probable outcomes over certainty). In search of trait-like constructs, the paper reviews experimental results focusing (...) on the consistency of these constructs in different tasks as well as their temporal consistency. Overall, the findings show that the most consistent factor is risk acceptance, and they also demonstrate its potential boundaries. These results are modeled with a simple quantitative index of subjective risk. A survey of decisions under risk further reveals that participants exhibit almost no consistency across different tasks in this setting, highlighting the advantage of experiential tasks for studying individual differences. (shrink)

We introduce two concepts—social certainty and social doubt—that help to articulate a variety of experiences of the social world, such as shyness, self-consciousness, culture shock, and anxiety. Following Carel's (2013) analysis of bodily doubt, which explores how a person's tacit confidence in the workings of their body can be disrupted and undermined in illness, we consider how an individual's faith in themselves as a social agent, too, can be compromised or lost, thus altering their experience of what is afforded (...) by the social environment. We highlight how a loss of bodily or social certainty can be shaped and sustained by the environments in which one finds oneself. As such, we show how certain individuals might be more vulnerable to experiences of bodily and social doubt than others. (shrink)

What moral claims do undocumented immigrants have to membership? Joseph Carens has argued that illegal migrants with long-term residence have a claim to national membership because they already are de facto members of local communities. This article builds on the linkage between illegality, residence, and rights, but shifts the focus from the migrant to the state, and from membership-based arguments to the rule of law. I argue that the rule of law, as expressed in the principle of legal certainty, (...) provides an alternative justification for the regularization of resident undocumented migrants. The principle of legal certainty recognizes the right of individuals to make long-term plans for their lives by requiring that state action be reasonably predictable and nonarbitrary. Thus, as an expression of legal certainty, both civil and criminal codes have statutes of limitation that place a time limit beyond which most crimes and misdemeanors can no longer be prosecuted, and individuals can move on with their lives. Not only do these statutes recognize the individual’s right to be free from arbitrary state control, they also demand that the state cut its losses and accept the consequences of its failure to act in a timely manner. I contend that, in the absence of a statute of limitation on illegal entry, the deportation of settled migrants constitutes an arbitrary act of state power. The article explores a number of judicial rulings to illustrate the argument’s normative logic. (shrink)

For Anselm Kiefer, his painting shows that, that something exists “shows that there is also nothingness.” The moment of visibility is also the moment of our exposure in/with/through nothing (in a gerundive sense) elemental in the happening of the visible. Painting bears ways of exposing the becoming of the visible and ultimately of consciousness, both sensible and intellectual, in/through/with emptying and nothing, i.e., in the happening of the seer and the seen, in that coming into being of existing, we are (...) exposed to the insight that “there is also nothingness.” The paper offers a series of transpositions, a series of ways of experiencing visibility and vision found in looking at specific images and paintings. The transpositions expose us to blindness, emptying, gaps, and loss in the happening of the visible, which, in displacing the certainty of rational subjective seeing/consciousness, lead to the quickening of vision and the visible anew. (shrink)

The journal continues to publish translations of individual chapters of the book by the famous phenomenologist Michael Marder “The Philosopher’s Plant. An Inteellectual Herbarium”. Of the twelve stories, the fourth, “Augustine’s Pears”, and sixth “Maimonides Palm Tree” are selected. In the chapter “Augustine’s Pears” the first avowal in the Confessions of St. Augustine concerns the episode with the theft of pears, which he committed in the company of teenage friends. Today, most of us will perceive this theft as a relatively (...) innocent teenage prank. However, for Augustine, this act is symbolic, since, according to him, he did not crave pears, but forbidden fruit and the thrill of breaking the law. Whether these events actually took place is irrelevant. To demand to separate the real from the imaginary is to ignore the main message of Augustine and his method. The world for him is a matter of interpretation, an intermediate step towards the God. Everything empirically real pales in comparison with the “fictions” of faith, hope and love that pave the road to heaven. The separation of plant processes from plants themselves, life from continuous growth, and physiological activity from the mortal organism prevents their vitality. The fruit that does not rot in the guise of a good deed, and the memory that is eternally stored in God are theological and metaphysical fantasies that destroy the essence of the metaphor that carries them in itself. If the characteristic philosophical gestures of Augustine are spiritualization, interiorization and the use of allegories, then his ethics, although seeking legitimization in the discourse of natural law, is based on the obvious deprivation of life of its natural properties. By suppressing the plant within himself, Augustine excludes real plants from the sphere of moral significance. Although the fruits of the earth allegorically represent works of mercy, a merciful approach to plants is considered inappropriate. It is not surprising that Augustine shows almost no interest in the plants themselves, treating them as translucent screens through which the divine order shines through. If we want Augustine’s philosophy to remain relevant today, it is necessary to extract the ethical core from the shell of its theological denial of the world. Now that the transcendent absolute is no longer immune from questions, the certainty that the world exists for the sake of something external inevitably collapses. In the process of mourning the loss of the absolutes, one should remember the meaning of Augustine’s modified motto: Mundo frui! Enjoy the world! The chapter “Maimonides’ Palm Tree” is dedicated to Rabbi Moses Ben Maimon –Maimonides – presented a unified worldview based on the theories of his predecessors, and systematized religious laws in a code of fourteen volumes – “Repetition of the Torah”. Maimonides pays attention to everyday details, for example, what is allowed and what is forbidden to those who observe Sabbath; describes in detail the rules governing the sale, gifts and the right to use property. He demands that the stump with two shoots be left untouched from the olive tree. But palm trees can be uprooted because they do not give shoots – that is, these trees can be subjected to unlimited violence. The author calls the palm arbor sacra, thus referring to the concept of homo sacer introduced by J. Agamben. The statement of Maimonides – “man has an erroneous idea of himself and believes that the whole world exists only for his sake” – could well serve as a unifying slogan in today’s struggle against the domination of man over nature. “The Guide for the Perplexed”, the main philosophical work of Maimonides, contains clear and strict information about plants. Maimonides prefers to combine plants with inorganic substances rather than grouping plants together with animals. His “The Book of Cleanness” praises the cleansing properties of the soil, or, more precisely, the attachment of the plant to the soil. Regardless of the contamination of the seeds, their sprouts are purified as soon as they take root, reviving their original connection with the divine origin of existence. But the growth of plants threatens the very integrity of the Law. In order to control the excess of plant raw materials, Maimonides defends the purity of species. Plants are trivial and therefore unworthy of divine interest. A chain reaction occurs: plants are neglected, left to themselves, and subsequently they become more and more mysterious. Their freedom is still more radical than that inherent in the free will of man. (shrink)

: This study aims to discuss the basic argument that sociology, as a science, emerged as an intellectual response to the lost sense of community during social and cultural changes. This argument carries the assumption that the dominating metaphors and perspectives of classical sociology are informed by conservatism. In sociology, this claim is supported by well-known and ambivalent theoretical structures that are developed to explain the process of social change. This study aims to make a criticism of nostalgic sociology considering (...) the idea that the fundamental assumptions of the ambivalent theoretical structure in sociology are nostalgic. In addition, this study also aims to critically read the historical development of Islamism, one of the modern ideologies, with nostalgia and utopia. The suggestion of the article is that either classical sociology or Islamism –two subject appear differently in terms of their topics- gave similar intellectual reactions about the subject that they are unable to cope with ‘the present’ and produce a ‘golden age’ discourse as a solution to ‘the present’. The argument of the study is that either the effort of idealizing ‘the past’ in classical sociology or the myth of coming back home in Islamism against cultural alienation and sense of loss which are lived in ‘the present’ are actually determined by sovereign modernity paradigm. Summary: Behind the nostalgic paradigm, there is a rebuilt history that is shaped as a transition from feudalism to capitalism. In this history, the decline of feudalism corresponds to the loss of rural community, the loss of personal expressionism and the loss of unregulated society. In classical sociology, the heritage left by the solution of this historical reconstruction of society has become common. The anomaly of the modern world is precisely where the modern society from traditional society has emerged in the pathological state created by the loss of social ties with the passing. This pathological condition was first seen in Swiss mercenaries serving away from home, diagnosing nostalgia as a diagnosis of discomfort. We know that Johannes Hofer, who has a sense of humor, has not written any prescription for this disease, which gives some common signs with his melancholy. Sociology, shaped by three different intellectual movements as intellectual responses to the French and Industrial revolutions that allow the transformation of the European society, has taken its place as its focal point, and in the pioneering names, this change is "a change in everything at a dizzying pace, everything that has happened has evaporated and the glory of the world has deteriorated.” Modernity, which refers to the ideals of enlightenment, is blessed not to progress by nature, fluid, rational, contingent, lacking certainty. In fact, this blessing has brought with it the enemy of tradition to the 'new' with reference to its etymological origin. This sophisticated and complex structure unique to modernity only, has inspired some thinkers to conceive of an idealized past or future that is now determinative. Both of these ideas are moderators. The nostalgia becomes modern because of the longing for a home that no longer exists or has never existed. Nostalgia is coeval with modernity. The article refers to Stauth-Turner's nostalgic paradigm, which provides the meta-phasic and meta-phase dominance of classical sociology detailed in Nietzsche's Dance. This paradigm consists of four main components. The first is that the history that we can summarize as a departure from the golden age when the world was a nest for man is seen as a decline and a loss. History is a history of sorrow and despair, as this decline will continue to exacerbate in the future. The example of such a feeling of grief in society theory is Weber's fate sociology. Because, according to Weber, whatever is waiting for us in the future is the polar night of the icy darkness, not the sunlight of summer. The second component of the nostalgic paradigm is the sense of secularization, together with the loss of integrity and moral certainty. This nostalgic trajectory is a very powerful secularization that emphasizes that such devastating social processes as urbanization, capitalist industrialization and the rationalization of everyday life, such as the diversity and complexity of social structure, the spread of scientific knowledge, urbanization with increasing population ratio, it brings forward its theory. With the announcement of the death of God, the gate of a competing and conflicting world has been opened, from which we have been transformed into a very godlike world. It is possible to observe a similar point of view in classical sociology in Durkheim, which has a theoretical basis for the transformation of social structures through professional distinction in the form of mechanical and organic solidarity. Durkheim analyzes social change in a deliberate way, and pre-change stake favors moral coherence. Moral coherence is now lost when collective consciousness is generally weakened in the post-change phase. The third trajectory we encounter in the nostalgic paradigm is the loss of individual autonomy and the decline of genuine social relations. With the loss of the moral unity, the individual has been caught under the domination of the bureaucratic state, in macro-social processes and institutions. It is inevitable that the individual who lost his autonomy is subject to the denial. The increasing exposure of the individual to social bureaucratic associations has been conceptualized by the iron cage metaphor in Weberian sociology. The enlightenment is the result of the panoptic collection of prison. So there is a nostalgic stance in this compound of the nostalgic paradigm that autonomy-ben lost because of the fall of the bureaucratic world under the domination of the modern state. In the nostalgic paradigm, the ultimate component is the feeling of laxity, spontaneity and loss of naturalness. Here, the individual is subject to not only macro-social processes but also micro-ethics. That is, it is understood that Adorno's "managed society" or Foucault's notion of closure prevents the individual's true emotions and enthusiasm, and that the consumer culture is preoccupied with certain preconceived ways of doing in a world dominated. To sum up, the metaphor of nostalgia that we are living in a world where we have been seized by administrative rules of a central state in a way that has lost the moral certainty and autonomy of the individual. The return to home, which is found in a significant part of the texts and practices put forward in the name of Islamism, has reached a deterministic attitude just as it was in classical sociology. In the nostalgic imagination where those who cannot cope with it are thought of as a safe harbor, there is a certain attitude towards deterministic ideologists that simplify, sanctify, and therefore falsify. Indeed, the imagination of a supra-historical, supra-community model for a time like the Golden Age discourse and for all time is itself history from the very beginning to the end. Therefore, it is a manifestation of a major historical process and the ideological design of sociality. The rhetoric discourse presented as a remedy in the present is possible with an anachronistic point of view which idealizes the past, and therefore the reality is distorted. The authentic one is extremely informal. This kind of discourse of authenticity, which is produced as opposed to the modernity that all that is solid melts into air, eventually has to make iron cages around it. As a result, the nostalgic rhetoric, which aims to be a modern chivalrous remedy that everything changes at a dizzying pace, has been determined by the paradigm of modernity, thanks to its self-reflexive nature which contains the opposite. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. (shrink)

For decades, physicians, philosophers, theologians, lawyers, and the public considered brain death a settled issue. However, a series of recent cases in which individuals were declared brain dead yet physiologically maintained for prolonged periods of time has challenged the status quo. This signals a need for deeper reflection and reexamination of the underlying philosophical, scientific, and clinical issues at stake in defining death. In this paper, I consider four levels of philosophical inquiry regarding death: the ontological basis, actual states of (...) affairs, epistemological standards, and clinical criteria for brain death. I outline several candidates for the states of affairs that may constitute death, arguing that we should strive for a single, unified ontological definition of death as a loss of integrated functioning as a unified organism, while acknowledging that two states of affairs may satisfy this concept. I argue that the clinical criteria for determining whole-brain death should be bolstered to meet the epistemic demand of sufficient certainty in defining death by adding indicators of cerebro-somatic dis-integration to the traditional triad of loss of consciousness, loss of brainstem function, and absence of confounding explanations. (shrink)

“Artworks are not being but a process of becoming” —Theodor W. Adorno, Aesthetic Theory In the everyday use of the concept, saying that something is grotesque rarely implies anything other than saying that something is a bit outside of the normal structure of language or meaning – that something is a peculiarity. But in its historical use the concept has often had more far reaching connotations. In different phases of history the grotesque has manifested its forms as a means of (...) subversive resistance against society’s prevailing notions of form and power. What aids this impact and distinguishes two of its basic stylistic features is the grotesque’s dissolution of form and its hyperbole. Such grotesqueries, however, soon solidify into new forms, new structures of meaning, hierarchy and practice, and in this sense the history of the grotesque is, on one hand, a continual opposition and transgression of the prevailing notions of art as well as of God and humanity, while on the other hand it offers continual resistance to its own solidifying process. As such the grotesque will not and cannot be contained in form without it losing the very thing that makes it grotesque. Even though it is somewhat easy to point out certain stylistic features of the grotesque, the sum of those features tell us very little about what is at play within it. Definitions concerned with the grotesque’s content rather than its form faces similar difficulties. Throughout history, expressions relating to the grotesque have been used in defense of a whole host of different social and cultural discourse including, for instance, Catholicism (See Erhard Schön’s Der Teufel mit der Sackpfeife , 1536), Protestantism (See Lucas Cranach’s Der Papstesel , 1523), a material folk culture (see Mikhail Bakhtin’s Rabelais and his World , 1984) and an idealistic romantic structure of meaning (see Wolfgang Kayser’s The Grotesque in Art and Literature , 1957). Thus though the grotesque cannot be reduced to the expression of certain forms or meanings, in order to examine what the grotesque is about one has to try to see how it’s relationship to flow and process and how, by maintaining this relationship, it attempts to avoid solidifying into form and meaning. The process of the grotesque alluded to here revolves around a play between periphery and center, the marginalized and the dominant. Most often this is expressed as a direct negation of the center of power. In the medieval grotesque tradition of the carnival, for example, it is expressed by its emphasis on the nether regions of the body as the center of creation of meaning. Spirit does not come from above, but from the belly, buttocks and genitals, and there is, expressed in this manner, a mockery of the predominant Christian notion of truth and meaning. Such inversions of the sites of meaning most often explicitly express an increased interest in materiality instead of ideal content which comes to the fore through the play between periphery and center. Even in early grotesque Renaissance art (for example in the works of Raphael) the depiction of the mythological or ideal reveals an exploration of the possibilities of the material. The works of art thus explore their own boundaries rather than act as vessels of the divine and in this way the grotesque explores the limits of form and materiality. This in turn brings to the fore a metaphysical dimension in the workings of the grotesque: It is an immanent exploration of its own boundaries. Materiality and metaphysics are joined together, because it is through the awareness of itself as a structuring (dis)order that it places itself in opposition to the prevailing notions of form and power. This way the grotesque expresses an awareness of the division of sign and reality and a search for this reality. It implicitly expresses the awareness that meaning is not something God-given and static, but fluctuating and man-made. In modern explorations of the history of the grotesque it is commonly seen as a form of realism that manifests a shift from the ideal towards the material, freeing art from representing some hidden higher order and instead making the work of art the very site of creation and meaning. Going even further, the grotesque actively opposes the notions of the ideal by marking a shift from an ahistorical view of the world towards the historical. However, this also makes clear why the grotesque has a tendency to solidify into new static forms of meaning, for by establishing itself as a subversive counterforce there is an idea of transgression and emancipation. That is why the grotesque often historicizes and relativizes only to repeat the mistakes of that which it negates: putting itself in the king’s chair. The exploration of the material seems to create new forms and notions of the ideal. The representation of an otherness outside the prevailing notions of meaning and truth becomes a positive manifestation of this otherness as truth itself. Thus the historical “truths” of the grotesque are superseded by history itself. When the expressions of the grotesque solidify into static form and meaning, they become mere objects like anything else in the world. Instead of being this elusive thing of process and flow, it becomes tangible to the existing hierarchy of power as well as history itself. In this way the grotesque can be expunged, included or simply revealed as yet another false notion of truth, which is precisely what has happened with the grotesque throughout the course of history. If from the beginning the expression of the grotesque has not already been in the service of some structure of meaning and truth, it has quickly been included or has quickly included itself in such a structure. But by doing so it rejects its own basis: the tension between periphery and center is replaced by the attempt to create a new center, a new structure of meaning and truth. The doubleness, ambiguity and flow of the grotesque are then rejected by the grotesque itself. THE NON-FORM OF FORM In the critical thinking of Theodor W. Adorno (1903-69) the problem of art, caught between a reductive and prevalent notion of truth and meaning and a peripheral and alienated otherness, is reexamined and reformulated. For Adorno, the instrumental rationality of Enlightenment itself reverts into a new form of mythology which is every bit as static and exclusive as the hierarchies of religion it supersedes. All is excluded that is non-identical to the instrumental mastery of the objects of the world, "For the Enlightenment, anything which cannot be resolved into numbers, and ultimately into one, is illusion; modern positivism consigns it to poetry." 1 As such the non-identical has been banished from the realm of thought and action, and banished specifically to the realm of art. But the realm of art is not able to provide a decent home for it because even modern art is not something entirely autonomous. While it is excluded from the notions of truth and meaning provided by instrumental rationality, it still originates from society. Just like instrumental rationality art is about mastery, structuring and exclusion. Therefore, the problem for art is that it cannot directly provide a space for the non-identical because its mode of operation is similar to that of instrumental rationality. Even worse, art has very few possibilities to free itself from this. If it becomes l’art pour l’art it is at the same time reduced to the very thing instrumental rationality claims it to be: a subjective judgment of taste.expressionism also stands as an example of this. Conversely, art cannot work within the framework of the identity-thinking of society, because any notion of freedom or emancipation would reproduce the exclusive practices of instrumental rationality. For example: Explicit socialist literature may establish itself in opposition to instrumental rationality while at the same time reproducing it. Its language may seem different, but in reality it merely provides a different set of reductive schematics for human life and experience. The problem for the art of the grotesque was, as I mentioned earlier, that far too often it was merely a symbolic manifestation of a notion of otherness—not otherness itself. Because of this the subversive character of the grotesque ends up shaping and containing otherness instead of providing a space for it. According to Adorno the only way to avoid this is to radicalize the grotesque. In order to avoid solidifying into form the work of art has to be an object which cannot be contained in thought or form—a non-form of form. The work of art has to work in a way that it strives for autonomy but without entirely leaving a discernible reality. In other words, it has to pull in two directions at once. Thus the work of art is a paradox. It is autonomous in the sense that it closes itself off from everything outside of the work of art, trying to shy away from the contaminating influence of the identity thinking of instrumental rationality. At the same time though the work of art is heteronomous in the sense that it originates from a specific historical context and is bound to be what society is not. Autonomy and heteronomy are inseparably intertwined. Unable to display otherness itself, but still trying to be a refuge for it, there is only one option for art: It has to turn against itself and destroy its own logic of form, thereby demonstrating how any representation of otherness is impossible. Art becomes a lamentation of the victims of the identity thinking of instrumental rationality and shows the traces of the otherness that is unable to appear. Adorno’s pessimistic theory of art and history stages art as a negative dialectical process where the work of art closes itself off and rejects everything outside, while the individual elements in the work of art destroys its very own logic of form from within: Artworks synthetize ununifiable, nonidentical elements that grind away at each other; they truly seek the identity of the identical and nonidentical processually because even their unity is only an element and not the magical formula of the whole […]. The resistance to them of otherness, on which they are nevertheless dependent compels them to articulate their own formal language, to leave not the smallest unformed particle as remnant. This reciprocity constitutes art’s dynamic; it is an irresolvable antithesis that is never brought to rest in the state of being. 2 Relative to a traditional understanding of the grotesque, Adorno radicalizes the tension between center and periphery, autonomy and heteronomy. In the traditional understanding of the grotesque, as we find it for example in the writings of Mikhail Bakhtin, the grotesque establishes the display of otherness as a new center of meaning and truth. However Adorno rejects such notions and argues instead for a modernism of the grotesque in which both center and periphery are included in a negative dialectical process and continually synthesizing and destabilizing each other’s positions. A modernism of the grotesque works on the inside of the sign or the artwork, continually outlining and questioning the boundaries between materiality and form. This moves the focus away from the relation between the sign or work of art as a conceptual manifestation on one side and the object it refers to on the other side. Instead it implicitly points to the amorphous mass from which the signs and thereby meaning have been carved, the remnants that have been left behind. Modernism of the grotesque does not imply that it is emancipatory or that it reconciles man with nature, and does not represent a new position or a new ideology. It merely remembers and insists on the double nature of man and art: to write or paint yourself or an artwork whole by inscribing meaning in life or by applying form on a canvas is at the same time both creation and destruction. The very signs we use to center meaning in our lives carry its own alienation in them. Meaning surfaces only when process and flow comes to a halt—solidifying, but at the same time excluding parts that do not fit into that particular structure of meaning. NOTHING DONE AND NOTHING UNDONE It has always been difficult for art historians to find a suitable category for the works of the Danish artist Leif Lage (b. 1933). In his paintings the sensitive figuration seems so fragile that it is on the verge of turning into abstraction. Or conversely: the figurative emerges cautiously and hesitantly out of abstraction. As an art critic once wrote, he can almost paint things away. 3 Working in some undefinable space between abstraction and figuration, the Lage’s works shy away from the realm of words, and as a result few critics have been able to write anything meaningful about his works. In fact even fewer have been able to write more than one or two pages. The Danish author and art critic Leif Hjernøe is one of those few, but even he starts off by saying how impossible it is to write about Lage, confessing that his works exist both as process and in a field of in-between which words cannot reach. He writes: Always you find yourself in a place where nothing is done and nothing left undone, and where the elements of the work of art rest in a continuous motion. Always there is the open wound, where infection rather than surgical intervention is considered as an opportunity. And the conflict between matter and antimatter makes all diagnoses uncertain and allows conditions of uncertainty to spread in a place of raw presence. 4 The art works against the diagnosis and the certainty. Words are being eaten up by what is outside the realm of words: tension, process and doubleness. An approach to an understanding of the work of Lage could be to follow his connection to Samuel Beckett (1906-89). One can note, therefore, that Lage has illustrated several of the Danish translations of Beckett’s works. Though one is an author and the other a painter both seek a place where figuration, where the word, erodes. For both this entails an attempt to question and examine and so move in behind the façade of the surface in an exploration of that something or nothing that may be behind representation. At the same time even in the vanishing point of figuration or words, the meaningless words or the disjointed lines still stand as signs of human activity—signs of movement in emptiness. With very few exceptions Lage’s artworks revolve around one motif: Man—most often “en face.” But unlike traditional portraitures Lage’s people are found within. The artworks do not sense the reality of appearances, but rather the existential dimensions within man. As a seismograph they are sensitive to the utmost subjectivity in order to display an objective, sensuous depiction of the very problem of subjectivity. Instead of a static façade of a man, Lage’s “en face” shows the process-character of man. The people in Lage’s paintings are always in process—in the midst of becoming or dissolving. I will take a closer look in the following at the ways in which Lage establishes this sense of being in constant process, of being in-between modes or categories. THE DOUBLENESS OF THE STROKE Lage’s etchings attract attention in particular for the tension conveyed there between the material and the form. The material physically opposes the violence of the needle. But instead of embracing the violence of the needle and the victory over matter—instead of making the artistic creation and figuration express a heroic mastery of the background it is made out of—Lage uses the stroke to express the very tension between stroke and material, figuration and background. In the drypoint etching Untitled from 1983, which illustrated the Danish translation of Beckett’s Ill Seen, Ill Said , the needle tears up the material in long rough lines: Together, the primarily horizontal and vertical lines form a face. Thus the force needed to etch a line in the metal-plate draws attention to itself: It is there in the absence of curves and nuances. Man emerges on the metal-plate after great exertion and in a very simplistic form. This way Lage enhances the nature of the material, as the material’s resistance is not something to overcome. On the contrary the figuration is smitten by its very resistance and as such expresses the violence of its own becoming. Even more pronounced is the fact that the lines do not just show the violence of creation—it actively erases figuration in the same process that creates it. For example the mouth consists of 8-10 horizontal strokes, of which some seem to be connected to each other as if the mouth has been quickly scratched out. The mouth speaks of the inability to speak. In the same way, the eyes are black holes due to a large amount of criss-cross cuts, which together form a dark middle. Those lines, at the same time, form the eyes of the figuration and scratch out the eyes of the figuration. The extroverted aspects of the face—connected to speech and sight—are portrayed as introverted as well. Just as the etchings down into the metal-plate makes something appear. Leif Lage, Untitled , 1983 (etching) The figuration of the etching is connected to creation. It expresses that something is wrought into existence out of nothing by sheer artistic force. However, this force is at the same time presented as a violence of creation, which makes it impossible for form to truly emerge. Herein lies one of the basic principles of Lage’s art, namely that art cannot be that nothing or something behind the realm of words or signs. Without form, art would lose its ability to express anything at all. Form is a necessity if art is to avoid becoming as devoid of expression as the reality is that we cannot reach behind the appearance of things. On the other hand, art cannot raise itself above its own material in joyous celebration of the beauty of form. This would use the material in the manner of an instrument and thus would suppress the otherness it attempts to rescue. When art becomes mere form, any traces of otherness will have dissolved. Then art would be a question of technique, in no way different from the instrumental rationality of society. Therefore art works in a particular space between form and non-form. As Hjernøe says of the works of Lage, it is in the center of the event, in the in-between where things neither are nor are not, "And everything takes place just before it changes character. As the blood just before it coagulates, as the milk just before it separates, as fried egg just before it turns white […]." 5 The precise emphasis on the in-between of Lage’s art points in particular to the work of art as both outside of and in time. The work of art is a singular point in time, but at the same time it is continually in process. In the borderland between form and non-form, between creation and destruction, it shimmers like a fata morgana . The work is done but at the same time undone. It is only there as a cry in response to the inability to come into being. Akin to the etching is the drawing, but while both, of course, use the stroke or line as their main instrument, the paper does not resist the line in the same sense as the metal-plate of the etching. As a result in Lage’s drawings the stroke frolics in a space with almost no tension at all. There is nothing there to keep the pencil stroke at bay, but at the same time this means that there is nothing there to keep it together. One of the more expressive examples of this is found in an untitled drawing from Tegninger og Text ( Drawings and Text ) from 1999. The drawing consists of one unbroken pencil stroke. It is as if the stroke is confused—it darts around on the paper making doodles on the way or gathers itself in more straight lines in the center of the paper. It is in this manner that the semblance of a body is established. A couple of small circles serve as eyes and are the reason that the rest can be read as both face and body instead of pure abstraction. In fact the unbroken stroke serves as both abstraction and figuration as on the one hand it is the stroke that seemingly outlines the shape of a figure, while on the other hand the unbroken stroke dissolves any truly recognizable figuration by continuously, without end or aim, overflowing the boundaries of the figure. Seen again here is a doubleness to the stroke and the act of creation. In the etching it was all about the tension between the resistance of the material which created the doubleness. Here it is the opposite. It is the lack of tension. The stroke is free to do anything, but has no aim: without some kind of resistance, there is nothing to hold figuration together. It threatens to dissolve into nothingness. Conversely, the drawing can also be seen as a process of becoming. Like a form of automatic writing, the pencil darts around until it finds a point of densification. But even in such an interpretation of the drawing, the figuration appears artificial—it points to itself as the result of the artistic act of creation. The stroke is primarily stroke and only secondarily figuration. With its wild movement it calls attention to itself as stroke. Thus the figuration never becomes something in its own right. It points to the basic principle of creation: Someone has drawn me, I am the result of artistic endeavors, and therefore I am not for myself but always overflowing the boundaries that contain me. It is the stroke that in the very same movement creates figuration and dissolves it. Leif Lage, Untitled , 1999 (drawing) THE LIGHTNESS OF COLOR, THE DENSITY OF PAPER Often the watercolor is used as a precursor for larger paintings, because it has an immediacy in which one can quickly paint the main lines of a composition. However, Lage’s watercolors are not temporary points in a process leading to another final painting. They are not sketches, later to be filled with details in another material. For him watercolor is an end in itself. This also implies that he doesn’t try to work against the paper’s absorption of the water color and its tendency to absorb detail. On the contrary, he examines the possibilities inherent in this blurring of the line and absorption of color. As in the previous examples, there are of course recognizable shapes in Lage’s water colors. But these shapes are rarely separable from color, line or even paper. In other words: the figurative and the abstract more or less become one. One of the reasons for this is that Lage often works on wetted paper which means that the paper hungrily absorbs color into its fabric instead of it being on top of the paper. The paper becomes line because it is the absorption of the color which, together with the brush stroke itself, separates the colors from each other. The line is also color and the color is also line, because there is no separation between the different colors other than the colors themselves. At times this results in almost complete abstraction. In such cases Lage add lines with a pencil as if he wants to hold some sort of figuration together. At other times it is the other way around: the strokes of the pencil are a being dissolved by the water color blurring out the figuration. Untitled 1 from 1999 displays various tones of green. The contour of the colors appears unusually rough. Most of all it is reminiscent of a shoreline which has found its form through the work of thousands of years between water and land. Pockets of resistance surface as islands not yet drowned in color—as paper or color not yet consumed by the dominant color. The shape of the colors does not seem created by the hand of the artist, but rather by the inner workings of the watercolor: color against color over time has resulted in this very image, as if it is all a part of a natural process of change and decay. Despite the fact that there are no strong differences in color there seems to be a struggle taking place in the watercolor. For example, inexplicable holes in the dark color, which cover most of the right side of the watercolor, appear as if the underlying color is eating away the dark color, or that the dark color is in the process of covering up the underlying color. The small pockets of resistance demonstrate a process and development that, almost as a happy accident, evokes a couple of small eyes and a large mouth. Behind the colors a few slanted lines can be discerned, but the hand of the artist has long ago disappeared behind the life of the colors. Thus the watercolor seems to be held at precisely the point in time where figuration randomly appears. The small eyes and wide mouth seemingly express the realization of the figuration’s temporality. It is just a moment in time, soon to be consumed again in the life of the colors. The nature, the background it stems from and is part of, moves on undeterred, continuing its everlasting process of creation and decay. In this sense, the watercolor provides an experience of how neither artist nor man is able to transcend the materiality they consist of. The colors of man, the materials man consists of are “becoming” and “progress” but also “decay” and “disappearance”. The artist’s pencil strokes have been eaten up long ago, and the figuration is living on borrowed time. Human or artistic activity is about creating form, transcending mere matter by shaping and applying meaning to it. But Untitled 1 shows the doubleness of such creation: the transience and fragility of human life. Should the figuration come into being, should it rise and transcend the material, which binds it to its temporal existence, it would become nothing because its very existence is conditioned by the life and work of the colors. In the same sense man cannot escape his own temporality. He too, for better or worse, must accept a life in the volatility of sensation. Leif Lage, Untitled 1 , 1999 (watercolor) In most of Lage’s watercolors there seem to be a stronger artistic control than in Untitled 1 . Most often both the arrangement of colors and the technique in which they are painted express the hand of the artist. An example of this is Untitled 2 from 1999. While figuration in Untitled 1 seemed to appear as a happy accident, the figuration is much more “created” in Untitled 2 . Here the most important parts of the figuration, the eyes, the mouth and part of the skull, are colored black and painted on top of the background’s play of colors. The background primarily consists of blue and yellow tones. Only parts of the paper are covered in color, however, which yet again stresses the act of painting: There is a surface which is being filled by color by an artist. The blue tones are concentrated in the figuration, while the yellow tones surround it. All this means that the figuration stands out more clearly in this watercolor. This is also underlined by the fact that the blue and dark tones cover part of the yellow tones as spots here and there. Thus it is not a background which is in the process of consuming figuration, but rather the emerging figuration which blots out the background. Such an understanding is even suggested by how the mouth and eyes are placed in the larger blue color field. The eyes and mouth are in the center of the watercolor, while the blue color field is placed from center out towards the left side. This gives the impression of a face turned slightly to the right and slightly upwards, which again makes the mouth appear to emerge from the paper. It also helps that the mouth cuts the center axis of the watercolor. In other words, the arrangement of the blue and black colors create some depth and perspective which gives the illusion of a figuration, seen partially in profile, emerging from the background. Seen in profile, the eyes and mouth seem extroverted—they almost seem as if they are put on top of the face. But at the same time they are painted as black holes, sucking in the gaze of the onlooker. The watercolor is even more challenging if one follows what may be the faint outline of the skull, which, on the right side of the watercolor, no longer works together with the blue color, but rather alone postulates the outline of the skull. If not the blue color field, but this line, is the outline of the skull, then all of a sudden the face is not in profile but “en face”—staring directly towards the onlooker. Outline and color seemingly work against each other and establish two different expressions. Without the slightly upward tilted expression of the profile, the eyes and mouth do not seem to emerge from the paper. On the contrary, seen “en face,” the eyes and mouth are really gaping pits of darkness. In this sense Untitled 2 is at the same time surface and depth of perspective. The line gives form but at the same time it dissolves the form created by the colors, and vice versa. Leif Lage, Untitled 2 , 1999 (watercolor) As the last example of Lage’s artistic method, I have chosen another untitled work (as indeed nearly all of Lage’s artworks are)—this time from 2000. This is perhaps one of the most figurative watercolors Lage has created, though that doesn’t tell us too much. The painting depicts a human face in blue and green tones on a yellow toned background. The colors create a clear demarcation between the figure and the background, which compensate for the watercolor’s lack of outline. Beneath the face darker tones imply the beginning of the torso, and nuances of color even hint at something which could be a collar. The hair is in even darker tones and its structure is emphasized using pencil strokes on top of the water color. One eye is marked by a brown spot with a darker spot in the middle, while the other eye is added by pencil. The mouth is a round, red dot. In Untitled from 2000 the work between abstraction and figuration is much less pronounced than in the previous examples cited here. Nonetheless the watercolor has a delicacy to it which almost makes the figuration disappear, even as it appears. This has something to do with the fact that all the individual brush strokes have dissolved. The only outlines are those created by the clash of colors. Even the red mouth seems to be more paint than mouth—unable to be formed truly as anything other than a speck of color with some small semblance to a mouth. In contrast to the other watercolors, there is no movement, no progress or decay, just a vibrating standstill. The figure is not emerging or disappearing but embedded in and as surface, and as such it makes the figure seem stuck in its condition rather than freed by the act of giving form: mouth open as a wound. Pencil strokes add detail and life to the hair as an attempt to help the figure emerge. But all this does is create two levels in the watercolor: The pencil strokes are put on top of the figuration rather than being part of it. Thus they end up highlighting the endless distance between the movement and form-giving of the pencil strokes and the static and stuck figure behind these strokes. Leif Lage, Untitled , 2000 (watercolor) MAN AND THE VIEW OF THE ONLOOKER Lage’s works seem at the same time to be an examination of tensions between form and material in art and a display of an image of man full of the same tensions. This is because the people who are emerging in Lage’s images are not just in his works, They are his works. This means that man is not something emerging from a background but is part of this background and vice versa. The art of Lage inscribes man in its surroundings and background. Man is not the ruler of nature. Man does not rise above matter; there is no truly transcendent position for man to occupy in the art of Lage. Instead man is a part of the very matter, it, at the same time, tries to distance itself from in order to distinguish itself from its surroundings. Man emerges in an attempt not to be line, stroke, color. In an attempt to free itself of matter. Should it succeed in this, however, it would turn into nothing. On the other hand, if man fully accepted itself as mere matter it would disappear in it—in instincts, urges and lack of reflection. The appearance of man is thus subject to a state of being in-between. Only in the tension between material and its negation can the outlines of man be traced. However this also means that in the art of Lage man is never something in itself but always in process—on the way to its freedom and its loss. However, Lage’s art is not just about showing the tensions inherent in man but also about showing such tension on the verge of breaking point. In the moment before everything is done, or when nothing yet has been done, the delicate tension between form and material has been stretched to its utmost in such a way that man’s character of process emerges and is contained on the paper or canvas. Therefore, Lage’s art contain traces of human life. Not only is it an autonomous unity of tensions where man is stretched out between its singularity and the surroundings it is a part of. It is also this pulsation between figuration and material which brings about the traces of human endeavor and activity. Even when man almost seems to have disappeared into the material, strokes and lines are still there as a reminder of human activity and potential creative power—as a reminder that hope is still possible and that man is still there. The view of the onlooker seeks out forms and meaning. It seeks outlines and edges. But first and foremost it is the eyes in Lage’s works of art that allow the onlooker to decode the figuration at play. This creates a distinctive relationship between the onlooker and the artwork. The onlooker tries to wrest the enigma from the artwork, tries to reduce it to solid, meaningful form. But the very same moment that hints at such a possibility sees the view of the onlooker confronted with a gaze of its own. The eyes of the figure in the work of art are most often dark pits, as if they were an illustration of the violence committed against the eyes of the onlookers and their search for meaning. Or as if they were a dark reflection of the onlooker’s failed attempts to delineate the traces of life in the artwork to a solid meaningful form. Therefore, the gaze of the figuration speaks not only of its own powerlessness but also of the powerlessness of the onlooker. When the view or sight has trouble finding solid meaningful forms, it has something to do with the fact that the precondition for sight, light, no longer stems from something transcendent. In Lage’s art there is nothing outside the works of art, nothing outside of human life, and as such nothing to shed light on the works of art or human life and reveal solid meaningful forms. All light comes from within. In a western context, light as a medium for sight is central to the understanding of meaning. People speak of the clarity of thought, while knowledge is tied together with enlightenment, and so forth. But the light no longer originates from a divine point of view. It originates from man, who has created himself in the image of God. The problem with this is that light always covers up its own base. Light illuminates something but at the same time it hides itself. 6 While it was previously God who was unknowable, now it is man. It is also problematic that sight and the medium of sight stem from the same place. Following this thought one can posit two final problems. Firstly, the immediacy and presence established by light by making forms and objects accessible to sight is fake. Light is not some independent entity which present things in a neutral manner for the onlooker. It is inextricably tied together with the gaze’s desire after meaning. In other words: Light perverts the appearance of things because it doesn’t originate from some objective entity which allows them to appear as they are. Instead light is based upon and originates from the subject and its conquering gaze, seeking out meaning and form constantly. Secondly, the joining of sight and light makes introspection within human life impossible. Everything can be illuminated by its use value for the subject but only as long as it is separated from the subject, as long as it is an object. But the subject itself cannot be illuminated. Lage’s art tears down such a dividing line between subject and matter, but it does so without reestablishing a divine position from where the light emanates. Therefore, the light in Lage’s art may not illuminate very well. It may not have the certainty presented by modern science or the religions of yesterday. But it does show what such light tries to hide, namely, the subject as it is in its material reality—inscribed in time and death, which are the basic conditions of materiality, but at the same time also full of life in its joy and will to create. For the onlooker the meeting of the gaze in Lage’s works of art is thus also a destruction of the view of the onlooker. The ability to see is challenged in a radical way. Those outlines will not solidify into static form, as if the light was too dim to see. Just as in Lage’s figurations, the view of the onlooker turns to black: turns towards the onlooker in recognition and becoming—or disappearance. NOTES Max Horkheimer and Theodor W. Adorno. Dialectic of Enlightenment . (Palo Alto: Stanford University Press, 2002): 4-5. Theodor W. Adorno. Aesthetic Theory . (London & New York, 2002): 176. Carsten Bach-Nielsen. “Mere glæde end gru.” Kristeligt Dagblad . September 24, 2002. Leif Hjernøe. “Den yderliggående inderlighed.” LEIF LAGE—Retrospektiv udstilling 1983 . (Copenhagen: Brøndum, 1983): 18. Ibid. Maurice Blanchot. The Infinite Conversation . (Minneapolis: University of Minnesota Press, 1993): 162-163. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Schizophrenic Delusions, Embodiment, and the BackgroundGiovanni Stanghellini (bio)Keywordsschizophrenia, delusion, embodiment, common sense, phenomenologyIn their article Delusions, Certainty, and the Background, Rhodes and Gipps (2008) argue for a Background theory of delusions. Their central argument may be summed up as follows:• The formation and maintenance of delusions becomes intelligible once they are seen to reflect a basic disturbance. When studying delusions, the focus should be on providing an adequate (...) framework for understanding, rather than providing empirical hypotheses to be tested.• The basic disturbance in delusions, and insanity in general, is not a deficiency in reasoning or a defect in the content of experience, but rather something more fundamental.• Delusions––this is their central claim––are caused by a failure of the Bedrock of beliefs (Wittgenstein) or the Background (Searle) to adequately inform or constrain the process of belief formation.• Our Bedrock certainties are defined––following Wittgenstein––as ultimately constituted by our ability to act in the world and demonstrate our primary engagement with the world. They are born out of our everyday experience of the world, conveying our direct, pre-reflective, and practical grasp of the world, rather than expressing judgments we make about it.• Similarly, the Background is defined as those abilities and dispositions that are neither representations nor rules, that function before we can make sense of our experiences.• Wittgenstein’s Bedrock and Searle’s Background in great part overlap with Blankenburg’s pre-reflective natural self-evidence and Stanghellini’s common sense, namely, our own unreflecting know-how, a set of nonpropositional skills, capacities, and dispositions that attune us with the world.• Without a fully functioning Background, the distinctions between imaginary and real (mind and world), self and non-self, and cause and coincidence fail to be adequately drawn within experience. Also, grasping the meaning of others’ behaviors and a weakening of contextual influences are entailed by an erosion of Background sensibilities.I feel extremely sympathetic to this account and, as Rhodes and Gipps report, there are remarkable points of overlap between their and my own ideas about the formation of schizophrenic delusions. I would like to add some comments on the main theories on the basic disorders entailed in the pathogenesis of delusions and conclude with some suggestions to integrate the Background theory of delusions. [End Page 311]Syntagmatic Versus Paradigmatic Models of DelusionsLet me raise first an epistemological point: paradigmatic models of delusions––defining what a delusion is in itself and what are its borders with similar phenomena––proved to be unsatisfactory in psychopathology. As Schneider and Huber (1975) put it more that 40 years ago, “[w]hat counts in delusions is not the delusion itself... but snagging the course of the lived experience, rather than its product” (p. 2042). What we do need, to understand what delusions really are, are syntagmatic models how––delusions (in this case, delusions in persons with schizophrenia) are connected to other phenomena within a structure or a process. What we should look for, then, are the phenomena that contribute as motivationally (or causally) necessary vulnerability, that is, the basic disturbance for the development of delusions. This logically implies that we need studying delusions in fieri, or the pathways that lead to delusions themselves. I subscribe to the principle that studying delusion by merely concentrating exclusively on its crystallized forms would be like studying stroke victims to know more about hypertension (Parnas and Sass 2001). This methodological move from crystallized delusions to delusions in-the-making is quintessential to define the subtle, basic, phenomenal invariant core that characterizes a given psychopathological phenomenon and that emerges across the manifold facets of the phenomenon itself and shapes them and keeps them meaningfully interconnected.A syntagmatic model should account for (at least) the following features of schizophrenic delusions:• abnormalities in symbolization (loss of commonsense meaning of a given thing or fact),• formal aspects (e.g., revelation character, experience of centrality), and• specificity of content (e.g., metaphysical tinge).It should also be compatible with those phenomena like self-disorders (loss of sense of ownership and of agency) that are entailed in most schizophrenic symptoms (e.g., verbal–acoustic hallucinations and experiences of alien control). Finally, it should keep meaningfully... (shrink)

I, along with others, have been critical of the social construction of brain death and the various social factors that led to redefining death from cardiopulmonary failure to irreversible loss of brain functioning, or brain death. Yet this does not mean that brain death is not the best threshold to permit organ harvesting—or, as people today prefer to call it, organ procurement. Here I defend whole-brain death as a morally legitimate line that, once crossed, is grounds for families to (...) give permission for organ donation. I do so in five moves. First, I make the case that whole-brain death is a social construction that transformed one thing, coma dépassé, into another thing, brain death, as a result of social pressures. Second, I explore the way that the 1981 President’s Commission tried to establish the epistemological certainty of brain death, hoping to avoid making arcane metaphysical claims and yet still utilizing metaphysical claims about human beings. Third, I explore the moral meaning of the social construction of a definition that cannot offer metaphysical certainty about the point at which somebody becomes just some body. Fourth, I describe how two moral communities—Jewish and Catholic—actually ground their metaphysical positions with regard to brain death in the normativity of prior social relations. Finally, I conclude with a reflection on the aesthetic-moral enterprise of the metaphysical-epistemological apparatus of brain death, concluding that only such an aesthetic-moral approach is sufficiently strong to stave off the utility-maximizing tendencies of late-modern Western cultures. (shrink)

I argue that the language of some schizophrenic persons is akin to the language of Benjy in Williams Faulkner's novel The Sound and the Fury, in one crucial respect: Faulkner displays to us language that, ironically, cannot be translated or interpreted into sense... without irreducible 'loss' or 'garbling.' The same is true of famous schizophrenic writers, such as Renee and Schreber. Such 'garbling' is of an odd kind, admittedly: it is a garbling that inadvisably turns nonsense into sense.... Faulkner's (...) language is a language of paradox, of nonsense masquerading beautifully as sense. When this language works, it generates the powerful illusion that we can make sense of the 'life-world' of a young child or an 'idiot'—or a sufferer from chronic schizophrenia. But this remains, contrary to Louis Sass's claims, an illusion. Thus, drawing on the thinking of Wittgenstein (his On Certainty, especially, with its incisive critique of the very idea of being able to make claims or statements from within a sufficiently altered [non]state of mind) and of the Wittgensteinian literary critic James Guetti (who critiques the very idea of 'deranged language' being paraphrased into sense), I argue that the most impenetrable cases of schizophrenia may be cases not of a sense being made that we cannot grasp, nor of a different form of life, but, despite appearances, of no sense, no form of life, at all. This is an option that has not really been considered in the literature of/on psychopathology to date. And it can be tentatively established, not through a dubious scientism, but through a careful attention to the literature of the insane and the literature of Modernism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:104 HISTORY OF PHILOSOPHY thus cast into the depths of skepticism. Because of his acquaintance with the skeptical literature Chilling-worth rejected the first alternative. Arguments concerning the fallibility of the senses and reason and the complexity of reality itself were too strong to be ignored. However, he was also unwilling to accept the second alternative. He developed instead a middle position. In his Religion of Protestants (London, 16S8) he (...) develops a position based on an appeal to common-sense and a doctrine of levels os evidence and certainty. Theological problems are to be solved in the same manner as problems of ordinary men in ordinary situations. Any claim to revelation, for example, is to be evaluated as any other problem, by examining the adequacy of the testimony and the reliability of witnesses. Hence the sense of mystery, of the revealedness of revelation is lost. Depending on whether one has good or poor evidence for a proposition one can be more or le~ certain of it. In most cases, one's certainty of religious propositions is of the same sort as that of the carpenter or pilot in their respective trades-not absolute certainty but certainty enough to assure good practical results. Hence religious belief is adequate if it serves to turn one from vice to virtue. Since religious truth is no longer unique, either with respect to evidence or certainty, it is available to all who are honest in their pursuit of it. Thus the epistemological justification for the democratization of religion of which Lichtenstein makes so much is provided a generation before More published his major works. My criticism of the book, then, is not that Lichtenstein attributes the de-emphasis of reason, loss of mystery, etc., of eighteenth-century thought solely to, More (though since he writes primarily on only one man one sometimes gets that impression) but that his account of the milieu from which More springs and of which he is only a part is inadequate. But for all that the book is well worth reading. HENRY G. VAN LEEUWs Hanover College Pascal. By Jean Steinmann. New edition revised and enlarged. ([Brus~ls]: Desclge De Brouwer [1962]. Pp. 378, illus. Bfr. 240.) Sorte de testament spirituel du critique tragiquement et prgmaturgment disparu, la seconde 6~dition du Pascal de Steinmann constitue sans doute la synth~se la plus agrgable et commode qui existe actuellement de la vie, de roeuvre et de la rgputation de Pascal. Entre les nombreux auteurs qui ont successivement attirg la plume rive et fgconde de Steinmann, Pascal est, en effet un de ceux avec qui il avait le plus de familiaritg. Ecrivain, th~logien, mais surtout exegete, Steinmann a d'ailleurs su mieux que presque tous ses pr~d~cesseurs, caractgriser la sensibilitg biblique de Pascal et en souligner l'importance. Inversement, il marque le caract~re peu philosophique de l'Apologi'e et voit (~t notre sens avec raison) la principale originalitg de son auteur dans le fair qu'il a cherch~ ~ mener au christianisme par la psychologie et par l'histoire, non par la metaphysique. Le chapitre le plus neuf de Steinmann est enfin celui que traite de l'histoire posthume de Pascal, sorte de bibliographie comrfientge qui sera certainment fort utile ~t celui qui abordera l'immense litt~rature publige ~ son sujet. Une rgaction en pattie l~gitime contre le clichg romantique de l'"inquigtude pascalienne " entra~ne Steinmann ~t trop insister apr~s B~guin, sur un,dogmatisme" (p. 308) d'ailleurs rattach6 ~ l'h6r6dit~ paternelle dont nous doutons qu'elle aft 6t6 dominante dans ]e cas de Pascal. On regrette aussi l'ignorance de l'article d'Et. Gilson sur "ab~tir" BOOK REVIEWS t05 (p. 254), des insuflisances au sujet du p~ht~ originel (p. 253), l'aflirmation erron~e du caract~re spontan~ de la confession au P. Beurrier (p. 207 n.) et surtout le lapsus Pinthard pour Pinthereau (pp. 363, $78). A c6t~ du petit Pascal de Jean Mesnard, cla~ique dans les universitY, le present ouvrage n'en contribuera pas moins ~ r~pondre dans un tr~s large cercle une connaissance de l'auteur des Pens~es enrichie par la sympathie. JZAN... (shrink)

The response mode bias, in which subjects exhibit different risk attitudes when assessing certainty equivalents versus indifference probabilities, is a well-known phenomenon in the assessment of utility functions. In this empirical study, we develop and apply a cardinal measure of risk attitudes to analyze not only the existence, but also the strength of this phenomenon. Since probability levels involved in decision problems are already known to have a strong impact on behavior, we use this approach to study the impact (...) of probabilities on the extent of the response mode bias. We find that the direction in which probabilities influence measured risk aversion is the opposite in the certainty equivalence (CE) method versus in the probability equivalence (PE) method. Utilizing the CE elicitation approach leads to an increase of risk seeking for gambles involving high probabilities. For the PE method, subjects tend to behave risk averse with gambles of high probabilities. This behavior is reversed in the gain domain. This “tailwhip” effect is consistently replicated in several experiments, involving both loss and gain domains of lotteries. (shrink)

Numerous studies have shown that men experience relatively greater levels of jealousy in response to the sexual aspects of an infidelity (relative to women), whereas women experience relatively greater levels of jealousy in response to the emotional aspects of an infidelity (relative to men). The traditional explanation for this relationship suggests that men experience this greater level of jealousy due to threats of a loss of paternal certainty. In this article, we present three studies that demonstrate that men’s (...) differentially greater jealousy occurs in response to situations that threaten paternity opportunities. These results suggest that a loss of perceived paternity opportunities is the ultimate origin of men’s increased jealousy in response to sexual infidelity. (shrink)