In this paper I make the argument that being phenomenologically faithful to human experience means broadening the scope of the phenomenological method to not only include subjective experiences. Instead of reducing the psychological study of phenomena to the subject who ‘has’ an experience and who makes sense of this experience according to his or her own goal-directed plans, I will introduce the idea of starting our research from an understanding of an experience that is more original than the subject who (...) ‘has’ it, since it both happens to this subject and transforms this subject in the process of happening to it. This understanding of experience, which is based in part on insights from the later Heidegger and the work of Jean-Luc Marion, takes the phenomenological reduction beyond what this or that experience meant to a particular subject and looks instead at how this particular subject came into being as part of an experiential event that allowed it to become the subject that it is. I will call this new phenomenology a ‘phenomenology of the event’ and will seek to develop the implications of situating the study of psychological phenomena within such a paradigm. (shrink)

With increasing publication and data production, scientific knowledge presents not simply an achievement but also a challenge. Scientific publications and data are increasingly treated as resources that need to be digitally ‘managed.’ This gives rise to scientific Knowledge Management : second-order scientific work aiming to systematically collect, take care of and mobilise first-hand disciplinary knowledge and data in order to provide new first-order scientific knowledge. We follow the work of Leonelli, Efstathiou and Hislop in our analysis of the use of (...) KM in semantic systems biology. Through an empirical philosophical account of KM-enabled biological research, we argue that KM helps produce new first-order biological knowledge that did not exist before, and which could not have been produced by traditional means. KM work is enabled by conceiving of ‘knowledge’ as an object for computational science: as explicated in the text of biological articles and computable via appropriate data and metadata. However, these founded knowledge concepts enabling computational KM risk focusing on only computationally tractable data as knowledge, underestimating practice-based knowing and its significance in ensuring the validity of ‘manageable’ knowledge as knowledge. (shrink)

This paper explores a view of experience as a strife between earth and world. The concept of strife, borrowed from the philosophy of Martin Heidegger, is elaborated as a new starting point for an empirical psychology.

In this paper, we tell the story of efforts currently underway, on diverse fronts, to build digital knowledge repositories to support research in the life sciences. If successful, knowledge bases will be part of a new knowledge infrastructure—capable of facilitating ever-more comprehensive, computational models of biological systems. Such an infrastructure would, however, represent a sea-change in the technological management and manipulation of complex data, inducing a generational shift in how questions are asked and answered and results published and circulated. Integrating (...) such knowledge bases into the daily workflow of the lab thus destabilizes a number of well-established habits which biologists rely on to ensure the quality of the knowledge they produce, evaluate, communicate and exploit. As the story we tell here shows, such destabilization introduces a situation of unfamiliarity, one that carries with it epistemic risks. It should elicit—to use Niklas Luhmann’s terms—the question of trust: a shared recognition that the reliability of research practices is being risked, but that such a risk is worth taking in view of what may be gained. And yet, the problem of trust is being unexpectedly silenced. How that silencing has come about, why it matters, and what might yet be done forms the heart of this paper. (shrink)

"Mennesket behøver ikke at reflektere på sin egen selvstændiggørelse, det behøver ikke at reflektere på den opgave at blive sig selv, det har bare at realisere sig i den suveræne livsytring, så sørger livsytringen – ikke refleksionen – for at mennesket er sig selv. Kierkegaard tager fejl, når han mener, at kun med en religiøs refleksion kan mennesket løse opgaven at blive et selv, som om vi ikke var udstyret med suveræne livsytringer, der løser opgaven for os." Uddrag fra bogen (...) 'Opgør med Kierkegaard' er Løgstrups hovedværk om Søren Kierkegaard. Den flankeres i Løgstrup Biblioteket af den mindre udgivelse 'Kierkegaards og Heideggers eksistensanalyse og dens forhold til forkyndelsen'. "Det vidunderlige ved den danske teolog K. E. Løgstrups bog ' Opgør med Kierkegaard' fra 1968, som nu bliver genudgivet, er, at han tager Kierkegaard alvorligt. [...] han ser, at der er behov for et opgør med den tænker, som han selv fra sin ungdom har været stærkt påvirket af. Det opgør gennemfører han overbevisende og klart." ♥ ♥ ♥ ♥ ♥ Rune Lykkeberg, Politiken "Der er drama for alle pengene og infight med Kant og Heidegger i K.E. Løgstrups 'Opgør med Kierkegaard', der har næstekærligheden og den etiske fordring i centrum" Information, Peter Tudvad. (shrink)

Selections by Runes from his own writings, arranged alphabetically from "abhorrence" to "zero." It is hard to understand why this should cost as much as $5.00.--L. S. F.

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. 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We critically revisit the definition of thermal equilibrium, in its operational formulation, provided by standard thermodynamics. We show that it refers to experimental conditions which break the covariance of the theory at a fundamental level and that, therefore, it cannot be applied to the case of moving bodies. We propose an extension of this definition which is manifestly covariant and can be applied to the study of isolated systems in special relativity. The zeroth law of thermodynamics is, then, proven to (...) establish an equivalence relation among bodies which have not only the same temperature, but also the same center of mass four-velocity. (shrink)

The topic of time is central to Levinas's philosophy. By examining aspects of the Biblical stories of Abraham and Moses compared with Greek myths, mainly that of Cronos devouring his children, this paper aims to show that Levinas's view of time, though certainly indebted to the Greek (i.e. philosophical) tradition, contains traces of Biblical experiences. Moreover, Levinas's interpretation of time will serve as a concrete demonstration of the way the Jewish experience enables Levinas to express his criticism of the philosophical-Greek (...) tradition. (shrink)

The Society of Jesus sprang from the devout faith of a sidelined soldier who traded in his weapons to form a militant order of Catholic Reformers sworn to serve the Papacy as missionary soldiers of Christ. Specialization in education led Jesuits to roles as theologians of the 16th Century, including as members of the School of Salamanca, whose Jesuit members mostly took pro-market positions on free enterprise. One learned Jesuit in particular deviated from his order’s default position of papal dirigisme (...) to become an enemy of the state. (shrink)

The basic structural units of society, as a highly organized social system, are social institutions, which allow to create a strong and stable system of relations between people, to form a social order. Leadership is one of the main elements that ensures the functioning of a social institute. The specific traits and particular attributes of political leadership are actively explored by scholars, while spiritual leadership with its particular characteristics remains unaddressed. In the modern world, the institute of leadership in Judaism (...) has a significant impact on its followers, and therefore it is important to study the historical roots of this phenomenon, the mechanisms of influence of the leader on the followers of the current and directly determine the role of the spiritual leader in the preserved national traditions of Judaism. (shrink)

The urgency of the issues discussed in the article is due to the fact that a person always stood and will be at the center of the interests of any religious structure, and especially if that structure is such an authoritative, powerful and influential Church as the Roman Catholic one. Today, centralized Catholicism presents its social position as a moral improvement of a person through cooperation with other people for the sake of a common and perfect future. The purpose of (...) the article is to examine the social concept of Catholicism, which is pervaded by the ideas of providentialism. The latter is characteristic of considering the social development of mankind in accordance with God's plan. The crown of creation of the Most High is man, so "the Church implements her plan through man, but not in the abstract, but in a concrete, living, social dimension," - says Cardinal Joseph Goffner. Through the constant evangelization of humanity, the Church seeks to influence the improvement of human life and seeks to point to Christianity as a faithful way of life. But a world where the horrors of war have been replaced by the "war of civilizations," you will not call the "war of cultures" perfect. Nor can one see the great desire of mankind for moral development, spiritual perfection, but only the desire for the accumulation of material goods. (shrink)

Biography of Habermas -- Critical theory -- Habermas and his works -- An assessment of the impact of Habermas -- Conclusion.

Contemporaryphilosophyseems a great swirling almost chaos. Every situation must seem so at the time, probably because philosophy itself resists structura tion and because personal and political factors within as well as without the discipline must fade in order for the genuinely philosophical merits of performances to be assessed. Nevertheless, some remarks can still be made to situate the present volume. For example, at least half of philosophy on planet Earth is today pursued in North America (which is not to say (...) that this portion is any less internally incoherent than the whole of which it thus becomes the largest part) and the present volume is North American. (Incidentally, the recognition of culturally geographic traditions and tendencies nowise implies that striving for cross-culturalif not trans-cultural philosophical validity has failed or ceased. Rather, it merely recognizes a significant aspect relevant from the historical point of view.) Episte- Aesthetics Ethics Etc. mology Analytic Philosophy Marxism Existentialism Etc. Figure 1. There are two main ways in which philosophical developments are classified. One is in terms of tendencies, movements, and schools of thought and the other is in terms of traditional sub-disciplines. When there is little contention among schools, the predominant way is in terms of sub-disciplines, such as aesthetics, ethics, politics, etc. Today this mode of classification can be seen to intersect with that in terms of movements and tendencies, both of which are represented in the above chart. (shrink)