This paper introduces a new hypothesis for the rise of the politically correct left via an analysis of Black America. Drawing on Žižekian and psychoanalytical theory, it explores the ideological role of ‘symptom’ within America’s cultural landscape - of that which states that society ‘doesn’t work’ - by way of examining prominent African American figures and how they relate to this ‘symptom’: Will Smith and the ‘hystericization of the symptom’; Barack Obama and the ‘identification with the symptom’; the PC left (...) and the ‘implementation of the symptom as law’; the far right and the ‘fear of loss of the symptom’; Kanye West, Candace Owens and the ‘rejection of clinging to the symptom’. Additionally, the 90s sit-com The Fresh Prince of Bel-Air and the film Black Panther are analyzed and juxtaposed in order to further illustrate the process by which the recent ideological shift in our cultural and political discourse towards political correctness and identity politics has occurred. (shrink)

The philosophy of mathematical practice is not only a research topic, but overall a disciplinary field that is extending its importance and attracting the interest of an increasing number of scholars from different communities. The book edited by Paolo Mancosu provides a comprehensive and vivid account of the philosophy of mathematical practice, by showing it at work on different and multifarious topics, and by suggesting a substantial agenda for its development. This is also a momentous programme for the philosophy of (...) mathematics as a whole, aiming at "bringing some fresh air" into it. Furthermore, Mancosu's book gives voice to a community of scholars working in this area that does not only include the authors of the essays contained in it, but also a large group of scholars sharing their approach and often collaborating with them. (shrink)

Breathing fresh air into the philosophy of mathematics Content Type Journal Article DOI 10.1007/s11016-010-9470-8 Authors Marco Panza, IHPST, 13, rue du Four, 75006 Paris, France Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796.

In lieu of an abstract, here is a brief excerpt of the content:A Breath of Fresh Air:Or, Why the Body is Not Embodied1Tim Ingold (bio)One of the more irritating affectations of much recent writing in the humanities and social sciences is the habit of inserting the word "embodied" in front of the topic in question, as though by doing so the specter of binary thinking could be magically exorcised. Almost anything, it seems, can be embodied–the mind, consciousness, experience, knowledge, (...) skills, practices, the self, meaning. If there is one thing that cannot be embodied, however, it is the body itself. At first glance, the phrase "embodied body" looks like a simple case of tautology, of saying the same thing twice. "How can a body not be embodied?" you will protest. "It's the embodiment that makes it a body!" But on second thought, the matter is not so straightforward. For if the body is the predicate of a process of embodiment–if it comes after embodiment, so to speak–then all the other things we claim can be entered into the process must come before it. Thus, the dualism of mind and body, to take just one example, is still there, just as categorical as it ever was, but it no longer equates to a schism between ideal and material worlds. It is, rather, a matter of separating what is poured into the funnel of embodiment from what is extruded at the other end of it. It is a division between what goes in, and what comes out. Only things that go in can be embodied. The body, since it comes out of the process, cannot.A body, however, if it is to remain alive, has to breathe. Does it make sense, then, to regard breathing as a practice of embodiment, or to add breath to the list of things that can be embodied? That a body breathes goes without saying; that breath is thereby embodied is another matter entirely. Fundamental to breathing is the rhythmic alternation of air going in, and air coming out. Perhaps there's a sense in which breath is embodied on the inhalation, as air is drawn into the oxygenating process essential to bodily metabolism. But the release of air on the exhalation seems like the reverse, since it serves to expel gases–principally carbon dioxide–which in concentration would be lethal. If your body absorbs as you breathe in, it exudes as you breathe out. Embodiment, then, catches only half the picture, minus its complement of vaporization. Likewise, with [End Page 100] the body itself we have only half of the living being: the fleshy part. The other, gaseous part is normally invisible, though under certain conditions it can be seen, for example in a room full of smokers, in which everyone is wreathed in a haze, or when it is very cold, causing the warm, humid air issuing from the lungs to condense into a little cloud. As vaporization appears to be the complement of embodiment, so the cloud, whether of tobacco smoke or condensed moisture, seems to complement the body made up of flesh and blood.In the Western world there is a long tradition of prioritizing body over breath. This is consistent with an ontology of naturalism that tends to put the being of things before their becoming, as though everything there is had already precipitated out into bodies of one form or another, which have then to be set in motion in order to have the effects they do. Among many so-called Indigenous peoples, however, most especially those credited by anthropological observers with an ontology of animism, this priority is reversed. For them the vital complement of the living being wafts in smoke and resonates in song, whereas the bodily complement is but an ephemeral, almost ghostly appearance.2 Although a comparison of Western and animic ontologies might appear to lend support to the thesis of complementarity, pitching western naturalists into a world of bodies and indigenous animists into a world of vapors–both demi-worlds which, if only they could be combined, would make a perfect whole–I shall argue, to the contrary, that with a focus on breath and breathing, the division between the... (shrink)

The question of whether we can perceive absences, in addition to ‘positives’, has received recent attention in the literature on the nature of vision and audition. The aim is to demonstrate that there can be objectless forms of perceptual consciousness; specifically, to show that such episodes can be distinguished from those in which there is merely no perception at all. The current article explores this question for the domain of olfaction, and argues that there can be experiences of the absence (...) of odours, in addition to positive smell perception. Doing so sheds light upon the structure and spatial content of olfaction. (shrink)

In the Sermon on the Mount, Jesus tells his followers to let go of earthly concerns by considering the lilies of the field and the birds of the air. Søren Kierkegaard's short masterpiece on this famous gospel passage draws out its vital lessons for readers in a rapidly modernizing and secularizing world. Trenchant, brilliant, and written in stunningly lucid prose, The Lily of the Field and the Bird of the Air is one of Kierkegaard's most important books. Presented here in (...) a fresh new translation with an informative introduction, this profound yet accessible work serves as an ideal entrée to an essential modern thinker. The Lily of the Field and the Bird of the Air reveals a less familiar but deeply appealing side of the father of existentialism—unshorn of his complexity and subtlety, yet supremely approachable. As Kierkegaard later wrote of the book, "Without fighting with anybody and without speaking about myself, I said much of what needs to be said, but movingly, mildly, upliftingly." This masterful edition introduces one of Kierkegaard's most engaging and inspiring works to a new generation of readers. (shrink)

Powerful photographs of the grand exteriors and crumbling interiors of America's abandoned state mental hospitals. For more than half the nation's history, vast mental hospitals were a prominent feature of the American landscape. From the mid-nineteenth century to the early twentieth, over 250 institutions for the insane were built throughout the United States; by 1948, they housed more than a half million patients. The blueprint for these hospitals was set by Pennsylvania hospital superintendant Thomas Story Kirkbride: a central administration building (...) flanked symmetrically by pavilions and surrounded by lavish grounds with pastoral vistas. Kirkbride and others believed that well-designed buildings and grounds, a peaceful environment, a regimen of fresh air, and places for work, exercise, and cultural activities would heal mental illness. But in the second half of the twentieth century, after the introduction of psychotropic drugs and policy shifts toward community-based care, patient populations declined dramatically, leaving many of these beautiful, massive buildings—and the patients who lived in them—neglected and abandoned. Architect and photographer Christopher Payne spent six years documenting the decay of state mental hospitals like these, visiting seventy institutions in thirty states. Through his lens we see splendid, palatial exteriors and crumbling interiors—chairs stacked against walls with peeling paint in a grand hallway; brightly colored toothbrushes still hanging on a rack; stacks of suitcases, never packed for the trip home. Accompanying Payne's striking and powerful photographs is an essay by Oliver Sacks. Sacks pays tribute to Payne's photographs and to the lives once lived in these places, “where one could be both mad and safe.”. (shrink)

This book holds classical liberalism responsible for an American concept of beauty that centers upon women, wilderness, and machines. For each of the three beauty components, a cultural entrepreneur supremely sensitive to liberalism’s survival agenda is introduced. P.T. Barnum’s exhibition of Jenny Lind is a masterful combination of female elegance and female potency in the subsistence realm. John Muir’s Yosemite Valley is surely exquisite, but only after a rigorous liberal education prepares for its experience. And Harley Earl’s 1955 Chevrolet Bel (...) Air is a dreamy expressionist sculpture, but with a practical 265 cubic inch V-8 underneath. Not that American beauty has been uniformly pragmatic. The 1950s are reconsidered for having temporarily facilitated a relaxation of the liberal survival priorities, and the creations of painter Jackson Pollock and jazz virtuoso Ornette Coleman are evaluated for their resistance to the pressures of pragmatism. The author concludes with a provocative speculation regarding a future liberal habitat where Emerson’s admonition to attach stars to wagons is rescinded. (shrink)

Fresh analysis of the great seal of Queen Jadwiga of Poland leads to new interpretation. From study of the seal’s figurative components and comparison with other important royal and princely seals from the second half of the fourteenth century, we can deduce that the artist who designed this seal intended to evoke an imaginative yet realistic elevation of a sacred architecture as seen from inside. This architecture is structured into five perspectival sections, with the lateral wings unfolding almost like (...) in a foldable polyptych. Thus, the viewer’s perception is that of being in front of a precious box that, when opened, reveals its treasures within. (shrink)

In Redeeming "The Prince," one of the world's leading Machiavelli scholars puts forth a startling new interpretation of arguably the most influential but widely misunderstood book in the Western political tradition. Overturning popular misconceptions and challenging scholarly consensus, Maurizio Viroli also provides a fresh introduction to the work. Seen from this original perspective, five centuries after its composition, The Prince offers new insights into the nature and possibilities of political liberation.Rather than a bible of unscrupulous politics, The (...) Prince, Viroli argues, is actually about political redemption--a book motivated by Machiavelli's patriotic desire to see a new founding for Italy. Written in the form of an oration, following the rules of classical rhetoric, the book condenses its main message in the final section, "Exhortation to liberate Italy from the Barbarians." There Machiavelli creates the myth of a redeemer, an ideal ruler who ushers in an era of peace, freedom, and unity. Contrary to scholars who maintain that the exhortation was added later, Viroli proves that Machiavelli composed it along with the rest of the text, completing the whole by December 1513 or early 1514.Only if we read The Prince as a theory of political redemption, Viroli contends, can we at last understand, and properly evaluate, the book's most controversial pages on political morality, as well as put to rest the cliché of Machiavelli as a "Machiavellian."Bold, clear, and provocative, Redeeming "The Prince" should permanently change how Machiavelli and his masterpiece are understood. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Spirit and Politics: Some Thoughts on Margaret Watkins’s The Philosophical Progress of Hume’s “Essays”Andre C. Willis (bio)Margaret Watkins’s elegant text, The Philosophical Progress of Hume’s Essays (2019),1 is marked by a Humean approach: it fosters philosophical consideration of both the faculties of the mind and the affective features of experience in ways that bear on practical, moral issues. Ever-attentive to the meaning of Hume’s various nuances and strategic ambiguities, (...) Watkins’s even-handed approach guides us into a broad swath of Hume’s ideas and marches us through a trajectory of secondary interlocutors. It also establishes Watkins as an integral part of Hume’s lineage, in the sense that she understands that thoughtful writing itself is an intellectual virtue. Her “unusual sensitivity, not to life’s daily vicissitudes but to beauties and deformities” (193)2 richly textures her overall argument that positions Hume’s Essays as a filter for his vision of “true philosophy:” that reflective turn towards nature and common life that openly challenges abstruse reasoning, fluently embraces historicism and perspectivalism, and deftly foregrounds the usefulness of ideas over their logical certainty.As much as Watkins reveals Hume’s vision for philosophy, she also extends it; for, among other things, her consideration of Hume’s unique endeavor in philosophical literature (ultimately collected under the title Essays, Moral, Political and Literary [1758]), makes an important twofold contribution to Hume studies. It brings greater attention to Hume’s notion of “public spirit,” a distinct mode of human excellence that combines “benevolence” with “greatness of mind.” And, it aestheticizes some practical dimensions of human life (noted in chapter titles, for example, “Working,” [End Page 143] “Thinking,” “Loving”) without losing track of their socio-political valences. I shall return to these two main points below. As an introductory gesture, I want to note that Watkins’s writing both nicely elaborates Hume’s philosophical vision and thoughtfully broadens his literary insights. It does “the job of putting the audience into a responsive relation with the work of art,” what literary critic R. P. Blackmur identified as “the job of intermediary.”3Generally speaking, Watkins’s mediation filters salient themes and terms from Hume’s corpus through a particularly close reading of the Essays. Cast through her richly stylized analysis, Hume’s foundational ideas of “sympathy,” “convention,” “impressions,” “association,” “imagination,” “artifice,” the “passions” (and more) find fresh interpretive air. An example of this in her first chapter tracks Hume’s use of both “artifice” and “convention” from the Treatise through the second Enquiry to the Essays. For Watkins, a through-line for Hume is that “governing” can be thought of as repeated actions that bridge institutional policy to individual character. To think about governing in this way is to open ourselves to new ways of conceiving potential overlaps between nature and artifice (say, in the instance of a moral virtue like courage [50]). To link categories in the Essays back to their antecedent texts along the lines that Watkins does is to situate them in the context of Hume’s larger thought-project and, indirectly, confirm connections between the individual essays. These conjoinings, for Watkins, suggest Hume’s Essays can be treated together, without either blending their disparate themes or diluting their individual subject matter.4This point stands in opposition to Hume’s own semi-admonishment (1741) that “The Reader must not look for any connexion among these Essays but must consider each of them as a Work apart.”5 Watkins’s response—indicative of the graciousness of her overall tone—is to warmly acknowledge Hume’s reproach and affirm the distinctiveness of each of the essays. She proclaims: “The Essays are not unified” (5). Her thinking about them separately, however, reveals a common practical thread in their form. Watkins characterizes this form as serving “to promote public benefit” (4). I think about this form as being philosophical in the way that Richard Rorty conceives of philosophy as cultural criticism. Watkins, however, wants to emphasize the public character of Hume’s philosophy. She writes: “Hume seeks to benefit the public in two ways. First, he tries to allay irrational attitudes that produce imprudent personal and... (shrink)

Widely read for its insights into history and politics, The Prince is one of the most provocative works of the Italian Renaissance. Based on Niccoló̀ Machiavelli's observations of the effectiveness of both ancient and contemporary statesmen, the rules for governing set forth in his manual were considered radical and harsh by his contemporaries, and they have been thought shocking to many since then. William J. Connell's lucid introductory essay and translations of important related documents offer fresh insights into (...) Machiavelli's life, the meaning of his work, the context in which he wrote, and his book's influence over time. Document headnotes, maps, a chronology of Machiavelli's life and career, questions for consideration, a selected bibliography, and an index provide further pedagogical support. For this new edition, the translation has been revised from top to bottom to reflect recent advances in our knowledge of the text in the original Italian and the circumstances of its composition. (shrink)

Five hundred years after his death, Niccolò Machiavelli still draws an astonishing range of contradictory characterizations. Was he a friend of tyrants? An ardent republican loyal to Florence’s free institutions? The father of political realism? A revolutionary populist? A calculating rationalist? A Renaissance humanist? A prophet of Italian unification? A theorist of mixed government? A forerunner to authoritarianism? The master of the dark arts of intrigue? This book provides a vivid and engaging introduction to Machiavelli’s life and works that sheds (...) new light on his originality and relevance. Gabriele Pedullà—a leading Italian expert and acclaimed writer—offers fresh readings of the Florentine thinker’s most famous writings, The Prince and the Discourses on Livy, as well as lesser-known texts. A new and often surprising Machiavelli emerges: one closer to his time but also better suited to inform our own. Pedullà’s portrait of Machiavelli highlights his close attention to social and emotional bonds, staunch opposition to oligarchy, keen awareness of the economic side of power dynamics, and strong preference for history over philosophy as a guide for leaders. This book recovers the excitement Machiavelli roused in his first readers for a twenty-first-century audience, capturing his capacity to provoke, both then and now, with unconventional ideas and startling insights. (shrink)

Inquiries about existence in Mesopotamia started with the Sumerians. They set an example for the civilizations established in this geography and affected them deeply. According to Sumerian mythology, they are cosmic forces identified with fresh water, salt water and mist that are eternal. With the combination of these cosmic elements, the sky and the earth, which are symbolized by the gods, were formed. The whole they formed was separated from each other by Enlil, who was identified with air, and (...) celestial bodies were formed with the expansion of air. The Semites continued this understanding with its main lines. In the Babylonian Epic of Creation, the beginning of the cosmic process is based on the generational conflict between the gods and is explained with the sacrifice of Tiamat, one of the first cosmic forces. The Chief God Marduk shattered Tiamat and created the universe from her remains, and man from the remains of Kingsu. According to the Mesopotamian mythological tradition, gods were derived from the first cosmic elements, which were eternal, and then they created the universe and man from these cosmic remains. According to Egyptian mythology, the eternal is the ocean. The primary gods, who existed in the eternal ocean, created the universe and humans with their natural secretions. According to many mythological narratives, the dominant god has performed the act of creation by expressing his thoughts or the imagination of the heart. As in Mesopotamian mythology, gods and natural beings were identified with a symbolic language in Egyptian mythology. Greek mythological approaches are gathered in outlines in the works of Homer and Hesiod, who are considered to be the founders of religion. Homer stated that the eternal, the divine ocean, is the source of everything. According to Hesiod, in the beginning, chaos (emptiness) occurred, and then the universe, gods and human beings emerged from this chaos, respectively. These understandings of existence also contain a significant amount of philosophical content. There is a parallelism between the understanding of being in myths and those of philosophers. (shrink)

To view Virusland, please visit: https://vimeo.com/547675919. Password: virusland. To view the entire Virusland 2020 project, visit www.virusland.org.Science fiction in found footage. This is not the future. You could buy any of these helmets. Just look at the credits at the end of the video. You find the name of the helmet you like best. You can order online. They are usually sold in different colors. The front is made of plexiglass. But the plastic behind the head and around the face (...) varies in shape and color. Some of these helmets make you look like a cosmonaut. But most often you would just look weird.We have mainly used commercials, which we found on the Web. It does not mean there was no work involved. In... Read More. (shrink)

"Here is a unique and penetrating postmodernist invitation to reread Pascal's Pensées. With a full control on two centuries of Pascalian hermeneutics, Sara Melzer leads her readers into a passionate quest far beyond the worn-out search for a paleontological reconstruction of the Pensées's hypothetical final form. She rightly and deeply understands Pascal's writing--écriture--as the complex story of the "Fall of Truth into language." Such a perspective gives to Pascal's fragments a rejuvenated life, a newness, a dramatic and powerful voice for (...) our own culture. In brief, a welcome breeze of fresh air in the Pascalian world!" --Edouard Morot-Sir, The University of North Carolina at Chapel Hill "By approaching Pascal's Pensées from the point of view of contemporary critical theory, Melzer sheds new light on this well-known work. Her argument is clear, lucid, and cogent. She has a firm grasp of the major issues at stake in debates among literary critics. I think this is an important work that will be of interest not only to Pascal specialists but also to people who work in the general area of literary theory.... One of the genuine strengths of the book is the author's ability to discern the theological implications of issues that preoccupy literary theorists. This is particularly important at a time when students of theology and religion are becoming more and more interested in literary theory. They will find this analysis of Pascal very suggestive." --Mark Taylor, Williams College. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:After the War DAVID GOMES CÁSSERES invocation: athena for PLP Grey-eyed Athena had no childhood. She stepped out of the old god’s terrible skull a grown young goddess and began her apprenticeship: running sex-driven cults among the hunters and gatherers, collecting snakes and owls, her aegis looming behind the altars, over her priestesses, prophetic crones and breathless temple prostitutes, sacrificed animals bleeding and burnt ears of grain She gained (...) a reputation: she liked clever men, not that way, no, but she did them favors, paid attention to their deeds and needs and risks and wounds and wants. Her admiration was something a clever man could count on; she would give protection, opportunities, good luck. There was a catch, of course: you had to be clever again, you had to keep impressing the grey-eyed one, and so men lasted a while but couldn’t keep it up, and fell, and well, she forgot them. She was busy. But Odysseus: He was another kind. One stratagem after another, he built up so much credit that she saved him even when he disgraced himself one time or another. (Olympus might have disapproved if they’d noticed, but she had walked far away from that rabble of archetypes, totems, fertilities, boogeymen and witch-mothers, nightwalkers, netherdwellers, sexpots and satyrs. She owned her firmament.) Odysseus was something new to her in his little flick of mortality. So when she stood alone in Penelope’s bedchamber watching the reunion, the circling dance of man and woman arion 27.2 fall 2019 step by step negotiating what they knew after so many years their carefulness like oil on water, leveling out the fresh reek of murder from the great hall below them the suitors’ teeth driven into the earthen floor Odysseus striped with their blood Penelope before her loom, many-stringed weapon of her own warfare weaving each other in that long rite of recognition: Her grey eyes saw words forming and fading unsaid As they circled in the salt red sunset Ionian air. And saw the end of her story with Odysseus; goddess and all, it took away her breath. In the end she had this much to show for her years with this clever man: He came home from the war alive, with all his teeth. 2 after the war First published as “Athena,” in Arion 21.3, Winter 2014 telemachus 1. It’s like this. I come to manhood at fourteen and my life’s just misery and shame. There’s no King in Ithaka and my mother, the Queen, is like a prisoner. All our warriors are scattered in the sea somewhere by Athena’s great storm. Our home, the palace of godlike Odysseus, is full of parasites and pirates, We live there paralyzed, taunted by those swarming men and the people who cling to them, even some of my mother’s maids, girls my age or a little older— nasty girls who know all the ways to mock and mortify a boy squirming into manhood without a father. Of course I run away, of course I go looking for wily Odysseus, the King, my father. I never find him, it’s for him to find me, later. But I did learn to tie seamen’s knots, and I have a traveler’s tale: One night I was at the house of Menelaus and Helen, drinking good wine late into the night. They sent the servants to bed, and the three of us sat in the red light of the dying fire. Menelaus, still handsome with some grey in his red hair, spoke of my father Odysseus: “Do you know what he said? He said to me, we are better than the gods; we are kings. And kings must die, as the gods cannot. He said it to me when we were striding with our swords in hand through the broken gates of Troy, and as calmly as he might say it to you.” As he spoke, Menelaus of the great war-cry was fondling the arm of his wife, Helen, for whose beauty all that blood was shed. I was sitting with the people the poets sing... (shrink)

This article examines the impact on Spartan historiography of Chapter IV of de Ste. Croix’s Origins of the Peloponnesian War, focusing on his discussions of Spartan politics and society in Sections v–vi. These sections fit oddly within the overall chapter, but they blew a breath of fresh air into Spartan studies through their revisionist approach, intimations of the socio-economic bases of policy-making, and extended accounts of ‘real-life’ political episodes across the classical period. Along with Moses Finley’s near-contemporary article on (...) Sparta, OPW significantly influenced the following generation of British historians (including the author), although they often adopted different interpretations or developed new perspectives on Spartan society only hinted at by de Ste. Croix. OPW also had an important impact on Western European historiography on Spartan politics. Its combination of constitutional and societal approaches gives it an enduring currency in the context of developing Historical Institutionalist approaches to political studies. (shrink)

Much of Alvin Plantinga’s Where the Conflict Really Lies will contain few surprises for those who have been following his work over the past decades. This —I hasten to add — is nothing against the book. The fact alone that his ideas on various topics, which have appeared scattered throughout the literature, are now actualized, applied to the debate about the conflict between science and religion, and organized into an overarching argument with a single focus makes this book worthwhile. Moreover, (...) I see this book making significant progress on two opposite ends of the spectrum of views about science and religion. On the one end, we find the so-called new atheists and other conflict-mongers. Compared to the overheated rhetoric that oozes from their writings, this book is a breath of fresh air. Plantinga cuts right to the chase and soberly exposes the bare bones of the new atheists’ arguments. It immediately becomes clear how embarrassingly bare these bones really are. On the other end of the spectrum are theologians and scientists who envisage harmony and concord between science and religion. (shrink)

A vexing modern conundrum is to be solved. The use of oil, gas, and coal is extremely short-lived as a historical phenomenon: a mere blink of an eye at a little more than 1% of total urban history of 10,000 years to-date. Yet current urban civilization is almost entirely based on it. And the fossil-fuel economy poses not only a massive security risk, it also lies at the root of the vast majority of urban sustainability problems. Fresh water depletion, (...) air pollution, widespread human fatalities can be directly traced to the excessive use of these dirty energy sources. Climate change, predominantly triggered by fossil-fuel combustion, only deepens the very questions the impending petroleum peak raises about the survivability of the global urban system. The fossil disease is a complex global pandemic. To many, conquering this pandemic is an extraordinary challenge of technology: of reengineering the manner in which urban civilization is powered, advancing a future envisioned in numerous studies since the 1970s. Yet foremost, this is a cultural, psychological, and political challenge. The global economy is systematically identified with its underlying fossil supply frameworks—it is a fossil economy. It is marked by an incendiary illusion: the celebration of abundance promised as achievable by all, driving virtually all aspects of contemporary culture. Yet it is also marred with enormous pockets of deprivation, and deep cracks of disbelief, criticism, and dissent. Reinforcing this challenge is the psychoeconomical transaction cost of change, the sheer inertia of an infernal development system, however short-lived it inevitably is. Despite all lip service paid to ‘energy savings’ and ‘environmentally sustainable development’ in urban policy documents and brochures across the globe, dominant political and financial interests demand that as much fossil fuel as possible is used, and as quickly as possible, to secure the highest possible profits for the most powerful, and in the shortest period of time. Hence many national governments and international bodies find it so difficult to place fossil-fuel replacement on the global agenda. It is easier to avoid this topic and talk about buffering, mitigating what are little else than subsidiary, flow-on effects and collateral outcomes of an unsolved energy conundrum: air, water and soil pollution, public health problems, deforestation or fresh water depletion. Rarely, if ever, is petroleum abuse clearly noted as a root cause. A historical revolution is in progress: the move from fossil fuels, nuclear power, and other forms of unsustainable energy use generation to a renewable and sustainable power base for urban communities, cities, towns, and villages. Many examples of positive initiatives encourage, and are testimony to the ability of cities and towns to perform as communities, and evolve into settings of greater independence from fossil and nuclear power sources. They carry the promise of greater energy autonomy based on renewable energy, of recapturing regional productivity, advancing local resources, and enabling new industries and employment opportunities. (shrink)

The dominant public philosophy of the United States of America has long been some version of liberalism--dedicated to individual liberty, equal rights, religious freedom, government by consent, and established limits on political power. Today, however, we find ourselves in unusual times, when the major political parties have powerful and growing wings that embrace decidedly illiberal public philosophies. On the Left, critical theory eschews Enlightenment rationalism and liberal ideas of toleration and individual liberty as structures that serve to support inequality and (...) oppression. On the Right, conservative scholars excoriate liberalism for privileging an ideal of individual autonomy that eats away at the civilizing bonds of family, tradition, religion, and country. What seems new here is not the critiques themselves, but the power and popularity of political movements that openly and proudly reject the first principles of America's long-dominant public philosophy. Can the center hold? Can the principles of 1776 survive? Or has liberalism run its course? With these questions in the air, this book proposes to return with fresh eyes to the beginning of liberalism and the political philosophy of John Locke. Instead of looking at Lockean liberalism as a simple and timeworn ideological program, the essays reexamine Locke's project by remaining alive to the complexity and nuance with which he addressed his subject. The Locke that emerges is indeed an ambitious and radical thinker, but one not as imprudent or unmindful of custom as his conservative critics would have it, nor as tolerant of oppression as his progressive critics aver. (shrink)

Machiavelli, Hobbes, and Locke each sought a new foundation for political order. This book serves as a reader's companion to Machiavelli’s The Prince, Hobbes’s Leviathan, and Locke’s Second Treatise written for graduate students and scholars seeking a fuller understanding of these classic texts. How do these philosophers respond to perennial questions such as why anyone is ever obligated to obey a government and whether there are any limits to such an obligation. In this book, Bookman begins by sorting out (...) the hermeneutical controversy between textualists and contextualists, offers a chapter-by-chapter commentary on the texts punctuated by questions for the reader’s reflection, and finally suggests a firmer foundation for a theory of political obligation than Hobbes’s and Locke’s consent theories. Also included are bibliographical essays keyed to select bibliographies, providing readers with a wide-ranging, critical review of the secondary literature. Intended to be read alongside the primary work, the work is a full intellectual, critical, and bibliographical history, as well as a fresh examination of three classic texts in political theory and philosophy. (shrink)

Ṣāliḥ Nābī (d. 1914) is a person who lived in the last periods of the Ottomans and is a medical graduate and interested in Turkish music. In 1910, he received a work called al-Falsafa al-Mūsiḳī (Philosophy of Musica). In this study, the effects of music on the human soul, music history, and musical understanding in the Ottoman period were found. Throughout history, many musical compositions have been received and reflected some philosophical thoughts. But an independent study of philosophy and music (...) is not found before the 20th century. For this reason, Ṣāliḥ Nābī's al-Falsafa al-Mūsiḳī work is remarkable in terms of its title. There are brief explanations about various issues in the work but the most important issue that attracts our opinion is the musical perception of the period. Because Ṣāliḥ Nābī, as a witness at that time, thinks that music has been neglected for a long time in the Ottoman Empire. This is the reason why he has already taken him to a work. In this article, it has been tried to be given to today's musical literalism. Summary: Ṣāliḥ Nābī was born on May 5, 1886, in Istanbul Yedikule. After his primary and secondary education, he started the Military Medicine Faculty in Cengelkoy on March 13, 1901. He graduated in 1911 after having studied for a total of ten years here. Prior to his graduation he worked as assistant at Bel-Air Hospital in Switzerland for a while. He died at the age of twenty-eight in 1914 after having practiced medicine in several different regions.Ṣāliḥ Nābī, who died at a young age, has two works that arrive present days. One of them is the graduation thesis named Mental Illnesses and Bel-Air Hospital in the Twentieth Century. In this work that he published in 1911, he made suggestions about the architectural works to be done in this area by making use of some of the examinations in Switzerland Bel-Air Bâmârhânesi where he served as an assistant for a while. The other work, which is also the subject of our work, is named al-Falsafa al-Mūsiḳī(Philosophy of Musica).Al-Falsafa al-Mūsiḳīis composed of thirty-two pages. The first fascicle, which is the subject of our work, is the only known number of this work that planned to be published as monthly magazines. This work is written to explain the subjects of music and philosophy. But this work could not continue because of Ṣāliḥ Nābī’s participation in the Balkan Wars after his graduation and later his death at a young age. Al-Falsafa al-Mūsiḳīconsists of three parts, one of which is the introduction part. Under the heading entitled "Medhal", the cultural and musical environment of the Ottomans in those days is mentioned and the purpose of writing the work is explained. The second part is about the musical influences on soul. This section examines the following topics: Musical influence on soul, the importance and service of the ancient Greeks to music, some notes about music in history. The name of the last part is “Mūsiḳīnin İctimā’iyāt ve Tārihle Munāsebeti (Relation of Music with Sociology and History)”. Under the last title these subjects are respectively discussed: the place of music in social life, the origins of music, the invention of some instruments used by the ancient Greeks, especially the "lyric", the services of the ancient Greeks as music, the development of music in the Arab world and its pioneers, the effect of the invention and dissemination of musical notation.As you can see, although the author uses “music” and “philosophia” words in the name of work, he has made statements on many issues. We will examine these issues under five headings in terms of better understanding of the work and on the subject matter integrity. These are: The origin of the word of “al-Mūsiḳī/music”, the musical thought in the work, the history of music, the musical understanding and works in the Ottoman in the twentieth century and the music-literature relation. Since the topics under these headings will be given in detail in the article, we can summarize them briefly as follows. There is some information in the sources of musicology that the origin of the word of “al-Mūsiḳī/music” is derived from the ancient Greeks. According to this idea, word of “al-Mūsiḳī/music” comes from “musa” which is the goddess of poetry and music. But Ṣāliḥ Nābī did not accept this claim. The author states that this word is used to be by the ancient Greeks, but also existed long before them. Moreover, Sālih Nâbî states that such thoughts arise as a result of a mistake such as searching for the origin of everything in the ancient Greeks. Ṣāliḥ Nābī states that music is art that can express the deepest feelings of the soul. This is the humane direction of music. On the social side, music is the most important means of revealing the structure of a society and the world of thought. For this reason, the development of music shows the development of the country. Therefore, music is important in child bringing-up and in the first education period of a child. Because the generation who knows the music, senses the deepest feeling of the soul (which is the conscience, they also have moral norms that are socially necessary. There are some explanations of music history in the work of Ṣāliḥ Nābī. The author bases musical history before the creation of Adam. Because the voice was there before man was created. The works of the ancient Greeks in the history of music cannot be denied. They have reached important information on issues such as instrument inventions, influence of music on soul, the fact that music becomes a science, and they have conveyed them to future generations with their works. The author, who stated that similar works were done in the world of Islam, gives two examples with the mention of Fārābī and Ibrāhīm al-Mavsilī. One of the issues that the author is talking about is the influence of music on soul. Ṣāliḥ Nābī is a doctor interested in music. He had also done research on this subject, prepared a thesis as mentioned before, and published his work. The author, explaining this effect of music, has given examples in the history that some wars have been gained thanks to music.One of the most remarkable parts of the work of Ṣāliḥ Nābī is that he analysed the situation of the Ottoman Empire at that time. The author criticizes the current rulings for their indifference to Turkish music. Moreover, he expresses that they are trying to dig root of Turkish music for a while. During this period, a disconnection between the Ottoman palace and the people has begun. Because in the Ottoman palace music is considered to be an elite art and the pleasures of the people are ignored. The author, describing this negative situation, states that despite all of this, there is a correction in the current state of Turkish music in its period. Now the Ottoman palace was not indifferent to Turkish music. In addition, some theoretical studies about Turkish music have begun to emerge in the Ottoman Empire.The author, who also deals with the relationship between music and literature, expresses that these two fields are very close to each other. Therefore, a good poet should know music and a good musician should know literature. (shrink)

This biography of Macchiavelli is widely regarded as Ridolfi’s masterpiece and is based on much material drawn from private and public archives. It presents a fresh interpretation of Macchiavelli’s career and writings and here, for example the dating of the composition of such famous works as the Prince and the Mandragola is established for the first time. This English translation, when originally published in 1963 included numerous correction and additions which brought it up to date with the most (...) recent studies on Macchiavelli and his works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Little Eternities: Henry James’s Horatian Sense of Time KATHLEEN RILEY Summer’s lease hath all too short a date. —Shakespeare, Sonnet 18 On a visit to Bodiam Castle in Sussex in 1908, Henry James remarked to Edith Wharton: “Summer afternoon—summer afternoon; to me those have always been the two most beautiful words in the English language.”1 The potency of those two words derives from their immediate evocation of an arrested (...) moment between the day’s halcyon perfection and its imminent dying fall. Small wonder that those same words were later used to mythologize an Edenic Edwardian England poised on the brink of war, to preserve in aspic the fancy of a gilded innocence and order, and the promise of “blue remembered hills,”2 careless of the teeming, tumultuous reality of an England already in the shadow of the Tree of Knowledge. James’s masterpiece of 1881, The Portrait of a Lady, begins with a luxuriously redolent depiction of a summer afternoon, of the hours before dusk that constitute a pleasurable little eternity, of the languorous rhythms and rituals of what Disraeli called “the sustained splendour of [a] stately life.”3 Under certain circumstances there are few hours in life more agreeable than the hour dedicated to the ceremony known as afternoon tea. There are circumstances in which, whether you partake of the tea or not—some people of course never do,—the situation is in itself delightful. Those that I have in mind in beginning to unfold this simple history offered an admirable setting to an innocent pastime. The implements of the little feast had been disposed upon the lawn of an old English country-house, in what I should arion 27.1 spring/summer 2019 call the perfect middle of a splendid summer afternoon. Part of the afternoon had waned, but much of it was left, and what was left was of the finest and rarest quality. Real dusk would not arrive for many hours; but the flood of summer light had begun to ebb, the air had grown mellow, the shadows were long upon the smooth, dense turf. They lengthened slowly, however, and the scene expressed that sense of leisure still to come which is perhaps the chief source of one’s enjoyment of such a scene at such an hour. From five o’clock to eight is on certain occasions a little eternity; but on such an occasion as this the interval could be only an eternity of pleasure.4 This passage, it strikes me, is essentially Horatian in its Epicurean delight in the passing moment. For the Augustan poet Horace, this delight, which is intrinsically elegiac, is expressed in the sympotic pleasures of wine and friendship, in the freedom aestivam sermone benigno tendere noctem (“to prolong the summer night with genial conversation,” Epistles i.5.11). For Henry James, it rests in “the ceremony known as afternoon tea,” in the lengthening shadows on an English lawn by “the reedy, silvery Thames” (PL 32). In both cases the evanescence of these simple pleasures is deeply felt and pleasure itself heightened by an undertone of melancholy, by a nostalgic apprehension of the present. LOCI AMOENI in his review of Augustus J. C. Hare’s Days near Rome (1875), Henry James commented: “The smallest pretext for quoting from Horace—the most quotable of the ancients— should always be cultivated.”5 His own facility for quoting from Horace was evident from his earliest published works, and belied an “extraordinarily haphazard and promiscuous” education shuttling, at his father’s restless instigation, between New England, Britain and Continental Europe.6 James’s biographer, Leon Edel, recorded the family legend that William James (Henry’s Irish grandfather), “who was eighteen in 1789, when he set foot in the New World, 22 little eternities brought with him a ‘very small sum of money,’ a Latin grammar and a desire to visit the fresh battlefields of the Revolutionary War.”7 Young Henry’s instruction in Latin grammar seems to have begun in the Old World, under a private tutor in London in 1855, a Scotsman named Robert Thomson who later ran a small school in Edinburgh attended by Robert Louis Stevenson. It... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Michael Wreen THE LOGIC OF IONESCO'S THE LESSON As men abound in copiousness of language, so they become more wise, or more mad than ordinary. Hobbes, Leviathan, chap. 4 (L a RiTHMETic leads to philology, and philology leads to crime."1 This is both XXthe plot and die pessimism of Ionesco's The Lesson. As the drama unfolds, the spectator watches the world of progress-through-education crumble and a world oflust and (...) murder rise in its ruins. What has gone wrong? In a word, the life oflogic has become the logic oflife. To understand Ionesco's lesson, we must examine the (largely implicit) logic and philosophy of language of his Lesson. Logic, whether die classical syllogistic logic of Aristode, the modern symbolic logic of Russell and Whitehead, or die dialectical logic of Hegel, has two essentia ] components: a syntax, which distinguishes permissible from impermissible combinations and inferences, and a semantics, which allows interpretation and thus fills out the purely formal shell provided by the former. Ionesco's strategy is to show how each of these components as diey have come to be developed philosophically is inadequate to its real content — life, and how, together, they lead, at least metaphorically, to life's devastation. These diree conceptual moments correspond to the three dramatic divisions of the play, marked out by the interruptions of die maid. Ionesco begins with the methodology of logic, syntax, and focuses on arithmetic, which, we are told, "is more a method than a science" (p. 50). Since the time of Descartes, arithmetic, or more generally mathematics, has been the academic discipline par excellence, the study diat all of the empirical sciences have aspired to. So completely has the idea of the mathematical nature of reality impressed itself upon us diat for many people it has acquired the status of an 229 230Philosophy and Literature unquestioned, and even unquestionable, assumption. And for many in this group, including the Professor, it is more dianjust an assumption; it is a way of life. "Let us arithmetize a little," he says to his pupil (p. 51), and his neologism refers not just to a subject matter, arithmetic, but to a way of dealing with subject matters and, ultimately, to a way of dealing with the whole of reality. The noun "arithmetic" has become a verb, and the ascendancy of abstract method has begun. Formal logic, in adi diree of its classic Western forms, is now subjected to sustained and specific criticism. Generally speaking, the Pupil represents Aristotelian and Russellian humanism, a view based on an optimistic belief in man's capacity for direct knowledge, in understanding through analysis by fine distinctions between terms, and in the elimination of paradoxes, both in logic and life. The Professor, again roughly speadcing, represents Hegeliainism, a view based on an optimistic belief in die capacity of reason to unify all oppositions and to overcome, through a higher syndiesis, the fundamentally paradoxical nature of all phenomena, including life itself. Thus, at die level of formal logic and ontology, the Professor amd the Pupil aire diametrically opposed, united only in their uncritical reliatnce upon a method of reason. This philosophical opposition is in turn correlated with a psycho-physical opposition: the Professor is male, old, retiring, and initially lifeless; the Pupil is female, young, forwaurd, amd initiadly vivacious. The confrontation of the two embodied philosophical/ psychological principles over die matter of arithmetic makes dieir opposition manifest and demonstrates, for the first time in the play, die utter inability of bodi philosophical traditions to maintain a grip on reality. This confrontation is also a struggle, one which the fresh, straightforward, vital Pupil begins with great success. She is "magnificent" in addition, and claims she can "count to infinity" — an ability which would vindicate her confident, optimistic belief in man's mental capacities, but an ability, nevertheless, which is logically impossible to possess, since "infinity" is not the name of a particulatrly large number, ais she seems to think. Her claim to understand reveals her as limited and ignorant of the deeper and paradoxical nature of her subject, and thus as in need of further, more abstract lessons. "One must also be able to subtract," die Professor... (shrink)

This paper provides a summary of the fourteenth-century Italian cantare Bel Gherardino, and examines the similarities and differences between it and the Old French Partonopeus de Blois. In many of the passages where Bel Gherardino differs from Partonopeus — notably in the characterisation of the heroine, in a simplification of the passage concerning the hero's return home, and in the location of the rescue of the hero by the heroine's sister — the Partonopeus version appears to be the result of (...) a clearly identifiable intervention on the part of an author. It may be concluded that Bel Gherardino does not derive from the text we now know as Partonopeus de Blois, but rather from an earlier story, which may be termed Ur-Gherardino. The existence of an Ur-Gherardino poem would also help to shed light on the problematic relationship between Partonopeus, Ipomedon and Lanzelet. (shrink)

The volume gathers theoretical contributions on human rights and global justice in the context of international migration. It addresses the need to reconsider human rights and the theories of justice in connection with the transformation of the social frames of reference that international migrations foster. The main goal of this collective volume is to analyze and propose principles of justice that serve to address two main challenges connected to international migrations that are analytically differentiable although inextricably linked in normative terms: (...) to better distribute the finite resources of the planet among all its inhabitants; and to ensure the recognition of human rights in current migration policies. Due to the very nature of the debate on global justice and the implementation of human rights and migration policies, this interdisciplinary volume aims at transcending the academic sphere and appeals to a large public through argumentative reflections. Challenging the Borders of Justice in the Age of Migrations represents a fresh and timely contribution. -/- IN A TIME when national interests are structurally overvalued and borders increasingly strengthened, it’s a breath of fresh air to read a book in which migration flows are not changed into a threat. We simply cannot understand the world around us through the lens of the ‘migration crisis’-a message the authors of this book have perfectly understood. Aimed at a strong link between theories of global justice and policies of border control, this timely book combines the normative and empirical to deeply question the way our territorial boundaries are justified. Professor Ronald Tinnevelt, Radboud University Nijmegen, The Netherlands.- -/- THIS BOOK IS essential reading for those frustrated by the limitations of the dominant ways of thinking about global justice especially in relation to migration. By bringing together discussions of global justice, cosmopolitan political theory and migration, this collection of essays has the potential to transform the way in which we think and debate the critical issues of membership and movement. Together they present a critical interdisciplinary approach to international migration, human rights and global justice, challenging disciplinary borders as well as political ones. Professor Phil Cole, University of the West of England, UK.-. (shrink)

Among the ideas and themes in Burton’s Anatomy of Melancholy with apparent bearing on the treatment of depression in our own times, four are the subject of the present chapter. First, these herbal and other remedies were to be taken as part of a broader regimen of which no single part could be omitted. The regulation of exercise, fresh air, sleep, diet, evacuation, and feelings, believed to together keep the bodily humors in healthy balance, demanded habits and practices that (...) were essential accompaniments to one another and to other measures. This was eclectic and holistic healing, only effective when combined. Second, adhering to this regimen was, for the most part, the individual’s own responsibility: it was an extensive self-help program. Third, it was preventive medicine, thought to ward off the symptoms of melancholy before they became entrenched and difficult to treat. And, finally, underlying and reinforcing these practical recommendations were ideas about the causes of, and remedies for, melancholy that are consonant with some recent challenges to the application of mainstream conceptions of disease in today’s medicine when it comes to the treatment of depression. Inasmuch as he seems to eschew “common cause” etiological models, Burton’s account corresponds more closely to the network-based models beginning to be proposed for disorders of mood or affect. (shrink)

Reproduced with the kind permission of the author. Currently available in the collection I Looked Alive . © 2010 The Brooklyn Rail/Black Square Editions | ISBN 978-1934029-07-7 Originally published 2003 Four Walls Eight Windows. continent. 1.1 (2011): 43-51. Introduction Ben Segal What interests me is instigated language, language dishabituated from its ordinary doings, language startled by itself. I don't know where that sort of interest locates me, or leaves me, but a lot of the books I see in the stores (...) seem to lack language entirely. Gary Lutz (2006). This issue of continent.'s fiction section features a reprint of “This Is Nice of You” from the first edition of Gary Lutz's collection I Looked Alive . That book was originally released by Four Walls Eight Windows in 2003 and has since been reissued in 2010 by The Brooklyn Rail/Black Square Editions. Calamari Press has also reissued Lutz's Stories in the Worst Way (originally published by Knopf, largely forgotten and dismissed, and then re-issued by the too-short-lived 3rd Bed). “This Is Nice of You” was edited for the re-issue of I Looked Alive and, as the original book is out of print, the earlier version of the story has been hard to come by for some time. This initial version is a bit longer than the new version—Lutz is a master of tightening down his texts to their most linguistically intensified cores—but it is in no way sloppy. It is a great privilege for continent. to be able to make available rare texts of (first) aesthetic and (second) scholarly value. For those readers unfamiliar with Gary Lutz, I believe this story will serve as a worthy introduction. Like Raymond Carver, Diane Williams, Christine Schutt, and so many other important twentieth century and contemporary short story writers, Lutz studied with and was edited by Gordon Lish. This connection is apparent in his attention to sound and the sentence as compositional unit, but Lutz's is a unique voice. “This Is Nice of You” bears Lutz's trademark torqued and turning syntax, his sexed-but-nameless characters, his rendering of the human body and its emissions as utterly discomfiting. Lutz's preoccupations with the mundane raise ordinariness, via startling language and observation, to grandiosity and grotesquery. In the fall of 2008, Lutz delivered a lecture entitled “The Sentence is a Lonely Place” to writing students at Columbia University. The lecture was later printed in The Believer (and is linked below). In it, he spoke about the importance of the sentence as a compositional unit, as even the distinguishing formal characteristic of prose. Specifically, Lutz explained that, from Lish, he had developed a "poetics of the sentence." Accordingly, Lutz constructs his stories at the level of the sentence, paying extreme attention to the material of words- their letters and their sounds- and the way they abut one another and interact on this material level even before they are employed in the service of traditional aims of fiction like meaning or story. Lutz often uses a(n almost constraint-related) technique called consecution. Letters or sounds from one word are carried forward into the following, producing drama and movement in the language itself at a level entirely apart from that of plot. For example, you can see how the 't's in the first sentence of “This Is Nice of You” repeat fast and hard through met and then soften into the 'th's of brothers and they. This close attention to the specific material and characteristic conditions of prose means that Gary Lutz's work always involves both a happening in language and of language. “This Is Nice of You” has a richness and depth that is hidden not in symbolism or obscure reference but on the surface of the page, in the language of every sentence. FURTHER READING Lutz, Gary. “ The Sentence Is a Lonely Place. ” The Believer January, 2009. Web. Short stories and excerpts at Web del Sol . Web. Taylor, Justin. “ An Interview with Gary Lutz .” Bookslut. July, 2006. Web. THIS IS NICE OF YOU [156] [1] I was a man dropping already well through my forties, filthy with myself, when, taking a turn at the toilets one afternoon, I met two brothers-they said they were brothers-who swore they had a sister, a schoolteacher, an officer of instruction at the county college, a whirlwind midlife turmoil of everything already put to ruin, who had gone off from a new marriage in an old car, an upkept and ennobling sedan, but had returned now to the apartment and [157] was living there alone with the little runoff there was from the marriage-some outcurved appliances, apparently, and low-posted furniture promoting its own mystery but becoming figurable in certain concentrations of TV light-and, above all, a telephone (on a pedestal, they insisted), the handpiece of which she gripped in lieu of exercise, or in fury, and I thus let out my little, reliable cry that I was in fact a student of the telephone, that it was a debasing apparatus in the main, with its meager economy of bells and tones, and the intimacy of the mouthpiece that sent your breath, tiny aftervapors of it, back toward your lips, so that regardless of the party accepting the outgoing products of your voice, you were, at most, in a further, rivaling exchange with yourself alone, and this is what must have brought the two of them around, the men who proclaimed brotherhood with the woman, because they offered me her phone number, put it at my disposal on a piece of paper one of them had already committed it to, a tearing from a menu, and the looks the men were now giving me had deletions in them, already, of my exact, beanpole shape and size. So off I went to a pay phone, the nearest canopied one I could find. The woman answered after the second ring and said she needed a lift right that very moment into the little, unlevel city close by. She was idling in the doorway of the building when I pulled up in front, and I helped her into the car, then got back in myself. I had always had a way of not having to look at people that nonetheless brought them to me in full, and so I still am certain of the susceptive and impressible comp-[158]lexion, the shimmer on the mouth, a lipstick of low brilliance, a difficulty around the eyes, the hair short and rayed out exclamation ally, skin bagged up over the elbow bone, conflict even in how her arms stayed at her sides—in sum, a spinal loveliness for me, an off-blonde quantity with shadowed, thumbworn hollows that put me out of as much as I might have ever known of women before. I set the two of us into the narrow traffic, and I remember telling her, by way of explaining the little burden which I had shifted, by now, from the shelf of the dashboard and onto my lap, that when you lived in filth, as I then did, a daily newspaper came to count for a lot, although instead of the thick-supplemented local paper I bought a trimmer one from a backlying town—not, of course, for any affluences of native data it carried, but as an article of house ware: a rough immaculacy in four lank sections, a set of fresh, hygienic surfaces to come between the table, say, and whatever I had going for me at the table, if the table was where I was going forward—because what else so cheap comes so clean and far-spreading? The woman told me that her own trouble with paper was that through a modest hole, no larger than a quarter, that had been drilled a foot or so above the floor (the standard height, she had reasoned, of legitimate electrical outlets), and by means of which her faculty office had at last gained communication with the roomier but unoccupied office next door, more and more often shot a single sheet of paper, plain copier paper she had rolled just barely into a tube, [159] so that after landing on the floor of the neighboring office the paper would preserve little if any of the curl, and there would be nothing written or typed on it, of course, and it was always a blank sheet that had been ageing on her desk for some time and had already been moved around, or advanced, from station to station on the desktop, coming into further creaselets and crimps and other infirmities—paper, in short, still too bare and unfraught to be thrown responsibly and forgettably away, and yet too seasoned and beset with irritations of the surface (a molelike blemish, say, or what looked like a tiny hair, an eyelash, sunk into it, or frecklings, or notational pressings of a fingernail), too wrought, in sum, for the paper to be appointed to any secure curricular purpose. Her office, she claimed, was in fact full of such paper, much-handled and singularized sheets of it by the loose, functionless hundred. I had to get it across to the woman that I myself no longer had an office, or any other place to divide me reliably from everybody else, and that for much of the daylight I thus appeared to be among people because I kept putting myself where people came together into even closer-fitting assortments, the viewing areas and showrooms and rotundas and such: I took in the lean-to look of the women, the tongues coming and going in what the men kept thinking of to say—whole families of low knees for me to bark my shins against during the crowded and involving way out. At home afterward, in the one room where my life was packed down, I would keep my nose stuck in the safehold of the phone [160] book, where the names of people suffered reduction to mere episodes of the alphabet and underwent humbling declensions down every column (Lail, Lain, Laine, Lainerd), and he names of streets, of the towns and townships, got docked in crude, heedless abbreviations (the vowels almost always the first to get poked out), and I would run my eyes over the telephone numbers themselves, each sequence of digits another fallible run of the infinite. I thus corrected my feelings for people and assembled myself emotionally into whatever else I had at hand—the obligating arms of the clothes hangers, usually, or the keen-angled understructure, the guardian legginess, of the ironing board. The woman said that in her case, though, it was more a matter of making slow circuits of the classroom where she had to put across the Emporial Sciences, retail theory and methods, to heat-giving and suggestive young women, some of them world cruelties already. There was the cooing of empty stomachs in the hour just before lunch, and the braying and fizzle of loaded stomachs in the low hours of the afternoon. She would recite her notes in a voice barely loyal to anyone octave, a tiny alluvium of slaver hardening at the corners of her mouth on the days she gave the glassy lozenges a slow, warming suck, and she would take lowering notice of how whatever she said succumbed at once to freak spellings and razzing paraphrase in the big, dividered notebooks; and because in midafternoon light the world looked as thorough, as filled in, as it was ever going to get, a better way to set about ruining her eyes was to review how hair had [161] established itself on the arms of the young women, because almost every arm had brought across itself a welcome and diversifying shadow. On one girl it would be a fine, driftless haze afloat above the white of the arm, never seeming to touch down on the skin itself. (An atmosphere, at most, of chestnut brown.) On another, it was as if copper wire, the narrowmost lengthlets of it, had been stuck into the fleshy batter of the thick, freckled forearms. On a third: a field of it–wheat-colored, thin-spun. On a fourth; a differencing, darkish updrift that shaded off as it approached the inner bend of the elbow, then re-emerged at the base of the upper arm as whiskery fringe. On others it was a brassy or rust-colored frizz, or it was as coarse as cornsilk, or it looked fussed on, as if the arm had been slowly stroked with charcoal. But here the woman broke off, or I may well have made an interruption of my own—I think I must have asked whether she was hungry, and she said if I was, and so on one of the lesser streets I parked the car and led her down into a belowstairs eating house I still remembered. Sandwiches were presently lowered in front of us. I watched her remove the festooned toothpick from hers and then play her fingers over the toasted planes before she took a fond first bite. "This is nice of you," she said. I must have looked at her in the way I then had of getting people to speak so they would not seem to be dwelling any longer on my features, because if on the well-set face the mouth and eyes are said to seem frozen in elegant orbit about the til) of the nose, then mine was a face that behold-[162]ers, regarders, could not help trying to round off with greater success, to goad the particulars of it back into the arcs they had wandered away from—the mouth, for instance, having been pursed and pinched suchwise that it seemed resident more on one side of the face than the other—and there were other signs of original strife to be busied with (slapdash eyebrows unbunched, it appeared, from reserves of hair elsewhere on my person; a showing of adult acne, a shrivelly little relevance of it, confined to the declivity of my nose); and so to be polite, the woman thus sank her gaze into her sandwich, and told me, in a voice lowered accordingly, that, one late-childhood summer, she had devoted herself to collecting postage stamps: it was a tongue-involving sideline to early-arriving puberty, and she liked having to lick the pale, gummed hinges instead of the sticky backs of the stamps themselves before entering everything into the hosting album; and once, during some foul weather between her and a brother (the older, thrown-over one, who had already made a habit of fooling the underside of his arm across the top of hers and calling her "pussified"), she reached for the shoe box in which she had let duplicate stamps accumulate—Spanish ones, mostly, of a fading orange—and sent the box slooshing through the lower air so that the stamps showered onto the brother's bare legs with a full, delicate harm. The woman was now touching up the surface of her iced tea with tiny activities, initiatives, of the longspun spoon. I myself was good at getting my touch onto things, although in a way that seemed to mix up the motive atoms inside [163] them, but I was satisfied that for the moment my sandwich, the unbitten-at half of it, was displayable and fit and local to my plate. The woman went on to say that, as a child, she had been bundled off, many an afternoon, to the slope-ceilinged quarters of a bachelor uncle who, when speaking of anybody not immediately present, could not bring himself to use the person's name but instead would say "an acquaintance of mine in ..." and then mention the name of some lapsed homeland, or little-loved rural orchestra, or backset building about to come down; and it was never a riddle, this device of his (not once could the girl have been expected to identify any of the subjects), and no matter how often and aloud he insisted that particularizing persons any further—bringing even a first name down upon anyone of them—would have been indecent, he claimed, much like doing things to people while they slept, the girl accepted all of the uncle's prim and extravagant evasion for what he surely must have intended it to be: a neat, protective trick to space the world out a little further in her favor, to scatter the population so that wherever her hand might at last come down, it would have to be on herself alone. And here I could sense that the woman wanted from my mouth an account of as much as I myself might have ever managed of attachment, so I told her I had once owned a house (a rising, really, of much-fingered, handwrought architecture that amounted to a little family of rooms above garages: a boxlike building with a rattly thorax of downspouts [164] and drainpipes and an unfolded but full-toned fire escape), and I had had for a time a boarder, a student, a high-colored, loose-packed representative of declining girlhood, hung with necklaces and barrettes, a girl of precise but shifting leanings and inclinations; and the afternoon she had come round to ask after the room, I stood in the entranceway, handshaken and asweat, and from what would later be my memory of the girl, I made off with, first, how every pore of her nose seemed to be sheltering within itself a tiny dark seedlet, a grain of something immediately, enormously valuable. And an almost lipless mouth (just a slit, practically), the teeth inside looking wet, watered-it was my life's chore, at that instant, to keep from sending the back of my thumb blotterlike across the line of them (I was later to learn she drank everything cold and through the narrowest of straws). And her hair: it was tea-colored hair she had, long and reachful, an unstopped downcome of it. Tall for a girl, but she managed to stay out of much of her height and put herself across as somebody backward, or behind. I must have told the girl, as best I could, that I of course had a wife, a full-faced, imperishable partner, though for the moment she was gone otherwhere in the marriage, and here the woman, my present companion, my tablemate, whose feet were now parked, in parallel, on the grade of my upper leg, interrupted to say that her husband, too, had been such a liar, and what could I bring up by way of reply other than that a lie is a truth struck through with other, further truth, or that a lie is the present multiplied by the past or that a lie [165] is an outcry of borrowed hope? The woman gave me an allowed look of disgust, her eyes lowered but still popular with me, and on I went with what had now become the girl of my story. For there had been a great, gainful carpet in the room I put the girl into, a matty expanse of coarse, grabby piles, an engrossing affair that took things into itself and held them tight, misered them, and I of course insisted that the girl not bother herself with its upkeep, that I enjoyed weekly access to a prestigious, upstanding vacuum cleaner; but no sooner was the girl out of the house each morning than I would withdraw from my room, where time was unportionable, and loose myself into the ticktock impertinence of the girl's room and get down on my knees, and, going after the carpet first with my fingers, then with a forceps, and finally by unspooling lengths of clear package-sealing tape and pressing them against the tufts in neat rectangles to catch what I might have missed, I brought vast tracts of the carpet to depletion, recovering not simply the girlinesses, the girleries, one would expect (buttons, straight pins, downed jewelry), but flirtier personalia in the form, say, of a stray confetto brought into the world when a page had been wrung with out caution from a spiral-bound notebook, or some pleated paper shells of the chocolates she required, or one of the bargain antihistamines she took to get her naps going, or a trash-bag tie ragged enough to show the kinked line of the wire within (this I would get wound around my finger), or a cough drop enwrapped like a bonbon (I would undo the [166] wings of the wrapper and have to decide whether to suck the drop all down or begin chewing it midway)—I became the following, the public, that these things, these off-faIlings, had come to have; but mostly there was hair, afloat above the uppermost pushings of the fabric of the carpet an almost continuous haziness of loose hairs of all lengths and sources, and I would have to set them out on a fresh sheet of paper and assort them according to the regions of the body they had taken their departure from, and in no time I had nest-like filiations of broken filaments and smaller involvements of the hairs that made me think of hooks, of barbs, of treble clefs, and each pile required a separate envelope, to be filed in a separate shoe box for every sector of the body until, I hoped, the boxes themselves would no longer be enough and I would have raised something semblable, brought up something equal in volume to the comprehensive girl herself. And her wastebasket! For every bit of rubbish, every dreariment she tossed into the thing, I would, in secret, deposit a reciprocal discard of my own, matching a spotted, confessory tissue of hers with a lurid throwaway after my own heart–the cardboard substructions of a fresh parcel of underwear, maybe, or tearings from pantyhose I now and again pressed against a span of my forearm to work onto it the complications of female shading I otherwise made do, choosily, without. I thus built the two of us up together in her trash! One afternoon-it was another of those lifeful, unsam-[167]pled days on which the world humors us each a little differently to keep us nicely on our last legs—I discovered in the wastebasket an inch-deep textbook of hers, a paperback with a celery-colored cover that had come partly unglued, and this dilapidation I paired off, naturally, with a name-your baby guide to whose pages, during my recurrent turnings of them, in bed or at table, I had contributed dried produces of my person, a chemical splendor entirely mine. This coupling sent a sudden spigoty thrill from me that forced an unbuckling and an unzipping and a cleanup with a handkerchief I then ventured responsively into the wastebasket as well. It was in the bathroom afterward that I found a suds-clouded puddle on the unlevel floor of the tub, a little undrained remainder, rimmed with offscum, of the girl's prolonged early-morning soak, and this was as much as I needed to get on my hands; I pressed them flat against the wet porcelain, then flapped them around in the air, and that was when I noticed it—in the amphitheater of the toilet bowl, an orange-yellow tint, or value, to the waters. When the girl arrived home that evening, I told her, of course, that I had discovered fresh, unforeseen trouble within the tank of thelet (a misalignment of the trip lever, a waywardness of the float ball, a ulation of the lift wires, kinks and defects, really, throughout the entire system) and that in fine it was an apparatus now operable only by means of advanced and strenuous equilibrial manipulations that it would be unseemly, inhospitable, of me to pre-[168]sume to burd to burden her with–so that from here on out, following any leak or evacuation she need merely lower the lid and then, before quitting the room, ring the handbell that had been placed on the would seeeverythinghing else. But the bell never rang, not even once, and from my window the next morning I watched the girl carry from the house a little plastic bag distended balloonishly, much like those bags you will remember having seen in the hands of children bearing homeward their solitary carnival-prize goldfish. In fact, I never ran across the likes of the girl again. The man who came to collect her things-not the father, apparently, but an advocate, an upholder-l found to be dull-eared and lax in his speech, and the better part of his face seemed to have already begun making tiny, rotational departures from whatever it was that the eyes, themselves impressively mobile, were just that moment having to take in. (Was there a lamp in the house that was not that night slopping its wattage over everything?) I guess I was waiting for the man to take a laggard, last-minute interest in me, and by now I was pushing everything out into the paired first person–it was, I said, “Our night shot,” and I began including the two of us in whatever it might be doing out, the expected sprinkles and such—but he was no friendship buff, and he paid no heed to my telling him that the only dress of hers I'd ever twidged myself into even part of the way had been the simplest of them all, a large-buttoned wonder of depthless blue, and then only on the principle that one naturally fits whatever one has into whatever somebody else [169] had first, or how else would the world keep getting any taller with people? The man just went about the removal of the girl's things without having to be reminded too noticeably, I guess, of how every dick hangs by a thread. My listener, though, had by this time brought about some becoming slowings of her arm—it was an arm inclinable to langorous diagonals and magicianly swoops through the air above the tabletop—but it no longer was involving itself with her plate, so I suggested we shove off, I made payment for the food, and on our way to the car, and then in the car as I took to following her pointings, the directional tilts of her head, she said that you naturally kept putting more and more of yourself into another person, at first wondering how much she can take, how much of you is accumulable and how much she can hold, and you're letting things out, disbursing yourself, and you've soon got things set up in her, and room is being made for even more of you, and if you bring this off with enough people, even two or three, what you've got is at first a comfort, because you can pass yourself along and move a little more widely through the world and leave it to these others to man your grievances, your disappointments; and what brought this to mind, the woman said, was a term of financial hardship she had contrived for herself a few years back, an unpaid leave of absence from scrupling letter grades onto quiz papers (propped-up As, and upended Bs made to look, rather, like fannies; all As and Bs, no Cs or anything lower, the difference between an A and a B having less to do with the accuracy of whatever facts might [170] have been impounded in provided for an answer than with anything recallable about the way the enrollee ad conformed her body to the confining perpendiculars of her chair and the navel-level writing surface that projected from it, or the way there might one day have been an unignorable blush on the instep of a once-moseying foot, disburdened of its shoe, that had got itself trapped in the grillwork of that cagelike involvement, intended for books, that was welded to, or otherwise schemed into, the underworks of the chair)—this had been a duration, in short, of controlled difficulty when the misexpenditure of even a twenty-dollar bill had set her thrilling, gloating, over everything she would miss out on, and one afternoon she had made an engagement for a haircut, just a trim, and very early in the session the haircutter, a woman ill-defined in the face but otherwise full of conspicuities of emotion, set down the prevailing scissors and pressed the flat of a lukewarm hand against the woman's cheek, held it there for a good minute or longer, while the other hand eventually found its way into a drawer, a shallow treasury of slender specialty scissors, one pair of which the cutter withdrew and began routing deductively through the woman's hair, the other hand staying put on the cheek, longer and longer, and the woman went home and for afterward the bathtub was now a more likely destination than any of the upright furniture, and it got easier to fill the tub with further clarifying volumes than to clear space on the difficult heights of the sofa, and she was hardly claiming to have become a cleaner [171] person in result—she in fact would often discover, voyaging about her body, a browned, fractionary detail of a larger crepe of toilet tissue that must have got itself stuck in some assy crevice and was impossible to get plucked out of the revolving suds—she was saying only that she spent more and more of her time thus immersed, ill off in water, and the haircutter had surely had a hand in it, the woman was doing some of the cutter's life now, coming into some of its wrong, because you sometimes have to look to somebody else's life to get dimensions set back even part of the way around your own, and it should not have to be any less your own life when it comes from somebody else, and you could surely fudge a society out of anyone available person and get this person doubling for the many, so that in the little run of things perpetuable from one person to the next, every loose moment stood to become a complete, active finality. But by now this was a new day, with only an hour or so off it already, and the place the woman had made me bring us to, the man's place, with a promise that the man was elsewhere—this was on a little offshoot of a street, a stewy efficiency apartment the color had long ago gone out of; and when, once in bed, still clothed, I found among the sheets and blankets a spoiling pair of the man's underpants, one of the leg openings of which was puckered into an avid, sloppy mouth, I held myself accountable for redisposing the fabric until I got a befitting featurelessness back onto it; but all the while, I am sure I had to make myself go over again in my mind that if the body is the porter of as many organs of affec-[172]tion as there might one day turn out to be, then the idea was to let the thing carry you to where you would otherwise never have any reason to arrive, because I listened for the unmelodiof the the thede ofthe woman's zipper, and then the woman made me put myself out of my own clothes, the attritional corduroys and overshirt, and got herself up at last onto the topic not of the man whose apartment it was (because his story was scarcely the story of how the boy who decides he is half a girl no sooner starts to worry about where the other half might than he gets careless with where he rests his eyes, or what he gives even the feeblest of fingerholds to, and anything, even a crumbly triangle of pie offered on a saucer instead of on a pie plate proper, comes in easy, ready, wronging answer), but of her husband, and how, no more than a couple of months into the marriage, he had begun snugging away in his undershorts a little source of chanc, reliable frictions to nudge him onward through the workday—anything company-keeping that could be counted on not to slide out of the elasticky leg holes: a half-dollar packet of chocolate tittles, maybe, that was barely noticeable in the baggy surround of the widecut trousers so popular at the time. For by now the woman had at last brought what is usually called the other mouth to within only inches of my lips, but it is not a mouth, obviously, although I let myself go along with the goodwill behind the comparison, the way I will remain loyal to anything deliberately and faithfully misunderstood, and I fussed my tongue against the vital trifles hung inside of her, as much of the curtailed finery as I could find, [173] and gave the whole insimplicity of it a slow-circling, examinational lick, until I was taking a sudden tepid downwash on the tongue. It was a familiar, latrine in dribble that must have tasted, no doubt, like trouble just starting out.p [1] Editor's Note: Original pagination from first edition print denoted with bracketed page numbers. (shrink)

‘Poor Borelli!’ exclaimed Alexandre Koyre at the end of his wonderful and by now classic study of Borelli's ‘celestial mechanics’. Koyre frankly admitted that Borelli lacked Newton's genius and intellectual audacity. However, in his story Borelli deserved a place between Kepler and Newton for his ‘imperfect but decisive’ unification of terrestrial and celestial physics. This framework finds a powerful justification in Borelli's extensive usage of Keplerian astronomy and in Newton's references to Borelli's work on the Medicean planets, Theoricae mediceorum planetarum (...) , both in his correspondence with Edmond Halley, with regard to a controversy with Robert Hooke, and in Philosophiae naturalis principia mathematica . Newton's own copy of Borelli's work with signs of his reading – the famous dog-earings – is preserved in the library of Trinity College, Cambridge. The magnitude of Newton's achievement has haunted Borelli's work ever since Principia mathematica appeared in print. For example, although Christiaan Huygens was sent a copy of Borelli's book by Prince Leopold in 1666, his marginal annotations in his own copy of the book were written after he had read Newton's masterpiece, as if Huygens had felt the need to read the book again after 1687. From then onwards Borelli's work has almost inevitably appeared in a new light that has coloured its subsequent readings.My ambition in this paper is to provide a fresh reading of Borelli's work by reconstructing its circumstances of composition, establishing a comparison with a relevant strictly contemporary source, and attending to the immediate reception of Theoricae. Borelli's work was written with an eye to a composite audience including Roman Jesuits, Sicilian intellectual circles and Leopold de' Medici's correspondents across the Alps, such as the Copernican astronomer Ismael Boulliau in Paris. Borelli was aware that his Sicilian readers were likely to have different concerns from those of Roman Jesuits or the Medici. Thus the task of charting the reception of his work is a formidable one. For a variety of reasons, including availability of sources, limitations of space, taste and competence, my analysis of Borelli's work on the Medicean planets is limited to a few themes and is not only no less partial than Koyre's, but in many respects it relies on it. If readers feel stimulated to re-read Koyre's text, one of the aims of this paper will have been fulfilled. (shrink)

Imagine, if you can, a small room, hexagonal in shape, like the cell of a bee. It is lighted neither by window nor by lamp, yet it is filled with a soft radiance. There are no apertures for ventilation, yet the air is fresh. There are no musical instruments, and yet, at the moment that my meditation opens, this room is throbbing with melodious sounds. An armchair is in the centre, by its side a reading-desk — that is all (...) the furniture. And in the armchair there sits a swaddled lump of flesh — a woman, about five feet high, with a face as white as a fungus. It is to her that the little room belongs.1. (shrink)

Tematyka pracy sytuuje się na pograniczu teorii psychologii i teorii języka. Celem jej jest pokazanie niespójności i niewspółmierności dwóch stylów myślenia o człowieku - kartezjańskiego i postfreudowskiego. Świadomość, tożsamość indywidualna, wolna wola, odpowiedzialność, intencjonalność, myśl - tworzą jeden zespół pojęć powiązanych ze sobą, a charakteryzujący kartezjanizm. Natomiast nieświadomość, automatyzm, determinizm, rekurencyjność - stanowią pojęciowy oręż freudyzmu. Nieświadomość jest w tej konwencji stanem pośredniczącym między mną a drugim. Autor twierdzi, że teksty Z. Freuda są dla współczesnych takimi samymi „narzędziami" inspiracji, jakim (...) niegdyś dla nowożytnych były teksty R. Descartes'a. Książka ma charakter rekonstrukcyjny, a działanie jej autora to w znacznej mierze praca detektywa, polega bowiem na wyśledzeniu i odkryciu inspiracji oraz korekt lub uściśleń, jakie współcześni myśliciele próbują odkryciu Freuda narzucić. Książka ma na celu wskazanie problemów filozoficznych w ramach empirystycznie zorientowanej dziś psychologii. Po pierwsze, autor stara się wykazać, że psychologia wraz ze swym klasycznym problemem ciała i umysłu jest produktem nowożytnym, tj. rodzi się wraz z tekstami Kartezjusza. Po drugie, autor krytycznie odnosi się do dwóch istotnych rozwinięć kartezjanizmu, tj. introspekcjonizmu i fenomenologii. Te¬mu pierwszemu zarzuca sprzeczność pomiędzy założeniami ontologicznymi (dyrektywa paralelizmu psychofizycznego) a praktyką badawczą (naturalizm epistemologiczny i fenomenalizm), fenomenologii zaś niekonsekwencję w ujęciu problemu świadomości. Łącząc te dwie krytyki autor stara się zburzyć zaufanie do równania: „psychiczne = świadome". Świadomość, że psychologia powinna odszukać inny od świadomości przedmiot badań, stanowi przesłankę główną poszukiwań intelektualnych zawartych w książce. Autor zwraca się w kierunku myślenia antykartezjańskiego, tj. psychoanalizy i kognitywistyki. Z tekstów S. Freuda autor stara się wyłuskać spójną teorię aparatu psychicznego. Tu jednak natrafia na pęknięcie, na pewną dwuznaczność; ów aparat można bowiem interpretować dwojako: albo jako system reprezentacji, albo jako maszynę. (shrink)

Summary This paper examines the second generation of British air pumps, covering the period 1700–1750. The air pump originated in the 1650s and 1660s thanks to the work of Otto von Guericke in Magdeburg, Robert Boyle in Oxford and London, and Accademia del Cimento in Florence. While these first models were often seen as unreliable and temperamental, and available to a small group only, the next period saw the air pump transformed into a publicly accessible device for use in public (...) and private demonstrations, in practical applications, as well as in the production of new knowledge. In England, the instrument maker Francis Hauksbee and his followers played a decisive role in this process, which was connected, among other things, to popular medicine, anatomy and health. In this period, pneumatics (the field of air pumps and air-pump practice) reached a state where the pump came to be regarded as an unproblematic tool; and where a ‘vacuum’ came to be thought of and handled as an object. (shrink)

A collection of exceptionally clever and funny diagrams that break down life's everyday foibles from the creator of the popular Instagram feed @instachaaz. Charles Hutton is the voice behind "Insta-Chaz." Hundreds of thousands follow his very witty takes on the highs and lows of daily life via graphs, charts, and simple illustrations on the ubiquitous yellow, rectangular Post-it note. All his observations are from the point of view of his online alter-ego, Chaz, whose most popular traits with readers are his (...) social awkwardness, vague insecurity, dislike of office Mondays, and regret for boozy Sundays. But his riffs go beyond Dilbert-esque complaints about co-workers and unfortunate alcohol consumption and accurately hit nerves and funny bones regarding a broad range of life's quotidian struggles. It's all there, from the anxiety levels of forgetting names at parties (only slightly less stressful than that of air traffic controllers) to charting the cycles of hope, despair, and willful forgetfulness while using Tinder to the infrequent occurrence of the perfect avocado. Divided into quirky meditations on Work, Home, Entertainment, Food & Drink, and Technology, the book introduces a fresh, appealing new voice that will resonate with countless others who can't help but laugh when they recognize themselves in infographic form. (shrink)

In 1992, as part of a larger charitable campaign, the Prince of Wales (Prince Charles, Queen Elizabeth’s older son and heir) launched a line of organic food products called “Prince’s Duchy Originals”.1 The first product that went on sale was an oat cookie: “the oaten biscuit.” Since then the oaten biscuit has been joined by hundreds of other products and Duchy Originals has become one of the leading organic food brands in the UK. Presumably, the Prince (...) of Wales is very proud of his Duchy Originals products, and of the oaten biscuits in particular. Let’s imagine that he is so proud of the oaten biscuits that he eats them regularly. Also, let’s imagine that one day Queen Elizabeth asks the Prince to water the plant in her room. As she explains to him, she’ll be gone for the day and the plant needs to be watered every afternoon. But the Prince decides not to water the plant. Instead of watering the plant, he spends his afternoon savoring some oaten biscuits, and the Queen’s plant dies. (shrink)

The Sulwan al-Muta' is an 800 year-old handbook for statesmen written by a Sicilian Arab who addressed this advice for a "just prince" based on Islamic morality, European realism and a broad-ranging knowledge of different cultures. The work is explicated using straight philosophical discourse as well as the narrative whirl of fables-within-fables so beloved of ancient and mediaeval Oriental literature. This is a work of practical political philosophy that combines penetrating contemporary analysis, the entertainment value of The Thousand and (...) One Nights , and the deep insight of Sun Tzu. (shrink)

The epidemic of COVID-19 appears to be reshaping the world, separating before and after, present and past. Its perceived novelty raises the question of what role the past might play in the present epidemic and in responses to it. Taking the view that the past has not passed, but is present in is material and immaterial remains, and continuously emerging from these, we argue that it should not be studied as closed narration but through the array of its traces, which (...) constitute the texture of the present. To that end, and building on long-term ethnographic research on past and present epidemics in western Kenya, we assemble here some preliminary observations on the first weeks of COVID-19 in Kenya. We explore how the acute epidemic crisis currently unfolding is intertwined with layered fragments of earlier epidemic events, attending to material infrastructures, institutional practices, and ritual responses, to the presence of virally loaded bodies, pharmaceuticals, and their residues, and to the resurgence of often painful memories and emotions. People in this region have experienced a long century of epidemics and anti-epidemic measures of varying duration and intensity, from colonial and postcolonial sleeping sickness and smallpox to HIV/AIDS and more recently cancer, alongside actual or anticipated outbreaks of cholera and Ebola. This local perception of one long epidemic qualifies the notion of a radical temporal break that the COVID-19 pandemic is often associated with in European conversations. (shrink)

"This work is designed to be an introduction to abnormal psychology. The problems considered, however, belong equally to normal psychology. The present volume consists of selected lectures (with the exception of four) from courses on abnormal psychology delivered at the Tufts College Medical School (1908-10) and later at the University of California (1910). These again were based on a series of papers on the Unconscious published in the Journal of Abnormal Psychology (1908-9) of which they are elaborations. Since the lectures (...) were delivered a large amount of new material has been incorporated and the subject matter considered in more detail and more exhaustively than was practical before student bodies. The four additional lectures (X, XI, XII and XIII) appeared in abbreviated form in the same Journal (Oct., Nov., 1912) under the title "The Meaning of Ideas as Determined by Unconscious Settings." As the subconscious and its processes are fundamentals both in the structure of personality and in the many mechanisms through which personality, normal and abnormal, finds expression, the first eight lectures are devoted to its exposition. Indeed, the subconscious is not only the most important problem of psychology, it is the problem. The study of its phenomena must be preliminary to that of the functioning mechanisms of both the normal mind and of those special pathological conditions--the psycho-neuroses--which modern investigators are tracing to its perversions. It ought to be possible to construct the theory of the subconscious by inductive methods on the basis of facts of observation just as any theory of the physical sciences is constructed. This task I have set before myself as well as that of giving precision to our conception of the theory and taking it out of the domain of philosophical concepts. With this purpose in view I have endeavored to apply the method of science and construct the theory by induction from the data of observation and experiment. I have divided the subconscious into two classes, namely (1) the unconscious, or neural dispositions and processes, and (2) the coconscious, or actual subconscious ideas which do not enter the content of conscious awareness. In these lectures I have also endeavored (Lectures XIV-XVI) to develop the phenomena of the emotional innate dispositions which I conceive play one of the most fundamental parts in human personality and in determining mental and physiological behavior. Experimental methods and the well-known clinical methods of investigation have been employed by me as far as possible. The data made use of have been derived for the most part from my own observations, though confirmatory observations of others have not been neglected. Although a large number and variety of subjects or cases have been studied, as they have presented themselves in private and hospital practice, the data have been to a large extent sought in intensive studies, on particular subjects, carried on in some cases over a period of many years. These subjects, because of the ease with which subconscious and emotional phenomena were either spontaneously manifested or could be experimentally evoked, were particularly suitable for such studies and fruitful in results. It is by such intensive studies on special subjects, rather than by casual observation of many cases, that I believe the deepest insight into mental processes and mechanisms can be obtained. The favorable reception which was given to the first edition of this work has tempted me in preparing a new edition at the request of the publishers to incorporate four additional chapters dealing with the general principles underlying the structure and dynamic elements of human personality (Lecture XVII) and a study of a special problem in personality in which these principles are involved, namely, the psychogenesis of multiple personality as illustrated by a study of the case known as B.C.A. (Lectures XVIII-XX)." (PsycINFO Database Record (c) 2012 APA, all rights reserved). (shrink)

The proliferation of AI systems across all domains of life as well as the complexification and opacity of algorithmic techniques, epitomised by the bourgeoning field of Deep Learning (DL), call for new methods in the Humanities for reflecting on the techno-human relation in a way that places the technical operation at its core. Grounded on the work of the philosopher of technology Gilbert Simondon, this paper puts forward individuation theory as a valuable approach to reflect on contemporary information technologies, offering (...) an analysis of the functioning of deep neural networks (DNNs), a type of data-driven computational models at the core of major breakthroughs in AI. The purpose of this article is threefold: (1) to demonstrate how a joint reading of Simondon’s mechanology and individuation theory, foregrounded in the Simondonian concept of information, can cast new light on contemporary algorithmic techniques by considering their situated emergence as opposed to technical lineage; (2) to suspend a predictive framing of AI systems, particularly DL techniques, so as to probe into their technical operation, accounting for the data-driven individuation of these models and the integration of potentials as functionality; and finally, (3) to argue that individuation theory might in fact de-individuate AI, in the sense of disassembling the already-there, the constituted, paving the way for questioning the potentialities for data and their algorithmic relationality to articulate the unfolding of everyday life. (shrink)

Antisthenes was famous in antiquity for his studies of Homer's poems, his affiliation with Gorgias and the sophistic movement, his pure Attic writing style, and his inspiration of Diogenes of Sinope, who founded the Cynic philosophical movement. Antisthenes stands at two of the greatest turning points in ancient intellectual history: from pre-Socraticism to Socraticism, and from classical Athens to the Hellenistic period. Antisthenes' works form the path to a better understanding of the intellectual culture of Athens that shaped Plato and (...) laid the foundations for Hellenistic philosophy and literature. Antisthenes of Athens keeps in mind the goals and polemics framing each philosophical and textual discussion. The volume considers the ancient traditions about Antisthenes' rejection of Plato's “Theory of Forms,” his assertion of the paradox, “It is impossible to gainsay,” and his denial that definition of essence is possible, as well as the plausible intentions of Antisthenes. In cases where these questions are not easily settled, and where modern interpretation has varied, Susan H. Prince identifies the roots of the disagreements. The goal and meaning of Antisthenes' other famous ancient paradox, “I would rather go mad than have pleasure,” is illuminated by comparison with other evidence showing that pleasure does have a place in his ideology. Evidence for his relationship to Diogenes of Sinope, and for his receptions by the Cynics, Stoics, Skeptics, Christians, and Neo-Pagans is examined for both its historical value and its distorting tendencies. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The AftermathAndrea EisenbergThe cantor begins, humming softly, gently strumming her guitar. Soon the rabbi starts reading, his voice somber as he recites the traditional prayer on Yom Kippur."How many will pass away from this world, how many will be born into it;Who will live and who will die."I feel my eyes tearing up. I look down and take a breath, but I can't seem to stop the speeding train (...) of memories."I'm sorry, we did everything we could….." My head was spinning. No, no, no, this can't be … this can't be really happening …I looked up at my patient. Her mouth was open in a silent scream. Her eyes searching the eyes staring back at her. The nurses, the neonatologist, her husband all surrounded her, reflecting back her shock and incomprehension.I stopped breathing. My hands felt cold. My fingers were tingling. No one was looking at me. It felt like there was no air in the room … I just needed air. Embarrassingly, I walked out of the room."Who will reach the ripeness of age, who will be taken before their time."It all began on an early spring night, the air fresh with new growth and possibilities. Heralding the warmer days ahead, the purple crocuses were just peeking out of the grass. As I walked to my car to make my way to the hospital, the crisp coolness of the melting winter brushed across my face, wiping away the warm touch of my baby's cheek moments earlier. Driving off, my heart tugged me home; my brain tugged me to work.The dusky sky accompanied me along the drive to work—the gradually fading light behind me, the darkness ahead. My mind began shifting from home to the woman in labor, starting her own motherhood journey. I imagined her excitement as well as her weariness of labor.The bright lights and the hustle and bustle of a busy labor and delivery department greeted me as I entered the unit. I found comfort in the dimly lit room of my patient. I could make out her blond hair flowing over the pillow and blankets overlaying her body. Her husband, sitting on the bench next to her, was lit up by the brightness of the phone screen he was intently looking at. The quiet beat of her baby's heart on the monitor was soothing in its cadence and reassuring to me.The rabbi then walks to the center of the bima with the cantor as the choir continues to sing. He begins to hit his chest gently with each line."Avinu Malkeninu1, sh'ma koleinu, chus v'racheim aleinu.Avinu Malkeinu, hear our voice, treat us with tender compassion."The cantor and choir respond back, their soulful voices splay open my heart even more.She was an incredibly strong pusher. But it was her first baby and the trail had not been blazed before. The baby was rocking back and forth in her pelvis, trying to get under the pubic bone and out. With time and effort, I began seeing the top of the baby's head with each push, but then it disappeared in between. [End Page E8]Without looking at the monitor, I could hear the baby's heart rate slow with each push, the heart responding to the head being compressed in the birth canal. "Stay strong," I told her as I saw her begin to tire. But the baby was tiring too, its heart not returning to its regular rate in between contractions."Avinu Malkeinu, Avinu Malkeinu" the choir chanted.Avinu Malkeinu, have compassion on us," the rabbi responded.After a few more pushes, I knew I couldn't watch this much longer, I knew the baby was really struggling, it's heart rate becoming more alarming. "I need you to stay strong and really push hard. I may need to help you if the baby isn't out soon," I told her."No, I can do this!" I could see the determination on her face.And there we were, my patient, pushing her heart out, wanting to do this "on her own," and me... (shrink)

Substance use disorders (SUDs) constitute a growing global health crisis, yet many limitations and challenges exist in SUD treatment research, including the lack of objective brain-based markers for tracking treatment outcomes. Electroencephalography (EEG) is a neurophysiological technique for measuring brain activity, and although much is known about EEG activity in acute and chronic substance use, knowledge regarding EEG in relation to abstinence and treatment outcomes is sparse. We performed a scoping review of longitudinal and pre-post treatment EEG studies that explored (...) putative changes in brain function associated with abstinence and/or treatment in individuals with SUD. Following PRISMA guidelines, we identified studies published between January 2000 and March 2022 from online databases. Search keywords included EEG, addictive substances (e.g., alcohol, cocaine, methamphetamine), and treatment related terms (e.g., abstinence, relapse). Selected studies used EEG at least at one time point as a predictor of abstinence or other treatment-related outcomes; or examined pre- vs. post-SUD intervention (brain stimulation, pharmacological, behavioral) EEG effects. Studies were also rated on the risk of bias and quality using validated instruments. Forty-four studies met the inclusion criteria. More consistent findings included lower oddball P3 and higher resting beta at baseline predicting negative outcomes, and abstinence-mediated longitudinal decrease in cue-elicited P3 amplitude and resting beta power. Other findings included abstinence or treatment-related changes in late positive potential (LPP) and N2 amplitudes, as well as in delta and theta power. Existing studies were heterogeneous and limited in terms of specific substances of interest, brief times for follow-ups, and inconsistent or sparse results. Encouragingly, in this limited but maturing literature, many studies demonstrated partial associations of EEG markers with abstinence, treatment outcomes, or pre-post treatment-effects. Studies were generally of good quality in terms of risk of bias. More EEG studies are warranted to better understand abstinence- or treatment-mediated neural changes or to predict SUD treatment outcomes. Future research can benefit from prospective large-sample cohorts and the use of standardized methods such as task batteries. EEG markers elucidating the temporal dynamics of changes in brain function related to abstinence and/or treatment may enable evidence-based planning for more effective and targeted treatments, potentially pre-empting relapse or minimizing negative lifespan effects of SUD. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Day I Touched JesusJeffery L. DealShe deserved better. They all do.I met her early on a morning that promised to be hot and wet, as Sudan tended to be at that time of year. Hot all the time. Hot and wet in the summers. I touched her for the briefest of moments, felt her leg move against my hand and caught a fleeting glimpse of a foot that (...) was barely the size of my fingertip. I was there because a missionary asked me to come, told me stories of conditions in Sudan and convinced me that I could save lives. He was right.Her twin brother was born eight hours earlier, sometime around midnight. The birth attendants managed the delivery as well as anyone could in the same situation. The last time I had attempted to manage such a problem delivery was almost twenty years earlier when I had been a Navy Lieutenant fresh out of my surgical internship on temporary assignment to a Marine Corps battle group in the Philippines. On that deployment, a corpsman brought me to a grass hut where a woman who looked barely more than a child herself labored against a breach delivery. I spent the day examining her while her family brought me things to eat that I do not believe should be eaten. After six hours of no progress, I radioed for a helicopter to take her to Clark Air Force base where they had operating rooms and obstetricians. In South Sudan, we had no such resources.My oldest daughter, a premed student at the time who had worked with me in Sudan on other occasions, sat in the corner with her classmates and watched as I put my hand inside the mother. She was of the Dinka ethnic group and was a large, robust woman who sweated profusely and occasionally caught her breath, but otherwise seemed unmoved by her contractions. Fluids gushed over my gloved hand and the students gasped. I felt the baby's leg retract slightly as if she resented my intrusion.I could not get past the baby's hip—she was wedged tightly in the uterus. I had some medicines that were used to hasten delivery and, not really knowing if it was the right thing to do, I gave the mother some through her IV. Still I could not dislodge the child. I told the students and birth attendants that we would give her one hour while I rounded on the other patients in our remote and poorly equipped clinic. If she did not deliver by that time we would take her to a facility run by a Catholic relief agency several hours drive from us—a drive that due to war, weather, or mechanical problems we could not always complete.I saw the rest of the patients in a hurry while browsing through all of the medical texts and the few books we kept at the clinic. This child's only hope of surviving was for her mother to have a cesarean section, and as quickly as possible. After determining that none of our other patients were in imminent danger, we loaded the mother, the first-born twin, and the grandmother into our vehicle for the long ride. One of the medical students, who at the time of this writing was completing her residency in obstetrics and gynecology, asked me if I shouldn't pray for the woman while we drove. I felt guilty for not praying out loud without being prompted, so I reached back and placed my hand on the mother's abdomen and prayed while I drove. I felt a slight movement. It could have been the rough road or the mother shifting, but I believe to this [End Page 81] day that I felt the child move. I would not feel her again. I drove as fast as the rough, bomb-cratered dirt road allowed.Mother and unborn child were doing well when we finally arrived three hours later. I knew the facility and many of the workers so I drove past the guard and directly to the obstetrics ward. Two nurses rushed out to meet us with... (shrink)

Didache 1:4b – ἐὰν λάβῃ τίς ἀπὸ σοῦ τὸ σόν, μὴ ἀπαἱτει, οὐδὲ γὰρ δύνασαι [if anyone takes something from you that is yours, do not ask it back, because you should not or would not be able to] – is discussed in this article as problematic to the present mindset of the Nigerian church, especially as frontal attacks and premeditated persecutions from rival religions daily threaten to exterminate the Christian faith in Nigeria. This article argues that the Christians in (...) Nigeria unwittingly interpreted this first-century document and wrongly so because this interpretation has metamorphosed into an ideology. The article suggests a sharp measure against this ideology. Contribution: The church in Nigeria is controlled in their attitude towards self-defense by the text of Didache 1:4b. This article’s contribution is a reexamination of the text in comparison to its parallel in the synoptic texts to assert that the synoptic texts, instead of Didache 1:4b, suggests non-violent self-defense. (shrink)