In lieu of an abstract, here is a brief excerpt of the content:Impulsive Forces in and Against WordsAlphonso Lingis (bio)In his lecture "Nietzsche, le polythéisme et la parodie" given at the Collège de Philosophie in 1957 and published in 1963 in his Un si funeste désir, Pierre Klossowski explicated certain radical passages from Nietzsche's The Gay Science, a work he had newly translated into French (two prior translations existed). In the philosophical world of France where perception seemed to have found (...) its definitive elucidation in the phenomenology of perception of Maurice Merleau-Ponty (1945), Nietzsche's exposition of sensory experience, as Klossowski laid it out, was so radically different from that phenomenology that it could not be assimilated. In his Nietzsche et le cercle vicieux, published in 1969, Klossowski worked on texts Nietzsche left unpublished and which date from the years of The Gay Science onward. Philosophers, Nietzsche had written, do not simply coordinate and justify the works and science of society; they break at least in part with the common language by formulating their own aggressivity, tolerance, intimidation, anxieties, need of solitude, or need to forget themselves. And Nietzsche too speaks not of what is common and communicable but of what he experienced inwardly. Now Klossowski presented Nietzsche's exposition of sensory experience as an exposition of the experience peculiar to Nietzsche, in the most troubled period of his life. This experience, moreover, Klossowski aimed to show, was wholly premonitory of Nietzsche's final state, in which he could no longer say what he was experiencing nor who he was.The environment is not simply passively impressed upon our sensory surfaces; we have to awaken, move our eyes, and focus on things and circumscribe their contours with our look, and assume a posture that enables us to advance our look. When we are born, and when we awaken each day, that is, are born again to the world, we are needy and vulnerable, to be sure; the organism is porous and needs to replenish fluids and substance lost. But our organisms are material systems that generate excess energies; it is because excess energies have to be discharged that the organism moves into the environment and depletes its substance, and needs develop. Nietzsche calls these excess energies impulses, also multiple wills to power, that is, not conscious drives to acquire power, but positive forces that expand and exist only in expansion. They seek resistances on which to discharge themselves. They push against one another and become multiple.For the phenomenology of Edmund Husserl and Maurice Merleau-Ponty, the movements of perception are intentional; they are from the first correlative with objects, or, for Merleau-Ponty, intersensory things, Gestalten agglomerated by an intrinsic intelligible essence or sensory meaning, arising against a background of potential objects or latent things. Yet every glance around us encompasses innumerable unnamed and unnameable shapes, hues, textures, slidings, illuminations. Do not in fact the excess energies of life open upon an environment of swarming sensory patterns, streamings, scintillations, and shadows which quicken life before or without acquiring meaningful identities? [End Page 60]What in classical epistemology were called sensations were the information bits these forces impressed on our sensory surfaces, resulting also in sensory affects of pleasure or pain, according to the passive conception of our sensibility. For Nietzsche the multiple impulses that confront the forces of the environment are active and not reactive; confronting what is not from the first meaningful but resists or empowers, they laugh and weep, bless and curse. And it is these multiple and conflicting impulses, not a conceptual grasp of the essences of things, that know environmental events, know the forces exerted by the multiple hues, textures, glows, savors, reflections, halos, echos, projections, and shadows scattered about us.The impulses do more than know all that; they exalt and consecrate events of the world, they put over each an azure bell of blessing, they give them a space to stand forth and to dance—"they come and offer their hands and laugh and flee—and come back."1 They give themselves form and multiple forms and dance with all things. They are Apollonian and Dionysian.What is called conscious thought is elaborated in words of the common... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Species Counterpoint:Darwin and the Evolution of FormsRandall Everett AllsupMy intention is to tell of bodies changed to different forms; the gods, who made the changes, will help me—or so I hope—with a poem that runs from the World's beginning to our own days.1I.A recent article in a progressive monthly magazine asked by way of a thesis, "Whose music is the blues?" Under the title, the tag line read, "2003 (...) is the 'Year of the Blues.' But as a music born of oppression becomes a feel-good soundtrack for white America, just what are we celebrating?"2 I recall feeling puzzled by this rather old-fashioned topic of investigation. Anyone with access to the Internet knows that music is not for one group or another. Global file sharing has made ownership as easy as, well, sharing a file. Furthermore, the tendency to depart from ancestral forms, whether as rebellious teenagers, rock guitarists, or both, seems genetically built into us. Life is a metamorphosis and music—like life—evolves.To advance the notion that music is made for one people and not another, that it has absolute or essential qualities, opens a terribly large can of worms. We know, for example, that identity and music are linked, but the relationship is not [End Page 159] mono-directional, causal, or fixed. My relationship to the blues or Broadway show tunes for that matter is defined somewhere within a dense web of group associations, educational opportunities, even closet desires. With regard to psychological research on identity, slippery and impermanent as identity is, this research is really about similarities.3 Conservative in this light, such studies look for commonalities: their goal is to identify "what is."4Fear is often the dominant response to the evolution of a cherished form. Change, however, holds equal parts fear and promise. The Chinese word for crisis, wei-ji, means "opportunity with danger." This essay will contextualize the latter, but focus on the former. It is worth asking, for example, what might result from an examination of anomalies? Rather than attempt to identify "what is," such an inquiry would be concerned with "what else" [the abnormality] as well as "what might be" [the opportunity]. Located, I think, within the anomalies and mutations that seem to fit so well our globally connected world are new codes, altered methods for self-understanding, and interaction in the arts.Charles Darwin and The Origins of Species will provide the conceptual framework for this discussion.5 To look for help in the work of Darwin will require a crossbreeding of scientific theory and metaphor, a cross-pollination of hypothesis and the hypothetical. We will look at how the production of new forms, particularly musical forms, is shaped. Speaking metaphorically, a work of art or entertainment can be seen as an adaptation to and of its environment. We know that cultural products, like all living species, are not permanent entities. Change, Darwin stressed, carries with it purpose. To that end, he looked for variation to help him understand how and why an organism or system developed the way it did. What might be revealed if we apply this procedure to the field of music and music education? We might see eco-systems in various stages of growth, health, and decline. A look at musical forms as mutable, living creations that spring from and reflect a particular condition raises interesting questions about place and purpose.II.Only a hundred and fifty years ago, a single event—a theory!—precipitated a cultural crisis that threw down two thousand years of scientific and philosophic thought. The popular revolt that Charles Darwin's The Origin of Species fueled (and continues to fuel) called into question fundamental beliefs about how the world is made. Darwin's theory that matter and energy are in steady flux, that life is in need of constant variation, implied that fixed or universal truths are nothing more than comforts created by the mind. The Origin of Species was therefore more than a scientific revolution.6 A core tenet of Western culture was challenged by its publication: the so-called immaterial spirit, whether viewed in the [End... (shrink)

This piece, included in the drift special issue of continent. , was created as one step in a thread of inquiry. While each of the contributions to drift stand on their own, the project was an attempt to follow a line of theoretical inquiry as it passed through time and the postal service(s) from October 2012 until May 2013. This issue hosts two threads: between space & place and between intention & attention . The editors recommend that to experience the (...) drifiting thought that attention be paid to the contributions as they entered into conversation one after another. This particular piece is from the BETWEEN SPACE & PLACE thread: April Vannini, Those Between the Common * Laura Dean & Jesse McClelland, Ballard: A Portrait of Placemaking * Amara Hark Weber, Crossroad * Isaac Linder & Berit Soli-Holt, The Call of the Wild: Terro(i)r Modulations * Ashley D. Hairston, Momma taught us to keep a clean house * Sean Smith, The Garage (Take One) * * * * Preface: Variations of Archiving the Anarchive Through Editorial Witnessing by April Vannini “a diagram is a map, or rather several superimposed maps.” 1 What do we do with essays, art, artefacts, and practices that go against, resist, challenge and reject archival capture or documentation since they do not fit within the screen or manage to move beyond conventional scales? What do we do with an essay or artefact that is the event of the event becoming-event itself, or how do we move from volumetric space to two-dimensional space? How do editors, curators, participants, etc. become witness to an anarchive? And most importantly, what are the potential and unanticipated ways in which a volumetric submission can be diagrammed within a two- dimensional space? In short, how do we archive the anarchive? These are questions that have emerged and have been consciously and purposely activated by Sean Smith’s thinkpiece for this issue, The Garage (Take One) . Sean, as part of his contribution to the special issue of drift within the thread in between space and place , created an artefact that emerged out of an event held during May 2013, titled Cottage University: Topology and Immanence . The visual documentation of The Garage (Take One) is not an archive but an anarchive due to its multimodal form, non-representational diagramming, and its reactivation of non-representational folding which animates its non-representational or more-than -representational condition. In short, The Garage (Take One) stymies attempts to be translated into digital text, representationally. As a reader of Sean’s submission you will only have access to a portion of the original submitted contribution (see “Take One”). At this time, I remain the only witness of The Garage (Take One) in its entirety: I was present at the original event, Cottage University: Topology and Immanence , and I was the sole receiver of the original package because of my role as editor for the thread, in between space and place . However, I would like to stress that I was unaware of what Sean would submit as his contribution to the special issue. What is presented here is an emergent rippling of the event that was not predetermined or arranged in advance ... a drifting of sorts! As for now, the artefact sits here on my desk next to a pile of books—folded, creased and somewhat lost in its translation into digital form. Questions of transcribing, translating and converting volumetric space to two-dimensional space have been considered throughout this process. And more importantly this artefact and its processes raise the issue of not what has been saved and included but what has been left out in each conversion of the original into the academic publication. What follows this preface are various “cuts” or “takes” from The Garage: Take One . Each take or cut is merely an interpretive and representational rendering of the original volumetric submission. Although with that said I would like to propose they are more than just representations or interpretations: each take or cut works as rippling variations of the event itself . It is important to acknowledge that much has been lost in the creases and much still lingers which will never be archived within an academic journal. Hence, a discussion of how to archive the anarchive is so crucial to para-academic “scholarship”. I will sum up the process that has emerged from The Garage (Take One) with a final word from Brian Massumi, written in his foreword to Deleuze and Guattari’s A Thousand Plateaus : Each 'plateau' is an orchestration of crashing bricks extracted from a variety of disciplinary edifices. They carry traces of their former emplacement, which give them a spin defining the arc of their vector. The vectors are meant to converge at a volatile juncture, but one that is sustained, as an open equilibrium of moving parts each with its own trajectory. The word 'plateau' comes from an essay by Gregory Bateson on Balinese culture, in which he found a libidinal economy quite different from the West's orgasmic orientation. In Deleuze and Guattari, a plateau is reached when circumstances combine to bring an activity to a pitch of intensity that is not automatically dissipated in a climax. The heightening of energies is sustained long enough to leave a kind of afterimage of its dynamism that can be reactivated or injected into other activities, creating a fabric of intensive states between which any number of connecting routes could exist. 2 The Garage (Take One) Double Take 2:31pm/5:31pm Sean Smith You there? I just wanted to emphasize a couple of things about the process of the submission: 2:31pm/5:31pm April Warn-Vannini Yes, listening. 2:36pm/5:36pm Sean Smith 1.When you describe feeding forward from the CU (Cottage University) event, it is a WALKING ACTIVITY that reinvests/reactivates the intensive energies of the event. that is what my photos are in Take One......it connects the intensive state of CU to my "one-take" writing on construction paper experience. i'm not sure if i adequately conveyed that or not, or if you did, or how important that is. 2. In doing so, it ruptures open the "space" and "place" of material practice ...and how these may enter into the mediated production of academic journal work...and its flattened two-dimensional experience. 3. the abstract machines of CU (i.e.coming out of silence) are invested with a new diagramming practice (the photo walk) to produce a new text that is neither-nor: "spaced" as a content of that walk (garages), but "placed" as a technical question (coming out of silence to language). 4. the new text is precisely diagrammatic, non-representational, anarchival. ....multimodal. ok, that's all that comes to mind right now. appreciating your efforts. 5. oh, finally, i think you might need a better definition of "anarchive" here..... it was hard to pin them down in montreal on what this is, so you wouldn't be wrong, per se, but more require a working definition for the reader. obviously, as you say, without getting too academic/citations, etc. know what i am saying? 2:46pm/5:46pm April Warn-Vannini 1. Totally got it but I think I did because of our many past conversations about how to archive the event 2. Yes this is what I love about this. And I think you speak to this very carefully in your writing on the Garage. Now whether others pick up on this I don't know. This is why I wanted to see what it would look like if I flattened it (take 3). 5. I agree that a better definition is needed. This is where I've been stumbling because I have not found anything that clearly defines what is meant by anarchive. 2:47pm/5:47pm Sean Smith "with take one being the only remainder of the original submission left to reveal...." precisely because of its digitality!!! yeah, i would probably just append an edited version of what we are saying here, as if the editing process was still a ripple of the event. me "adding" new text later i think defeats the purpose, but if you were to take snippets of this dialogue as part of the anarachive/ 2:48pm/5:48pm April Warn-Vannini Totally! 2:49pm/5:49pm Sean Smith and just *use them*, i think that's fair game. that way i won't be crafting my words with intent. you can even use this profile pic. 2:50pm/5:50pm April Warn-Vannini Okay perfect. With that said, do you think I should just discuss your process further in the preface or include an introduction that would be in take one? 2:51pm/5:51pm Sean Smith could it be Take Two in its own right, like an atemporal ripple that coexists with the others and bumps them to Three, Four and Five? Or could it be called "Double Take" and leave the others as Two, Three, Four? 2:53pm/5:53pm April Warn-Vannini Perfect. I like double take 2:53pm/5:53pm Sean Smith and it's us hashing through this discussion 2:53pm/5:53pm April Warn-Vannini Double take will follow take one. i like this. The Garage (Take Two) Folded, taped (scotch and duct), folded recycled chart paper previous emergent thoughts: performed, inscribed and made anew Red jiffy, black jiffy, blue ink pen cursive writing/block writing diagramming amplification dilated » » » » directional arrows « « « « Moistened, torn, crinkled Ruptures Anarchive of thought events Deciphering language/writing Exchanged as a volumetrics of new spaces Performing tactics of “writing off the page” on the page Enclosed [OPEN THE DOORS, MOVE FROM SURFACE TO VOLUME…AND THE CONVERSATION JUST MIGHT BEGIN ANEW. *stamped* SEAN SMITH] Drifting Drifting Drifting The Garage (Take Three) 6 Sean Smith video from April Vannini on Vimeo . The Garage (Take Four) The Garage (Take Five). (shrink)

June 2022 A Revolutionary New Metaphysics, Based on Consciousness, and a Call to All Philosophers We are in a unique moment of our history unlike any previous moment ever. Virtually all human economies are based on the destruction of the Earth, and we are now at a place in our history where we can foresee if we continue on as we are, our own extinction. As I write, the planet is in deep trouble, heat, fires, great storms, and record flooding, (...) weather patterns drastic everywhere. Capitalism has been so successful in supplying us with an endless array of consumer items, that we have never noticed there is a cost. But there is a cost, the cost is the very life of the Earth herself, and now the day of reckoning is here. Days of reckoning are most often days of rath. But I am hoping that this is a day of major Awakening over the entire planet. We have caused a crisis so great for the Earth we can hardly get our minds around it. But I am proposing that deeply embedded in the crisis are ideas, about who and what the Earth is, Ourselves, and what we are here for. I am proposing that this is a call to all philosophy and philosophers to rethink ourselves from the ground up. The human race has never gotten the Earth right and now we must, for the Earth is the true foundation for civilization. We are in deep trouble with the Earth, and it owes to the fact that the great male thinkers never got the Earth right, they could never make the connection between the life of mind and the life of the Earth. I am proposing that deeply embedded in the crisis we are in are ideas. And that in fact the planet is in the grip of a false metaphysics, and scientific image of nature that really comes most recently from Descartes. His conviction that matter, and with it the Earth, are simply the weighable, the measurable the extended in space and time, utterly devoid of any inner life of mind thoughts or Consciousness. This view of matter and the Earth goes back to the very dawn of thought, Descartes is just its most recent and comprehensive version of things. This view of matter is really a false metaphysics that dominates most of the modern world and underpins the whole scientific image of nature itself. I am proposing this is a false metaphysics and offering a new version of things based on Consciousness. If there is a single idea fueling and driving the destruction of the planet, it is the conviction that the Earth is something without Consciousness. When you intend to ravage and savage the planet, turn it into consumer items to be converted into money in the bank, first pretend that all of the bright beings in the natural world are devoid of Consciousness, just “things” you do not have to have any conscious about destroying them. I am proposing that this term Consciousness, that has appeared as term and a problem for modern science, is the key to getting ourselves right with the Earth. I propose this new theory for science will ramify into every other disciplines as well, and the ways we think just about everything. This old paradigm based on a false theory of matter, has run its course, it has brought us to the brink of our own extinction. We need new ideas, and we need them now. You will find my recent work in the Scientific God Journal under the title: Consciousness as the Organizing Principle, and a very complete version of my arguments for this term Consciousness, along with radical reinterpretation of modern science itself, on the Galileo Commission site. It is a radical moment for all of the thinkers among us, take this as my small contribution to rethinking ourselves in new terms, based on my understanding that the true basis for the whole of Being, the Universe, the Cosmos, and with them Ourselves, is this term Consciousness. And unpack it. And I predict that with this term Consciousness every intractable human problem in both science and the modern world will go down like a line of dominos before it. And so, here are a few new ideas I would offer you. These are the times of the Reappearance of the Feminine, a great Awakening as of Springtime after a long dark and lonely Winter. We are leaving behind us an old civilization based on male dominance, fear lies and control, now in decay, disease, and death disintegrating all around us. We are moving into a whole new civilization based on Love and Truth. A new civilization requires new basic terms values and first principles. And so, I return to Descartes. 1. Just over 300 years ago a young man travelling with the army found himself stranded in a foreign town in a bare room lit by a candle with nothing to do but think. And in a couple of nights Descartes laid the entire thought foundations for modern science and most of the modern world. It isn’t clear that modern philosophers with their funding sources of grants, their graduate students, their reputation and all the perks and privileges of academia can do any better. Descartes claimed there are just two principles in the Universe, Matter and Mind. God was pure mind; human beings were mind and matter. And we are the only ones on the planet with mind. Everything else all of the bright array of beings who share the planet with us are simply matter. And matter? The weighable the measurable the extended in space and time utterly devoid of any inner life of thoughts, feelings, or Consciousness This classification was a boon for developing science. Scientists did not have to worry about any inner life in nature, ideas or Consciousness, they could just set about weighing and measuring, as they have until the present day. But it was a disaster for the Earth. Earth was once worshiped as a Goddess. With Descartes she became almost overnight “things.” Simply commodities and resources, an endless of supply of consumer items, to be turned into money in the bank. And now Descartes concept of matter is up for us. If there is a single idea that is enabling and driving the destruction of the Earth, it is the conviction that Earth is something without Consciousness. This whole scientific image of nature as something devoid of Consciousness is driving the destruction of the Earth, and driving us all insane, and it needs to change. Ever since Descartes formulated Dualism, scientists and philosophers have been trying to get rid of it. They have done this by attempting to make matter the fundamental term of reality, and to explain mind or Consciousness in terms of matter. And now, Consciousness has emerged as term and a problem for modern science. 2. The prevailing Universe picture has been mainly based on the belief that Consciousness appears only at the end of evolution in ourselves and some of the higher animals when matter attains “a certain state of complexity” and it is produced by neurons in the brain. But Consciousness is nothing real in itself, the neurons are doing the work, Consciousness is simply a byproduct of neural activity. As William James summed up this position, not his: Consciousness is to the brain as a shadow to the runner, it runs beside him but never influences his stride. And so, the great problem of neuroscience: How do neurons produce Consciousness? So far, no one has been able to say how. All we have is parallelism. Two processes are running in parallel a train of neural events and a train of Consciousness events. And so, which one is primary? The face of neuroscience and much of the modern world is that the neural events are what is really real, Consciousness is secondary. The conviction that Consciousness is something produced by neurons is so deeply held and has been so for so long, that it seems like an obvious fact. It is in fact an assumption and a theory, and it could all well be the other way around. The scientific image of nature as something devoid of Consciousness is now up for us. It has enabled the destruction of the Earth, and we are now at a unique place in our own evolution where we can foresee if we continue on as we are, our own extinction. And so, there are the best reasons for rethinking Descartes concepts of matter. Scientists and philosophers have been trying to escape dualism by making matter the fundamental term. And now, this has not worked. In a nutshell: The mind body problem, the “hard problem of Consciousness” ---how do neurons in the brain, atoms and molecules give rise to ideas thoughts and feelings and who what and where is the “I” who sees them? And then, the near-death experience. I remind you of the truth of the near-death experience. The body in the bed is brain dead eeg flat, but the patient, pure Consciousness is hovering at the ceiling watching the doctors work over the body below, able to read dials he could not have seen from the bed, sometimes able to events in the corridor beyond the room, all subsequently confirmed by the doctors. Evidence as good as it gets that the patient really was out of his body. And so, the patient is able to see without eyes, hear without ears and to think and remember without a brain. There is not a single scientific principle that can account for this. And I am proposing that the near-death experience is a threshold and a key for a much deeper understanding of the Universe. These three problems are so hard they cannot be solved by present scientific principles and therefore call all present principles and ways of thought into question. When your axioms cannot account for the data, it is time to drop them and find better fundamental terms. We have not been able to solve the problems of Consciousness with the assumption that matter is the most basic and fundamental term. And so, if Cartesian dualism is to be overcome at all, we need to try it the other way around. 3. We are in the position of Copernicus. Remember Copernicus? He was making his calculations on the assumption that the Earth was the center of the Universe until they became so unwieldy that he decided to try it all the other way around. To make the sun the center, the Earth revolving around it. And lo, all of his data fell neatly into place. I am proposing a whole new Universe picture. Evolution makes us continuous with every other being, Consciousness would not be in us if it were not in them also, and then, in the atoms and molecules and cells that make up living beings. I propose to make Consciousness the most basic term and see what follows. I am in fact, proposing a new Copernican Revolution, that Consciousness is the true basis for the Universe and the right fundamental term, for science itself all other disciplines as well, and the whole of the modern world. And I predict that every intractable problem in science or the modern world, will go down like a line of dominos before it. In a nutshell: Consciousness and not matter is “first and fundamental” in the Universe, it is there from the very “Beginning” everything has it and all of the true causalities, the explanatory principles belong to it. Not to matter. What then is matter? All matter is an Appearance of something much more real, Consciousness. All matter is an expression of Consciousness, even the least little bit of matter contains Consciousness, and is an expression of Consciousness. And so, we revise the scientific image of nature. Science at present is two termed, matter/energy. It needs to become three termed: Matter/energy/Consciousness, with the recognition that all of the basic principles, the true causalities of events, and of the Universe belong to Consciousness. And now physics. To accommodate this new Universe picture physics needs to alter just one term, energy. All energy contains Consciousness, that idea alone will change our world forever. The animals the trees the plants are just as conscious as we are, as is the Earth herself, a continuum of many forms of Consciousness of which our own is one. The Earth consists of interacting and intersecting forms of Consciousness, Consciousness within Consciousness within Consciousness within Consciousness. A remarkable work has just appeared entitled “Beyond Words What Animals Feel and Think.” Describing in detail how like ourselves all of the animals are. And the more we can see how like us everything else really is, the harder it will be for us to do them all in, in the interest of turning them into consumer items. And so, here is a new principle of understanding, that entails completely new forms of explanation, and a whole new Universe picture to be spelled out in terms of Consciousness and its various properties. This is a Universe that is aware awake and Enspirited throughout. And so, there is only one principle, not two. And so, how does Consciousness work? There is “no mind/body problem.” My Consciousness is aligning the Consciousness of neurons in the brain, that aligns the Consciousness of all other cells in the body, that aligns the Consciousness of molecules and atoms themselves. Mainly from the top down, but also interactive, and not reduction to the purely physical forces. 4. And so, here is a radical new Universe picture, and with it a new way to think about the Universe itself, the Earth, Ourselves, and Spirit. It requires a complete revision of both of the terms of modern science itself. The problem of the modern world owes in deep measure to Descartes concept of matter as something devoid of interior life. But he is only the most powerful and simple expression of a whole tradition of thought that predates him, that goes back to the very dawn of thought itself. It owes to the conviction of both Plato and Aristotle that the Earth was something devoid of reason, or mind, and therefore something to be held in complete contempt. We are emerging from a civilization based on contempt for the Earth, and down the road, it will become contempt for the body, sex, women, the Native people, and people of color everywhere. And so, this entire tradition is now up for us, it has brought us to the brink of our own extinction, and we need to get beyond it. I am proposing that this term Consciousness is the way out. The missing piece of the puzzle and the idea whose time has come. And it will enable us to move into a completely new civilization based on respect for the Earth, women, sex, people of color, that honors everyone and has a place for all. Revolutions in science occur when new data show up that cannot be accounted for by existing paradigms (Thomas Kuhns: The Structure of Scientific Revolutions). Consciousness, and all the properties and problems of Consciousness are just such data, and they compel a new scientific revolution. But we are a scientific age. A new Copernican revolution in science is such as revolution everywhere. And Consciousness is the key to getting every other reality at all levels and depths right as well. It will enable us finally to get the Earth right, get ourselves right with the Earth, and with one another. Archimedes: Give me a place to stand, and I will move the world. I am proposing a new synthesis among our fundamental terms in which this term Consciousness is the new lynchpin. And so, I return once more to Descartes. Descartes in the Mediations was a dualist, they were two realities interacting in the pineal gland mind and body. But Descartes age was high on “Cartesianisms,” on Descartes concept of matter. Animals were simply cleverly wired machines (Hobbes called them automata). Rumor had it that Descartes followers went about kicking dogs reasoning that their howls were not due to any feelings of pain, but simply the wiring of the machine. We have been doing this to the Earth ever since, and now the Earth is not going to stand for it any longer. It is time we all woke up. There is no matter in Descartes sense of it, or in Plato and Aristotle’s sense of it. This old concept of matter is embedded in all of the crisis and catastrophes---fires, drought, pandemics, over population, the disintegrating economies, our ways of life, capitalism and consumerism themselves. All matter is Enspirited, contains Consciousness, and is an expression of Consciousness. Now I tell you something about Descartes you may not know. In the Mediations was a dualist, there are minds and bodies. But by the end of his life, he knew the truth. Descartes guided his whole life by these vivid dreams, and toward the end of his life he had this dream: He saw the Universe as a giant machine and in the heart of the machine propelling the whole, was Consciousness. And so, out of the shades and shadows and into the light of day. Here is a renewed and a new science, a new cosmology. And with it, a revolutionary new metaphysics. The whole of the modern world is in the grip of a false metaphysics, based on Descartes theory of matter. Here is a new, and finally true metaphysics based on the single term, Consciousness. 5. And in all my works, I spell out this new metaphysics based on Consciousness, and what it means for how we think about virtually everything: The Universe, the Earth, Ourselves, and Spirit. Of who, what and where Spirit is, that we may connect with Spirit everywhere. There is only one term for the Universe, and not two, this single term Consciousness, that manifests itself in two modes: Consciousness in Form, Consciousness Formless. And so, here is a sketch of what this new term Consciousness really means. For four great aspects of the real, four new cornerstones for a whole new civilization on Earth, based on Love and Truth. A. For the Universe: New causalities, all matter is an expression of Consciousness, awake and aware, Enspirited throughout, which has a place for the causalities of love ideas intent plan and purpose, what Aristotle called final causality, that for the sake of which. And it has a place for subjectivity, the greatest mystery in the whole of the Universe, knowable only in ourselves, but there in everything else as well, bedrock in the chain of causalities. The buck stops here. Here are two very different Universe pictures. The Cartesian Universe consists of things, pushed, and pulled around by the physical forces that function blind. The true Universe consists of selves and not things. Selves at least in ourselves, are organized and focused about an I, an I am, or a sense of self in everything, ever other being dear to itself. Just one aspect of subjectivity. And so, it is Consciousness all the way down, and subjectivity all the way down. Science proceeds on the basis of the negligible of what it can leave out as unimportant. Subjectivity is the ultimate animating principle of the Universe. What Descartes really did was to strip from nature what is most essential about it, its animating principle Consciousness. And so, we come out of a long history of “clunk.” The great male thinkers have killed creation. First in concepts and now in the lived life. And so, after centuries of fruitless search, not all of it in vain, finally, and just in time the true basic principle for the Universe has shown up in virtually all disciplines, this term Consciousness. B. And so, the Earth: What does this term Consciousness really mean for the Earth? It means that all of the bright array of beings around us have Consciousness. And the more we can realize how like us they are, the harder it will be to do them all in. Is this what it really means to be “made in the image of Spirit?” To destroy ever other living being? The god of Genesis is a creator god who has created billions and billions of living forms. Man, taking himself to be made in the image of Spirit has destroyed virtually all of it. The Earth is not things, not commodities and resources, not an endless array of consumer goods. The Earth consists of conscious living spiritual beings like ourselves, who need to be honored and respected, nurtured and cared for, to be Loved. And if the human race can finally pull it off and bring Love here and start helping the Earth rather than destroying her, even our vast numbers now at 8 billion, may not matter. Deeply embedded in the modern world is a false cosmology based on the hitherto useful but ultimately false metaphysics of Descartes. In particular it owes to Descartes concepts of matter, and of the Earth, as something devoid of Consciousness. And now this concept is up for us. If there is a single idea enabling and driving the destruction of the planet, it is the conviction that the Earth is something devoid of Consciousness. And we all have a vested interest in keeping this false concept in place. When you intend to ravage and savage the Earth, to turn it into consumer items, and money in the bank, first pretend she has no Consciousness that way we need not have any conscious about it. We are in deep trouble with the planet. Virtually all human economies are based on the destruction of the Earth, and we are now at a place in our history where we can foresee if we continue on as we are, our own extinction. And so, here are a few new guiding principles for the planet, based on Consciousness. Consciousness has field properties. The Earth is Consciousness throughout, connected and interconnected throughout, intersecting and interacting fields of Consciousness of which our own is one. To harm one is to harm all. Only this understanding of the Earth can set our destructive technologies, and capitalism, their goals, and their limits. The real problem with capitalism, and with civilization itself is it has no true understanding of the Earth, all the exquisite networks and webworks that connect all beings with one another. Nor it is about to admit that the Earth is our “life support system,” reason gone insane in the modern world. We are destroying our life support system, capitalism is the full expression of the human death wish in the modern world, and it needs to change. And now, let the barriers between ourselves and all other beings go down. C. And so, Ourselves. This new Universe picture based on Consciousness opens into and has a place for new concepts of human identity. In particular, it has a place for reincarnation, a process whereby one Consciousness dons’ bodies again and again and lays them down. This is a process wholly impossible on materialistic theories. This new view of things puts a higher perspective on Freudian determinism, which is a partial knowing in a greater account. We are something more than the victims of genes drives and childhood. We are immortally eternal evolving spiritual beings who take on a cycle of earthly lives in order to achieve certain goals and abilities, and then, our earthly cycle complete, we depart the Earth plane for other areas of the Universe physical or purely spiritual, to continue our evolution elsewhere. The scientific evidence for reincarnation is increasing on all sides, see for example the work of Michael Newton, a mainstream scientist forced to confront the fact of reincarnation. A completely new reincarnational picture is now emerging everywhere. We choose our parents for abilities we could acquire through them. We all come here with reasons for being here, and we all have free will, an original property of Consciousness, and we work out our issues accordingly. We all come here with the same reason for being here. It is to experience the Earth plane and human society at all levels and depths, in every social role, every climate, both sexes male and female and in all races. We are all here to acquire a deep understanding of the Earth plane with all its challenges and all of its present problems. We are not here to devour and consume the Earth, but to honor her for the learning experience she makes available for us. And so, reincarnation is the great equalizer, the fundamental basis for any bill of rights. Many of the problems of the modern world owe to the fact that reincarnation has not been taught in the West. Reincarnation was the center piece of Jesus teachings. It was banned by a fourth century council that decided the populous could best be controlled through fear. They edited all mention of reincarnation from the scriptures, and inserted fear terms instead, a judgmental god, and so on. If reincarnation had been taught, there would have been no suppression of women, but the gift of both sexes would have been honored and developed. And there would have been no reason for contempt for people of color because who they are, we have been or will be. There is no reason to look down on anyone when we know that our own identity includes membership in theirs. The truth of reincarnation needs to be the foundation for getting ourselves right with the Earth, and with one another. D. And so, Spirit. This new Universe picture, based on Consciousness, has a place for Spirit as simply Infinite Consciousness. All universes all worlds are formed out of this Consciousness, divine and sacred throughout. And Spirit is everywhere in the Earth and can be connected everywhere. And the Native North American people had things right. Everything has its own Spirit, and without contradiction is also an expression of Spirit. And what I am really doing in terms of concepts of modern science is presenting the Native North American version of the Real. And this new Universe picture has a place for the essential insight of all religions almost smothered by church tradition: Love. Not an emotion but a great Oneness, that can be found everywhere, even in a busy city street. But especially in the Earth, that is levels and depths of Oneness everywhere. And so, for the first time in their long and bitter antagonistic history, science and religion now share a common base with this term Spirit, the lynchpin in a new conceptual framework. And I offer an interpretation of where we are in our history, this present moment of historical grace, and these tumultuous times in which we live, the return of the Goddess and the Divine Feminine, the Reappearance of the Feminine in history, the Advent of Women, this great Awakening, as of Springtime after a long dark Winter, the Awakening, the Second Coming. And so, stay tuned! (shrink)

1 Introduction1 In the 1980s, hermeneutics was often incorporated into deconstructionism and literary theory. Rather than focus on authorial intentions, the nature of writing itself including codes used to construct meaning, socio-economic contexts and inequalities of power,2 Gadamer introduced a different perspective; the interplay between effects of history on a reader’s understanding and the tradition(s) handed down in writing. This interplay in which a reader’s prejudices are called into question and modified by the text in a fusion of understanding and (...) topic revitalized the study of the printed word. Gadamer’s turn to language for understanding the meaning of Being also appealed to the post-modern antipathy toward modernity and metaphysics.3 If the truth and validity of interpretations are limited to communities of language, then our mode of being in history cannot but be historical. This point of view rendered Gadamer’s phenomenological hermeneutics vulnerable to the critique of moral and epistemological relativism. However, Gadamer’s theory of interpretation also stems from re-examination of the beginning of knowledge in the Pre-Socratics and Plato, and on this basis, is receptive to another dimension of inquiry than that which was trending in North America. -/- At the East-West Center, University of Hawai’i at Manoa in 1982, Chung-ying Cheng for the first time introduced onto-hermeneutics to an audience of esteemed philosophers including Li Zehou, Ren Jiyu, Feng Youlan, and Zhang Liwen.4 In contrast to schools of deconstruction and literary theory that had disengaged the interpreter from trans-historical sources of meaning and truth, Cheng explained that interpreters exist within a cosmological order inextricable from responsibility to harmonize Heaven and Earth in creative acts of interpretation. By integrating Chinese cosmology into hermeneutics through ontology, he tacitly challenged philosophers in the West to re-examine assumptions about humanity’s place in nature and by implication, Gadamer’s recovery of the beginnings of knowledge in Western philosophy. -/- Cheng’s Neo-Confucianism is inspired by the method and goals of Thomé H. Fang. The following words by Fang seem to prefigure, although in an indistinct and bundled way, aspects of Cheng’s philosophy including a Mencian theory of human nature, comprehensive observation, and creativity: “In the very process of living in concord with creative Nature, Man is charged with an ideal to be fully realized in the light of the principle of comprehensive harmony.”5 Like Fang, Cheng reinvigorates Chinese culture and language, but not solely in order to vindicate the insights of Neo-Confucianism. He has studied Western thought, from pragmatism and the analytic school to German idealism and phenomenology, to unlock and clarify philosophical concepts within the Yijing tradition and thereby render them intelligible to Anglophones. The result has been an awakening of Western scholars to the moral and cultural consequences of decoupling their thought from metaphysical foundations that are neither dogmatic nor doctrinal. -/- Not unlike the dialectic of Gadamer’s dialogue form, onto-generative hermeneutics integrates contrary positions on the same topic in order to blend both sides into a world philosophy, or as Cheng says, a “totalizing or integrative theory,”6 not to be confused with a theoretical rewording of a theory. On the contrary, the universal scope and relevance of hermeneutics stems from personal experience. Just as Gadamer, in response to faction and strife, immersed himself in Plato during the war years, and developed a method with which to harmonize opposites, so too, according to On-cho Ng, was Cheng moved by faction, strife and political persecution to develop a path toward unity.7 Gadamer taught at McMaster University in Hamilton, Ontario, and Cheng at the University of Hawai’i at Manoa among other institutions in North America. They facilitated trans-continental educational and cultural ties. Similar experiences yield similar insights irrespective of differences of time and place. Hence, authors in this issue who reside in Europe, China and North America, delineate the differences between Gadamer and Cheng, yet also, in light of Cheng’s onto-generative method and cosmology, develop integrative theories. Due to the page-budget restriction of the publisher, certain articles of this special theme will be subsequently published in the next issue. -/- 2 Integrative Theory This special issue of The Journal of Chinese Philosophy confirms a dimension of hermeneutics that Cheng has both motivated and inspired. The contributors do not abide by the conviction that since thought is mediated by language, interpretations cannot transcend culture. On the contrary, their research exemplifies the fruits of trans-historical onto-dialogical hermeneutics within limits defined by their field inquiry, organized into Parts I and II, around three themes: language, the philosophy of history and ethics. -/- Andrew Fuyarchuk introduces the theme of ontology in relation to Gadamer’s turn to language. Fuyarchuk argues that Chung-ying Cheng’s criticism of Gadamer’s hermeneutics is informed by Heidegger’s concept of Dasein and thereby overlooks how Gadamer’s Platonic-Pythagorean problem of the division between the One and Many is harmonized in the event of language, which in turn positions Gadamer in proximity to the presupposed grounds of receptivity in Cheng’s onto-generative hermeneutics. Lauren Pfister’s contributing article addresses the year 2000 meeting between Cheng and Gadamer in Heidelberg and expands the transhistorical grounds of meaning in Gadamer to matters of theology. Pfister’s summary of the written Chinese record of their conversation indicates that Cheng does not address the role of Christian philosophy and hence, the role of the inner word in Gadamer’s hermeneutics. This is important not only for detecting changes in Cheng’s philosophical development, but also for modifying his hermeneutics along the lines of a living conversation, possibilities explored by Pfister in a sequel to the article submitted to this issue. Nevertheless, by raising the issue of how Gadamer’s turn to language for understanding the meaning of Being extends possibilities in Cheng’s thought, Pfister anticipates the article by Katarina Gajdosova. She returns to the roots of Chinese thought during the Warring States period and broadens the meaning of names in recently excavated texts. Contrary to the conventions about how to understand terms, she appeals to both Heidegger’s ontology and Cheng’s notion of receptivity and creativity to reinterpret naming in relation to cosmology. Along the same lines, insofar as the event of Being is lingual, Jay Goulding captures its emergent structure in an evolving community of scholars and scholarship. He recalls his philosophical journey toward Cheng’s philosophy that begins in conversations with Gadamer at McMaster University in Hamilton, leads to Heidegger and Asian thought, expands into turning points with teachers and colleagues from various backgrounds that by increments contributed to Goulding’s formulation of “Daoist phenomenology.” -/- Although differing traditions guide their inquiries and research, Cheng and Gadamer recall the wisdom of the past to ameliorate the fragmentation in contemporary life. This leads them to re-examine the origins of philosophy; historical roots and thus sources of creative re-interpretations East and West whose affinities are developed in contributions by Hyun Höchsmann and Friederike Assandri. Höchsmann assesses convergences and divergences in the origins of Chinese and Western philosophy (Confucius and Socrates, the Yijing and Pre-Socratics) that culminates in pairing Gadamer’s understanding of paideia in the context of Plato’s political cosmology in the Timaeus with moral and social cultivation in The Western Inscription. She delineates the limits of this comparison which in turn justifies introducing Vattimo’s notion of locality. Assandri’s comparative analysis moves between India and China, Buddhism and Tang Daoism. Based on Gadamer’s argument that writing detaches concepts from their cultural moorings, she defines and applies three levels of understanding in onto-generative hermeneutics to Buddhist terms that were assimilated into the Benji Jing and in so doing clarifies essential dimensions of Daoism. -/- Contributions by Stephen Palmquist and Nicholas Brasovan position Cheng in relation to Kant and Gadamer by way of Aristotle’s ethics respectively. On the one hand, Palmquist plots Cheng’s evolving criticism of Kant’s moral philosophy and draws on crucial dimensions of Gadamer’s hermeneutics to reposition that criticism in a constructive relation to Kant’s emphasis on the philosophical conditions of morality while also indicating how religious dimensions of his thought answer Cheng’s concerns for lived moral action. For Palmquist, Gadamer enables a constructive criticism of Cheng. On the other hand, Brasovan compares Cheng’s Yijing-based account of moral deliberation with Gadamer’s Aristotelian-based ethics and reasons that in contrast to Cheng, Gadamer’s hermeneutical consciousness is disengaged from practical knowledge. For Brasovan, Cheng is a constructive critic of Gadamer. Palmquist and Brasovan’s divergent angles on Gadamer and Cheng map onto a dialectic of contrast and complementarity that constitutes the inner logic of Cheng’s philosophy. In other words, Gadamer and Cheng ought to be read alongside one another for the sake of removing discrepancies and contradictions, which constitutes the organic structure of their thinking. -/- 3 Our Mode of Being in History Is Not Historical The conversations between Cheng and Gadamer in this issue of The Journal of Chinese Philosophy pivot on language, philosophy of history and ethics within a comparative framework of analysis, but also explore the grounds that make the comparisons possible. Those grounds are informed by Chinese cosmology, and function to wrest Gadamer from the shadow of Heideggerian facticity and reposition him within the range of Cheng’s ideas about our place in nature that is embedded in his question about how mind emerges from inorganic matter.8 -/- For Gadamer scholars of Heidegger, human finitude, our ownmost individuating death ensures that hermeneutics is always open to the other as other, always on the way toward understanding the meaning of Being. To arrest the process in a concept of “the Absolute” cannot but represent someone’s point of view, and thereby render hermeneutics indistinguishable from ideology. However, insofar as finitude is defined by them in terms of an onto-theological concept of immorality, finitude is a metaphysical concept consistent with epistemologies and confuse beings with the meaning of Being. As a result, the celebrated political value of hermeneutics to always be on the way toward an understanding of the meaning of Being admits subtle variations on the same worldview that are insufficiently self-critical. -/- Gadamer scholars of Heidegger are right. A transformation in ethos and opening to the meaning of Being depends on awareness of finitude. Yet this awareness does not yield openness to more of the same, i.e., discourse structurally incapable of coming to unity but instead, for both Gadamer and Cheng, openness to a distinctly different ontological dimension of reality. As Sandra Wawrytko and So-Seong Park indicate,9 this ontological dimension is prefigured in the experience of being-as-a-whole or the totality of all possible relations in both Chinese totemic shamanistic rituals,10 and Greek Dionysian festivals.11 Through these religious experiences human ethos and therefore consciousness is expanded and elevated from being centered on one’s ownmost concerns toward an affinity with all sentient beings from insects and plants to animals. The channel for this affinity is an auditory disposition and hence, the emotions, compassion, and feeling response. -/- The capacity for an auditory disposition, or as Gadamer calls it, listening consciousness to respond to the inter-relationality and therefore inherent balance of nature is developed through music, song and dance of the religious rituals and festivals. They facilitate the unity of mind with nature. This use of music, that transforms ordinary consciousness, explains Cheng’s emphasis on the receptivity of feeling response in comprehensive observation, and Gadamer’s emphasis on openness to the other in attunement. However, an auditory disposition characteristic of pre-literate oral cultures that reveals the “All” need not rely on religion. As theorists about the evolution of language have explained,12 modern languages preserve their pre-historical past in music or prosody. That is to say, the song and dance that revealed the totality of inter-related beings to an ethos of comprehensive observation and attunement toward beings in classical civilizations is retained in the back-and-forth movement or rhythm of the dialogue form. Our mode of being in history is a mode of being in nature – through the music of language. -/- While alerting the reader to the limits of a nominalist interpretation, Gadamer expresses the inner law of the nature as follows: “in perishing there is always becoming, and in becoming there is always perishing.”13 Considered in process, opposites generate and blend into each other. This law of nature applies to everything.14 Hence, in a manner comparable to Pfister’s concluding insights, onto-dialogical hermeneutics is not only open to discrete events of otherness but moreover, to the moving structure of reality expressed, as Gajdosova suggests, in the existential moment of naming. Considered as interplay of tension and resolution with a life of its own, the dialectic of a dialogue is self-similar to the way in which an organism grows (by instinct). There is, therefore, a sense in which the art of interpretation extends the human mind into the eternal cycles of nature such that we participate in the articulation of the inner telos/homeostasis toward which all beings strive and importantly for Gadamer scholars of Heidegger, within the material limits of energy to which our embodied minds are self-evidently subject. In mortality there is always immortality. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Holocaust Visions: Surrealism and Existentialism in the Poetry of Paul CelanVéronique M. FótiHolocaust Visions: Surrealism and Existentialism in the Poetry of Paul Celan, by Clarise Samuels; x & 134 pp. Columbia, South Carolina: Camden House, 1993, $53.50.Samuels’s thesis is that Celan’s poetic work in its entirety can and should be understood as a comprehensive and unified philosophical system, in which each poem is assigned its place. This system (...) is not outlined in terms of its organizing principles, but rather in its topography of three superimposed layers. The top layer (which an empiricist would consider foundational) mirrors an “objective” reality and is informed by finehoned observation, whereas the middle layer constitutes an “ideological program” that “attempts to establish a socio-political value system” (p. 2), while the supporting bottom layer offers an “existentialist epistemology.”Despite her stress on systematicity (obsolete since Hegel), Samuels identifies surrealism (particularly the strand deriving from Breton) and existentialism as the formative influences on Celan’s poetics; and she carefully explores the interrelations of these movements of thought with the heritage of French symbolism, and with Dadaism and Marxism. She does not, however, use guiding concepts, such as “epistemology” or “ideology,” in any precise philosophical sense. By “epistemology” she seems to mean a fundamental concern for reality and truth, coupled with the belief that truth is accessible beyond [End Page 382] social constructions of meaning, whereas “ideology” is used in the various senses of revolutionary program, utopian vision, structure of ideas, or even just ideation (as in “On the ideological level, the Holocaust fulfills the surrealist intention of entering the individual’s subconscious,” p. 108).On the basis of her analyses of surrealist and existentialist thought, Samuels examines Celan’s poetry and poetics with a view to his search for an “alter reality” that would transcend, but not negate, the “Holocaust universe.” She first researches Celan’s syntactic structures, such as the “genitive phrase,” the elliptical sentence, or the fragmentation (and recombination) of words, to move on to a discussion of his tropes, which she arranges broadly into “representations of space, time, persons, and actions” (p. 39). Her discussion of Celan’s spatial tropes, particularly of his devastated imaginary landscapes and places of loss (unfortunately “space” and “place” are not distinguished), is especially compelling. It is further enriched, in the final chapter, which seeks to elucidate Celan’s notion of utopia and to locate utopia in art, by reference to the visual work of Tanguy, Ernst, and Magritte.The book as a whole is meticulously researched and includes extensive discussions of the secondary literature, with a slant toward Germanistik rather than philosophy, and with perhaps a particular debt to Marlies Janz. Its weakness is, in a way, tied to its strength: in her discussions of philosophical concepts and movements, Samuels seems to rely largely on (somewhat dated) secondary literature, so that her philosophical understanding is frequently a confused amalgam. For instance, she links Sartre’s in-itself to the Kantian noumenon (p. 20) and goes on to locate it, not only in the “universe,” but also “at the core of the human self,” so that the for-itself contrasts with it as a “superficial” construction, a sort of artifact that needs to be “controlled.” She assimilates the nihilating character of Sartrean consciousness to a “principle of nihilism” that supposedly characterizes existentialism, while nevertheless interpreting Sartre’s humanism as a turn toward “the eternal aspect” of mankind. Heidegger is cast as an existentialist in search of a literalized authenticity, while his critique of Sartrean humanism is simply ignored.In treating Celan’s poetry as systematically coherent and as, in some sense, ideological, Samuels not only disregards the striking stylistic changes that characterize its various phases, but she also does not try to unravel its intricate textual fabric of allusions (notably to Hölderlin and Trakl), to analyze textual structures such as the displaced re-inscription of the date (notably Büchner’s Jänner), or to respond to its unleashing of the semantic energies that lie latent beneath the surface of ordinary language. Sometimes she overlooks her own inchoate interpretive insights, as in her two discussions of parts of... (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

In this paper, I shall defend Russell's view that Mont Blanc, with all of its snow elds, is a component part" or constituent of what is actually asserted when one utters Mont Blanc is more than 4000 meters high," and of what one believes, when one believes that Mont Blanc is 4000 meters high. I also claim, however, that a proposition that does not have Mont Blanc as a constituent plays an important role in the assertion and the belief that (...) Mont Blanc is more than 4000 meters high. Taken somewhat out of context, the quotes from Frege and Russell express insights that pull in di erent directions in the contemporary philosophy of language. Behind Frege's remark is the insight that reference is not direct but mediated. When we think and talk about things, our thoughts and words are not in direct contact with the things thought about and talked about. The meanings of our words, and the cognitive roles of our ideas, do not in and of themselves determine their reference. They get at objects via some aspects of.. (shrink)

Rather than abstracting Augustine’s exploration of time from the whole of the Confessions, as philosophers have been tempted to do, I take up his exploration in terms of what I call a ‘companioning relation’ between philosophy and theology. There is a porosity between religion/theology and philosophy in Augustine that need not be taken as a philosophical or theological deficiency. This reflection speaks of Augustine’s intentions and intuitions in terms of the theme: Wording Time. How might one word this wording, and (...) how might Augustine’s approach to time be thus illuminated? I approach the question in different stages, dealing first with theological, ontological, and psychological considerations. Then I follow the breadth of Augustine’s concerns to a sense of sacred heterogeneities that yet are deeply intimate, and to a sense of time that is in communication with what is above time. In keeping with the musical motif that runs through this reflection, I offer some thoughts on agapē as not only an agapē sonans but an agapē personans. I will sometimes be transcribing Augustine’s themes, sometimes offering variations on them, and sometimes composing improvisations in tune with Augustinian themes. (shrink)

Freud's core interest in the psyche was the dynamic unconscious: that part of the psyche which is unconscious due to conflict (Freud, 1923/1961 ). Over the course of his career, Freud variously described conflict as an opposition to the discharge of activation (Freud, 1950 ), opposition to psychic activity due to the release of unpleasure (Freud, 1990/1991 ), opposition between the primary principle and the reality principle (Freud, 1911/1963 ), structural conflict between id, ego, and superego (Freud, 1923/1961 ), and (...) ambivalence (Freud, 1912/1963 ). Besides this difficulty of the shifting description of conflict, an underlying question remained the specific shared terrain in which emotions, thoughts, intentions or wishes could come into conflict with one another (the neuronal homolog of conflict), and most especially how they may exist as quantities in opposition within that terrain. Friston's free-energy principle (FEP henceforth) connected to the work of Friston (Friston et al., 2006 ; Friston, 2010 ) has provided the potential for a powerful unifying theory in psychology, neuroscience, and related fields that has been shown to have tremendous consilience with psychoanalytic concepts (Hopkins, 2012 ). Hopkins ( 2016 ), drawing on a formulation by Hobson et al. ( 2014 ), suggests that conflict may be potentially quantifiable as free energy from a FEP perspective. More recently, work by Friston et al. ( 2017a ) has framed the selection of action as a gradient descent of expected free energy under different policies of action. From this perspective, the article describes how conflict could potentially be formalized as a situation where opposing action policies have similar expected free energy, for example between actions driven by competing basic prototype emotion systems as described by Panksepp ( 1998 ). This conflict state may be avoided in the future through updating the relative precision of a particular set of prior beliefs about outcomes: this has the result of tending to favor one of the policies of action over others in future instances, a situation analogous to defense. Through acting as a constraint on the further development of the person, the defensive operation can become entrenched, and resistant to alteration. The implications that this formalization has for psychoanalysis is explored. (shrink)

I. Thanks largely to Joshua Knobe, philosophers now frequently empirically investigate the folk psychological concept of intentional action. Knobe (2003, 2004a, 2004b) argues that application of this concept is often surprisingly sensitive to one’s moral views. In particular, it seems that people are much more willing to regard a bit of behavior as intentional, if they think that the action in question is bad or wrong. There is much controversy about both the design and the interpretation of the experiments Knobe (...) has conducted. One concern is that common use of the word ‘intentionally’ seems to be sensitive to matters other than the concept of intentional action. Perhaps the use of the word ‘intentionally’ is also governed by pragmatic thoughts about blameworthiness—if you think N.N. is to be blamed for ф-ing, then you are more likely to say that N.N. is ф-ing intentionally, apart from whether you really judge that the ф-ing was intentional (Adams and Steadman 2004a). One way to neutralize these concerns is to gauge whether people regard an action as intentional, not by asking them whether they would apply the word ‘intentional’ or its cognates to the action in question, but by seeing whether they treat the action as susceptible to reason explanations. After all, if some act of ф-ing is susceptible to a reason explanation, then the act of ф-ing is intentional. Knobe infers that we can see whether a psychological subject regards some act as intentional by seeing whether the subject is willing to say that the bit of behavior can function appropriately in a reasons explanation. (shrink)

What is the connection between thought and language? The dependence of speaking on thinking is evident, for to speak is to express thoughts. This dependence is manifest in endless further ways. Someone who utters the sentence “The candle is out” as a sentence of English must intend to utter words that are true if and only if an indicated candle is out at the time of utterance, and he must believe that by making the sounds he does he is (...) uttering words that are true only under those circumstances. These intentions and beliefs are not apt to be dwelt on by the fluent speaker. But though they may not normally command attention, their absence would be enough to show he was not speaking English, and the absence of any analogous thoughts would show he was not speaking at all. (shrink)

This study examined the mediating role of core Executive Functions (EF: working memory and inhibitory control) and moderating role of Perceived Academic Intent to Entrepreneurship (PAIE) in relationship between Dark Personality Traits (SDT) and Entrepreneurial Intentions (EI) of university students. A sample of 539 university students enrolled in various undergraduate and postgraduate programs completed the Short Dark Triad-3 (SD3), Adult Executive Functioning Inventory (ADEXI), and measures for assessing Entrepreneurial Intent and Perceived Academic Intent to Entrepreneurship. The results showed that of (...) SDT, only Machiavellianism was significantly associated with EI. Both of the core executive functions and PAIE were also positively correlated with EI. Moreover, findings showed that EF positively mediated the relationship between Machiavellian disposition and entrepreneurial intention, while perceived academic intent to entrepreneurship moderated the relationship between executive functions and EI. A significant moderated mediation index was also reported. Findings offer useful insight to the interplay among above mentioned variables and guide educational and organizational psychologists to employ core cognitive strategies for promoting entrepreneurial thoughts and channelizing the productive energies of students with malevolent tendencies through academic coaching. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art, Mind, and IntentionNoël CarrollArt and Intention: A Philosophical Study, by Paisley Livingston ; 266 pp. oxford: oxford University Press, 2005, $74.00, $35.00 paper.The relevance of intention to the philosophy of art was perhaps first made explicit by G.W.F. Hegel who, in his monumental The Philosophy of Fine Art, narrowed the domain of aesthetics to art on the grounds that the beauty that pertains to art is the product (...) of mind. Though Hegel does not single out intention as the aspect of mind that impresses him, his definition of fine art in terms of that which possesses an aim that imbues the pertinent art with content makes it probable that what he is talking about is intention. Since Hegel's day, but maybe most especially in the last three decades, philosophers of art have relied upon the notion of intention to attempt to solve many of the recurring problems of their field, including not only issues involving art status, but those involving authorship, interpretation, and fictional truth, among others. In Art and Intention: A Philosophical Study, Paisley Livingston has performed the very valuable service of corralling a substantial number of topics regarding the intersection of art and intention between the covers of one book.Although there are books devoted to exploring the relation of art and intention with respect to specific topics, most notably interpretation, there is, to my knowledge, no other book like Livingston's that surveys such a diversity of issues concerning the nexus of intention and the [End Page 394] philosophy of art. Thus, Art and Intention should be a welcome addition to the library of any aesthetician.Art and Intention comprises seven chapters. The first chapter, reasonably enough, involves a discussion of what it is to be an intention. For Livingston, who follows the action theorist Alfred Mele quite closely, an intention standardly consists of a propositional attitude in addition to a propositional content toward which said attitude is directed. The propositional attitude is executive in nature—that is, where x is the content, the intender is firmly settled upon or committed to perform x, or, at least, to try to perform x. The propositional content of an intention, in turn, is what Livingston calls a plan. An intention then is an executive attitude towards plans.I am a bit unhappy with this formulation, since I worry that it may be somewhat misleading. To my ear, the word plan insinuates the idea of a formulated method, whereas many intentional actions, including those of artists, are scarcely worked out beforehand but emerge instead in the heat of doing things. Livingston is aware of this and appears to require no more of plans in his sense than that they involve at least a rudimentary grasp of the means for carrying off the purposes at hand. This seems right to me, but it still strikes me as strained to call this sort of procedural knowledge a plan.When Jasper Johns denies that he plans to make a picture in a certain way, but rather only follows a thought that pulls in a certain direction, he does not mean to disagree with Livingston, though his choice of words seems at odds with Livingston's.1 For Johns's, like many others, plan means a precise formulation, whereas for the action theorist it is a technical term of art with broader signification. Nevertheless, since the word still retains its ordinary meaning, the possibility for confusion here is rife. So, perhaps another word can be found or, maybe, coined.Chapter 2 concerns intention and the creation of art. Livingston spends the first part of the chapter fending off counterexamples, like automatic writing, that might be adduced to challenge the claim that artworks require intentions. I am very sympathetic with his treatment of the examples he canvasses. However, I would be curious to hear what he would say about a case that I've heard described of a show at MOMA several decades back where images culled from surveillance cameras, operating automatically, were exhibited.2 These specific images were not produced intentionally by anyone. But aren't they art? Perhaps the curators will be assigned the... (shrink)

There is a sense in which it is trivial to say that one accepts intention- (or convention-) based semantics.[2] For if what is meant by this claim is simply that there is an important respect in which words and sentences have meaning (either at all or the particular meanings that they have in any given natural language) due to the fact that they are used, in the way they are, by intentional agents (i.e. speakers), then it seems no one (...) should disagree. For imagine a possible world where there are physical things which share the shape and form of words of English or Japanese, or the acoustic properties of sentences of Finnish or Arapaho, yet where there are no intentional agents (or where any remaining intentional agents don’t use language). In such a world, it seems clear that these physical objects, which are only superficially language-like, will lack all meaning. Furthermore, it seems that questions of particular meaning are also settled by the conventions of intentional language users: it’s nothing more than convention which makes the concatenation of letters ‘a’^‘p’^‘p’^‘l’^‘e’ mean apple, rather than banana, in English.[3] So, understood as the minimal claim that intentional agents, who have a practice of using certain physical objects (written words, sounds, hand gestures, etc) to communicate certain thoughts, are a prerequisite for linguistic meaning, the idea that semantics is based on both intention and convention seems indisputable. I will label a theory which recognises this preconditional role for speaker intentions an A-style intention-based semantics and we will explore one such account in §1. (shrink)

An introduction to the long-forgotten healing methods of the Essenes—an ancient sect of Jewish mystics—that offers useful tools, meditations, and visualizations for modern-day practitioners Until the discovery of the Dead Sea Scrolls in 1946, there was little known about The Essenes, a brotherhood of holy men and women living together within a community over two thousand years ago. The Essenes considered themselves to be a separate people—not because of external signs like skin color or hair color, but because of the (...) illumination of their inner life and their knowledge of the hidden mysteries of nature unknown to other men. The Gate of Light is based on Lars Muhl’s lifelong search for God. It doesn’t claim any absolute truths but sets out to provide a practice based on Essene teachings that allows us to look at how we judge ourselves and how we live in the world. Muhl asks: What motivates us? How do we create a balance between thoughts, words, and actions? How do we align ourselves in relation to our higher self and become the universal light beings we are meant to be? The Essenes understood that everything is interactively connected and that everything is energy. For them, God was the name for the highest form of awareness, something omnipresent and—if a human wished to learn how—they could communicate with this ever-present energy; through this communication humans could realize their full potential. Drawing on this ancient knowledge, Muhl presents a complete practice to help us recognize and answer the above questions. He particularly looks at: Grief and Happiness, Balance and Awareness, Selflessness, Boredom and Renunciation, Loneliness, Gratitude, Silence and Thoughtfulness. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:John R. Boly NIHILISM ASIDE: DERRIDA'S DEBATE OVER INTENTIONAL MODELS DERRIDA'S PHILOSOPHY, or perhaps antiphilosophy, emerges from phenomenological thought. But to a great extent, he has been permitted to define that emergence on his own terms, particularly in his writings on Hegel, Husserl, and Heidegger. This is, of course, highly questionable. It in effect licenses Derrida to become a revisionist historian of his own origins. So I propose a (...) variation. Instead of placing phenomenology against Derrida's backdrop, I want to question his deconstructive project in its relation to the phenomenological venture. The difficulty with this is apparent. What would such a venture be? Even posing the question raises problems in that it presupposes an impossible vantage, an uninvolved point from which to look down in serene mastery at a game rigged in advance. Yet perhaps a synoptic point ofview may be indulged in for a while, provided no one forgets its provisional nature. In that case, the phenomenological venture includes four moments. 1. Suspension (or epoche). Human beings cannot perceive reality in itself. They can only experience meaning through the operations of intentionality, which may be thought of as the exclusions, selections, and combinations of a mediating system. This truism is no less terrifying for being so true, and every mediating system bears within itselfan impulse towards protective closure, an impulse to veil its own forming activity. Such closure eventually encrusts a mediating system and hardens into what Marxists call ideology, the early Barthes called myth, or contemporary response theorists call repertoire. Suspension involves a questioning attentiveness that remains within the closure it questions. Every fact is reconsidered, as factum, a deed brought forth through a process ofmaking. The consequently bracketed "fact" is both sacred object, granting reflexive ac152 John R. Boly153 cess to its formative process, and utter pretension, trying to conceal that process and thereby promote itself as fact rather than facture, origin rather than product. Phenomenology begins with a questioning of that pretension. Like a difficult child, it is perplexed at the self-evident and wonders at the obvious. 2.Reduction. Yet this questioning attentiveness takes only a first step. Suspension disenchants or disillusions, but it does not advance toward an understanding of the intricate patterns through which meaning emerges from the infinite possibilities of perception. That is the task of reduction, to which Husserl assigned two phases, the eidetic and the transcendental.1 In the eidetic phase, phenomena are released, so far as this is possible, into a preflective and preconceptual mode, as pure perceptions still awaiting the activity of mediation. Here, phenomena are boundless as well as exhilarating in their semantic potential. This return to primary perception, however, generates an opposing phase, the transcendental reduction, which traces the way in which mediating systems or what John Wild called versions of the life-world, select and arrange a potentially infinite semantic potential into actual meanings.2 Eidetic and transcendental phases work together, as inseparable antagonists within a continuous dialectic of disclosure. Because these two phases oppose one another, reduction involves a continuous interplay between energy and order, dynamism and system, with the result that it tirelessly traces patterns in the life-world, yet does so only to modify and transform those patterns through the very act of its tracing. Efforts to set the patterns of a life-world into a stable structure at the same time set free their infinite possibilities.3 The eidetic phase of the reduction thus provides a relentless semantic pressure that qualifies, elaborates, and eventually disperses every order of the transcendental phase. Yet without the revealing provocation of such inadequate orders, the eidetic phase would become incoherent and lapse into a speechless nihilism. Though it enacts a comic drama, reduction is the central task of the phenomenological venture, which halts the instant it is denied access to the intentional realm of the life-world. 3.Opening. So important is this access that it generates a separate moment, which pauses to meditate on the conditions of such access. The issues that arise here dominated Heidegger's thought after Being and Time, and they are among the most abstruse yet important concerns of phenomenology. How can models of intentional patterning be... (shrink)

We humans and other animals continuously construct and main- tain our grasp of the world by using astonishingly small snippets of sensory information. Recent studies in nonlinear brain dynamics have shown how this occurs: brains imagine possible futures and seek and use sensory stimulation to select among them as guides for chosen actions. On the one hand the scientific explanation of the dynamics is inaccessible to most of us. On the other hand the philosophical foundation from which the sciences grew (...) is accessible through the work of one of its originators, Thomas Aquinas. The core concept of intention in Aquinas is the inviolable unity of mind, brain and body. All that we know we have constructed within ourselves from the unintelligible fragments of energy impacting our senses as we move our bodies through the world. This process of intention is transi- tive in the outward thrust of the body in search of desired future states; it is intransitive in the dynamic construction of predictions of the states in the sensory cortices by which we recognize suc- cess or failure in achievement. The process is phenomenologically experienced in the action-perception cycle. Enactment is through the serial creation of neurodynamic activity patterns in brains, by which the self of mind-brain-body comes to know the world first by shaping the self to an approximation of the sought-for input, and then by assimilating those shapes into knowledge and meaning. This conception of the self as closed, autonomous, and self- organizing, devised over 700 years ago and shelved by Descartes, Leibniz and Spinoza 300 years ago, is now re-emerging in philos- ophy and re-establishes the meaning of intention in its original sense. The core Aquinian concept of the unity of brain, body and soul/mind, which had been abandoned by mechanists and replaced by Brentano and Husserl using the duality inherent in representa- tionalism, has been revived by Heidegger and Merleau-Ponty, but in phenomenological terms that are opaque to neurscientists. In my experience there is no extant philosophical system than that of Aquinas that better fits with the new _ndings in nonlinear brain dynamics. Therefore, a detailed reading and transcription of basic terms is warranted, comparing in both directions the significance of key words across 700 years from medieval metaphysics to 21st century brain dynamics. (shrink)

In this paper I will argue that, contrary to what most scholars are inclined to believe, there are important tensions between the later Wittgenstein’s views on language and Michael Tomasello’s usage-based theory of language acquisition. On one hand, Wittgenstein characterises the first steps into the acquisition of a first language as a matter of acquiring practical abilities, which, in an anti-intellectualistic vein, do not require any kind of knowledge. On the other hand, Tomasello employs a Gricean model of communication to (...) describe pre-linguistic children’s communicative interactions, thus taking an intellectualist stance. According to this model, children are supposed to acquire the meanings of words because they are able to infer communicators’ intentions on the basis of the common ground (mutual knowledge) they establish with them. Eliciting this tension is of uttermost importance because: (i) it bears crucial implications for the explanatory relationships between language and thought; (ii) it is central to the heart of Tomasello’s project of explaining linguistic competency as based on communicative abilities. In the conclusion, I will argue that there are ways to ease the main tension if, following Richard Moore, basic communicative acts are conceived of as Minimally Gricean. (shrink)

Includes emotional and affective feelings. Mood builds on the human organism's body, but you must turn to the development of affective experience of the body. I did not last for more than the physical body Zhumo, this article from the mood in the body discussed the rise of the body, to significant problems of the body by the body to experience over the body, as well as the physical body plays in the emotional life of role, will be particularly focused (...) on the discussion of the role of the brain. Basically, the emotional mood of the rise in the body surface of the body, but the emotion does not stop the body. Since the emergence of human consciousness with the intention of the role, so there are feelings of the development. Affective refers to the so-called intentional sexual feelings, especially those that point to the meaning and value of high-level emotions, such as aesthetic, moral feelings and religious sentiments. This paper illustrates how the human experience from the development of the aesthetic experience of the body, powered by the desire to develop a sense of beauty and art have meaning in the world. Furthermore, affective development also has its ethical dimension. This paper by discussing Aristotle's "practical wisdom", as well as Confucianism, Taoism-related ideas, show affection broad sense of the ethical dimension. Finally, to discuss the religious aspects of affective life, and do a little due. Human affectivity includes emotions and feelings. Emotions have their physiological foundation on human body as organism, whereas intertional feelings refer to body as lived. The present author has in his previous writings put emphasis on body as lived, but few words have touched upon body as organism. This paper makes a remedy on this point and attempts to deal with problems such as how emotions arises from body as organism so as to make clear the transition from body as organism to body as lived, and the role organic body played in our emotional life, focus being put on the functions of the brain. Basically speaking, the emotional aspect of human affectivity is originated from, but not limited to, organic body. I see our body as the locus of human desire, defined as a dynamic energy towards the meaningfulness of life. Because of the emergence of consciousness and its intentionality, we have a further development of life of our intentional feelings. "Intentional feeling" denotes those feelings with intentionality that directs iself towards meaningulness and values, especially those intending higher levels of mental activities such as aesthetic feeling, moral feeling and religious sentiment. We will discuss first how aesthetic feelings emerge from body as lived, in the way that desire as dynamism of meaning develops into a world of aesthetic values. Intentional feeling has its ethical dimensional, in the sense determined by Aristotle's idea of ​​phronesis, Confucian idea of ​​moral praxis and Daoist idea of ​​life praxis. In the end, this paper will try to shematize the religious dimension of intentional feeling. (shrink)

In search of the origins of some of the most fundamental problems that have beset philosophers in English-speaking countries in the past century, Claire Ortiz Hill maintains that philosophers are treating symptoms of ills whose causes lie buried in history. Substantial linguistic hurdles have blocked access to Gottlob Frege's thought and even to Bertrand Russell's work to remedy the problems he found in it. Misleading translations of key concepts like intention, content, presentation, idea, meaning, concept, etc., severed analytic philosophy from (...) its roots. Hill argues that once linguistic and historical barriers are removed, Edmund Husserl's critical study of Frege's logic in his 1891 _Philosophy of Arithmetic_ provides important insights into issues in philosophy now. She supports her conclusions with analyses of Frege's, Husserl's, and Russell's works, including _Principia Mathematica_, and with linguistic analyses of the principal concepts of analytic philosophy. She re-establishes links that existed between English and Continental thought to show Husserl's expertise as a philosopher of mathematics and logic who had been Weierstrass's assistant and had long maintained ties with Cantor, Hilbert, and Zermelo. (shrink)

This philosophical treatise on the foundations of semantics is a systematic effort to clarify, deepen and defend the classical doctrine that words are conventional signs of mental states, principally thoughts and ideas, and that meaning consists in their expression. This expression theory of meaning is developed by carrying out the Gricean programme, explaining what it is for words to have meaning in terms of speaker meaning, and what it is for a speaker to mean something in terms of (...) intention. But Grice's own formulations are rejected and alternatives developed. The foundations of the expression theory are explored at length, and the author develops the theory of thought as a fundamental cognitive phenomenon distinct from belief and desire, argues for the thesis that thoughts have parts, and identifies ideas or concepts with parts of thoughts. This book will appeal to students and professionals interested in the philosophy of language. (shrink)

Forms of thinking that involve thinking about thought are only available to creatures participating in a public language. Thoughts can only be the objects of further thoughts if they have suitable vehicle and the only suitable vehicle is public language sentences. These language-dependent cognitive abilities range from second-order reflection on one's own beliefs and desires and the capacity to attribute thoughts to others to the ability to entertain tensed thoughts and to deploy logical concepts. Many of these language-dependent cognitive abilities, (...) however, have primitive analogues that do not involve intentional ascent and hence are available at the nonlinguistic level. This chapter considers the practical implications this has for the scope and limits of nonlinguistic thought. The chapter explores the question: what types of thinking are in principle unavailable to nonlinguistic creatures? There are two types of intentional ascent, which might be termed explicit and implicit intentional ascent respectively. (shrink)

We model a piece of text of human language telling a story by means of the quantum structure describing a Bose gas in a state close to a Bose–Einstein condensate near absolute zero temperature. For this we introduce energy levels for the words used in the story and we also introduce the new notion of ‘cogniton’ as the quantum of human thought. Words are then cognitons in different energy states as it is the case for photons in different (...) energy states, or states of different radiative frequency, when the considered boson gas is that of the quanta of the electromagnetic field. We show that Bose–Einstein statistics delivers a very good model for these pieces of texts telling stories, both for short stories and for long stories of the size of novels. We analyze an unexpected connection with Zipf’s law in human language, the Zipf ranking relating to the energy levels of the words, and the Bose–Einstein graph coinciding with the Zipf graph. We investigate the issue of ‘identity and indistinguishability’ from this new perspective and conjecture that the way one can easily understand how two of ‘the same concepts’ are ‘absolutely identical and indistinguishable’ in human language is also the way in which quantum particles are absolutely identical and indistinguishable in physical reality, providing in this way new evidence for our conceptuality interpretation of quantum theory. (shrink)

Article is devoted to ethical aspect of a performativity which usually remains beyond the scope of esthetic, political, linguistic aspects. In modern performance studies are usually combined the private and exact entered by Ostin definition of a performativity as the word making action, and widespread Marxist idea of the critical, changing the world theory potential. In article the main rate becomes on the heterodox reading of a performativity following criticism of violence of metaphysics of Levinas. If the theory is output (...) from ethics, then the performativityt is thought as radical passivity of the theory. In that case, crucial importance for conceptual model of the subject is gained by not epistemological, but ethical measurement, namely ethics of a categorical imperative. The categorical imperative is arranged as a performatory contradiction between desire and a will, it fixes a situation of a gap, an akrasia, otherwise, of the decision. Two modern interpretations of value of a concept of the subject of the decision are given in article. One of them - positive, belongs Badiou, it is the subject of fidelity to an event. It will be coordinated with the subject of practical mind of Kant as it is supported by the pure and formal movement of will. However this model, according to Meillassoux, can be considered transitional as the exclusivity of the decision undermines a correlation circle. The criticism of the Philosophical Decision as distributions of transcendental and empirical functions, offered by Laruelle appears really fresh course. Non-philosophy thinks of itself as the only performatory theory because it registers this initial decision and refuses to go on a speculative circular way of philosophizing. The main problem connected with non - philosophy, consists that its performativity remains rather declarative, conditions of a solution of the problem of an akrasia, a gap between desirable and possible are not clear. (shrink)

Mental representation is a metaphor. It has perhaps become so entrenched that it appears to have been frozen, and it is easy to lose sight of its metaphorical character. Literally, a representation is a re-presentation, a symbol that stands for something else because that thing can’t be with us. I send my parents photos of the grandchildren because e-mail is cheaper than air tickets. I consult a map of Adelaide to find the shortest route to the philosophy department because wandering (...) through the streets would take too much time. Perhaps in a similar sense I use words in this discussion because the very ideas in my head have no way of being transferred directly to yours. It is tempting to think that when you hear them thoughts in your head substitute in further processing for the sounds I produce or for the words they encode. But if I am right in what follows, we should resist this temptation. (shrink)

If we consider human thought as the, so far, ultimate, if not supreme, stage in the evolution of life on Earth, we must also try to understand the evolutionary conditions that allowed it to emerge, and that leads us to look again at living organization.Whatever the origins of life (cf. the text of Jacques Reisse, p. 53), it is clear that the oldest living organization, that of a protobacteria, is extremely complex in its functional and complementary association of extremely diverse (...) macro-molecules, and that this complexity includes in particular: a) the organization of exchanges with an environment from which it draws both matter-energy and organization ; b) a permanent process of self-reorganization through the replacing of molecules that have deteriorated and through the production of new ones; c) the organization of the self-reproduction of the creature through division. An organization of this kind includes a quasi-informational dimension (the hereditary message inscribed in the genes and the capacity to extract information from the environment), a quasi-computational dimension (the processing of data, via indices or quasi-signs from the interior and exterior), and a communicational dimension (internal RNA-protein communication and external communication with its congeners). In short, from the beginning, a living being is the product/producer of a self-eco-organization the nature of which is at the same time computational, informational, and communicational. In other words, within every living organization, there is a cognitive dimension, but this cognitive dimension is undifferentiated within it. (shrink)

I am trying to develop a specific methodology of understanding nature of aims and intentions. There are three groups of the main problems. Firstly, the principal openness of the future and, in particular, the idea of self-organization require new methodology - the so called synergetic one. According to the synergetical approach the aim and idea have attractive power and are very important mechanisms of human activity and they They include the energetic capacity and can berepresented as peculiar energetic resource of (...) human behaviour. Secondly, it would be especially important to consider positive and creative contents of aims and a high level of culture mentality and way of thinking. On the contrary - without aims acts - the man as a rational being acts in a spontaneous and unpredictable way, forgets its previous states and loses his systemic memory. The third group of problems concerns an important idea of human reflection as an open non-equilibrium information system. The evolution prospect of such systems allows numerous combinations of the development. The mental image of the aimcan be understood as an intensive directional resource for actions. The meaning of the conception charisma is analyzed in this article. The charisma is defined as a type of social energy. I try to explain the relationships between charismatical persons and other people. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Avatars of the Word: From Papyrus to CyberspaceJay David BolterJames J. O'Donnell. Avatars of the Word: From Papyrus to Cyberspace. Cambridge: Harvard University Press, 1998. xiv + 210 pp. 1 ill. Cloth, $24.95.The last chapter of James O'Donnell's thoughtful and highly readable book is entitled "Cassiodorus: Or, The Life of the Mind in Cyberspace." The subtitle made me think of the cyberenthusiast John Perry Barlow's claim that cyberspace (...) is in fact the new home of Mind. In a brief tract published on the Internet a few years ago, "A Declaration of Independence for Cyberspace," Barlow claimed that cyberspace is a new world, freed from the prejudices and traditions of the cultures of our physical world. Barlow is in many ways O'Donnell's opposite number. Where Barlow, like so many other proponents of cyberspace, rejects the relevance of history for our electronic future, O'Donnell anchors every step of his analysis in the history of writing. Where Barlow is frenetic, O'Donnell is calm. O'Donnell considers electronic writing as the latest in a series of technologies of writing, each responding to and shaped by its contemporary culture. The main lines of O'Donnell's argument--his comparison of contemporary literate culture to earlier cultures of the papyrus roll, the codex, and the printed book--are familiar from other sources. But O'Donnell's profound and easy learning enables him to add fresh insights and examples on every issue.O'Donnell's strategy is to explain the meaning of electronic writing today through a series of historical resonances. Early chapters examine the passage from orality to literacy as represented by the contrasting philosophical presences of Socrates and Plato; the changing nature of the library from the Alexandrian through Cassiodorus and the medieval monastic library and on to the hopes for today's "virtual" library; and the techniques of reading and reference [End Page 334] afforded by various technologies from the papyrus roll to the codex to the homepage. In later chapters O'Donnell explores the nature of teaching and of the university today and speculates on their future, as electronic technologies become more important to the curriculum. His specialist's knowledge of late antiquity and the early Middle Ages permits him to concentrate on this crucial period, which witnessed the shift from papyrus roll to codex. The historian of the book Roger Chartier has also argued that this transfer from roll to codex is the most appropriate comparison for the current move from printed book to electronic text. O'Donnell devotes relatively little space to discussing the latest avatar, electronic technology itself; he concentrates instead on establishing the historical parallels.In short, what is usually lacking in discussions of electronic writing, an informed historical sense, is in ample supply in Avatars of the Word. O'Donnell is in general optimistic about the future of literate culture. His optimism seems to come precisely from his long historical view, which mitigates any feeling of panic over the current changes in the forms and practices of literacy. In this respect we might compare his cautious optimism with the less informed pessimism of Sven Birkerts in his Gutenberg Elegies (1994). O'Donnell is also sanguine about the role that electronic technology can play in education--not by replacing teachers, but rather by allowing instruction to become more individual.On the other hand, the historical sophistication of Avatars of the Word both defines and limits its audience. Enthusiasts like John Perry Barlow count their readers in the hundreds of thousands, precisely because they offer a high-energy narrative of the future that does not trouble itself about the past. The leisurely and reflective pace of O'Donnell's book will seem luxurious to most of the new media world. O'Donnell says that his audience are "those who read books and use computers and wonder about the relationship" (ix). But the audience is perhaps narrower: those who, like the readers of this journal, are steeped in literate culture. Even within that group, O'Donnell is really speaking to those who are not intimidated by or disdainful of computer technology.In addition to being a professor of... (shrink)

This paper examines Edmund Husserl's revised account of expression in his 1913–1914 revisions of the Logical Investigations. Rejecting the Investigations’ thesis that linguistic meanings are constituted in a distinctive class of essentially non-intuitive meaning intentions, Husserl develops a new conception of empty intention, a new analysis of the intuitively fulfilled discourse and a phenomenology of the indicative tendency. While these revisions have been acknowledged, their motivation, connection, and significance remain under-explored in the existing literature. By comparing the Investigations and the (...) Revisions, this paper shows how these developments fundamentally alter Husserl’s understanding of the relationship between language, thought, and intuition. The revised account of expression illuminates the dynamic interaction of these elements in the process of meaning-making, offering a balanced account of the interplay of presence and absence in our use of words. (shrink)

Human communication is multi-modal. It is an empirical fact that many of our acts of communication exploit a variety of means to make our communicative intentions recognisable. Scholars readily distinguish between verbal and non-verbal means of communication, and very often they deal with them separately. So it is that a great number of semanticists and pragmaticists give verbal communication preferential treatment. The non-verbal aspects of an act of communication are treated as if they were not underlain by communicative intentions. They (...) are “relegated” to mere aspects of the context. However, several schools of thoughts have a different take on the issue. Thus psychologists or semioticians of gesture have shown how intricately gestures and speech are related in utterances. And, in a different area of the theoretical landscape, so-called “Relevance Theorists” have made the same point. Thus, Robyn Carston writes that “the domain of pragmatics is a natural class of environmental phenomena, that of ostensive stimuli; verbal utterances are the central case, but not the only one, and they themselves are frequently accompanied by other ostensive gestures of the face, hands, voice etc, all of which have to be interpreted together if one is to correctly infer what is being communicated”. This position rests on the assumption that there is a single “pragmatic system” or module at work in the interpretation of “ostensive stimuli”. When it comes to interpreting verbal stimuli, the same mechanisms and resources are used as when it comes to processing non-verbal ones. If there is no distinct “linguistic pragmatic system”, then the scholar who studies communication should not favour the verbal at the expense of the non-verbal. In this paper, I want to make a contribution to the study of multi-modal messages by considering a type of utterances that mix the verbal with the non-verbal in such a way that a piece of non-linguistic communication seems to stand in for a linguistic constituent which remains unrealised. Here is a real-life example : I didn't see the [IMITATION OF FRIGHTENING GRUMPINESS] woman today; will she be back this week? The square-bracketed string in small capitals is meant to capture the facial expressions and gestures performed in the conversational setting. What is intriguing here is that this instance of ostensive mimicry does not come as a mere complement to some linguistic stimulus; it appears to take the place of that stimulus. I shall try to show that a linguistic analysis can indeed be offered for cases like – though, I believe, without succumbing to the pro-linguistic bias that Carston warns against. I will, however, argue against an ellipsis-based account : the structure of sentence does not contain an unrealised adjective phrase. Instead, I shall defend a ‘syntactic-recruitment' account. (shrink)

In recent years the normativity of thought and meaning has been the subject of an extensive debate. What is at issue is whether intentionality has normative features, and if so, whether that constitutes a problem for naturalistic attempts to account for intentional phenomena. The origin of the debate is Saul Kripke’s interpretation of Ludwig Wittgenstein’s later philosophy, published in Wittgenstein on Rules and Private Language. Kripke claimed, on behalf of Wittgenstein, that dispositional accounts of linguistic meaning - accounts, i.e., which (...) attempt to reduce semantic phenomena to facts about how speakers are disposed to employ words - fail to ground the factuality of semantic statements. From this, and other arguments, the far reaching conclusion was drawn by Kripke’s Wittgenstein that there are no semantic facts, that every application of a word is “a leap in the dark”. This position has become known as meaning scepticism. In the present essay, it will be argued that meaning scepticism is incoherent, but that the normativity argument is interesting in its own right. The development of the debate will be traced, primarily through detailed consideration of the writings of Paul Boghossian, who has shifted the focus from the normativity of linguistic meaning to that of belief. It will be contended that even though Boghossian’s attempt to locate a normativity of belief fails, there is a related form of normativity that has to do with the intrinsic badness of false beliefs. Also, suggestions made by Kripke regarding the normativity of intentions will be investigated, and related to contemporary arguments in the philosophy of rationality. The tentative conclusion is that there are some interesting kinds of normativity associated with the intentional, but of a somewhat different variety than those usually discussed. (shrink)

L'articolo mette in evidenza le convergenze e differenze tra religione, pensiero moderno e postmoderno. Tutti i tre appartengono alle culture e le loro storie sociali, però questa convergenza non garantisce l'indentificazione delle loro prospettive. La religione si consente di fare affermazioni di relazione non razionabile, al di là delle condizioni sociali e culturali. Il pensiero, lo stesso se postmoderno, è invece d'ordine ideologico e autoreferenziale, inseparabile di concetti organizzati in una cultura particolare. La postmodernità, che intende liberarsi della prepotenza della (...) razionalità moderna, potrebbe fornire un orizzonte di pensiero la cui appertura sembra stabilire un'alleanza con la religione. Ma alla fine si mostra insufficiente. Il postmoderno rimane ancora in una concezione sull'individuo nell'ambito dell'emozione di un esse in, un piano radicalmente distinto dell'esperienza religiosa autentica che ha la sua origine nell'interiorità personale, nell'affettività di un esse ad. Palavras-chave: Religione, ragione, pensiero postmoderno, modernità, cultura Resumo O artigo coloca em evidência as convergências e diferenças entre religião, pensamento moderno e pós-moderno. Todos eles pertencem às culturas e suas histórias sociais, porém tal convergência não garante a identificação de suas perspectivas. A religião se consente em fazer afirmações de relação não racional, para além das condições sociais e culturais. O pensamento, mesmo o pós-moderno, é, por sua vez, de ordem ideológica e autoreferencial, inseparável de conceitos organizados numa cultura particular. A pós-modernidade, que tem a intenção de se libertar da prepotência da racionalidade moderna, poderia oferecer um horizonte de pensamento cuja abertura parece estabelecer uma aliança com a religião. Mas, afinal de contas, se mostra insuficiente. O pós-moderno permanece ainda em uma concepção sobre o indivíduo no âmbito da emoção de um esse in, em um plano radicalmente distinto da experiência religiosa autêntica, que tem sua origem na interioridade pessoal, na afetividade de um esse ad. Palavras-chave: Religião, razão, pensamento pós-moderno, modernidade, culturaThe present article highlights the similarities and differences among religion, modern and postmodern thought. They all belong to cultures and their social histories, but such convergence does not guarantee the identification of their perspectives. Religion has consented in making irrational statements, beyond social and cultural conditions. The thought, even the postmodern one should be comprehended in its ideological and self-referential bias, and not separated from the concepts organized in a particular culture. Post-modernity, which has the intention to release itself from the tyranny of modern rationality, could offer an open horizon of though in order to establish an alliance with religion. But, after all, it has not worked. Postmodernism is still based in a conception of the individual under the emotion of the so called esse in, within a plan which is totally distinct of genuine religious experience, which has its origin in the inner personal emotion of the so called esse ad. Key words: Religion, reason, postmodern thought, modernity, culture. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Figures of Antichrist:The Apocalypse and Its Restraints in Contemporary Political ThoughtGiuseppe Fornari (bio)1. The Antichrist and the Katéchon in Early ChristianityThe history of the Antichrist follows the history of Christ like a shadow.1 This statement is far from banal, not only because of its consequences but also because Christianity as currently presented typically denies that a figure like the Antichrist could be a cause for concern. When confronted with (...) the Antichrist, with Satan in person, the current reaction of many Christians is one of "dialogue." That this may be interpreted, in terms of the doctrine of the Antichrist, as a sign of his proximity passes unnoticed among Christians of goodwill in this day and age. But the devil is never so near as when he is denied or when, following the dictates of what is "politically correct," we start negotiating with him under names that change to suit the occasion. It is a different matter with regard to the historical phenomena that are only indirectly related to Satan, phenomena that help to hold him as far off as possible, but this eventuality can be appreciated only by those who know the devil, not by those who deny him.Some initial comments of a semantic nature are indispensable and, in virtue of the very pregnancy of the term "antichrist," they lead straight to [End Page 53] theological considerations. Antichrist is a synonym of Satan, with the difference that the functional noun "anti-christ" contains a direct indication of the relationship of Satan to Christ; it is the inevitable consequence of the conflict between Satan and Christ. That consequence can only be negation or opposition. The devil, as soon as he encounters Christ, automatically becomes "anti-," which does not imply a personal antipathy—the devil is not a person so much as the principle that parasitically destroys the person—but expresses the consequence of the demystification brought about by Christ: his mask once removed, the devil reveals his true face as Adversary, as "anti-," and the first figure against whom he directs this being "anti-" is necessarily the one who has unmasked him, that is, the Christ. The Greek prefix "anti-" in itself indicated the desire to take someone's place and, consequently, to go against that person; and it is this latter meaning that prevails in the modern prefix. Satan's intention becomes clear when we perceive the perfect convergence between the two nuances of meaning: taking Christ's place in order to go against him and going against Christ in order to take his place. Initially Satan tries out on Christ his old ploy of temptation, and this marks the start of the Son of God's public mission. The conflict is first and foremost a conflict between two functions, between two opposing logics. If Christ were to yield, he would at once fail in his mission from the Father, becoming the antichrist of himself, canceling out his own function and making the very notion of antichrist pointless. Christ does not yield, but this does not mean that his victory has been secured once and for all. He has confirmed his mission, but once this has got under way, all are called to enter into his figure, into his saving function, to become "Christ," which implies that the devil will repeat his temptation with everyone called by Christ. And as Christ is present this time, yielding to temptation marks out the person who yields as antichrist; and, since it is hard to resist temptation, there will be a growing number, not to say a multitude, of antichrists. From the start the word is revealingly characterized, structurally, by its plural form. While we do not have numerous "christs," because to follow Christ means to be as he is and to enter in to be part of him, by which act all the faithful become part of the body of Christ, which is the Church, anyone who becomes the "anti-" of Christ introduces the germ of plurality and discord, because from that moment on he is the "anti-" of the others. The antichrist introduces the poison of the "anti-" into the world, not that it was... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:In Praise of Blandness: Proceeding from Chinese Thought and AestheticsJoseph GrangeIn Praise of Blandness: Proceeding from Chinese Thought and Aesthetics. By François Jullien. Translated by Paul M. Varsano. New York: Zone Books, 2004. Pp. 1,969.A book praising "blandness"—which is the translator's English word for the French fadeur, which is the author's translation of the Chinese dan!—and a book that is at once fascinating and "repellent" (to use the (...) translator's description of his tortuous search for an equivalent of fadeur and dan), In Praise of Blandness: Proceeding from Chinese Thought and Aesthetics by François Jullien is a "globalizing" philosophical essay bent on stopping readers in their tracks at every twist and turn of the text. Is it worth the trouble? I shall venture a response in this review.More than once while reading this book, I was reminded of Plato's Sophist, where the difficulty in locating the sophist is described in such intricate detail. First he is here, but then he is over there; on the other hand, he could be hiding near by— but wait, maybe he has disappeared. So it is also with blandness. And perhaps it should be so, because once you have located the bland, it ceases to be bland and turns into something else. To take a fix on blandness Jullien throws it against a number of traits, qualities, experiences, and events: strength, music, sounds, signs, landscapes, painting, tastes, literature, ideology, margins and centers, and, finally, the fact that "transcendence is natural." At the same time, the author weaves these contrasts and comparisons through the history of Chinese culture, especially in the evolution of its painting and poetry. [End Page 484]Foremost among the qualities associated with blandness is inner detachment. What come immediately to mind are Daoism, Chan Buddhism, and aspects of Confucian teaching. Jullien has already given us a splendid treatise in his The Propensities of Things, and in some ways this volume rings many changes on that study of Chinese culture. But there is more to blandness than causal efficacy. It also suggests openness and a mood of friendliness toward the other, the different, and all things strange. Further, blandness is similar to harmony in the sense that it does not insist on its own presence. Rather, it constantly blends together opposites through its own power.It is power and its expression that is at the heart of the author's project. He attempts over and over again to show how the seemingly weak is actually the strong, that the far away is really close to hand, that emptiness is charged with spontaneous creative energy. Thus, what lingers is not yet finished expressing itself. And the translator tells us that a gustatory sense is the primary base of fadeur, dan, and blandness. The body is the region within which the bland can have its most powerful effect. Think of Chinese medicine, where "the web that has no weaver" (the title of Ted Kaptchuk's brilliant book) is the object of the physician's art. Or consider the power of water to yield and then conquer all. Or remember the Mahāyāna Buddhist's invocation of śūnyatā as the source of healing and renewal. Or recall the many times that Confucius advises silence rather than words. All these moments are akin to what Jullien calls "blandness."One way to grasp the insight into Chinese culture that Jullien is struggling with is to express it by way of Neoplatonism and Spinoza. What is often forgotten in expositions of these formidable philosophies is the way in which they use a novel doctrine of causality to bind together different realms of beings. For Plotinus and Spinoza the cause never really leaves the effect but remains there, hidden but effective. It is through this lingering presence that transcendence and immanence, body and soul, and God and the World remain conjoined. The image of the ladder so frequently found in these texts must be understood to run in both directions—up and down. So also, blandness is a dao that opens up experience to further depths and heights.Jullien's major concern is aesthetics... (shrink)

Few contemporary researchers in psychology, philosophy, and the cognitive sciences have any doubt about whether mental phenomena occur without being conscious. There is extensive and convincing clinical and experimental evidence for the existence of thoughts, desires, and related mental states that aren’t conscious. We characterize thoughts, desires, intentions, expectations, hopes, and many other mental states in terms of the things they are about and, more fully, in terms of their content, as captured by a sentence nominalization, such as a clause (...) beginning with the word ‘that’. The philosophical literature follows Franz Brentano’s adaptation of Thomist terminology in referring to all such states as intentional states. But there is another type of mental phenomena, which lack intentionality and whose mental nature consists instead of some qualitative feature. These states include bodily sensations, such as aches and pains, and perceptual states, such as visual sensations of color and tactile sensations of heat and cold. And these states all exhibit some mental quality or another, such as the mental quality distinctive of pain or the mental quality of red or blue.1 And even theorists who acknowledge that intentional states can and do occur without being conscious have sometimes insisted that qualitative states cannot. There is, according to these theorists, nothing to a state’s being qualitative or exhibiting some mental quality unless that state is conscious – unless it is, as we might metaphorically say, “lighted up”. It’s striking that Freud himself seems to have adopted this double standard toward the two types of mental state. In his metapsychological paper, “The Unconscious”, for example, he writes that “all the categories which we employ to describe conscious mental acts, such as ideas, purposes, resolutions, and so forth, can be applied to [unconscious mental occurrences]” (Freud 1915e, p. 168). But he seems here to have in.. (shrink)

To avoid difficulties that arise when we appeal to speaker intentions or multiple rules to determine the meaning of indexicals, Cohen (2013) recently defends a conventionalist account of these terms that focuses on their context of tokening. Apart from some tricky cases already discussed in the literature, however, such an account faces a serious difficulty: in many speech acts, multiple apparent tokens are produced – for example when a speaker speaks on a telephone, and her utterance is heard both where (...) she speaks, and at the location of the receiver of the call. The ‘token-contextual’ account seems to imply that in such cases a speaker will simultaneously produce multiple contradictory utterances. Here I argue that to resolve such problems we cannot help but to invoke speaker intentions. However, by appealing to intentions at the level of the metaphysics of semantic tokens, rather than to decide their meaning, the token-contextualist can make this appeal without reintroducing the difficulties associated with intentionalist accounts that she hopes to avoid. The resulting metaphysics of semantic tokens is, interestingly, more complex than we might have expected. -/- . (shrink)

In chapter 7 of her 2008 book, Lose Your Mother: A Journey Along the Atlantic Slave Route, Saidiya Hartman writes, “I too am trying to save the girl, not from death or sickness or a tyrant but from oblivion. [...] These words are the only defense of her existence, the only barrier against her disappearance”. Hartman’s project in Lose Your Mother is a search for a life beyond the archive; it is a search for a living narrative, written on, (...) in, and by the body—an act of re-membering. The same sentiment is echoed in Brittney C. Cooper’s Beyond Respectability: The Intellectual Thought of Race Women. Cooper offers a sympathetic rejoinder to Hartman’s investigation of what it means to be the contemporaries of the enslaved, and what it means to theorize: to produce a living history by a loving engagement in, with, and through the body. Cooper’s approach is to utilize the practice of listing. Listing is the “intentional calling of names [that] create[s] an intellectual genealogy for race women’s work and was a practice of resistance against intellectual erasure”. Beyond Respectability engages with some key thinkers in early Black feminist thought: Anna Julia Cooper, Fannie Barrier Williams, Mary Church Terrell, and Pauli Murray. In this review, I briefly summarize the key theories described in the book. I conclude by arguing that Cooper’s reading is limited when it comes to reading Pauli Murray as a “race woman.”. (shrink)

Nagarjuna and Quantum physics. Eastern and Western Modes of Thought. Summary. The key terms. 1. Key term: ‘Emptiness’. The Indian philosopher Nagarjuna is known in the history of Buddhism mainly by his keyword ‘sunyata’. This word is translated into English by the word ‘emptiness’. The translation and the traditional interpretations create the impression that Nagarjuna declares the objects as empty or illusionary or not real or not existing. What is the assertion and concrete statement made by this interpretation? That nothing (...) can be found, that there is nothing, that nothing exists? Was Nagarjuna denying the external world? Did he wish to refute that which evidently is? Did he want to call into question the world in which we live? Did he wish to deny the presence of things that somehow arise? My first point is the refutation of this traditional translation and interpretation. 2. Key terms: ‘Dependence’ or ‘relational view’. My second point consists in a transcription of the keyword of ‘sunyata’ by the word ‘dependence’. This is something that Nagarjuna himself has done. Now Nagarjuna’s central view can be named ‘dependence of things’. Nagarjuna is not looking for a material or immaterial object which can be declared as a fundamental reality of this world. His fundamental reality is not an object. It is a relation between objects. This is a relational view of reality. Reality is without foundation. Or: Reality has the wide open space as foundation. 3. Key terms: ‘Arm in arm’. But Nagarjuna did not stop there. He was not content to repeat this discovery of relational reality. He went on one step further indicating that what is happening between two things. He gave indications to the space between two things. He realised that not the behaviour of bodies, but the behaviour of something between them may be essential for understanding the reality. This open space is not at all empty. It is full of energy. The open space is the middle between things. Things are going arm in arm. The middle might be considered as a force that bounds men to the world and it might be seen as well as a force of liberation. It might be seen as a bondage to the infinite space. 4. Key term: Philosophy. Nagarjuna, we are told, was a Buddhist philosopher. This statement is not wrong when we take the notion ‘philosophy’ in a deep sense as a love to wisdom, not as wisdom itself. Philosophy is a way to wisdom. Where this way has an end wisdom begins and philosophy is no more necessary. A.N. Whitehead gives philosophy the commission of descriptive generalisation. We do not need necessarily a philosophical building of universal dimensions. Some steps of descriptive generalisation might be enough in order to see and understand reality. There is another criterion of Nagarjuna’s philosophy. Not his keywords ‘sunyata’ and ‘pratityasamutpada’ but his 25 philosophical examples are the heart of his philosophy. His examples are images. They do not speak to rational and conceptual understanding. They speak to our eyes. Images, metaphors, allegories or symbolic examples have a freshness which rational ideas do not possess. Buddhist dharma and philosophy is a philosophy of allegories. This kind of philosophy is not completely new and unknown to European philosophy. Since Plato’s allegory of the cave it is already a little known. The German philosopher Hans Blumenberg has underlined the importance of metaphors in European philosophy. -/-. (shrink)

This chapter provides an argument that intentional ascent requires semantic ascent, on the grounds that intentional ascent requires the ability “to hold a thought in mind” in a way that can only be done if the thought is linguistically vehicled. It tries to explain that there is an important class of thoughts that is in principle unavailable to nonlinguistic creatures. It also explores how language can function as a cognitive tool. Many of these functions do not actually require a full-fledged (...) language. If language is to have a distinctive, unique, and essential cognitive function, so that the difference between linguistic and nonlinguistic cognition is qualitative rather than merely quantitative, then it should be investigated further. The chapter takes into account many aspects of language where language functions as a cognitive tool: memory augmentation; environmental simplification; coordination; transcending path-dependent learning; control loops; and data manipulation and representation. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Receiving Søren Kierkegaard: The Early Impact and Transmission of His Thought by Habib C. MalikJ. KellenbergerHabib C. Malik. Receiving Søren Kierkegaard: The Early Impact and Transmission of His Thought. Washington, DC: Catholic University of America Press, 1997. Pp. xxii + 437. Cloth, $59.95.At the end of the twentieth century no one who has any acquaintance with Western philosophical or religious thought would fail to recognize Kierkegaard’s name. This (...) was not always so. Kierkegaard wrote in his native Danish in the first half of the nineteenth century, and for decades his thinking and his name were virtually unknown outside Scandanavia. Habib C. Malik’s book contains the richly detailed story of how Kierkegaard’s thought became known in Europe and in the English-speaking world. Malik breaks down the reception of Kierkegaardian ideas into several phases: “non-reception,” the beginnings of reception, “misreception,” suppression, and serious reception. In the first phase Kierkegaard was read in Denmark, but not understood. In [End Page 637] the second phase, during the 1840s and 1850s while Kierkegaard was still alive, his writings started to become known outside Denmark in Scandanavia (and even reached North America via Scandanavian-American immigrants). In the period of “misreception,” as Malik calls it, Kierkegaard’s ideas or catch-words are appropriated but not fully understood—as with Ibsen, Malik argues. After Kierkegaard’s journals and papers began to be published in the 1870’s, there developed a new kind of interest in Kierkegaard, the “biographical-psychological approach,” initiated by Georg Brandes, in which Kierkegaard’s ideas and themes were interpreted in terms of the crucial events in Kierkegaard’s life. This approach led to the substance of Kierkegaard’s thinking being suppressed by what became a morbid interest in Kierkegaard’s personal life, such as a preoccupation with Kierkegaard’s relationship to Regine Olsen and then reading “The Diary of a Seducer” or key parts of Fear and Trembling as an expression of this event. The period of suppression reaches into the 1880s and 1890s as scholars and translators, like Christoph Schrempf, use Kierkegaard for their own ends. Schrempf, a Lutheran minister who renounces his belief, looks to Kierkegaard for support for his new stance and translates Kierkegaard into German, omitting passages that do not foster his end. Finally there is the period of serious reception, or its beginning, especially in the German-speaking world. Malik ends the story of Kierkegaard’s reception with the period following the First World War, before the development of twentieth century Existentialism.In the book’s eight chapters a vast number of minor and major cultural figures are dealt with. Some, like Hans Christian Andersen and Hans Christian Ørsted (the rector of Kierkegaard’s university and the discoverer of electromagnetism, whose approach to religion was cosmological) Kierkegaard knew and interacted with. Most, like Ibsen, Brandes, Schrempf, and Hans Peter Barford (the first editor of Kierkegaard’s extensive papers) and Albert Bärthold (who learned Danish to translate Kierkegaard into German and during the 1870’s regularly produced translations and commentaries) enter the story after Kierkegarrd’s death. Malik recounts Kierkegaard’s Kirkekampen (church-struggle) with the Lutheran Danish state-Church, and he brings out how Kierkegaard’s writing in this period of his “Attack on Christendom” greatly influenced the way he was initially received. He discusses the reaction to Kierkegaard by the early Swedish writer and feminist Fredrika Bremer, and he discusses Kierkegaard’s later influence on such various thinkers and writers as Miguel de Unamuno, Rainer Maria Rilke, Franz Kafka, and Ludwig Wittgenstein (to name some of the more familiar).There are many nuggets of detail in the book. For instance, those who have read Walter Kaufmann’s Nietzsche: Philosopher, Psychologist, Antichrist would know that in 1888 Brandes called Kierkegaard to Nietzsche’s attention, but too close to the onset of Nietzsche’s madness for him to read Kierkegaard. However we learn from Malik that Brandes in a letter had characterized Kierkegaard as “one of the profoundest psychologists that have ever existed” and that Nietzsche in his reply in February of 1888 actually expressed the intention to “take up the psychological problem of Kierkegaard” when... (shrink)

In recent years, a number of well-known intentional realists have focused their energy on attempts to provide a naturalized theory of mental representation. What tends to be overlooked, however, is that a naturalized theory of mental representation will not, by itself, salvage intentional realism. Since most naturalistic properties play no interesting causal role, intentional realists must also solve the problem of showing how intentional properties , even if naturalized, could be causally efficacious. Because of certain commitments, this problem is especially (...) difficult for intentional realists such as Fodor. In the current paper I focus on the problem as it arises for such realists, and I argue that the best-known solution proposed to date is inadequate. If what I say is correct, then such intentional realists are left with an additional and substantial problem, and one that has generally not been sufficiently appreciated. (shrink)

Emotions shape the landscape of our mental and social lives. Like the “geological upheavals” a traveler might discover in a landscape where recently only a flat plane could be seen, they mark our lives as uneven, uncertain, and prone to reversal. Why and how? Is it because emotions are animal energies or impulses that have no connection with our thoughts, imaginings, and appraisals? In the passage from which my title is taken, Proust denies this, calling the emotions “geological upheavals of (...) thought.” In other words, what changes the Baron’s mind from a flat plane into a mountain range is not some subterranean jolt, but the thoughts he has about Charlie Morel, a person who has suddenly become central to his well-being, and whom he sees as inscrutable, undependable, and utterly beyond his control. It is these thoughts about value and importance that make his mind project outward like a mountain range, rather than sitting inert in self-satisfied ease. (shrink)

Hak San 鶴山 Yi Jeong-ho 李正浩 conceptualized and drew the “Hunminjeongeum-do” 訓民正音圖 (Diagram of Hunminjeongeum) using the basic initial consonants and 11 medial vowels of Hunminjeongeum 訓民正音 (It is the Korean alphabet, also called Hangeul). In the process, he added several strokes that were not part of the 28 letters of Hunminjeongeum to the “Hunminjeongeum-do” to emphasize the shapes of stars. This was intended to demonstrate the similarity between the “ Hunminjeongeum-do” and the “Jeongyeok Eight Trigrams Diagram” (正易八卦圖), thereby suggesting (...) that the Zhouyi 周易 philosophy embedded in the creation of Hunminjeongeum inherently contains the Jeongyeok 正易 (Correct Zhouyi) philosophy. Furthermore, he created the Celestial Diagram of Hunminjeongeum using the 28 Lunar Mansions of the ecliptic, which he referred to as the Jeongeum cheonmun-do 正音天文圖. In this diagram, he included the two central positions, elevated as the Emperor of Heaven and the Great Emperor, and applied a 30- day month calendar using all of these elements. In fact, it is based on the discussion in the Jeongyeok regarding the “Diagram of the 28 Lunar Mansions’ Energy Flow chart” (二十八宿運氣圖). The Jeongeum cheonmun-do can be found to contain similar concepts to those in the records of astronomical calendrical science from the Lüshi chunqiu 呂氏春秋, written during the Warring States period in China, and the “ Yaodian” 堯典 chapter of the Shujing 書經. Moreover, it is closely related to the circular diagram of the Fuxi 64 Hexagrams and also shares commonality with the star illustrations found in the Cheonsang yeolcha bunyajido 天象列次分 野之圖, a celestial map engraved in the early Joseon Dynasty. Haksan sought to demonstrate through the Jeongeum cheonmundo that ‘the intention of King Sejong, the Sage King, to illuminate the Heavenly Way and care for the affairs of the people upon his ascension to the throne is revealed in the creation of the miraculous letters Hunminjeongeum, and that the spirit of its creation embodies the Confucian concept of the Heavenly Way.’. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:AN ANALYSIS OF THE USE OF RIGHTS LANGUAGE IN PRE-MODERN CATHOLIC SOCIAL THOUGHT BERNARD V. BRADY University of St. Thomas St. Paul, Minnesota CONTEMPORARY CATHOLIC social thought, both in official documents and in commentaries, has focused quite extensively on describing the use, meaning and justification of human rights. Indeed, as one significant contributor has suggested, human rights have become, since the Second Vatican Council, the "central norms of social (...) morality." 1 In all of this concern for the place of rights within Catholic thought, however, very little work has been done to explore the pre-modern roots of this moral category. This essay attempts to address this issue. The essay has three parts. The first section considers characteristics of rights language within the thought of Thomas Aquinas. The second section looks at the use of rights within the intriguing controversy of the late thirteenth century surrounding apostolic poverty. Finally, developments in Catholic rights language found in the work of the Renaissance figures Vitoria and Suarez are studied. The essay narrates the development in the use of rights within the tradition while suggesting certain threads of consistency. Thomistic Characteristics of the Use, Meaning and Justification of Rights Language In the social philosophy of Thomas Aquinas ( 1225-74), the concept " ius," or " right," has an important and nuanced role. 1 David Hollenbach, " Both Bread and Freedom: The Interconnection of Economic and Political Rights in Recent Catholic Thought," in Human Rights and the Global Mission of the Church, ed. Arthur J. Dyck (Boston: Boston Theological Institute, 1985), 31. 97 98 BERNARD V. BRADY Generally, ius suggests an objective reality, as when it is used in the concept of ius naturale, yet Thomas often uses the word interchangeably with "lex", or "law", a word fundamentally referring to the rational expression of such an objective reality.2 Most significantly from a modern perspective, Thomas also describes this objective reality of ius within the context of personal relations. Specific persons have specific rights in accord with their position within society. This section will examine the meaning of the term ius in Thomas. It will be shown that Thomas used ius primarily in an objective sense, that is, in terms of "that which is right," or " that which is fitting." It will also be suggested that Thomas used ius in something of a subjective sense as referring to personal moral claims. This latter use was, however, dependent on a prior understanding of "that which is right." "Right,'' says Thomas, "is the object of justice." 3 Operating from the principle that if one knows the end or the object of a thing one can know the reality of that thing, Thomas introduces his treatise on justice 4 with a consideration of the reality toward which justice tends-the right. As with the other cardinal virtues, justice seeks to actualize the right or the fitting as it orders a person in relation to some object. The distinguishing characteristic of justice is that the object under consideration is another person. He writes, " Accordingly that which is right in the works of the other virtues, and to which the intention of the virtue tends as to its proper object, depends on its relation to the agent only, whereas the right in a work of justice, besides its relation to the agent, is set up by its relation to others." 5 Thomas describes justice as a habit flowing from a rightly ordered self which in turn rightly orders one's relations with others. That is, the just person, through "a constant and per2 Thomas Aquinas, Summa Theologica, 2a, 2ae, q. 57, art. 1, trans. Fathers of the English Dominican Province, 3 vols. (New York: Benzinger Brothers, 1947). See also Thomas Gilby, The Political Thought of Thomas Aquinas (Chicago: The University of Chicago Press, Midway Reprints, 1973), 121. a Aquinas, Summa Theologica, 2a, 2ae, q. 57, art. 1. 4 Ibid., 2a, 2ae, q. 57-122. 5 Ibid., 2a, 2ae, q. 57, art. 1. RIGHTS IN PRE-MODERN THOUGHT 99 petual will,'' 6 gives to another that which is due in accord with " some kind of equality" 7 "adjusted to or commensurate with... [the other] person." 8 Even as Thomas states, "the act... (shrink)

Recently, a new method of considering successful intentional thought suppression has emerged. This method, the think/no-think paradigm has been utilized over a multitude of settings and has fairly robustly demonstrated the ability to interfere with memory recall. The following experiment examined the effect of intentional thought suppression on recognition memory of nonverbalizeable shapes. In this experiment, participants learned word–shape targets. For some of the pairs, they rehearsed the shape when presented with the word; for others, they suppressed the shape when (...) presented with the word. Finally, participants were shown multiple shapes, one at a time, and asked to identify which they had previously seen as paired with a word. Results of the experiment indicated that, similar to results involving words, participants were less accurate in identifying suppressed shapes, as compared to rehearsed shapes. Implications of these findings are discussed. (shrink)

Davidson’s theory of agency aims to solve the dilemma that the same action can be both intentional and not intentional. He explains primitive actions using primarily bodily movements and argues that event-causality can be described through the “accordion effect”, but not agent-causality. And Davidson uses reasons as causes to explain the actions and responds to five objections. In this paper, I critique Davidson’s argument, pointing out that he ignores certain factors in the belief-desire model, such as emotions. And his sentence (...) holism has a problem because individual words that express complete thoughts can explain actions in language games. As a result, Davidson’s criticism of Wittgenstein is not reasonable. (shrink)

UTOPIAN THOUGHT BETWEEN WORDS AND ACTION:Seminar with Raymond GeussInstitute for Philosophy and Social Theory, Belgrade, February, 2016.