It is a commonplace in the analytic geometry of physical space-time that an extended straight line segment, having positive length, is treated as “consisting of” unextended points, each of which has zero length. Analogously, time intervals of positive duration are resolved into instants, each of which has zero duration.

While the classical account of the linear continuum takes it to be a totality of points, which are its ultimate parts, Aristotle conceives of it as continuous and infinitely divisible, without ultimate parts. A formal account of this conception can be given employing a theory of quantification for nonatomic domains and a theory of region-based topology.

Pursuing the proof-theoretic program of Friedman and Simpson, we begin the study of the metamathematics of countable linear orderings by proving two main results. Over the weak base system consisting of arithmetic comprehension, II 1 1 -CA0 is equivalent to Hausdorff's theorem concerning the canonical decomposition of countable linear orderings into a sum over a dense or singleton set of scattered linear orderings. Over the same base system, ATR0 is equivalent to a version of the Continuum (...) Hypothesis for linear orderings, which states that every countable linear ordering either has countably many or continuum many Dedekind cuts. (shrink)

Starting from the generalized concept of syntactically and semantically trivial differences between two formal theories introduced by Arsenijević, we show that two systems of the linear continuum, the Cantorian point-based system and the Aristotelian interval-based system that satisfies Cantor's coherence condition, are only trivially different. So, the 'great struggle' (to use Cantor's phrase) between the two contending parties turns out to be 'much ado about nothing'.

Lines of identity in Peirce's existential graphs are logically complex structures that comprise both identity and existential quantification. Yet geometrically they are simple: linear continua that cannot have “furcations” or cross “cuts.” By contrast Peirce's “ligatures” are geometrically complex: they can both have furcations and cross cuts. Logically they involve not only identity and existential quantification but also negation. Moreover, Peirce makes clear that ligatures are composed of lines of identity by virtue of the fact that such lines can (...) be “connected” with one another and can “abut upon” one another at a cut. This paper shows in logical detail how ligatures are composed and how they relate to identity, existential quantification, and negation. In so doing, it makes use of Peirce's non-standard account of the linear continuum, according to which, when a linear continuum is separated into two parts, the parts are symmetric rather than asymmetric, and the one point at which separation occurs actually becomes two points, each of which is a Doppelgänger of the other. (shrink)

In this study, Lynne Moss Bahr explores the concept of temporality as central to Jesus's proclamation of the Kingdom of God. Using insights from Continental philosophy on the messianic, which expose the false claim that time progresses in a linear continuum, Bahr presents these philosophical positions in critical dialogue with the sayings of Jesus regarding time and time's fulfillment. She shows how the Kingdom represents the possibilities of a disruption in time, one that reveals the intrinsic relation between (...) God and humanity. (shrink)

The scientific conception of change and motion raises two fundamental questions: Is there any evidence that the temporal order of events cannot legitimately be postulated to be continuous in Cantor's sense? Is it possible to account for such distinguishing properties of time as its possession of an "arrow" on the basis of assuming that events constitute a continuous type of order in Cantor's sense, and providing a coordinating definition for the ordering relation "later than"? We must raise these questions, since (...) at least four philosophers of the present century have denied the compatibility of the temporal structure of actual events with the order defined by Cantor's linear continuum and have held that a description of physical change which is based on the latter type of order is incompetent to account for the "arrow" of time and for such features of actual events as the latter involves. The philosophers in question are Henri Bergson, William James, Alfred North Whitehead and Paul Weiss. Each of these thinkers makes reference to Zeno's paradoxes of motion in setting forth his arguments. (shrink)

We suggest that, far from establishing an inconsistency in the standard theory of the geometrical linear continuum, Zeno’s Paradox of Extension merely establishes an inconsistency between the standard theory of geometrical magnitude and a misguided system of length measurement. We further suggest that our resolution of Zeno’s paradox is superior to Adolf Grünbaum’s now standard resolution based on Lebesgue measure theory.

Ever since the first edition appeared in 1952, Wilder's book has been a mainstay of courses in the philosophy and foundations of mathematics, and deservedly so, for it covers most of the topics which provide an insight into the nature of this formal science. There are two parts: the first is a rapid but thorough survey of the axiomatic method, set theory, especially infinite sets, cardinal and ordinal numbers, the linear continuum, and the theory of groups with reference (...) to foundational problems. The second part develops various views on the nature of the foundations of mathematics: it begins with a look at the naïve 19th-century approach and its transformation into Zermelo's axiomatic set theory; the Logicistic thesis is covered in great detail; intuitionism and Hilbert's formalistic view come next; the last chapter discusses the cultural setting of mathematics. The changes since the first edition have been in the way of making certain presentations more relevant to current problems. There is an excellent bibliography. This book could be used in a one semester course on philosophy or on foundations of mathematics, or in a longer course in which symbolic logic was developed extensively.—P. J. M. (shrink)

We provide a new interpretation of Zeno’s Paradox of Measure that begins by giving a substantive account, drawn from Aristotle’s text, of the fact that points lack magnitude. The main elements of this account are (1) the Axiom of Archimedes which states that there are no infinitesimal magnitudes, and (2) the principle that all assignments of magnitude, or lack thereof, must be grounded in the magnitude of line segments, the primary objects to which the notion of linear magnitude applies. (...) Armed with this account, we are ineluctably driven to introduce a highly constructive notion of (outer) measure based exclusively on the total magnitude of potentially infinite collections of line segments. The Paradox of Measure then consists in the proof that every finite or potentially infinite collection of points lacks magnitude with respect to this notion of measure. We observe that the Paradox of Measure, thus understood, troubled analysts into the 1880’s, despite their knowledge that the linear continuum is uncountable. The Paradox was ultimately resolved by Borel in his thesis of 1893, as a corollary to his celebrated result that every countable open cover of a closed line segment has a finite sub-cover, a result he later called the “First Fundamental Theorem of Measure Theory.” This achievement of Borel has not been sufficiently appreciated. We conclude with a metamathematical analysis of the resolution of the paradox made possible by recent results in reverse mathematics. (shrink)

Erwin Schrödinger holds a prominent place in the history of science primarily due to his crucial role in the development of quantum physics. What is perhaps lesser known are his insights into subject-object duality, consciousness and mind. He documented himself that these were influenced by the Upanishads, a collection of ancient Hindu spiritual texts. Central to his thoughts in this area is that Mind is only One and there is no separation between subject and object. This chapter aims to bridge (...) Schrödinger’s view on One Mind with the teachings of Dōgen, a twelfth century Zen master. This bridge is formed by addressing the question of how time relates to One Mind, and subject-object duality. Schrödinger describes the experience of One Mind to be like a timeless now, whereas subject-object duality involves a linear continuum of time. We show how these differing positions are unified in the notion of ‘absolute present’, which was put forward in the philosophy of Nishida Kitarō (1871–1945). In addition, we argue that it is in this notion of absolute present that the views of Schrödinger, Dōgen and Nishida meet. (shrink)

This_classic undergraduate text_elegantly acquaints students with the_fundamental concepts and methods of mathematics. In addition to introducing_many noteworthy historical figures_from the 18th through the mid-20th centuries, it examines_the axiomatic method, set theory, infinite sets, the linear continuum and the real number system, groups, intuitionism,_formal systems, mathematical logic, and other topics.

A critical re-examination of the history of the concepts of space (including spacetime of general relativity and relativistic quantum field theory) reveals a basic ontological elusiveness of spatial extension, while, at the same time, highlighting the fact that its epistemic primacy seems to be unavoidably imposed on us (as stated by A.Einstein “giving up the extensional continuum … is like to breathe in airless space”). On the other hand, Planck’s discovery of the atomization of action leads to the fundamental (...) recognition of an ontology of non-spatial, abstract entities (Quine) for the quantum level of reality (QT), as distinguished from the necessarily spatio-temporal, experimental revelations (measurements). The elementary quantum act (measured by Planck’s constant) has neither duration nor extension, and any genuinely quantum process literally does not belong in the Raum and time of our experience. As Heisenberg stresses: “Während also die klassische Physik ein objectives Geschehen in Raum and Zeit zum Gegenstand hat, für dessen Existenz seine Beobachtung völlig irrelevant war, behandelt die Quantentheorie Vorgänge, die sozusagen nur in den Momenten der Beobachtung als raumzeitliche Phänomene aufleuchten, und über die in der zwischenzeit anschaulische physikalische Aussagen sinloss sind”. An admittedly speculative, hazardous conjecture is then advanced concerning the relation of such quantum ontology with the role of the pre-phenomenal continuum (Husserl) in the perception of macroscopically distinguishable objects in the Raum and time of our experience. Although rather venturesome, it brings together important philosophical issues. Coherently with recent general results in works on the foundations of QT, it is assumed that the linearity of quantum dynamical evolution does not apply to the central nervous system of living beings at a certain level of the evolutionary ramification and at the pre-conscious stage of subjectivity. Accordingly, corresponding to the onset of a non-linear dynamic evolution, a ‘primary spatial’ reduction is ‘continually’ taking place, thereby constituting the neural precondition for the experience of distinguishable macroscopic objects in the continuous spatial extension. While preventing the theoretically possible quantum superpositions of macroscopic objects from being perceivable by living beings, the ‘primary reduction’ has no effect on the standard processes concerning quantum level entities involved in laboratory man-made experiments. In this connection, an experimental check which might falsify the conjecture is briefly discussed. The approach suggested here, if sound, leads to a naturalization of that part of Kant’s Transcendental Aesthetics than can survive the Euclidean catastrophe. According to such naturalized transcendentalism, “space can well be transcendental without the axioms being so”, in agreement with a well-known statement by Boltzman. Finally, as far as QT is concerned, the conjecture entails that a scheme for quantum measurement of the von Neumann type cannot even ‘leave the ground’, vindicating Bohr’s viewpoint. A quantum theory of measurement, in a proper sense, turns out to be unnecessary and in fact impossible. (shrink)

Let T be a countable complete first-order theory with a definable, infinite, discrete linear order. We prove that T has continuum-many countable models. The proof is purely first order, but it raises the question of Borel completeness of T.

Russell and Walker proposed different ways of constructing instants from events. For an explanation of "time as a continuum," Thomason favored Walker's construction. The present article shows that Russell's construction fares as well. To this end, a mathematical characterization problem is solved which corresponds to the characterization problem that Thomason solved with regard to Walker's construction. It is shown how to characterize those event structures (formally, interval orders) which, through Russell's construction of instants, become linear orders isomorphic to (...) a given (or, deriving, to some—nontrivial ordered) real interval. As tools, separate characterizations for each of resulting (i) Dedekind completeness, (ii) separability, (iii) plurality of elements, (iv) existence of certain endpoints are provided. Denseness is characterized to replace Russell's erroneous attempt. Somewhat minimal nonconstructive principles needed are exhibited, and some alternative approaches are surveyed. (shrink)

This paper reflects on the relationship between theory and practice in bioethics, by using various concepts drawn from debates on innovation in healthcare research—in particular debates around how best to connect up blue skies ‘basic’ research with practical innovations that can improve human lives. It argues that it is a mistake to assume that the most difficult and important questions in bioethics are the most abstract ones, and also a mistake to assume that getting clear about abstract cases will automatically (...) be of much help in getting clear about more complex cases. It replaces this implicitly linear model with a more complex one that draws on the idea of translational research in healthcare. On the translational model, there is a continuum of cases from the most simple and abstract to the most concrete and complex. Insights need to travel in both directions along this continuum—from the more abstract to the more concrete and from the more concrete to the more abstract. The paper maps out some difficulties in moving from simpler to more complex cases, and in doing so makes recommendations about the future of bioethics. (shrink)

We extend the hierarchy of finite-dimensional Ellentuck spaces to infinite dimensions. Using uniform barriers [Formula: see text] on [Formula: see text] as the prototype structures, we construct a class of continuum many topological Ramsey spaces [Formula: see text] which are Ellentuck-like in nature, and form a linearly ordered hierarchy under projections. We prove new Ramsey-classification theorems for equivalence relations on fronts, and hence also on barriers, on the spaces [Formula: see text], extending the Pudlák–Rödl theorem for barriers on the (...) Ellentuck space. The inspiration for these spaces comes from continuing the iterative construction of the forcings [Formula: see text] to the countable transfinite. The [Formula: see text]-closed partial order [Formula: see text] is forcing equivalent to [Formula: see text], which forces a non-p-point ultrafilter [Formula: see text]. This work forms the basis for further work classifying the Rudin–Keisler and Tukey structures for the hierarchy of the generic ultrafilters [Formula: see text]. (shrink)

In view of the primacy assigned to the 'present' in traditional metaphysics, in terms of the ways in which questions about existence are expressed, the following discussion takes the question of the temporalizing of the present as its theme. This involves unravelling the historical traces of the thought of the present as a finite, closed, objective point of a successive continuum of discrete moments (a real oscillation between the now and the not-now) by returning to the phenomenological sense of (...) the present as the stretching out of an opening – the 'living Present' (lebendige Gegenwart) – which bears its continuity of presence and non-presence within itself (without restriction to linearity). The transition itself suggests something like a quantum-leap and, in another sense, it also extends beyond the bounds of this simile (and the discontinuity that is implied) by evoking the image of a 'twist' or a 'turn.’ In order to grasp the significance of this turn we shall first examine – re turn to – its main obstacle: the concept of time as a linear and corpuscular continuum. The traditional model of time as a succession of 'now-points' (a notion that 1 still infects discourse on temporality) has always undermined our understanding of 'presence' as that which maintains itself (abides) through succession. In effect, presence must be 'maintained' [maintenant] within the 'now.' Yet, if the 'now' is constantly shifting into non-being through its replacement by a new 'now' then presence must be infused with its own negation and a certain discontinuity. How is it possible, then, to speak of the 'persistence' of 'identity' as something unitary (simultaneous with itself) existing through plurality and successive fragmentation into non-being? Furthermore, in reference to motion, what is entailed in the possibility of experiencing the transition of a selfsame (particular) object from one spatial location to another: how is it that the object 'endures' through its spatial and temporal transition? Since antiquity the question of simultaneity has been taken for granted – generally being consigned to mere spatial models.. (shrink)

In his Poetics, Aristotle articulated certain ideas on the structure of drama that dominated both dramatic literature and theatre practices for the centuries to come. In this article I show how the thorough analysis of his statements leads us to believe that he endorses causality, narrativity, and temporal linearity as primary factors in the organization of dramatic and stage texts. Tracing various modifications of causality throughout theatre history, I use the work of the two prominent contemporary directors, Eimuntas Nekrosius and (...) Anatoly Vasilyev, to demonstrate how postmodernist theatre has arrived at non-Aristotelian theatrical model based on the unity of a time–space continuum rather than temporal development. (shrink)

The idea of representation is central to many theories for embodied skillful action. Representation-centric cognition has been questioned in light of the prominence of E-cognition in the past two decades, including ecological psychology, sensorimotor theory, dynamical systems, and 4E cognition. The paper expands on the critique by offering alternate explanations for the information processing model of skill learning and embodied action. Mental representation plays a fundamental role in information processing explanations of embodied skillful action. The skilled activity is considered discretely (...) in information-theoretic approaches, consisting of a linear model of information input-process-output. According to the paper, the beginning, emergence, acquisition, performance, and mastery of an embodied skilled activity are all part of a human experience continuum. Using vehicle driving as an example, the paper examines diverse viewpoints on embodied skillful action. (shrink)

Leaves and flowers frequently have a characteristic rippling pattern at their edges. Recent experiments found similar patterns in torn plastic. These patterns can be reproduced by imposing metrics upon thin sheets. The goal of this paper is to discuss a collection of analytical and numerical results for the shape of a sheet with a non-flat metric. First, a simple condition is found to determine when a stretched sheet folded into a cylinder loses axial symmetry, and buckles like a flower. General (...) expressions are next found for the energy of stretched sheets, both in forms suitable for numerical investigation, and for analytical studies in the continuum. The bulk of the paper focuses upon long thin strips of material with a linear gradient in metric. In some special cases, the energy-minimizing shapes of such strips can be determined analytically. Euler–Lagrange equations are found which determine the shapes in general. The paper closes with numerical investigations of these equations. (shrink)

In its "futural" use, the future perfect represents the past of the future. In the architectural and urban project, which imagines the future of cities and territories, a future perfect is always at stake: there is past in the future, there is future in the past. The project of a spatial transformation, always happening as a rupture in the temporal continuum, doesn't deploy an homogeneous and linear time, but rather a bundle of temporalities working according to different paces. (...) In such a perspective the project has less to be meant as an image of a future state of the world, rather than an action orientation. The project can become an opening and a “social experimentation”, beyond the strictly technical and bureaucratic rationale, but also beyond the practice and market boundaries. (shrink)

The basic theoretical premise of this article is that representation does not necessarily imply a break with democratic principles. Its goal is to challenge the traditional liberal-elitist approach to representative government according to which this system is a mixed regime that is not identifiable with democracy since its main institution, election, is a mechanism that is inherently aristocratic, although it can be implemented in a democratic way. I question this powerful argument by questioning its main assumption: the idea that representative (...) government, since its 18th-century inception, has had a linear and univocal history which was essentially undemocratic.I go back to the age of the French Revolution and analyse Condorcet’s plan of constitution in order to prove my case. Condorcet devised institutional mechanisms and procedures that were able to make representative government democratic by overcoming the polarization between representation and participation and making them related forms of political action constituting the continuum of decision-making and opinion formation in modern democratic society. (shrink)

In the modern consideration of historical time, reason is the driving force of progress through a homogenous, linear and continuum time. In fact, during the eighteenth and nineteenth centuries humanity was witnessing a history of progress in which it appeared that history was progressing towards a better world. However, the tragedies of the twentieth century indicate the opposite. Western reason proved unable to stop the barbarism of war. At the heart of this panorama, according to Emmanuel Levinas and (...) Johann Baptist Metz, was the idealism of the Greek logos presented in the philosophical and theological mode of thinking. Theology and philosophy would share in this way the same idealist vocation towards totality which, in Levinas’s categories, is the forgetting of singularity and their concrete situation in favour of universality. I will show how by resorting to the Jewish legacy, and particularly to the concepts of eschatology, apocalypse, and messianism, Levinas and Metz define a new relationship with historical time. In this way they not only oppose the mainstream consideration of history as a vector of continuous progress towards its own realization, but also introduce in history the contingency of individual experiences and particularly those of the victims of such history. (shrink)

continent. 2.2 (2012): 155–158 Michel Serres. Biogea . Trans. Randolph Burks. Minneapolis: Univocal Publishing. 2012. 200 pp. | ISBN 9781937561086 | $22.95 Conveying to potential readers the significance of a book puts me at risk of glad handing. It’s not in my interest to laud the undeserving, especially on the pages of this journal. This is not a sales pitch, but rather an affirmation of a necessary work on very troubled terms: human, earth, nature, and the problematic world we made. (...) It is this world that aspirates the silence (so to speak), and therefore the subject which, along with the development of the “made world” exports the excess augmentation of the cosmically missing, this silence of the natural, et cetera. Had we learned from Locke that lesson of “labor,” to consume what we need… but perhaps we need more than what matters? Serres’ Biogea has several functions on this manner, if it is indeed a book to be consumed. First, readers searching for novelistic entertainment have a place to dwell. Biogea deserves a place in your back pocket; biographical generosity and poetic fluidity should satisfy most textual fetishes. For lay philosophers who want to refresh their acumen, Biogea deserves a place on the book shelf, one already reads a sorely needed postmodern tune-up here. Serres’ style is clearly French; he leaves few cheese crumbs on his words, rather preciseness and breathing in the work give way to a sweeping manner that breaks the narrative line of sight. A circular narrative and anachronistic fragmentation of terms allows an abyssal atmosphere to swell, if only to pump into the book the externality of its broader text. Biogea aspires to a higher standard and the book, at times, is thinking this negentropic problem too. Univocal, the publisher, has crafted a book appropriate for the hands to hold and the translations are an achievement of an otherwise difficult writer to translate. Terms are the conditions of a broader text. It is important to note that Serres’ content is as much a thinking of terminal ports. There is a regard for the transportation technology of the written word. For me, this is the mark of genius, a craftiness that tells of a book device that I may trust. Serres is an accomplished thinker and a necessary voice to check the putative trendiness of anti-postmodernist and market-driven theory of endless cultural liquidation. Offering interventions on subjectivity as an open system we are given a chance to affirm the human, not merely to discard it, but to engage its poetic image emotion, the calibratory silent sense of the analogic world; the terms on which we base our efforts. 1 The human is the center of its own negation, constantly mediating it. Something deeper at stake appears in the work then, and it is quite obvious from the onset. Certainly, a book is an intensification of possible text and those who brought this actual book into existence have captured a rarity in regards to the subject matter and artistic accomplishment. I mentioned terms as conditions, so let us understand Biogea as bio-yea, a yes to bios . An affirmation of living and accepting presence for all of its defiance of images, words, and things temporal. Therefore Serres’ existence and its existants plays parts; out of linearity and still like a porous bone pumping blood it manufactures into the fleshy life it becomes. Starting from a man named silence chaos emerges, or the man “Old Taciturn” takes up a journey anticipating a great flood. In other words, a development akin to the one in Genesis. In dealing with this ancestral occupation, fusing Genesis with contemporary philosophical terms, Serres initiates this anachronistic fragmentation under the forming subjectivity of his own autobiography. This mutation in the open system is precisely one of Serres’ terms. There an abyss is at work, stated, but also measured by heels on the ground—the abyss dispatching earthen tensions, that which plays our tunes, that which we abide by and recognize in volcanoes, rivers, oceans, earthquakes and weaponry in the battles of the world. Set in later stages of the book, such tensions are harnessed through scientific principles in an attempt to unify the terms of natural force if only to terminate the world. Thus the elevation of the earth into the world is clearly set forth. Here already, and few pages in, a resonance is set forth under appellations such as the river Garonne, a subjectivity as much as it is inhuman, the river is the inhuman that makes us human. I get the sense that Serres is taking up a challenge issued by Wallace Stevens; namely, that the great poems of heaven and hell have been written, but that only the poem of the earth has resisted composition. 2 On this level we cannot avoid the killing factor of silence, given that our cognition blocks its pure, radical obliteration. Thus a silence of attunement to the earth is in a novel dialectic of the rithmic and rhythm. A technological world, a triumph of termination is set forth. If a text imposes its will given the reader who authorizes it, it is made to convey or convect a presupposition to a reader or its inhabitant(s). Text is therefore both, in-content, contenting, contentedness, and in reading it, a way to navigate self-destruction (dis-content). Here then would one note that the “inhuman” reveals itself, “an aperiodic rhythm of lovers and beloved…the sea as our friend…but as our enemy…maternal vivifying sea.” The sea is an open book, or vaginal birth canal, where the engagement of text comes forth: “…woman sea, open vulva.” One sees like the sea, but only after it, when the uninhabitable truth of inhabiting it switches the polarity of the sailors soul: “I was seeing like the sea” (9-11). In other words, we are invited to embrace the nonsense of the visible. At this point I am taken to Jean-François Lyotard’s work The Inhuman , specifically the first entry on negentropy that would be congruent with Serres’ thematic. 3 The human being exports, deports, or transplants its relation through text, through the system— and this is its sense or relation to silence, to music. Unaware of Serres’ proximity to this work, the concept of gender interrelation as regards a solar catastrophe runs clear. It would be, on this basis, that Serres references his peers, the other texts that, as mentioned above, are discarded in philosophy today. For students of philosophy what we have here is perhaps a gift, a needed project. If silence and death are at work, there is a political valence to deal with, and here, much like the domain of the text and the dominion of the reader, we confront the world of natural, fluid violence. The anti-postmodernist critique is in part based on a weak idea that the loss of ideology, of a world vision, motivates the “correlationist” project. 4 Serres seems to offer another way to view this when he notes that whereas persons “sometimes kill,” it is clearly “the collective” that “always kills” (17). What is the collective today, if not an organizing function we never see yet acts in its favor in the name of truth? One feels a sense of enigma here, if only to link to what Stevens remarked of communism as a “grubby faith,” providing this applies for capitalism as well, namely any ideology of progress overly interested in absolutes. Here we get the sense that the inhuman, silence, this type of killing, always killing, could not be matched by human-made, political dynamos. Or that if it comes to an equilibrium, a catastrophe is never too far from us to read with our heels. We are left to note that the forces of nature presuppose and permeate political systems, the more these systems obtain force, the more the system takes upon itself the proper name of nature that motivates its dissemination, albeit falsely. This note, that in an age of ecocide and technological captivity (sustainability and transparency) political regimes won’t grow our soul-learning ears any larger than our tongues, stands clear to us. The promise of technological desubjectification is here pushed aside. Regarding politics, Serres illustrates this fact: Where did this corpse come from? Who was it? Who killed it? I don’t know. I won’t try to find out. I refuse to get vengeance for it. And I only see Garonne. For our victims, today, are the rivers, too. Their waters have irrigated my life, enchanted my thought, invigorated my body; I’ve known them to be threatening, untamable, as dangerous as the sea when it rages. Yes, murderous. They decided to control their courses; dams, sometimes senseless, destroying sites and valleys, reduced entire populations to servile displacements; programs for the irrigation of thirsty farmland, often beneficial of course, completed their drying up.(22) Serres enters into his idea concerning the captivity of language from the natural into a world system: For thousands of years, we have been licking things with our tongues, covering and daubing them so as to appropriate things for ourselves. If language boils down to a convention, this convention took place between the speakers without consulting the thing named, become as a result the property of those who covered it in this way with their drawn or voiced productions. Malfeasance analyzes these acts of appropriation. Thus every inert object, every living thing as well, sleeps under the covers of signs, a little in the way that, today, a thousand posters shouting messages and ugly riots of color drown, with their filthy flood, the landscapes, or better, exclude them from perception because the meaning, almost nil, of this false language and these base images forms an irresistible source of attraction to our neurons and eyes. This appropriation covers the world’s beauty with ugliness. (38-39) Technological concealment coming to bear, we begin to get a sense of another commentary on the condition of sensing, driving home the necessity of a text dealing with such subject matter to be what its terms insist. Thus toward new openings: The new opening. As low beneath our feet as you like, the Biogea opens us to another space, high enough for us to be able to acquire a wisdom there, that of redeveloping this same place differently from our fathers, this place that’s still politically cut up by old hatreds, beneath the flood of tears and blood that we call history. Without this soft place, spiritually very old, but newly conceived in this way, without the juridical construction of a common good, opposed to our filthy ownership, I don’t see how our planet, hard, will survive. Hardness that depends on a softness, material belonging that depends on this temporary rented location (51). Serres enters into a summit on the content and the structure of his work. Archimedes is brought in with the concept of three volcanoes. Meaning fire, but as well earth, water, air. For it was Archimedes’ war machines that sought to lift the earth, thus bringing in the question of principles of science: “can a principle be invented while controlling its consequences?” (66-7). May the earth be put in a sentence, terminated by terminology, appellations, gone wild? By means of these element-dominating laws, this old physicist began to tear nature away from the ancient myths; by a strange return, today we’re plunging our successes back into the anxieties and terrors from which that ancient physics was born. Yes, our new history of science and technology is plunging, today, as though in a loop, into the fundamental human myths from which Empedocles’ first laws came. A major progression and a regression on the nether side of the origins. Consequently, the contemporary time requires that we try to return to that unity in which the principles of hate and love are at the same time human, living, inert and global. We will never attain a deontology of our knowledge and actions without thinking the subjective, the objective, the collective, and the cognitive all together simultaneously. Here, hate and love are the result of these four components.(71) Working then on the concept of fire-starting mirrors to the atomic annihilation of the Second War, Serres works into the subjectivity in question on the matter of rhythm—say rithmic— precisely at that point: Knowledge is changing today. The all-political is dying; the monarchy of the sciences said to be hard is coming to a close. The science of the things of the world will have to communicate just as much as the things of the world do, which do it much better than humans do, who don’t always want to do it. Let’s celebrate two changes this morning. The first one strikes a new blow to our narcissism. No, knowledge and the world don’t resemble our analytical enjoyments of refined cutting up, of endless debates and of exclusions full of hate. They, on the contrary, form a bloc and a sum, alliance and alloys. Uniting the fields of knowledge among themselves the way the things are connected among themselves, the second newness puts into place sets united by interlacing, webs and simplexes that combine with the things of the world, themselves combined, the combined knowledge that understands them.(130-1) Biogea closes on its opening flood thematic, approaching the initial telos of Genesis. Here the trees are brought into a position with atmosphere, the opaque abyssal reservoir, the tomb of the sun, sea in the polarity of the earthen heaven and hell. The poem of the earth then is silent but deadly, indeed, as funny as that phrase is, mainly a tomb gas. The meaning of the living and the non-meaning of things converge in the muteness of the world; this meaning and non-meaning plunge there and come out, the ultimate eddy. Mundus patet: through a fissure, through an opening, a fault, a cleft come noises, calls as small as these apertures. I’m listening, attentive, I’m translating, I’m advancing in the scaled-down meaning and science. Mundus patet: should the world open greatly, it will launch me into its silence. The totality remains silent. Knowledge expanded in elation. White origin of meaning, fountain of joy. (198) Final Remarks One test of a review is the long term trajectory the referee thinks the book will have. I see Serres’ text lending greatly into the vision of Biogea . In fact, in the vision of the novel inquiries of Stephen Jay Gould’s work there is something to be thought on the level of the individual and the species; namely, that humanity and its uniqueness is in its deferral, its thinking and naming, a thinking surrounded by silence that filters into everything, that pulls us through the world, the kinetic pulse we recognize, and all of that we cleave away in the base philosophical maxim of difference itself. Unique individuals are spatial creatures: we dwell, and we ought to get good at it. Yet this is an imaginative space that, if you are crazy enough to believe it, de-term-ine the conditions of its own terms. That is why we are not merely creating spaces on the acceleration of time, or so this ignoramus thinks, to accidentally transcend. Imagination already has this insatiable silence that we drink up and fail to manifest. Space is timeless. The imagination itself, shared by humans for themselves, their objects, and the species as a whole, is a non-defined space of relation; a whole human trajectory as part of nature, and part of worlds that are the other side of thinking nature, the consequence of it, at least our attempt to do so. Our survival is based on our deliberation, our caution, our natural deconstructive sense toward this silence that is already part of the song, sung, singing of this century without end. Good books will let us inhabit this space and recognize a form of life. Serres’ text moves toward dwelling, as noted, in masterful and accessible ways. The pitched battles are the falling replays of anemic and dead politics. As soon as we realize there is humanity, we may be able to enjoy the end of it, our inhuman capability of listening to silence. NOTES 1. See Michel Serres. The Parasite . Minneapolis: University of Minnesota Press. 2007. 2. Wallace Stevens, “Imagination as Value” [ca. 1945], in Collected Poetry and Prose . New York: The Library of America. 1997. 724-39. 3. Jean-François Lyotard. The Inhuman: Reflections on Time . Trans. Geoffrey Bennington & Rachel Bowlby. Stanford, CA: Stanford University Press. 1992. 4. See the introduction: Quentin Melliassoux. After Finitude: An Essay on the Necessity of Contingency . Trans. Ray Brassier. New York: Continuum. 2008. EDITOR'S NOTE: This review was updated on August 8, 2012. Substantial edits include block quotes from the book under review as well as the inclusion of comments from the author. (shrink)

A structure ${\mathbb Y}$ of a relational language L is called almost chainable iff there are a finite set $F \subset Y$ and a linear order $\,<$ on the set $Y\setminus F$ such that for each partial automorphism $\varphi $ of the linear order $\langle Y\setminus F, <\rangle $ the mapping $\mathop {\mathrm {id}}\nolimits _F \cup \varphi $ is a partial automorphism of ${\mathbb Y}$. By theorems of Fraïssé and Pouzet, an infinite structure ${\mathbb Y}$ is almost chainable (...) iff the profile of ${\mathbb Y}$ is bounded; namely, iff there is a positive integer m such that ${\mathbb Y}$ has $\leq m$ non-isomorphic substructures of size n, for each positive integer n. A complete first order L-theory ${\mathcal T}$ having infinite models is called almost chainable iff all models of ${\mathcal T}$ are almost chainable and it is shown that the last condition is equivalent to the existence of one countable almost chainable model of ${\mathcal T}$. In addition, it is proved that an almost chainable theory has either one or continuum many non-isomorphic countable models and, thus, the Vaught conjecture is confirmed for almost chainable theories. (shrink)

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

Claiming that individuals and communities get their choices, rhythms and practices biopolitically choreographed by temporal mechanisms that dictate which human experiences are included or excluded, Elizabeth Freeman states that those ‘whose activities do not show up on the official time line, whose own time lines do not synchronize with it, are variously and often simultaneously black, female, queer’. The narrative subject of Bernardine Evaristo's Girl, Woman, Other is black, female and queer in her design of a polyphonic text featuring twelve (...) black women moving through the world in different decades and occupying a temporal dimension that deviates from the linear and teleological modes. I draw on Edelman ; Freeman and Ahmed to analyse Evaristo's novel as a text informed by feminist queer temporality and thus explore these characters’ resistance to chrononormative assumptions like ‘the straight time of domesticated gender, capital accumulation, and national coherence’. In this light, I address her cast of ‘time abjects’ –lesbians, transgender women, feminist killjoys and menopausal females—as characterized ‘chronotopically’ as their racialized and gendered subjectivities coalesce temporally and spatially seeing their pasts and futures interact in a typically transpositional, queer and diasporic continuum. By invoking Freeman's notion of ‘erotohistoriography’ as a distinctive mode of queer time that not only recognizes non-linear chronopolitics, but decidedly prioritizes bodies and pleasures in self-representation, I contend that Evaristo depicts bodies as likewise performing this encounter between past and present in hybrid, carnal and trans-temporal terms. I conclude that in her joining temporality and corporeality, memory and desire, she suggests alternative ways of representing contemporary black British womanhood. (shrink)

Two structures are said to be equimorphic if each embeds in the other. Such structures cannot be expected to be isomorphic, and in this paper we investigate the special case of linear orders, here also called chains. In particular we provide structure results for chains having less than continuum many isomorphism classes of equimorphic chains. We deduce as a corollary that any chain has either a single isomorphism class of equimorphic chains or infinitely many.

The links which connect the nature of the medium to the methods of access and to the objects of knowledge, relationships between form and content, are a broad continuum whose interlinked facts require a transdisciplinary study.Nowadays, attempts to discern these links seem to concern two central groups of correlations, which have been analysed from the perspective of different disciplines.In the foreground of correlations we find the relationship between the material characteristics of the mediums and the methods of access to (...) their contents; in this field of cultural technologies, the history of verbal language is punctuated first by the ‘invention’ of writing and its different systems, then by a series of transformations of manuscripts and the printed word, and finally by electronic communication. In the study of this first relationship, the history, psychology and physiology of reading establish a relationship between several parameters: on the one hand, the system of signs and spaces in the organization of the written code, and on the other hand, the methods of appropriation of this code by the reader (both reading aloud and silent reading), linear progression or freedom of selection of the contents, degree of speed, amount of information” habits of memorization, etc. (shrink)

We investigate the extension of monadic second-order logic of order with cardinality quantifiers "there exists uncountably many sets such that... " and "there exists continuum many sets such that... ". We prove that over the class of countable linear orders the two quantifiers are equivalent and can be effectively and uniformly eliminated. Weaker or partial elimination results are obtained for certain wider classes of chains. In particular, we show that over the class of ordinals the uncountability quantifier can (...) be effectively and uniformly eliminated. Our argument makes use of Shelah's composition method and Ramsey-like theorem for dense linear orders. (shrink)

It was shown recently that epimorphisms need not be surjective in a variety K of Heyting algebras, but only one counter-example was exhibited in the literature until now. Here, a continuum of such examples is identified, viz. the variety generated by the Rieger-Nishimura lattice, and all of its (locally finite) subvarieties that contain the original counter-example K . It is known that, whenever a variety of Heyting algebras has finite depth, then it has surjective epimorphisms. In contrast, we show (...) that for every integer $n \geq 2$ , the variety of all Heyting algebras of width at most n has a non-surjective epimorphism. Within the so-called Kuznetsov-Gerčiu variety (i.e., the variety generated by finite linear sums of one-generated Heyting algebras), we describe exactly the subvarieties that have surjective epimorphisms. This yields new positive examples, and an alternative proof of epimorphism surjectivity for all varieties of Gödel algebras. The results settle natural questions about Beth-style definability for a range of intermediate logics. (shrink)

After people learn to sort objects into categories they see them differently. Members of the same category look more alike and members of different categories look more different. This phenomenon of within-category compression and between-category separation in similarity space is called categorical perception (CP). It is exhibited by human subjects, animals and neural net models. In backpropagation nets trained first to auto-associate 12 stimuli varying along a onedimensional continuum and then to sort them into 3 categories, CP arises as (...) a natural side-effect because of four factors: (1) Maximal interstimulus separation in hidden-unit space during autoassociation learning, (2) movement toward linear separability during categorization learning, (3) inverse-distance repulsive force exerted by the between-category boundary, and (4) the modulating effects of input iconicity, especially in interpolating CP to untrained regions of the continuum. Once similarity space has been "warped" in this way, the compressed and separated "chunks" have symbolic labels which could then be combined into symbol strings that constitute propositions about objects. The meanings of such symbolic representations would be "grounded" in the system's capacity to pick out from their sensory projections the object categories that the propositions were about. (shrink)

Reviewed Works:Tomek Bartoszynski, Marion Scheepers, Set Theory, Annual Boise Extravaganza in Set Theory Conference, March 13-15, 1992, April 10-11, 1993, March 25-27, 1994, Boise State University, Boise, Idaho.R. Aharoni, A. Hajnal, E. C. Milner, Interval Covers of a Linearly Ordered Set.Eyal Amir, Haim Judah, Souslin Absoluteness, Uniformization and Regularity Properties of Projective Sets.Tomek Bartoszynski, Ireneusz Reclaw, Not Every $\gamma$-Set is Strongly Meager.Andreas Blass, Reductions Between Cardinal Characteristics of the Continuum.Claude Laflamme, Filter Games and Combinatorial Properties of Strategies.R. Daniel Mauldin, (...) Analytic non-Borel Sets Modulo Null Sets.Janusz Pawlikowski, Laver's Forcing and Outer Measure.Marion Scheepers, Meager Sets and Infinite Games.Saharon Shelah, On Some Problems in General Topology.Saharon Shelah, Remarks on $\aleph_1$-CWH not CWH First Countable Spaces.Juris Steprans, Cardinal Invariants Associated with Hausdorff Capacities. (shrink)

BackgroundSarcomas are a diverse group of neoplasms that vary greatly in clinical presentation and responsiveness to treatment. Given the differences in the sites of involvement, rarity, and treatment modality, a multidisciplinary approach is required. Previous literature suggests patients with sarcoma suffer from poorer quality of life especially physical and functional wellbeing. Adolescent and young adult patients are an underrepresented population in cancer research and have differing factors influencing QoL.MethodsRetrospective analysis of Young Adult patients enrolled in the Sarcoma Tissue Repository at (...) University of Iowa. QoL was assessed using the self-report FACT-G questionnaire at enrollment and 12 months post-diagnosis; overall scores and the 4 wellbeing subscales were calculated. Linear mixed effects models were used to measure the association between the rate of change in FACT-G subscale scores and baseline clinical, comorbidity, and treatment characteristics.Results49 patients were identified. 57.1% of patients had a malignancy involving an extremity. Mean FACT-G scores of overall wellbeing improved from baseline to 12 months. Social and emotional wellbeing did not differ significantly between baseline and 12 months. Physical wellbeing and functional wellbeing scores improved from baseline to 12 months. No difference was seen for FACT-G overall scores for age, sex, laterality, marital status, performance status, having children, clinical stage, limb surgery, chemotherapy, or tumor size. A difference was demonstrated in physical wellbeing scores for patients with baseline limitation compared to those with no baseline limitation. A difference was demonstrated in social wellbeing based on anatomical site.ConclusionYoung adults with sarcoma treated at a tertiary center had improvements in overall reported QoL at 12 months from diagnosis. Overall baseline QoL scores on FACT-G were lower than the general adult population for YA patients with sarcoma but at 12 months became in line with general population norms. The improvements seen merit further investigation to evaluate how these change over the continuum of care. Quality of life changes may be useful outcomes of interest in sarcoma trials. (shrink)

In the quest and search for a physical theory of everything from the macroscopic large body matter to the microscopic elementary particles, with strange and weird concepts springing from quantum physics discovery, irreconcilable positions and inconvenient facts complicated physics – from Newtonian physics to quantum science, the question is- how do we close the gap? Indeed, there is a scientific and mathematical fireworks when the issue of quantum uncertainties and entanglements cannot be explained with classical physics. The Copenhagen interpretation is (...) an expression of few wise men on quantum physics that was largely formulated from 1925 to 1927 namely by Niels Bohr and Werner Heisenberg. From this point on, there is a divergence of quantum science into the realms of indeterminacy, complementarity and entanglement which are principles expounded in Yijing, an ancient Chinese knowledge constructed on symbols, with a vintage of at least 3 millennia, with broken and unbroken lines to form stacked 6-line structure called the hexagram. It is premised on probability development of the hexagram in a space-time continuum. The discovery of the quantization of action meant that quantum physics could not convincingly explain the principles of classical physics. This paper will draw the great departure from classical physics into the realm of probabilistic realities. The probabilistic nature and reality interpretation had a significant influence on Bohr’s line of thought. Apparently, Bohr realized that speaking of disturbance seemed to indicate that atomic objects were classical particles with definite inherent kinematic and dynamic properties (Hanson, 1959). Disturbances, energy excitation and entanglements are processual evolutionary phases in Yijing. This paper will explore the similarities in quantum physics and the methodological ways where Yijing is pivoted to interpret observable realities involving interactions which are uncontrollable and probabilistic and forms an inseparable unity due to the entanglement, superposition Transgressing disciplinary boundaries in the discussion of Yijing, originally from the Western Zhou period (1000-750 BC), over a period of warring states and the early imperial period (500-200 BC) which was compiled, transcribed and transformed into a cosmological texts with philosophical commentaries known as the “Ten Wings” and closely associated with Confucius (551- 479 BC) with the Copenhagen Interpretation (1925-1927) by the few wise men including Niel Bohr and Werner Heisensberg would seem like a subversive undertaking. Subversive as the interpretations from Yijing is based on wisdom derived from thousands of years from ancient China to recently discovered quantum concepts. The subversive undertaking does seem to violate the sanctuaries of accepted ways in looking at Yijing principles, classical physics and quantum science because of the fortified boundaries that have been erected between Yijing and the sciences. Subversive as this paper may be, it is an attempt to re-cast an ancient framework where indeterminism, complementarity, non-linearity entanglement, superposition and probability interpretation is seen in today quantum’s realities. (shrink)

Facial emotion recognition (FER) deficits interfere with interpretation of social situations and selection of appropriate responses. Attention-Deficit/Hyperactivity Disorder (ADHD) symptoms are independently associated with social difficulties and might exacerbate the influence of deficient FER, because children with ADHD symptoms have fewer compensatory resources in social situations when they misinterpret emotions. Very few studies have tested this hypothesis in a community context, where child ADHD symptoms vary on a continuum. The current study extended this work by utilising a community sample (...) (N = 87) of boys and girls in middle childhood (M = 7.83 years) and testing for moderation of FER effects separately by ADHD symptom type (ADHD-I = inattentive, H = hyperactive/impulsive, C = combined) using linear regression. While lower FER was associated with more social problems, this relationship was qualified by the presence of ADHD symptoms. Specifically, only children with relatively high ADHD symptoms in our community sample showed this inverse relationship, which was clearest among children with elevated ADHD-C or ADHD-I symptoms. No gender differences were observed. These results support our primary hypothesis, extend prior findings to boys and girls in the community, and have implications for understanding how ADHD symptoms and FER influence youth social deficits. (shrink)

Writing, the exigency of writing: no longer the writing that has always (through a necessity in no way avoidable) been in the service of the speech or thought that is called idealist (that is to say, moralizing), but rather the writing that through its own slowly liberated force (the aleatory force of absence) seems to devote itself solely to itself as something that remains without identity, and little by little brings forth possibilities that are entirely other: an anonymous, distracted, deferred, (...) and dispersed way of being in relation, by which everything is brought into question – and first of all the idea of God, of the Self, of the Subject, then of Truth and the One, then finally the idea of the Book and the Work so that this writing (understood in its enigmatic rigor), far from having the Book as its goal rather signals its end: a writing that could be said to be outside discourse, outside language. – Maurice Blanchot ( The Infinite Conversation , xi) The Compendium * Beginning with the idea and practice of writing, and moving to the subject or self, then to truth and the One, and arriving at the Book and the Work, Blanchot’s words reflect the trajectory of the following work of writing. True to the embeddedness of the subject in the work of writing, the term “Compendium” has been a metonym for me over the past few years as I have thought about the concept of totality alongside its expression in figures such as the One, the Whole, or the All. In the following I aim to share some of the content of this metonym, and to enrich it by making some distinctions. 1 Here the term “Compendium” will refer to a concept of totality that is ontological (pertaining to being, and the copula) and also textual (pertaining to the symbolic, and the signifier-signified relationship). The Compendium is a figure for thinking the world as a Book, in the broadest sense—an approach to reality that is by no means new, but one that is due for renewal. 2 In partial answer to the question of the Compendium we will say that the word ‘Compendium’ stands in for expressions which seek to totalize, or concepts which seek to approach the concept of ‘everything,’ particularly when these expressions are bound up in the question of the Book (both the book as a physical object and the Book as a metaphysical figure: a way of thinking about the work in and of writing). The question of the Compendium is strongly associated with the physical and metaphysical form of the Book, like the mysterious and symbolic books which are opened in the Biblical book of Revelation, the book of life and the book of death, which together constitute an important couplet. 3 Parataxis & Hypotaxis There are two helpful distinctions that will bring us closer to an answer to the question “What is a Compendium?” The first distinction is between two figures in and for writing: parataxis and hypotaxis . Typically paired in contrast to one another as literary techniques, with parataxis indicating a side-by-side placement of textual elements and hypotaxis referring to subordinate arrangements of textual elements, the two figures can be understood as having a philosophical significance in addition to their practical function as devices for writers. For us these two terms will remain between philosophical theory and writing practice, and serve as a perspective for our writing and creation of texts. Here I take texts to refer to anything from the concrete written words in a book, to the ontological text of the world that we experience. Parataxis , as a figural way of thinking about the ontological structure of texts, refers to texts which are tightly woven and interdependent – texts within which each sentence bears the weight of the entire work. Parataxis often involves repetition, great density, and fragility. One of the best examples of this sort of text is Theodor Adorno’s posthumous magnum opus , Aesthetic Theory . In addition to the text itself, the translation history of the book may also help us to better understand parataxis and its relation to hypotaxis . The final published version of Aesthetic Theory , in German, was a text that Adorno intended to revise and rewrite, but this intention was never realized because of his untimely death. Where the German text of Aesthetic Theory certainly exemplifies the concept of parataxis , the first English edition took this densely woven text and carved Adorno’s lengthy paragraphs and lengthy sentences into manageable ‘bite-sized’ pieces of English text. The first translator took further liberty and inserted headings and new paragraph breaks where there were none in the original. Aesthetic Theory was eventually retranslated by Robert Hullot-Kentor and is now available in a form that is much more faithful to the original work. 4 The pertinent idea that this translation history points to is the distinction between parataxis and hypotaxis . Where parataxis describes texts which are repetitive, densely woven, and often fragile, hypotaxis describes texts which are hierarchical and in which the primary relation is linear – the latter of which is very similar to the first English translation of Aesthetic Theory . On the other hand, the original German text that Adorno wrote was very dense, often repetitive, and contained long sections of text unbroken by paragraphs or headings. This example of parataxis was then turned towards hypotaxis through the initial translation which took a text that was, in many ways, nonhierarchical and nonlinear, and artificially subjected it to a hierarchy that was not its own (and here I take the word of Fredric Jameson who comments on the two translations in a note at the beginning of his book Late Marxism ). 5 The point here is not about translation, but rather the distinction between parataxis and hypotaxis precisely as they are figures for discourse, written or otherwise. The concept of parataxis looks far more postmodern and rhizomic than the concept of hypotaxis which remains very modern and arborescent. This is a more figural way of talking about the distinction. However, if we wanted to take a more precise and analytical approach we could say that on the level of form parataxis involves a relationship between sentences and paragraphs in which each part bears an equally crushing responsibility to present the whole content of the text. As well, on the level of content, parataxis requires that each concept in a work take on the full conceptual weight of the total work. Continuing the analysis, we could say that parataxis describes texts in which there is no (or very little) linear or causal move from antecedent to consequent, whether in content or form. Instead, parataxis describes texts which weave together concepts via conjugations or associations. The concept of hypotaxis , on the other hand, requires that texts submit themselves to hierarchy, one example of which is logical argumentation. The contingency of the conclusion upon premises in hypotaxis is certainly distinct from the repetition, re-presentation, and conjugation of concepts in parataxis , and I think that this is evident in the difference between the writing styles prevalent in contemporary Analytic philosophy and Continental philosophy. It is not the case that the distinction between parataxis and hypotaxis absolutely corresponds with the writing styles of Continental and Analytic philosophy (respectively). There are thinkers who take exception to this pattern, such as Badiou’s more formal approach in the discourse of Continental philosophy to give one example. However, when Analytic philosophy takes its writing lessons from the sciences, and seeks to do philosophy via the clean linear move from antecedent to consequent, then I think that Analytic philosophy writes with hypotaxis in mind. On the other hand, when Continental (particularly German and French) philosophy takes its writing lessons from narrative or poetry then Continental philosophy writes with parataxis in mind. It is not fair to say that all those writing Continental philosophy are looking to narrative and poetry for stylistic direction, just as it is not the case that all those writing Analytic philosophy have mathematics and science as their writing format, however there are some striking ways in which the differing epistemologies of Continental and Analytic philosophy encourage writing with parataxis and hypotaxis in mind (respectively). For some, writing with parataxis or hypotaxis in mind is a conscious decision and a product of stylistic self-consciousness, and for others it is an unconscious discursive and epistemic requirement that must be met in order to be involved in a particular discourse. Before moving on to our second distinction, and then an examination of the question of the Book, it is important to point out that both totality and figurations like the One, the Whole, and the All, come out of very human desires to totalize or to actualize our being-towards-totality. The relationship between identity and totality then can be construed, with Heidegger in mind, as striving toward wholeness, completion, or fulfillment, each of which is a quality of compendia. 6 Compilation & Selection The first distinction between parataxis and hypotaxis pertains to both form and content, and to both the mechanics of writing and the ideas to which writing refers. The second distinction pertains to both as well. In the process of writing and in the process of perception as well, there is a tension between compilation and selection . To begin with, in the work of theory-writing there is compilation, and this is because writing theory requires a broad perspective and certain measure of totalization. On the other hand, writing theory requires that the writer select an idea or a combination of ideas to individuate out of a radical and infinite multiplicity of identities and combinations. The concern here is not primarily for the writing of a theory about a specific idea, like a secondary work or a reference text. But rather the concern is with the writing of grand theories: Marx and Marxism, Derrida and Deconstruction, Husserl and Phenomenology, Sartre and Existentialism, Saussure and Structuralism —each of which strives along a trajectory towards being all-encompassing, whether it intends to or not. Today, we could even say that Speculative Realism has embarked on this journey, and perhaps now we could say that the discourse of Speculative Realism has reached the inevitable point after which a grand theory leaves the hands of its writer or writers and becomes a possession of the collective consciousness of the academy, or (perhaps now) the mass consciousness of the blogosphere—and this is a true pharmakon , a poison and a cure, a blessing and a curse. 7 When we write theory, whether the scope is that of a grand theory or a particular theory, we write in the tension between compilation (making good on the desire to be all encompassing) and selection (being required to decide and discern and to judge what is included in the work and what is deleted or appended or abridged or given over to ellipses). Generally speaking, the work of theory-writing often comes out of a desire to totalize, that is, to develop a theory of everything that is able to apprehend new experiences and ideas while still remaining whole. I grant that this is not a universal desire, and that not everyone who sits down to write a work (or book) of theory does so because of their will-to-totality, but it remains that this drive to totalize does condition a great many writers of theory (especially those who seek to develop grand theories like those mentioned previously). At the beginning of his book of interviews, Between Existentialism and Marxism , Sartre is quoted as saying, after completing the first volume of his Critique of Dialectical Reason : “I no longer feel the need to make long digressions in my books, as if I were forever chasing after my own philosophy. It will now be deposited in little coffins, and I will feel completely emptied and at peace—as I felt after Being and Nothingness . A feeling of emptiness: a writer is fortunate if he can attain such a state. For when one has nothing to say, one can say everything .” 8 This is where our two initial distinctions come to bear on the being-towards-totality as it is expressed in the concrete practice of writing: the first being between parataxis and hypotaxis , and the second being between compilation and selection. Where this second distinction is concerned there is a certain paradox at play given that selection is inescapable, and compilation is unachievable. Selection is inescapable (with the figure of the Compendium in mind) because, even when the imperative to compile is followed to excruciating lengths, selection still has the last word. This is why the Compendium is a figure rather than some material thing that can actually be accomplished or actualized. No matter how far one goes along with the will-to-archive and the will-to-compile, it is only ever a question of minimizing selection and never eliminating it. This leads to the second point, which is that total compilation is unachievable. The closest thing to total compilation that we have before us is the ontological and textual fabric of the world. Even in the case of the world, compilation cannot be enacted in a total fashion because of the need to include both the sphere of the actual and the sphere of the possible or potential. This as another way in which compilation is always-already selection, and further evidence that total compilation is practically impossible. Discursive Figuration and Total Writing Rather than figuration referring to a figure of speech or an image, here the term points to a way in which to think about the work of writing, both the work put into writing, and the work that is the result of writing: the finished yet incomplete final piece. As figures or figurations, the Book and the Compendium are ways of thinking about the work of writing and the human desire for the wholeness, completion, and fulfillment that are made manifest in the completed form of the book (whether a published or printed or saved document put to rest by the author). These two figures bear more strongly upon works that seek to be all-encompassing, and works that strive towards expressions of totality such as the One, the Whole, or the All. Moving on to the topic of the subtitle, and on a more prescriptive note, I would say that there is more hope for theory-writing to be found in parataxis than hypotaxis . Part of the reason for this claim is the poststructuralist critique of hierarchies, and yet another part is the compelling line of thinking called “weak thought” (in theology by John D. Caputo, and in philosophy by Gianni Vattimo, among others). 9 The consequences of these two convictions are such that if one is to strongly assert the truth of a grand theory without leaving the realm of hierarchy-critique and weak thought, then one must write paradoxically with parataxis in mind, and in so doing write weakly and non-hierarchically. This does not mean avoiding a sort of topography or topology when writing theory, rather it means avoiding both subjugation and oppression in thought by pursuing a nonviolent sort of ontology. In order to do this, theory writing does not present itself as an exercise in logical analysis where one mechanically moves from a set of premises (via contingency) to the inevitable conclusion (via necessity). Instead, theory approaches the idea of a Compendium. Given that the figural Compendium places parataxis and compilation above hypotaxis and selection, then the question becomes: is placing one part of a binary term before another not just another way of selecting, or another expression of hypotaxis ? Counter to the urge to resign oneself to the reign of selection, with some qualification one can nonetheless write without deciding whether selection and hypotaxis should be subservient to compilation and parataxis (which is to say that writing-without-decision is somewhere between and beyond possibility and impossibility). This dilemma can be disarmed by stating that theory writing is not about primacy, and not about having-decided-beforehand, both stylistically and also where content is concerned. This is the paradox of writing: always striving along a trajectory ( telos ) towards totality via parataxis and compilation, but always being drawn back to finitude and making selections, and placing one idea before another with hypotaxis in mind. In light of this paradox, the question of the Compendium as a figure for discourse and a figural Book has resonance with Jacques Derrida’s essay on Edmund Jabès’ Book of Questions , found in his Writing and Difference . The Question of the Book “Little by little the book will finish me.” 10 Derrida quotes Jabès, and proceeds to outline the reflexive relationship between the author of the book and the book itself, each of which are subjected to the other through a sort of chiasmus, both ontological and textual (not that the two are entirely separable). The Book, for Derrida like Blanchot in the introductory quotation, “infinitely reflects itself” and “develops as a painful questioning of its own possibility”, and in light of this we can draw an association with the painful tension between the practical reality of selection and the ideal trajectory of compilation. 11 This tension in writing, between the will to total compilation and the necessity of abridgment, is an ontological tension between part and whole just as it is a textual tension between signifier and signified. The ontological tension in writing that Derrida expresses in his essay on Jabès is between everything and nothing – a contradiction which Derrida finds in Jabès’ Book of Questions and also in the divine, in God. When one writes between compilation and selection one writes towards totality, and here we can follow Derrida who states that the lapse in signification, presumably in the signifier-signified discrepancy, is a “ rupture with totality itself” and furthermore that this lapse cannot be rectified through deductive reason or even philosophical discourse. 12 This rupture with totality, found in the troubled relation between signifier and signified, can also tell us a lot about the Book and about writing. Given an understanding of writing as an ontological act that strives towards (but never accomplishes) totality, we can see the written book as the manifested and given body of that striving. Perhaps in other disciplines or even other schools of philosophy there is a cultural climate within which the article is prized above the book, but I am fairly confident, especially when referring to the grand theories of Continental thought, that there is a respect for the book as a uniquely meaningful object capable of apprehending totality. Derrida writes, Between the too warm flesh of the literal event and the cold skin of the concept runs meaning. This is how it enters into the book. Everything enters into, transpires in the book. This is why the book is never finite. It always remains suffering and vigilant. 13 Here the vitality of the literal event is compromised by the deadening weight of the concept, and the figure of the Book assists in this lapse of meaning. The Book is a totalizing object, much like the figure of the Compendium, and yet this totalization lacks its final object of completed totality both because the figural Book is necessarily incomplete, and because the physical book is always-already a product of selection. Instead of achieving its end of being a place where everything takes place, it suffers from the lapse of writing, the discrepancy between event and concept. Derrida continues his exposition on Jabès by bringing to light yet another reflexive relation, a reversal of the relationship between the Book and the world. Derrida writes that, for Jabès, “the book is not in the world, but the world is in the book.” 14 In addition to what was stated before, I take figuration to mean that the concepts employed, such as the Book or the Compendium, are not subject to the supposed rigor of analysis that is so prized by Enlightenment or Capitalist realisms. The figure of the Book and the figure of the Compendium cannot be held accountable to standards imported from scientific method, given an understanding that these standards require a concept to be replicable, consistent, falsifiable, measurable, and so on… This is an important point to make, especially in the present atmosphere within which theory must justify itself under conditions that are not its own. Instead of being held to these standards, figuration serves as a way in which to think about writing that leaves thought open to idealistic speculation, imperfect analogies, and most importantly the ever-present gain and loss that occur in the relationship between thought and being. By extension the figural way of addressing writing indulges in enough generalization to accommodate the excess/lack relationship between the ideal form of the Book or the Compendium, and the manifested and given body of a text (as it is practically completed and closed). Here we speak against the hostile atmosphere which would have theory submit itself to hierarchical rigor, rather than Blanchot’s “enigmatic rigor”, by being explicit about the discursive conditions and epistemic conditions under which theory operates. To write with parataxis in mind is, to a certain degree, to write with weakness as one’s methodology (with weak thought being in opposition to hypotaxis and hierarchy as much as weak thought can be in opposition to anything). Rather than asserting the strength of hierarchical theory, and rather than employing antagonistic argumentation with the goal of refutation different discursive and epistemic conditions for theory writing must be cultivated (and these are by no means new). First the critical and theoretical spirit reveals itself as being concerned with the task of complication—especially the complication and critique of binaries, dichotomies, dualities, polarities, paradoxes, parallaxes, hybridities, and especially antinomies. Second, theory positions itself as a sort of showing or revealing, rather than being ultimately focused on coming to full agreement or disagreement. This is where figuration can help theory-writing, both by placing emphasis on teleologies and trajectories (like parataxis and compilation), and by shifting focus away from pure primacy, power, or absolute origin. Figuration then, assists theory writing by placing the concern of theory outside of the concerns of the hard or soft sciences, and into the realm of thought or the idea. To speak of ‘the’ Compendium or ‘the’ Book, here, is to generalize not regarding the perfect form of the Compendium or Book, but to engage speculatively with an abstract idea which remains singular and yet complicated by multiplicity. The question of the Book that Derrida asks through Jabès is a question of everything and nothing, totality and nonbeing, and this question is a concern for writing and a concern for the figure of the Compendium so defined by the tension between compilation and selection, and parataxis and hypotaxis . On the note of nonbeing, we can look to the final page of Derrida’s first essay on Jabès in Writing and Difference and notice the introduction of his neologism, différance (with an ‘a’). Derrida writes: Life negates itself in literature only so that it may survive better. So that it may be better. It does not negate itself any more than it affirms itself: it differs from itself, defers itself, and writes itself as différance . Books are always books of life (the archetype would be the Book of Life kept by the God of the Jews) or of afterlife (the archetype would be the Books of the Dead kept by the Egyptians). 15 This introduction of différance into the equation of the Book, alongside ontological affirmation and negation, hearkens back to the discussion of the symbolic lapse earlier in his essay. Differing and deferring, the Book is always a Book of Life and a figure for the intersection of the vital (life) and the total in writing. In a way, the writer of the Book may be someone who lives life, and in another way the writer of the book-as-object may be someone who engages in the act of writing, both practically (by inscribing words on paper, or typing script on a computer) and ontologically or symbolically (by investing their existence and inexistence into a work worthy of the figural Book). In addition to the writer as writer, the writer also serves as an editor, and the editorial role alongside the idea of the Compendium shows the editor to be one who collects and compiles, while being restrained by eventual selection and decision. Beyond this the editor of works and texts, in both the Book and the world, is engaged in a process of inscribing notation—of annotating (on) the Compendium. Eternal commentary is a feature of the textual Compendium, just as open-ended totality describes the ontological Compendium. The writer as writer does not simply write texts, but rather engages in a profoundly ontological act of inscribing their existence into the world, and the writer as editor does not merely annotate or alter texts as they are, but rather comments upon the text of the world. In/Conclusion So as we create texts, and as we write and create theory, let us be and remain attentive to the figure of the Compendium and the figure of the Book. These two concurrent metonymies are essential for total writing (grand theories, etc.), and may be forgettable for those concerned with fragmentary or hierarchical writing (which are valid in their own right). From the ontological and symbolic text of the world and phenomenological experience, to concrete texts such as books or mixed media, the figure of the Compendium and the figure of the Book are important for the actualization of the human will to be all-encompassing. The figure of the Compendium teaches writers of theory that the repetition, density, and fragility of parataxis offers a strong sort of weakness which does not become yet another variety of oppressive and hegemonic thought. Rather than write with hypotaxis in mind, subjugating one thought to another via cause and effect or antecedent and consequent, I would hope that theory-writing could guiltlessly indulge in the dialectical and contradictory conjugation of ideas, and take this as a legitimate methodology. Rather than being ashamed of showing resonances or giving way to abridgment or ellipses, it is my own authorial (but not authoritative) conviction that one need not give up on totalizing and constructing grand theories because of the fact that complete totalization is impossible, and one need not give up on totalizing and constructing grand theories because of the worry of violence, for the Book and the Compendium lack their completed object and are ever incomplete trajectories. NOTES * UPDATED 7/19/13: we've updated the HTML version to reflect the (correct) PDF version. Our apologies to the author—eds. 1. I would like extend thanks to Dr. Peter Schwenger of the University of Western Ontario for his comments on this paper and his hospitality as it was presented as a Theory Session at the Centre for Theory and Criticism on October 26th 2012. I would also like to thank Andrew Weiss for conversation and critique. 2. I should clarify my use of the term ‘figure’ at the outset. Given the use of the term by Jean-Francois Lyotard in Discourse, Figure (and also Gilles Deleuze in Francis Bacon ), I should state clearly that my use of the term will not correspond to the term ‘figure’ understood as the representation of an object. Instead, my use of the term ‘figure’ and its variations (‘figural’, ‘figurative’, ‘figuration’) will refer to the illustrative or metaphorical use of the Compendium or the Book as models or ways of thinking about writing and discourse. 3. Cf. Revelations 20:12-15. 4. Theodor Adorno, Aesthetic Theory , Trans. Robert Hullot-Kentor (London & New York: Continuum Press, 1997). 5. Fredric Jameson, Late Marxism: Adorno, or the Persistence of the Dialectic (London & New York: Verso, 1990), ix-x. 6. I have written about this concept of being-towards-totality elsewhere in two pieces of writing: the first is called Notes on the Compendium (an unfinished draft) which addresses some very wide theoretical concerns, being structured as a sort of itinerary or archive, and the second is Dialectics Unbound (Punctum Books, 2013) which outlines a concept of totality without the violence of totalization. While these works are more concerned with ontological totality, here I would like to focus on the idea of the Compendium as a textual totality. 7. Cf. Louis Morelle, “Speculative Realism: After Finitude and Beyond, A vade mecum” in Speculations: Journal of Speculative Realism . Issue 3 (Brooklyn, New York: Punctum Books, 2012), 241-272. 8. Jean-Paul Sartre, Between Existentialism and Marxism . Trans. John Matthews (London & New York: Verso, 1974), 9. 9. Cf. John D. Caputo, The Weakness of God (Indiana: Indiana University Press, 2006). 10. Jacques Derrida, “Edmond Jabès and the Question of the Book” in Writing and Difference . Trans. Alan Bass (Chicago: University of Chicago Press, 1978), 65. 11. Ibid, 65. 12. Ibid, 71. 13. Ibid, 75. 14. Ibid, 76. 15. Ibid, 78. (shrink)

Although the study of moral judgment has gained in popularity in the field of psychology in recent years, little research has focused on confidentiality dilemmas in the context of moral judgment. Yet clinicians regularly face such dilemmas, which often arise in emotionally charged contexts. This study assesses the role of emotions in responses to these confidentiality dilemmas. A total of 186 participants studying psychology at different universities in Quebec were randomly assigned to one of three groups in an experimental design (...) (dramatic audio modality, neutral audio modality, text modality) and responded to confidentiality dilemmas by choosing between protecting or lifting confidentiality. Also taken into consideration were participants’ positioning on a continuum ranging from deontology to utilitarianism, based on their response to sacrificial dilemmas. The hierarchical multiple linear regression model used indicates a significant contribution from responses to sacrificial dilemmas, perceived emotional intensity of confidentiality dilemmas and training obtained in the field of ethics and deontology. The analysis further reveals the moderating effect of exposure to the experimental condition on the relationship between the tendency towards utilitarianism and the propensity to waive confidentiality in a psychotherapeutic relationship. These results have practical implications for psychology curricula, where situation scenarios with ecological validity could enhance ethics training. (shrink)

In $\mathsf {ZF}$ (i.e., Zermelo–Fraenkel set theory minus the axiom of choice ( $\mathsf {AC}$ )), we investigate the open problem of the deductive strength of the principle UFwob(ω): “There exists a free ultrafilter on ω with a well-orderable base”, which was introduced by Herzberg, Kanovei, Katz, and Lyubetsky [(2018), Journal of Symbolic Logic, 83(1), 385–391]. Typical results are: (1) “ $\aleph _{1}\leq 2^{\aleph _{0}}$ ” is strictly weaker than $\mathsf {UF_{wob}}(\omega )$ in $\mathsf {ZF}$. (2) “There exists a free (...) ultrafilter on $\omega $ ” does not imply “ $\aleph _{1}\leq 2^{\aleph _{0}}$ ” in $\mathsf {ZF}$, and thus (by (1)) neither does it imply $\mathsf {UF_{wob}}(\omega )$ in $\mathsf {ZF}$. This fills the gap in information in Howard and Rubin [Mathematical Surveys and Monographs, American Mathematical Society, 1998], as well as in Herzberg et al. (2018). (3) Martin’s Axiom ( $\mathsf {MA}$ ) implies “no free ultrafilter on $\omega $ has a well-orderable base of cardinality $<2^{\aleph _{0}}$ ”, and the latter principle is not implied by $\aleph _{0}$ -Martin’s Axiom ( $\mathsf {MA}(\aleph _{0})$ ) in $\mathsf {ZF}$. (4) $\mathsf {MA} + \mathsf {UF_{wob}}(\omega )$ implies $\mathsf {AC}(\mathbb {R})$ (the axiom of choice for non-empty sets of reals), which in turn implies $\mathsf {UF_{wob}}(\omega )$. Furthermore, $\mathsf {MA}$ and $\mathsf {UF_{wob}}(\omega )$ are mutually independent in $\mathsf {ZF}$. (5) For any infinite linearly orderable set X, each of “every filter base on X can be well ordered” and “every filter on X has a well-orderable base” is equivalent to “ $\wp (X)$ can be well ordered”. This yields novel characterizations of the principle “every linearly ordered set can be well ordered” in $\mathsf {ZFA}$ (i.e., Zermelo–Fraenkel set theory with atoms), and of $\mathsf {AC}$ in $\mathsf {ZF}$. (6) “Every filter on $\mathbb {R}$ has a well-orderable base” implies “every filter on $\omega $ has a well-orderable base”, which in turn implies $\mathsf {UF_{wob}}(\omega )$, and none of these implications are reversible in $\mathsf {ZF}$. (7) “Every filter on $\omega $ can be extended to an ultrafilter with a well-orderable base” is equivalent to $\mathsf {AC}(\mathbb {R}),$ and thus is strictly stronger than $\mathsf {UF_{wob}}(\omega )$ in $\mathsf {ZF}$. (8) “Every filter on $\omega $ can be extended to an ultrafilter” implies “there exists a free ultrafilter on $\omega $ which has no well-orderable base of cardinality ${<2^{\aleph _{0}}}$ ”. The former principle does not imply “there exists a free ultrafilter on $\omega $ which has no well-orderable base” in $\mathsf {ZF}$, and the latter principle is true in the Basic Cohen Model. (shrink)

From its use in literary theory, film criticism and the discourse of games design, Salomé Voegelin expands 'possible world theory' to think the worlding of sound in music, in art and in the everyday. The modal logic of possible worlds, articulated principally via David K. Lewis and developed through Maurice Merleau-Ponty's phenomenological life-worlds, creates a view on the invisible slices of the world and reflects on how to make them count, politically and aesthetically. How to make them thinkable and accessible (...) as the possibility of the everyday and of art: to reach a new materialist understanding from the invisible and to develop an ear for the as yet inaudible. This revised edition continues Voegelin's exploration of the sonic possibility of the world into the sonic possibility and impossibility of the body. Listening to work by Áine O'Dwyer, Hannah Silva and Jocy de Oliveira, it considers sonic possible worlds' radical power to rethink normative constructions and to fabulate a different body from its sound: Hearing the Continuum Between Plural Bodies ; between humans, humanoid aliens, monsters, vampires, plants, things and anything we have no name for yet but which a sonic philosophy might start to hear and call. (shrink)

We argue that the need for commentary in commonly used linear calculi of natural deduction is connected to the “deletion” of illocutionary expressions that express the role of propositions as reasons, assumptions, or inferred propositions. We first analyze the formalization of an informal proof in some common calculi which do not formalize natural language illocutionary expressions, and show that in these calculi the formalizations of the example proof rely on commentary devices that have no counterpart in the original proof. (...) We then present a linear natural deduction calculus that makes use of formal illocutionary expressions in such a way that unique readability for derivations is guaranteed – thus showing that formalizing illocutionary expressions can eliminate the need for commentary. (shrink)