Is it appropriate to blame people unequally if the only difference between them was a matter of luck? Suppose Alice would drive recklessly if she could, Belen drove recklessly but didn’t harm anyone, and Cleo drove recklessly and killed a child. Luck-advocates emphasize that in real life we do blame such agents very unequally. Luck-skeptics counter that people aren’t responsible for factors beyond their control, or beyond their quality of will. I’ll defend a somewhat reconciliatory view. I’ll concede to the (...) skeptics that these agents are equally culpable. Nonetheless, I’ll suggest with the luck-advocates that it’s fitting to blame them unequally. That’s because their culpability is unequally significant for us: Cleo’s culpability concerns us more than Belen’s, and Belen’s more than Alice’s—just like the fault of a close aggressor concerns us more than that of an aggressor far off in place and time. And it’s fitting for us to respond with more blame to faults that concern us more. Indeed, blaming people simply in proportion to their culpability manifests a form of fetishism, or problematic mere-matter-of-principle concern. So while many skeptical tenets may hold, in substance the luck-advocates are right. (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)

In lieu of an abstract, here is a brief excerpt of the content:Comment on Hospice of Washington's PolicyJohn A. Robertson (bio)The recent history of medical ethics may accurately be described as a history of coming to terms with personal autonomy and informed consent across the range of medical practice. Nowhere has this recognition been more important than in decisions to withhold or withdraw life-sustaining medical procedures from terminal and chronically ill patients.Despite the widespread acceptance of autonomy in these decisions, many (...) people—physicians, families, and policymakers—have balked at extending it to the withdrawal of artificially supplied fluids and nutrition. The symbolic connotations of food and water have led some persons to perceive cessation of medically-supplied fluids and nutrition to be a cruel, barbarous act, rather than the merciful respect for the dying patient that such withdrawal usually represents.Two recent events might help resolve the controversy, and ensure that decisions about artificial fluid and nutrition are handled like any other medical intervention—according to patient and family choice and patient welfare. One event is the Supreme Court decision in Cruzan (Cruzan v. Director of Missouri Department of Health, 110 S.Ct. 2841, 1990). Although the Supreme Court upheld Missouri's constitutional power to require artificial nutrition for a patient in a persistent vegetative state, its decision was not based on the symbolic importance of artificial fluids and nutrition. No Supreme Court justice saw a significant difference between medically-supplied nutrition and hydration and other medical interventions, thus allowing them to be discontinued either directly or by advance directive on the same basis as other medical interventions.The second event is the publication of the statement of "Philosophy Regarding Medical Intervention to Supply Fluids and Nutrition" by Hospice of Washington (or similar statements by other organizations). This statement is useful and important because it removes the issue of food and water from its symbolic overlay [End Page 139] and places it in the real context of dying hospice patients. It makes clear that the overriding consideration should be benefit to the patient "in accord with the patient's wishes or those of the appropriate surrogate(s) for the patient." Depending on those wishes and their impact on the patient, this position may or may not involve medically-supplied fluids and nutrition.This statement is also helpful in showing the medical complexity of such decisions in terms of their actual effect on dying patients. Rather than an either/or position, it recognizes that fluids may harm a dying patient by increasing discomfort, and that "persons near death do not ordinarily tolerate substantial volumes of enteral feedings." Thus rather than adhere to a symbolically-based position about the meaning of food and water to a dying patient, the important thing is to look to that patient's needs and give fluids or not, as the patient's wishes and situation demand.Fortunately, the law in most jurisdictions will recognize such a position. In those few jurisdictions that have made a fetish of artificial fluids and nutrition, the law should be changed, for the HOW statement makes clear that such a position may actually end up harming dying patients. Patient welfare should be privileged above all else, and patient welfare may often entail that fluids and nutrition not be medically supplied. Even then, however, caregivers will look to patient comfort and remedy dry mouths and lips with lubricants and ice chips.The HOW statement is, in my view, a very useful guideline not only for hospices but for hospitals, too—for any situation in which a patient is terminally ill and soon to die. A somewhat different set of issues arises, however, when the patient is chronically ill and incompetent, and will survive for long periods with medically-supplied fluids and nutrition. Recognition of patient rights in those situation should also permit cessation of fluids and nutrition on the same basis that respirators, antibiotics, and other life-sustaining measures may be withheld. But the withholding of medically-supplied fluids and nutrition from a patient who no longer has interests in surviving in an extremely debilitated condition raises different issues from withholding fluids that could cause such discomfort and nutrition when the patient is imminently dying. In either case, patient... (shrink)

The article tries to make the point that William Pietz’s contributions were the first to make a history of the term based on his longue durée and of the matricial embedding of the conceptual and the material into the notion of the fetish. The second argument points that art history can take advantage of William Pietz’s book in redifing the discipline.

"The Mind is not a Vessel to be Filled but a Fire to be Kindled", and "Education is Not the Filling of Pail But the Lighting of a Fire", and ... Something About a Horse ... You can lead a horse to water, but you can’t make it smile? Because of the long face and all? (No, that can’t be it). Anyway, borrowing a bit from Plutarch and Yeats (maybe, there is no agreement on whether he said that about pails (...) and fires), and some idiom from 12th Century Old English about horses walking on water, I assume, we can glean the following gem: learning requires active participation by learners. It is almost embarrassing to have to write that, but here we are with education today, mostly unloading facts into unlit receptacles. This doesn’t work, and not just because the metaphor is mixed. Genuine learning requires focus, which requires motivation, which is cultivated by interest, which needs curiosity, which is not something teachable through the typical educational curricula. I can, as Aristotle tells us, teach students the basics of some ethical theory, but I cannot make them virtuous. Ah-ha! I can lead a horse to water, but I can’t make it abide by the categorical imperative (No, that’s not quite right. Although it’s true--most horses are utilitarians). One way that seems to work in piquing student interest in learning philosophy is to use humor as you make the case that a philosophical attitude is very similar to a humorous attitude. Both rely heavily on questioning our collective presuppositions, both cultivate rational skepticism, and both are never content with accepting traditions and values that are mindlessly received. I’ve got it now: You can lead a horse to water, but you can’t make it an iconoclast! (still not it). Friedrich Nietzsche published a book in 1889 titled Twilight of the Idols: Or How to Philosophize with a Hammer. This was during his most frenetic and fecund period, just before the syphilis set in rendering him somewhat less than his lauded Ubermensch. The “Idols” for Nietzsche were “false gods” or the ubiquitous errors that philosophy should expose. He is likely borrowing (without citation!) from sir Francis Bacon, whose “idols” are fetishes which can divert us from the pursuit of truth. Learning is hard, but it doesn’t have to be gloomy, hence, I advocate for a different sort of hammer to act as a “tuning-fork” sounding out the hollow and dangerous idols handed down to us that have passed for sagacity. (shrink)

The content of Christian spirituality that made waves since the inception of the early church soon took on different contours as the faith got adapted to different gentile contexts. The expression of this faith, along with its liturgical symbolism and sacramental observances, is still gaining momentum in African Christianity. The emerging practice of the use of ‘anointing oil’ in its religious expression is receiving more attention than the Christ of the Gospel. In this article, we argue that against its primitive (...) intent, the use of the ‘anointing oil’ by the African Church is a mere display of fetish ancestral religion that expresses its unique African traditional religious root rather than a true expression of Christian spirituality. Our thesis is framed on the basis that the manner in which some African churches apply the purported ‘anointing oil’ is discriminatory vis-à-vis its ancient understanding and purpose. In our attempt to address this damaging practice to true Christian spirituality, also standing as a huge challenge for pastoral theology, we undertook a careful historical–theological analysis of the extant biblical data and its contextual interpretation vis-à-vis its distortion today. We concluded that what pastoral theologians have to deal with within the Christian community in Africa is offering the right biblical perspective against the distorted mode of the application of the contemporary purported ‘anointing oil’ that is falsely projecting the Christian faith and belief in a bad light. Contribution: The application of the anointing oil in contemporary Christian religion in Africa is, to say the least, not an inherent textually prescribed requisite criterion for Christian spirituality, but merely an outburst of fetish ancestral religious worldview that stands contra the hermeneutics of the biblical text and its ancient tradition. That no Old Testament prophet, not even Jesus nor Paul, mentioned the subject, makes its contemporary application textually and theologically suspect, and therefore, heretically infectious for the spiritual health of the community of faith. These insights sit quite well with the textual hermeneutics within the mainline transdisciplinary religious and multidisplinary theological perspective of this journal. (shrink)

Abstract It would be puzzling if the morally best agents were not so good after all. Yet one prominent account of the morally best agents ascribes to them the exact motivational defect that has famously been called a “fetish.” The supposed defect is a desire to do the right thing, where this is read de dicto . If the morally best agents really are driven by this de dicto desire, and if this de dicto desire is really a (...) class='Hi'>fetish, then the morally best agents are moral fetishists. This is puzzling. I resolve the puzzle by showing that on a proper understanding of the interaction between de dicto and de re moral motivation, it is not only not fetishistic, but quite possibly desirable, to be motivated by a de dicto desire to do the right thing. My argument relies partly on an appeal to a non-buck-passing account of moral rightness, according to which rightness is itself an additional reason-giving property over and above the right-making properties of an action. If this account of moral rightness is correct, then we would expect the morally best agents to exhibit de dicto moral motivation. However, since their de dicto desire acts in concert with de re desires, there is no reason to consider it a fetish. Content Type Journal Article Pages 1-19 DOI 10.1007/s11098-011-9825-z Authors Vanessa Carbonell, Philosophy Department, University of Cincinnati, P.O. Box 210374, Cincinnati, OH 45221-0374, USA Journal Philosophical Studies Online ISSN 1573-0883 Print ISSN 0031-8116. (shrink)

By most accounts Deleuze's engagement with Marx begins with the two volumes of Capitalism and Schizophrenia he co-authored with Félix Guattari. However, Deleuze's Difference and Repetition alludes to a connection between Deleuze's critique of common sense and Marx's theory of fetishism, suggesting a connection between the critique of the image of thought and the critique of capital. By tracing this connection from its emergence in the early texts on noology, or the image of thought, to the development in the critique (...) of state thought in A Thousand Plateaus, it can be argued that what initially appears as an entirely infra-philosophical problem, concerned with the presuppositions of philosophy, is not only a political problem as well, but ultimately bears on the very nature of the conjunction between thought and politics, making possible a re-examination of what is meant by revolutionary thought. It is a transition from noology to noopolitics. In the end it can be argued that revolutionary thought is no longer an eschatology, attempting to discern the signs of the future revolution in the present, but a thought oriented towards everything that exceeds the fetish of society, towards the virtual relations and micropolitical transformations that constitute society but exceed its representation. (shrink)

For over two and a half millennia human beings have attempted to invent strategies to “discover” the truth of time, to determine whether time is infinite, whether eternity is the infinite duration of a continuous present, or whether it too rises and falls with the cycles of universal creation and destruction. _Time-Fetishes_ recounts the history of a tradition that runs counter to the dominant tradition in Western metaphysics, which has sought to purify eternity of its temporal character. From the pre-Socratics (...) to Ovid and Plotinus, and from Shakespeare to Hegel, Schelling, Nietzsche, Heidegger, and Derrida, _Time-Fetishes_ traces the secret tradition of the idea of eternal recurrence and situates it as the grounding thought of Western philosophy and literature. The thinkers in this counter-history of the eternal return lingered long enough on the question of time to learn how to resist separating eternity from time, and how to reflect on the possible identity of time and eternity as a way of resisting all prior metaphysical determinations. Drawing out the implications of Nietzsche’s reinvention of the doctrine of return, Lukacher ranges across a broad spectrum of ancient and modern thinkers. Shakespeare’s role in this history as the “poet of time” is particularly significant, for not only does Shakespeare reactivate the pre-Christian arguments of eternal return, he regards them, and all arguments and images concerning the essence of time and Being, from an inimitably ironic perspective. As he makes transitions from literature to philosophy and psychoanalysis, Lukacher displays a theoretical imagination and historical vision that bring to the forefront a host of pre- and post-Christian texts in order to decipher in them an encounter with the thought of eternal recurrence that has been too long buried under layers of rigid metaphysical interpretation. (shrink)

Bruno Latour equates criticism with an iconoclastic urge that is underpinned by the project of modernity. Latour's attack on iconoclastic criticism is therefore closely linked to his rejection of the modern framework. This paper examines Latour's analysis of modernity and the ways in which he connects criticism to the project of modernity. Through our analysis of Latour's reading of an episode from U.R. Anantha Murthy's novel Bharathipura, we argue that critique is actually an integral part of a truly democratic knowledge- (...) class='Hi'>making process as well as politics. (shrink)

A critical look at two books, Coming to Power – Writings and Graphics on Lesbian S/m, published in 1981, and its ‘long awaited sequel’, The Second Coming – A Leatherdyke Reader, published in 1996, yields many differences and similarities. Both books have been judged negatively or positively on the basis of their sadomasochistic content and in line with knee-jerk positions around the lesbian ‘sex wars’ of the 1980s. The feminist politics represented in each book and the connections to more general (...) lesbian feminist concerns and developments of either the late 1970s (Coming to Power) or the late 1980s and early 1990s (The Second Coming) are often overlooked or dismissed. Comparing the kind of sex acts and personas fetishized in each book as well as the claims made for lesbian sm by its adherents often reveals more than the writers may have intended. A more nuanced reading of both books also reveals connections between lesbian feminism, particularly lesbian radical feminism and the sm dykes. Rather than being the ‘illegitimate children’ of lesbian feminism, as Coming to Power maintained in 1981, it is clear now that sm dykes and lesbian feminists are strange sisters who needed each other to define their particular politicized identities. (shrink)

The purpose of the essay is to critically analyze the influence of J. Derrida’s deconstruction on David J. Gunkel’s book Deconstruction (MIT Press 2021). Gunkel’s handbook is aimed at making deconstruction a tool of critical thinking accessible to non-professionals. It turns out that accomplishing this task comes at the expense of precisely the critical potential of deconstruction itself. Gunkel is well aware that his arguments are sometimes superficial and overlook deeper problems that should be addressed. Such a failure takes (...) the form of a fetishistic denial, which in psychoanalysis is summarized by the formula “I know well, but all the same.” In turn, deconstruction itself, insofar as it is separated from Kant’s transcendental philosophy and Hegel’s dialectics, becomes an academic ideology. Restoring its proper subversive potential can only be done by returning to a philosophy of reflection, in which the thinker himself must ultimately consider his own position as an author and bring it under criticism. This is the path that Gunkel avoids, because he could then no longer be the author of a handbook on deconstruction, rather than someone who practices deconstruction. -------------------------- Received: 4/11/2022. Reviewed: 13/12/2022. Accepted: 20/12/2022. (shrink)

There are at least three senses of sexual objectification: the moral sense of treating a person as if she were primarily a sexual object, the political sense in which women socially count as instruments for men’s sexual pleasure, and the epistemic sense of forming a belief that a person is as one sexually desires them to be. These different senses have been treated as rivals, competing about what the correct account of sexual objectification is, or they have been treated as (...) entirely different projects. I argue for a third relation between them: each sense grasps an aspect of the existing social phenomenon of sexual objectification. Each further points out a wrong involved in sexual objectification. And the three aspects interact—we cannot fully explain any one sense of sexual objectification without the other two. To properly understand this interrelation I lean on an analogy: commodity fetishism as described by Marx helps make sense of the complex social reality of sexual objectification. (shrink)

What is the relationship between the philosophical concept of the “autonomy of art” and the cultural policy-notion of “artistic freedom”? This article seeks to answer this question by taking the Swedish governmental report This Is How Free Art Is (Så fri är konsten 2021) and its reception in the Swedish main stream media as an emblematic example and by reading it symptomatically. Firstly, it traces the critical history of “artistic freedom” and the interrelated term “arm’s length distance”, primarily in the (...) context of Great Britain. Secondly, it critically reconstructs the concept of the “autonomy of art” in the history of Western philosophy by making a critique of a fetishized notion of art’s autonomy in the name of l’art pour l’art. The main argument is that the idea about art’s autonomy, on which the Swedish report leans, resembles such philosophical and art historical idea of art’s autonomy. The claim is also that such an understanding of art does not tie up, either philosophically or historically, with the arm’s length principle, since they ultimately rely on different conceptions of art’s freedom. (shrink)

“Woke” and cancel culture have become mainstream methods for ideological leftists to express their sense of hopelessness and frustration. And while many agree that improving social harmony is an admirable goal, policing the use of pronouns while carefully maintaining the status quo of capitalism’s production, destruction and inequality does little to address the underlying structural problems that create the conditions for social disharmony. It is on this point that Žižek finds agreement with commentators on the ideological right. But at both (...) ends of the ideological spectrum we find little to hope for. This paper is about what happens when important discussions are hijacked by extremists on both ends of the political spectrum. Surely, there must be more than politically correct totalitarianism and the irrational outbursts of conspiratorial fanatics. As Žižek has long argued, we should, perhaps, hold out for the worst option in the hope that real change might still be possible. I make this case with reference to popular events and culture, and a wide array of Žižek’s scholarly and popular works. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 31.2 (2001) 3-8 [Access article in PDF] The Two Secrets of the Fetish Jean-Luc Nancy "Commodity fetishism": Marx's formula has been imprinted on the largest and most resistant of cultural memories. It has become almost anonymous, or rather synonymous with Marx's very name, as is the case with certain coined terms(cogito, categorical imperative...). This privilege could only be due to a very particular virtue. Such a virtue (...) is that which not only consists in characterizing, in the strict sense of the word (to typify a property or an essence), but even in characterizing in such a way that the character (the stamp, the seal) is somehow inscribed on the thing itself and can no longer be detached from it, or at least without some loss in the substance of the thing.In Kantian terms: the intuition presented under the word "fetishism" is printed or traced indelibly onto the concept of "commodity," giving rise to a schema "commodity," from which a new image, and thus a new idea, ensues. Not just the commodity as the fetish—as if this were one of its traits or one approach among others—but rather the essence of the commodity revealed as fetish, so that the fetish character would remain once the approach was shifted or the "secret" of its "mystical character" was revealed. (As we know, these are all Marx's own terms.)As is also known, the secret consists in that the commodity value (or exchange value) of the object (or product), which seems to be its intrinsic or immanent property (parallel in this way to its use value, which is extrinsic and completely relative to its utilization in a given sociotechnical context) only covers, masks or represses the origin of its pure or absolute value—this last value being nothing other than the living human labor of the producer, which the act of production incorporates into the product. But the commodity value deflects this incorporated creative life toward equivalence within an exchange, where the producer (the worker) finds himself surreptitiously stripped of the part of the value that the mercantile calculation does not exchange for the maintenance of its labor force, but rather sets to the account of capital. * * * Here we are not concerned with addressing the problems associated with the evaluation or the appreciation of living work as it is related to the intensification or the very creation of value ("the surplus-value"), nor with respect to the extortion suffered by the creator of value (the valuable and value-making man, the living man as maker, as giver of prices in an absolute fashion) to the benefit of the one who accumulates value in the form of general equivalence, creating mercantile prices through a common currency. Currency is the fetish, where fetishism is fixed: belief in the value of the market price itself. The critique of political economy—that is, the critique of the economy as politics—reveals the inanity of this belief, and if this critique cannot measure the hidden and mysticized or mystified value in monetary terms, the principle of this critique remains [End Page 3] no less, but even more so, the incommensurability of the value creator and the marketed product.Alienation is not measurable. It is at the same time the principle of the critique and its impasse from the moment that we would like to, and indeed that we should, oppose one measure to another: the critical measure of the fetish against the mercantile measure through the fetish.In contrast, what we would like to sketch out here would have the following hypothesis as a point of departure: does not the strength of Marx's formula derive from a power other than that of the only critique thus broached? Is there not another energy, and another enigma, slipped into the first, adding itself to the revelation of the secret, even exceeding this revelation and perhaps in this fashion displacing just a bit the secret itself (precisely because it is not measurable)?This other power would derive from "fetishism" itself. That is to say... (shrink)

The ArgumentA large part of our critical acumen depends on a clear distinction between what is real and what is constructed, what is out there in the nature of things and what is in there in the representation we make of them. Something has been lost however for the sake of this clarity and a heavy price has been paid for this dichotomy between ontological questions on the one hand and the epistemological questions on the other: it has become impossible (...) to understand the simplest features of action. What the critical gesture smashes into pieces is precisely the very possibility of hearing as synonyms the two sentences, “I have fabricated it well, thus it is autonomous.” The paper tries to find a way to avoid the critical gesture and link again together facts and fetishes, producing this rather strange hybrid: factishes. (shrink)

Over three centuries after the 1711 discovery in the choir of Notre-Dame in Paris of a square-section stone bas-relief (the Pillar of the Boatmen) with depictions of several deities, both Gaulish and Roman, the blocks comprising it were analyzed as a symbol of Parisian power, if not autonomy, vis-à-vis the Roman Empire. Variously considered as local, national, or imperial representations, the blocks were a constant object of admiration, interrogation, and speculation among antiquarians of the Republic of Letters. They were also (...) boundary objects – products of the emergence of a Parisian archeology dated from 1711. If this science reflected the tensions and ambiguities of a local regime of knowledge situated in a national context, it also helped to coordinate archeological work between different institutions and actors. This paper would like to assess the specific role played by the Pillar of the Boatmen as a fetish object in this process. To what extent could an archeological artifact influence this reshaping of urban representation, this change of scales? By following the three-century career of the pillar’s blocks as composite objects, which some have identified as merely stones or a column, it is possible to understand the multiple dimensions that defined the object as archeological – as an artifact that contributed to the relocating of the historical city center – and the multiple approaches that transform existing remains into knowledgeable objects. (shrink)

Resumo: O presente artigo tem por objetivo apresentar o tema da corrupção, a partir da filosofia política de Enrique Dussel. No marco dos movimentos críticos que emergem no chamado Sul Global, a produção teórica de Dussel busca desenvolver uma estrutura que possibilite a crítica ao que denomina como fetichização do poder. Esse conteúdo é abordado como fundamento da corrupção das instituições que, despercebido pela tradição filosófica moderna, implica uma teoria política que legitima o poder corrompido. Na argumentação aqui concretizada, será (...) exposta a arquitetônica da política dusseliana, distinguindo os conceitos de potentia e potestas. Estes, por sua vez, permitem a diferenciação entre o uso delegado do poder e a execução corrompida do poder. Em seguida, será explicitado o movimento que Dussel assume da crítica de Marx à economia política, para, então, indicar o conteúdo material a partir do qual a constituição crítica de uma nova teoria política deve ser desenvolvida - inspirado em experiências políticas latino-americanas.: The purpose of this article is to present the theme of corruption, based on Enrique Dussel’s political philosophy. Under the scope of the critical movements that emerge in the so-called Global South, Dussel’s theoretical production aims to develop a structure that makes it possible to criticize what he calls the fetishization of power. The fetishization of power is presented as a foundation for the corruption of institutions that, unnoticed by the modern philosophical tradition, implies a political theory that legitimizes corrupted power. In our argument, we will expose the architecture of Dusselian politics, distinguishing the concepts of potentia and potestas. These concepts, in turn, allow for the differentiation between the delegated use of power and the corrupt execution of power. Then, we will make explicit the movement that Dussel assumes from Marx’s critique of political economy to indicate the material content from which the critical constitution of a new political theory must be developed - content that is inspired by Latin American political experiences. (shrink)

Nietzsche’s psychological theory of the drives calls into question two common assumptions of ideology critique: 1) that ideology is fetishistic, substituting false satisfactions for true ones, and 2) that ideology is falsification; it conceals exploitation. In contrast, a Nietzschean approach begins from the truth of ideology: that capitalism produces an authentic contentment that makes the concealment of exploitation unnecessary. And it critiques ideology from the same standpoint: capitalism produces pleasures too efficiently, an overproduction of desire that is impossible to sustain (...) indefinitely. Nietzsche’s concept of the drives (Trieben) is grounded in his theory of the will to power. In contrast to Freud’s view that drives aim at satiation, pleasure through stimulus reduction, in Nietzsche’s view, they aim primarily at the “feeling of power” and the “happiness of high tension.” Nietzsche sees the desire for satiation as a symptom of weakness, a secondary, contingent aim that is incompatible with the fundamental drive to sustain and heighten the feeling of tension that accompanies strong desire. While the Freudian subject desires satisfaction, the Nietzschean subject is paradoxically frustrated by satisfaction, finding happiness in desire sustained by resistance and tension. If individuals desire desire as such, then exploitation and immiseration are not necessarily incompatible with their happiness. Consequently, we must reject the view that ideology is fetishistic: capitalism does not depend on an ersatz satisfaction in the commodity, a transferal of value from quality to quantity, use value to exchange value. Capitalism authentically satisfies desire precisely through its exploitative economic structure. The independence and unpredictability of the value of commodities and the immiseration of laborers produces discontents that enhance rather than frustrate desire. By continually introducing new, initially inaccessible commodities, then overcoming their inaccessibility through overproduction, capitalism sustains and intensifies desires. It promotes happiness not by satisfying wants but generating them, feeding the desire for desire, for the intensity of feeling that the brief pleasures of satiation would destroy. The commodity is not, then, a fetish, not a false satisfaction or aim, but a means, a prop that supports and sustains satisfaction as continued desire. Consequently, we must also reject the view that ideology is falsification: capitalism’s efficient production of happiness obviates the need to conceal its nature. Individuals tolerate capitalism not out of ignorance of exploitation but indifference to it; they prefer real happiness to a merely possible justice that might come at its expense. The critique of ideology must begin by acknowledging its truth. Rather than deny the real satisfactions of capitalism, it must demonstrate that they are unsustainable. (shrink)

The societal dynamism of modernity results in the theoretical upgrading and the actual development of personal reflective capacities, for example abstract reasoning, Kantian morality, and the development of the idiocentered perspective. These capacities are created in the disembedding of prereflective capacities, for example context-sensitive intelligence, care-morality, and mundocenteredness. The reflective capacities become the prerequisite of further modernization. The development-potential offered by the demands of modernity is accompanied by a risk of assimilative stress, for example pseudological reasoning, varieties of postmodernism, (...) class='Hi'>making a fetish of the medium, and the forfeit of the morality of care. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cancel Culture and the Trope of the ScapegoatA Girardian Defense of the Importance of Contemplative ReadingJoakim Wrethed (bio)What unfolds in this article encompasses violence, language/reading, and ethics. René Girard addresses these topics primarily in terms of mimesis, its potential violence, and the trope of the scapegoat. Still, toward the end of his career and life, he relentlessly pointed out the dangers implicated in the dynamism of these forces. He (...) addressed it clearly in his "apocalyptic book" Battling to the End (2010):I have been accused of repeating myself too often, of turning my theory into a fetish, of using it to explain everything. Yet it has described mechanisms that recent discoveries in neuroscience confirm: imitation is the initial and essential means of learning; it is not something acquired later on. We can escape mimetism only by understanding the laws that govern it. Only by understanding the dangers of imitation can we conceive of authentic identification with the Other. However, we are becoming aware of the primacy of moral relationship at the very time when the atomization of humanity is being realized, and when violence has increased in intensity and unpredictability.1[End Page 15] It is this thin line between necessary/harmless imitation and its dangerous versions that will be the central theme in the analysis. As Girard states, a vast amount of established research confirms that the mimetic impulse is innate.2 We should pay specific attention to "the atomization of humanity," since it zooms in on our contemporary epoch's paradoxical "mass-individualism," evidently tremendously enhanced by information and communication technology (ICT). In order to contribute to Girard's lifework and to extend it beyond his own writing, we outline a few contemporary phenomena that clearly exhibit the primordial dangers of human violence that Girard draws attention to. These phenomena are initially only roughly sketched, but subsequent sections give them sharper relief. The central phenomena are cancel culture, speed, and the reading of literature. Just to be clear, the intended mode of reading should be construed in a broad sense, thus potentially including philosophy and theology, if one is inclined to emphasize the differences between these disciplines and the reading of literature.3Cancel culture in certain ways makes manifest a social welfare society version of escalating violence, indicating that "violence has increased in intensity and unpredictability."4 A succinct definition of cancel culture will initially suffice:Cancel culture refers to ending (or attempting to end) an individual's career or prominence to hold them accountable for immoral behavior. Driven primarily by young progressives, often through social media, cancel culture has attracted controversy since it swept into the national conversation.5This definition can easily be extended into larger historical patterns in which, for instance, colonial crimes are highlighted and demands are raised for contemporary acts of atonement. As Rob Henderson points out, the obvious flip side is that "the swift and decisive nature of cancel culture can stifle debate, and some believe that dialogue is a more productive way to foster change."6 The "swiftness" and the immediate collectable consequences are decisive in their functions as social punishment and exclusion; in other words, digitalized speed accomplishes verdict and punishment in a very short time span, which is a reflection of desire pure and simple. The rapidity from intention to anticipated effect rather resembles an instinctive and violent action more than the forwarding of a carefully thought through argument or statement. The present becomes an invincible ivory tower bristling with power to finally mete out the justice that the erroneous ethics of earlier times were incapable of conceiving and achieving. An always already accelerating modernity speeded up immensely through [End Page 16] the fast growth of information and communication technology (ICT). To be sure, the whole evolution of computer technology is defined primarily in terms of processing speed, together with the quantity of information that can be contained in as small a spatial entity as possible. The present-day reality of having almost everything only one or a few clicks away on a screen—as a modern day realization of the library in Alexandria—enhances the relevance of a phenomenon historians have referred to... (shrink)

Background In the globalizing world, nurses often meet humans from different cultures and values. This fact has led them to make ethical decisions, which do not comply with their own moral jurisdictions at care setting. Objectives The objective of the study was to investigate the relationships between moral development levels of the nurses and their scores of nursing principled thinking and practical consideration during decision making for ethical dilemmas. Methods This was a descriptive correlational study. Nursing Dilemma Test, Moral (...) Development Scale for Professionals and socio-demographic form were used. Study was conducted with 227 nurses. Ethical considerations: An institutional authorization, an ethics approval from non-interventional ethics committee of the respective university, permission from the authors of the scales used and informed consents from the nurses were obtained in order to conduct the study. Results In this study, nurses were found to be at post-conventional level according to Kohlberg’s moral development theory. Sociodemographic and working characteristics of the nurses have not affected their scores of moral development level and their scores of nursing principled thinking, practical consideration and familiarity (p > 0.05). Nurses take attention for moral principles during decision making although not at a desirable level, and they are relatively affected by environmental factors Conclusion Although nurses are familiar with ethical problems at scenarios including ethical dilemmas, they cannot make decisions in accordance with their moral development levels during decision making for ethical dilemmas. Nurses should be instructed and supported for ethical decision making by recognizing factors that may be effective on their decision making. (shrink)

Volume 20, Issue 6, June 2020, Page 30-32.

Ao evidenciar que as relações estabelecidas por homens e mulheres com o meio concreto engendram o real, a dialética torna exequível a revolução do status quo por possibilitar a compreensão de que o mundo é sempre resultado da práxis humana, seja ela marcada por relações de dominação que reificam e fetichizam a prática social, seja marcada por relações que operam a humanização dos homens e mulheres. Ao romper com os fetiches, ou seja, ao perceber que os objetos não devem sujeitá-los, (...) homens e mulheres avançam de encontro à reificação, alçando-se a possibilidade de revolucionar suas condições de existência. Assim, o rompimento da pseudoconcreticidade ocorre no momento em que se evidencia que a realidade social se concretiza por meio das condições de produção e reprodução da existência social das pessoas, que é em nossa sociedade marcada pela luta de classes. Este processo de rompimento exige um esforço construtor de uma interpretação do real que vá para além de uma representação caótica do todo, típico das vivências cotidianas. Este artigo postula que o método materialista histórico dialético pode auxiliar neste processo. Partindo desta constatação, elabora-se reflexão sobre este método de análise do real. By showing that the relationships established by men and women with the practical means to engender real, dialectic makes possible the revolution of the status quo by allowing the understanding that the world is always the result of human practice, it is marked by relations of domination that fetishize and reify the social practice or marked by relationships that operate at the humanization of men and women. By breaking with the fetishes, or to realize that objects should not expose them, men and women advance against reification, raising the possibility of revolutionizing his conditions of existence. Thus, disruption of pseudoconcreticity occurs at the moment is evident that social reality is concretized through the conditions of production and reproduction of social existence, which is in our society marked by class struggle. This process requires a breakout effort to construct an interpretation of reality that go beyond a representation of the whole chaotic, typical of everyday experiences. This article posits that the historical materialist dialectical method con help this process. Based on this observation, we undertake reflection on this method of analysis of the real. (shrink)

A regularity theory of causation analyses type-level causation in terms of Boolean difference-making. The essential ingredient that helps this theoretical framework overcome the problems of Hume’s and Mill’s classical accounts is a principle of non-redundancy: only Boolean dependency structures from which no elements can be eliminated track causation. The first part of this article argues that the recent regularity-theoretic literature has not consistently implemented this principle, for it disregarded an important type of redundancies: structural redundancies. Moreover, it is shown (...) that a regularity theory needs to be underwritten by a hitherto neglected metaphysical background assumption stipulating that the world’s causal makeup is not ambiguous. Against that background, the second part then develops a new regularity theory that does justice to all types of redundancies and, thereby, provides the first all-inclusive notion of Boolean difference-making. (shrink)

Responding to criticism by Gordon Sollars and Frank Englander, this paper highlights a significant tension in recent debates over the ethics of global supply chains. This tension concerns the appropriate focus and normative frame for these debates. My first goal is to make sense of what at first reading seems to be a very odd set of claims: that valuing free, autonomous, and respectful markets entails a “fetish for philosophical purity” that is inconsistent with a moral theory that finds (...) no wrong in harming workers, including the least advantaged among them. Sollars and Englander reach these conclusions, I believe, because their criticism assumes and relies upon the presumption of a global prioritarian frame, one which focuses individual welfare, and which they then apply at the level of individual political and economic actors. Much of Benjamin Powell and Matt Zwolinski’s work, I continue, including their criticism of political and economic activism and Powell’s indictment of organized labor, relies on a similar frame—while expanding the harms to include the freedom and autonomy of would-be sweatshop workers. This prioritarian frame, I argue, is particularly poorly suited to discussion of the ethical responsibilities of individual economic and political actors. We ought to reject it. To make progress on debates over global sweatshops, and the ethics of global supply chains in general, we need a better frame, and better standards of freedom and autonomy, than those invoked by many prominent defenders of sweatshops. (shrink)

The “therapeutic misconception” describes a process whereby research volunteers misinterpret the intentions of researchers and the nature of clinical research. This misinterpretation leads research volunteers to falsely attribute a therapeutic potential to clinical research, and compromises informed decision making, therefore compromising the ethical integrity of a clinical experiment. We review recent evidence from the neurobiology of social cognition to provide a novel framework for thinking about the therapeutic misconception. We argue that the neurobiology of social cognition should be considered (...) in any ethical analysis of how people make decisions about participating in clinical trials. The neurobiology of social cognition also suggests how the complicated dynamics of the doctor-patient relationship may unavoidably interfere with the process of obtaining informed consent. Following this argument we suggest new ways to prevent or at least mitigate the therapeutic misconception. (shrink)

Most countries appear to believe that their health system is in a state of semi-crisis with expenditures rising rapidly, with the benefits of many services unknown and with pressure from the public to ensure access to a comprehensive range of services. But whose values should inform decision-making in the health area, and should the influence of different groups vary with the level of decision-making? These questions were put to 54 members of the public and health professionals in eight (...) focus groups. Adopting a different perspective from other studies, participants were not asked if particular groups should be involved in decisions but rather through deliberation and discussion nominated their own potential decision makers. This delivered a clear message that participants saw a legitimate role for a broad range of stakeholders in priority-setting decisions so as to incorporate a diversity of expertise and opinion. Companion themes were the acknowledgment that decisions involve ethical judgments and are not purely technical, that the power of special interest groups (such as clinicians) should be kept in check, and that the process by which decisions are reached is important. The results suggest that qualitative methods of investigation have the potential to improve the legitimacy of policy decisions by contributing to a better understanding of the values of the public and health professionals, and by expanding the range of options available for further research. (shrink)

Background: Older, frail patients with multimorbidity are at an especially high risk for disease severity and death from COVID-19. The social restrictions proved challenging for the residents, their relatives, and the care staff. While these restrictions clearly impacted daily life in Norwegian nursing homes, knowledge about how the pandemic influenced nursing practice is sparse. Aim: The aim of the study was to illuminate ethical difficult situations experienced by Norwegian nurses working in nursing homes during the COVID-19 pandemic. Research design and (...) participants: The research design involved semistructured individual interviews conducted with 15 nurses working in 8 nursing homes in 3 health regions in Norway, within both urban and rural areas. Ethical considerations: Oral and written information about the study was provided before the participants gave their written consent. The transcribed interviews were de-identified. The study was approved by the Norwegian Centre for Research Data. Findings: Four ethical difficult situations were identified: (a) turning the nursing home into a prison; (b) using medication to maintain peace and order; (c) being left alone with the responsibility; and (d) s. impact on decision-making. Conclusions: The nurses’ ethical challenges were intertwined with external factors, such as national and local guidelines, and the nurses’ own internalized factors, which were connected to their subjective professionality. This duality inflicted emotional distress and gave nurses few opportunities to perform nursing in a professionally sound and safe manner. (shrink)

Though many philosophers of mind have taken an interest in the great developments in the brain sciences, the interest is seldom reciprocated by scientists, who frequently ignore the contributions philosophers have made to our understanding of the mind and brain. In a rare collaboration, a world famous brain scientist and an eminent philosopher have joined forces in an effort to understand how our brain interacts with the world. Does the brain behave as a calculator, combining sensory data before deciding how (...) to act? Or does it behave as an emulator endowed with innate models of the world, which it corrects according to the results of experiences obtained by the senses? The two authors come from very different backgrounds - the philosopher Jean-Luc Petit belongs to the philosophical tradition of Husserlian phenomenology. Alain Berthoz has long been interested in the physiology of action (movement, posture, decision-making, perception, etc.). Drawing on cutting-edge research from the cognitive sciences, the authors have produced a highly original volume showing how phenomenology and physiology can interact to further our understanding of the brain and the mind. (shrink)

This paper applies Wempe’s (2005, Business Ethics Quarterly 15(1), 113–135) boundary conditions that define the external and internal logics for contractarian business ethics theory, as a system of argumentation for evaluating current or prospective institutional arrangements for arriving at the “good life,” based on the principles and practices of social justice. It does so by showing that a more dynamic, process-oriented, and pluralist ‘dialogic twist’ to Donaldson and Dunfee’s (2003, ‘Social Contracts: sic et non’, in P. Heugens, H. van Oosterhout (...) and J. Vromen (eds.), The Social Institutions of Capitalism: Evolution and Design of Social Contracts (Cheltenham, UK, Edward Elgar Publishing, Ltd.) pp. 109–126; 1999, Ties that Bind: A Social Contracts Approach to Business Ethics (Boston, MA, Harvard Business School Press); 1995, Economics and Philosophy 11(1), 85–112; 1994, Academy of Management Review 19(2), 252–284.) integrated social contracting theory (ISCT) of economic ethics will further develop this promising and influential approach to moral reasoning, ethical decision-making, and stakeholder governance. This evolutionary, interactive learning-based model of ethical norm generation via dialogic stakeholder engagement is particularly appropriate within economic communities that are experiencing value conflict and pressures for institutional change. (shrink)

The work of Alain Badiou attempts to refound the project of Western philosophy by returning to the platonic celebration of mathematics as the basis for any transmissible knowledge. In “The New Man's Fetish,” Tracy McNulty shows that Badiou's return to Plato is secretly mediated by the French libertine tradition. Badiou derives the militant figure of mathematics less from Plato than from Lautréamont—in whose “Songs of Maldoror” she (mathematics) appears as a stern mistress. Reading McNulty, within the framework of psychoanalytic (...) debates around the clinic of perversion, I show that McNulty's emphasis upon this mediation, despite appearances, functions less to undermine the authority of Badiou's philosophical project than to raise the stakes of perversion. Taking Badiou's libertinism seriously makes it possible to grasp how perversion strives to formalize the death drive and thus to open politics and philosophy to the future. At the same time, McNulty shows that Badiou's theory of number makes it possible to rethink the distinctions between number, trope, figure, and fetish; and thus to reopen a discussion of the relationships between philosophy, psychoanalysis, and literature. (shrink)

This article investigates account episodes in Italian family dinner conversations and illustrates how sequential patterns and participation are organized in terms of preferences indexical of moral ideology and moral order. Accounts have been mostly examined as speech acts abstracted from embedding sequential environment; this article shows that different design features of the priming move in account episodes retrospectively define different aspects of a situation as problematic and prospectively activate the relevance for distinctive remedial moves. On an ideological level, narrative elicitations (...) as priming moves and accounts as remedial moves index a moral perspective that promotes moral reasoning and thus the negotiation of norms. In addition, such moves realize a practice of morality that tends to be inquisitory vs condemnatory, offering the benefit of the doubt prior to guilt allocation. In conclusion, the discursive mechanics of accountability constitutes a medium for reproduction of, and innovation in, the moral order. (shrink)

Taking steps to build a more dementia‐friendly society is essential for addressing the needs of people experiencing dementia. Initiatives that improve the quality of life for those living with dementia are needed to lessen controllable factors that can negatively influence how people envision a future trajectory of dementia for themselves. Programs that provide better funding and better coordination for care support would lessen caregiver burden and make it more possible to imagine more people being able to live what they might (...) consider a “good life” with dementia. Specific proposals, such as payment for dementia care managers and new systems to support high‐quality, symptom‐based palliative care beyond the hospice benefit of only six months, would improve and reframe how many people in the United States experience a dementia illness. Such changes should be incorporated into discussions about improving and respecting preferences in the later stages of dementia. (shrink)

Integrated information theory (IIT) is a candidate theory of consciousness that highlights the role of complex interactions between parts of a system as the basis of consciousness – and, due to its general information-theoretic formulation, is capable of making statements about consciousness in neural and non-neural systems alike. Here, we argue that a system radically different to a human brain, host to complex physiological and functional structures capable of integrating information, can be found in the meristems and vascular system (...) of higher plants. Following a pragmatic and ontologically innocent approach, neither taking for granted that plants are conscious nor dismissing the possibility that they are, we argue that the time is ripe to apply analysis tools inspired by IIT to plants, taking advantage of recent developments in both plant imaging and information theory. We introduce and discuss the relevant literature, and pro information and integration in plant behaviour, assessing the plausibility of plant sentience. If successful, these experiments could position plants as the next frontier in consciousness science, and urge us to rethink our perspectives on consciousness, how to measure it, and its prevalence amongst living beings. (shrink)

So many things have a meaning for us. How is it possible and how can we deal with it? In "gestures of attention" (rituals) we understand it, Hartmut Böhme says, and we produce it ourselves, Aby M. Warburg and Ernst Cassirer are suggesting. That means the producer and the recipient are responsible for their doing. -/- So vieles in unserem Leben hat für uns eine Bedeutung. Wie kommt das und wie können wir damit umgehen? In "Gesten der Zuwendung" (Rituale), so (...) Hartmut Böhme, erfassen wir diese und es sind wir selbst, die diese herstellen, wie es vertiefend Aby M. Warburg und Ernst Cassirer eröffnen. D.h. nicht nur der Produzent, sondern auch der Rezipient sind für ihr jeweiliges "Tun" verantwortlich. (shrink)

The paradox of pain is that pain is in some ways like a bodily state and in other ways like a mental state. You can have a pain in your shin, but there is no denying that you are in pain if it feels like you are. How can a state be both in your shin and in your mind? Evaluativism is a promising answer. According to evaluativism, an experience of pain in your shin represents that there is a disturbance (...) in your shin, and that it is bad that this disturbance is there. Thus, the experience brings you to tend to your shin by telling you something about the state of your shin. But the paradox of pain still confronts evaluativism in the form of the killing the messenger objection: The evaluativist has a nice story about our body‐directed responses to pain, like tending to wounds, but this story does not explain responses to pain, like taking painkillers, that seem to be experience‐directed. Evaluativists have offered accounts of experience‐directed responses to pain, but I will argue that these accounts conflict with the Transparency thesis—the claim that we can only access our experiences inferentially. Evaluativism and Transparency are natural bedfellows, so this is a problem for evaluativists. Having argued as much, I will go on to develop a new evaluativist account of taking painkillers, which does not conflict with Transparency. I call it naïve evaluativism. According to naïve evaluativism, we experience painkillers as making tissue damage or disruption less bad, and absent further reflection, that is, why we take them. (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)

In this paper I respond to Robert Taylor's argument that a Rawlsian framework does not support strong affirmative action programs. The paper makes three main arguments. The first disputes Taylor's claim that strong AA would not be needed in ideal conditions. Private racial discrimination, I suggest, might still exist in such conditions, so strong AA might be needed there. The second challenges Taylor's claims that pure procedural justice constrains Rawlsian nonideal theory. I argue that this rests on a fetishizing of (...) pure procedural justice that is absent from Rawls's work. I also show that a revised formulation of Taylor's concern here also fails. My third argument makes a positive Rawlsian case for strong AA in nonideal conditions that builds on a Taylor concession. Taylor suggests that the goal of nonideal theory is to create a world in which ideal theory can be applied. My argument begins by showing that another permissible goal of Rawlsian nonideal theory is to ameliorate injustice. I then argue that Rawls's contractualist framework supports the strongest forms of AA when category 3 interventions are blocked. (shrink)

This book aims to enrich our understanding of the role the environment plays in processes of life and cognition, from the perspective of enactive cognitive science. Miguel A. Sepúlveda-Pedro offers an unprecedented interpretation of the central claims of the enactive approach to cognition, supported by contemporary works of ecological psychology and phenomenology. The enactive approach conceives cognition as sense-making, a phenomenon emerging from the organizational nature of the living body that evolves in human beings through sensorimotor, intercorporeal, and linguistic (...) interactions with the environment. From this standpoint, Sepúlveda-Pedro suggests incorporating three new theses into the theoretical body of the enactive approach: sense-making and cognition fundamentally consist of processes of norm development; the environment, cognitive agents actually interact with, is an active ecological field enacted in their historical past; and sense-making occurs in a domain consisting of multiple normative dimensions that the author names enactive place. (shrink)

In Black Skin, white masks, Franz Fanon uses a psychoanalytic framework to theorize the inferiority-dependency complex of Black men in response to the colonial racism of white men. Applying his framework in reverse, this theoretical article psychoanalyzes the white psyche and emotionality with respect to the racialization process of whites and their racial attachment to Blackness. Positing that such a process is interconnected with narcissism, humanistic emptiness, and psychosis, this article presents how racial attachment becomes racial fetish. Such a (...) fetish reifies whiteness by accumulating fictive kinships with friends of color; hence, the common parlance of ‘But I have a Black friend!’ The article, then, overlays this theoretical interpretation onto the subject of teacher education in the US, specifically urban teacher education programs that are predominantly comprised of white middle-class females who claim a desire to ‘save’ urban students of color. Ending with the dangers and hopes of a more humanistic friendship, this article offers emotional ways one can self-actualize the racialization process. (shrink)

Philosophers have not been sceptical only about metaphysics or religious beliefs. There are a great number of other beliefs generally held which they have had at least as much difficulty in justifying, and in the present article I ask questions as to the right philosophical attitude to these beliefs in cases where to our everyday thought they seem so obvious as to be a matter of the most ordinary common sense. A vast number of propositions go beyond what is merely (...) empirical and cannot be seen to be logically necessary but are still believed by everybody in their daily life. Into this class fall propositions about physical things, other human minds and even propositions about one's own past experiences based on memory, for we are not now ‘observing’ our past. The phenomenalist does not escape the difficulty about physical things, for he reduces physical object propositions, in so far as true, not merely to propositions about his own actual experience but to propositions about the experiences of other human beings in general under certain conditions, and he cannot either observe or logically prove what the experiences of other people are or what even his own would be under conditions which have not yet been fulfilled. What is the philosopher to say about such propositions? Even Moore, who insisted so strongly that we knew them, admitted that we did not know how we knew them. The claim which a religious man makes to a justified belief that is neither a matter of purely empirical perception nor formally provable is indeed by no means peculiar to the religious. It is made de facto by everybody in his senses, whether or not he realizes that he is doing so. There is indeed a difference: while everyone believes in the existence of other human beings and in the possibility of making some probable predictions about the future from the past, not everybody holds religious beliefs, and although this does not necessarily invalidate the claim it obviously weakens it. (shrink)

The paper is a contribution to the phenomenological analysis of the process of the inner perception as understood by Husserl and Pato?ka. It draws on the four stratas of the "stream of cogitationes" from Pato?ka´s Introduction to Husserl's Phenomenology: the stratum of the real transcendence , the stratum of the real immanence , the stratum of the reel immanence , and the stratum of reel transcendence . The author discusses the process of phenomenalization with the background as its clue element, (...) on which, like on a screen, the appearances are displayed. The background is seen as making the appearance "clare et distincte" in its original cartesian form possible. At the same time the background is seen as a whole, a context, a horizon. (shrink)

Unethical decision-making behavior within organizations has received increasing attention over the past ten years. As a result, a plethora of studies have examined the relationship between gender and business ethics. However, these studies report conflicting results as to whether or not men and women differ with regards to business ethics. In this article, we propose that gender identity theory [Spence: 1993, Journal of Personality and Social Psychology 64, 624–635], provides both the theory and empirical measures to explore the influence (...) of psychological gender traits and gender-role attitudes on ethical perceptions of workplace behaviors. Statistical analyses of the data reveal that based on sex alone, no differences occur between men and women in their ethical perceptions. Yet, when a multidimensional approach to gender is applied, results show that expressive traits and egalitarian gender-role attitudes contribute to both men’s and women’s propensity to perceive unethical workplace behaviors as unethical. The implications of these findings and suggestions for future research are presented. (shrink)

To advance current knowledge on ethical decision-making in organizations, we integrate two perspectives that have thus far developed independently: the organizational identification perspective and the ethical climate perspective. We illustrate the interaction between these perspectives in two studies, in which we presented participants with moral business dilemmas. Specifically, we found that organizational identification increased moral decision-making only when the organization’s climate was perceived to be ethical. In addition, we disentangle this effect in Study 2 from participants’ moral identity. (...) We argue that the interactive influence of organizational identification and ethical climate, rather than the independent influence of either of these perspectives, is crucial for understanding moral decision-making in organizations. (shrink)

Feminist researchers have urged more study of how feminist practice is actually accomplished in mixed-gender organizations. Social movement scholars have called for more attention to dynamics of gender and race in social movement organizations, especially to the challenges of maintaining internal solidarity. Based on field observations in a pro-feminist, progressive, mixed-gender, mixed-race social movement organization, this article examines organizational decision-making processes and interpersonal and group dynamics. Gendered and racialized patterns of subordination are both very much in evidence and—at the (...) same time—actively challenged in this organization. The author argues that profeminist and progressive organizational practices and efforts to create solidarity across gender and race can exist through competing and contradictory dynamics and ongoing struggles. Complex and inconsistent dynamics around these social barriers are likely to occur in organizations more generally and need to be a subject for more research. (shrink)

Background: There is a shortage of reports on what potential recipients of implantable cardioverter–defibrillators need to be informed about and what role they can and want to play in the decision-making process when it comes to whether or not to implant an ICD.Aims: To explore how patients with heart failure and previous episodes of malignant arrhythmia experience and view their role in the decision to initiate ICD treatment.Patients and methods: A qualitative content analysis of semistructured interviews was used. The (...) study population consisted of 31 outpatients with moderate heart failure at the time of their first ICD implantation.Setting: The study was performed at Sahlgrenska University Hospital, Göteborg, Sweden.Results: None of the respondents had discussed the alternative option of receiving treatment with anti-arrhythmic drugs, the estimated risk of a fatal arrhythmia, or the expected time of survival from heart failure in itself. Even so, very little criticism was directed at the lack of information or the lack of participation in the decision-making process. The respondents felt that they had to rely on the doctors’ recommendation when it comes to such a complex and important decision. None of them regretted implantation of the ICD.Conclusions: The respondents were confronted by a matter of fact. They needed an ICD and were given an offer they could not refuse, simply because life was precious to them. Being able to give well-informed consent seemed to be a matter of less importance for them. (shrink)

Education as Freedom is a groundbreaking edited text that documents and reexamines African-American empirical, methodological, and theoretical contributions to knowledge-making, teaching, and learning and American education from the nineteenth through the twenty-first century, a dynamic period of African-American educational thought and activism. Education as Freedom is a long awaited text that historicizes the current racial achievement gap as well as illuminates the myriad of African American voices and actions to define the purpose of education and to push the limits (...) of the democratic experiment in the United States. (shrink)