The article is focused on the problem of understanding another person. First of all, the author considers understanding on the basis of external signs. In this case, two groups of features are distinguished in the appearance of a person — constitutive, or static, and expressive, or dynamic. The author introduces the concept of a snapshot image of a person. Then the understanding of the other through his speech is investigated. At the same time, all utterances are divided into selfdisclosing (...) and subject-oriented ones. The author substantiates position of the leading role of intonation in revealing the inner world. The identity of its role in creating the interlocutor’s speech image and the role of external expressive features in creating the visual image is revealed. On the basis of this, the author introduces the concept of bodily intonation. Then the understanding of the other through his or her actions is considered and the concept of intonation of an action is introduced. Finally, the author introduces the concept of intonation face as a unified image of the other person arising in our consciousness as a result of the superposition of separate momentary images. The notion of sensitivity structure is also introduced. It is emphasized that the intonation face is not an “objective” but a dialogical phenomenon, representing the result of interaction between the sensitivity structure of the perceived person (manifested in his/her appearance, speech, and actions) and the sensitivity structure of the perceiver. (shrink)

Body and image are crucial to the elaboration of both Jean-Luc Nancy’s philosophy andClaire Denis’s work in cinema. Nancy’s short book about the body, Corpus ,though it may initially have appeared as a minor work in his œuvre, has since been shown,and notably since the intervention of Jacques Derrida, as the cornerstone of much ofNancy’s late thought. As Derrida demonstrates, Nancy’s interest in the body turnsaround the crucial trope of touch which comes to stand, in his philosophy, as the (...) marker ofthe most fundamental limits that shape our understanding of and interaction with theworld: between inside and outside, subject and object, matter and meaning. As such, theconcept of touch frequently recurs in the discussion of art works, where the inscription of amaterial trace coincides with, or touches upon an evanescent sense. Nancy’s discussions ofartistic meaning have frequently centred around images – both painterly and filmic – asthe phenomena whereby the real, in manifesting its presence, is granted a certain sense.1Claire Denis, in common with the vast majority of live-action filmmakers, necessarily dealsin images and bodies – images of bodies – but her frequent refusal to provide thetraditional cinematic signifiers of psychological depth often means that the spectator isbrought up short before the strangeness of these bodies as bodies, which in turn opens upan interrogation as to the sense of her images. The mutual fascination that exists betweenNancy and Denis is well established, demonstrated by Nancy’s detailed, published engagements with Denis’s films – Beau travail , Trouble Every Day , L’Intrus – as well as by Denis’s short film portrait of the philosopher – Vers Nancy –and her cryptic appropriation of his text L’Intrus . But their engagement witheach other’s work appears in the image of Nancy’s somewhat abstract conception of touch:an approaching and withdrawing, a momentary proximity to the other that serves as muchto consolidate the stable identity of the one as it does to share in the identity of the other.Mirroring this intermittent relationship, this article will seek not to over-state theinterpenetration of the two œuvres, but merely to sketch some points of contact betweenthem, turning notably around the fascinating, but perhaps ultimately untouchable figureof the wound. (shrink)

Previous research suggests that exposure to nature may reduce delay discounting and thereby facilitate healthier dietary intake. This pre-registered study examined the impact of online exposure to images of natural scenes on delay discounting and food preferences. It was predicted that exposure to images of natural scenes would be associated with: lower delay discounting; higher desirability for fruits and vegetables ; and delay discounting would mediate the effect of nature-image exposure on food desirability. Adult participants were recruited to an (...) online between-subjects experiment in which they viewed a timed sequence of six images either showing natural landscape scenes or urban scenes. They then completed measures of mood, delay discounting and rated their momentary desire to eat four fruits and vegetables, and four energy-dense foods. There was no statistically significant effect of experimental condition on delay discounting or food desirability. Bayes factors supported the null hypothesis for discounting, and energy-dense food desirability, but provided no strong evidence for either hypothesis for F&V desirability. These findings indicate that brief online exposure to images of nature does not affect momentary impulsivity or energy-dense food preference, whereas for preference for less-energy dense foods, the evidence was inconclusive. (shrink)

In response to calls to forget and unthink photography this article considers the computational environment and its consequences for the image making. What is there to know about images that are networked and generated with data processing techniques rather than with light and chemistry? How to analyse images and read what they are and what they represent, beyond what is visible in the picture? The article argues that glitches while aesthetically capturing errors in the machine point to broader conditions (...) of image making revealing systemic errors and not only its momentary technical failures. To explore digital images as affective phenomena to be sensed, the article looks at how glitch and its operations have been used by artists to generate digital images, and most importantly how they reveal computational systems as technical objects and affective infrastructures where discrimination is not an error but part of the system. (shrink)

The article suggests that Simmel’s thought should be interpreted as a coherent series of continuous attempts to solve philosophically the dilemmas entailed in the German ideal of Bildung. By analysing Simmel’s three short essays on Italian cities, and by placing them in the context of both his own intellectual development and the intellectual context of his time, the article will show how ideas expressed in these essays reflect this basic character of Simmel’s thought. In other words, far from being independent (...) momentary images, Simmel’s essays on Italian cities reflect his concern with whether and how culture in general, and works of art in particular, may help modern personality reconcile itself with the world. (shrink)

The image of Ananeosis from a ruined church’s mosaic pavement embodies Cyrenaica’s renewal after rejoining the empire. In this analysis, Ananeosis is the key to all the subjects depicted in the original grid. It was a grid of fifty squares in the horizontal rows, with five squares in each row filled with diverse natural, allegorical, and architectural forms. Her image gives unusual prominence to depiction of basketweave, and introduces the theme of renewal in creation both human and divine. (...) Drawing a rose-garland from a basket, she makes time an important qualifier, to be expressed in the squares around her, by changing symmetries and variations in paired images and by the prominence of two musical instruments. Renewal, both momentary and recurring, is expressed with hoped-for local or regional significance and bound to awareness of Empire-wide tastes and resources, both physical and cultural. (shrink)

In his PhD proposal, now published as Seeing Sociological, Garfinkel [2006] formulated action in terms of a mutually constitutive structure—the Noesis-Noema Structures. This structure can be traced to Aaron Gurwitsch’s gestalt psychology and Law of Good Gestalt which theorises how participants prioritise functional Gestalts over other possible meanings of what is perceivable in their surroundings. While Gurwitsch illustrated his theory using images, in this paper we revisit Gurwitsch’s theory in light of the advances in recording real-time interaction to consider Gestalt (...) in spatio-temporality of real-time interaction. We consider the Law of Good Gestalt in terms of the dimensions of time and space, and postulate two analytical principles—the Principle of Good Momentary Gestalt and the Principle of Good Temporal Gestalt—for analysing a multi-angle video segment of a monologue taken from a training event. The analysis examines how the monologue was embedded in a multi-layer projection structure, so that during the time of the monologue, the trainer and trainees can be seen as achieving a transition between one activity to another while sustaining the frame of the training event. Through this, the analysis highlights the multi-layered structure of participants’ field of perception that constitutes their experience of the social activity, and explores a “method” to reconstruct such a structured field of perception through re-coupling meanings to the assemblages of multimodal resources recoverable on video. (shrink)

Over and above differences in terminology and cultural background, we try to show that the quantum physicist, David Bohm, and poststructuralist philosopher, Gilles Deleuze, shared a common aim in thought: to replace the classical image of reality, which is still dominant in our time, with a metaphysics finally in agreement with the concepts and results of relativity, quantum mechanics andcontemporary biology. For these two thinkers, the world of things that are well individuated in space and time, and ordered according (...) to mechanical relations of cause and effect, are nothing but the momentary expression of an “undivided wholeness in flowing movement” that constitutes its true ontological ground. By means of this new metaphysics, the world of daily experience and classical science appears as the explicit manifestation or development of implicate order that undivided wholeness contains virtually in itself at deeper and deeper levels of envelopment and imbrication. The explicit world is the result of a process of repetition, deceleration and temporal stabilization, triggered by the interaction of our measuring instruments – technical devices, sensory organs and motors, a priori forms and categories of the understanding – with moving wholeness, the thinking and observing subject of which represents a momentary and partial reflection rather than a solitaryand autonomous fragment. By criticizing the classical image of thecorrespondence/adequation of being and thought, Bohm and Deleuzeshow that the thought seeking to grasp this wholeness in flowingmovement inevitably interacts with it – by modifying, recreating andaccomplishing it in one direction rather than another. Thought thusresembles a dance that tries to harmonize with the universal flux thatgenerates and carries it away in a single movement with matter. **************************************************************************************************** ***********************Para além das diferenças de terminologia e de background cultural, tenta-se aqui mostrar que o físico quântico David Bohm e o filósofo pós-estruturalista Gilles Deleuze tiverem um objetivo comum de pensamento: substituir a imagem clássica da realidade, ainda dominante em nossa época, por uma metafísica finalmente de acordo com os conceitos e resultados da relatividade, da mecânica quântica e da biologia contemporânea. Para estes dois pensadores, o mundo das coisas bem individuadas no espaço e no tempo, e ordenadas conforme as relações mecânicas de causa e efeito, não é nada outro que a expressão momentânea de uma “Totalidade indivisa em devir” que constitui seu verdadeiro fundamento ontológico. Pelo meio desta nova metafisica, o mundo da experiência cotidiana e da ciência clássica aparece como a manifestação explicita ou desenvolvida da ordem implícita que a totalidade indivisa contém virtualmente nela mesma em níveis de envolvimento e de imbricação sempre mais profundos. O mundo explícito é o resultado de um processo de repetição, desaceleração e estabilização temporal, desencadeado pela interação de nossos instrumentos de medição -- aparelhos técnicos, órgãos sensoriais e motores, formas “a priori” e categorias do entendimento – com uma totalidade movente no qual o sujeito pensante e observante representa um reflexo momentâneo e parcial ao invés de um fragmento solitário e autônomo. Ao criticar a imagem clássica da correspondência/adequação entre o ser e o pensamento, Bohm e Deleuze mostram finalmente que o pensamento que intenta capturar esta Totalidade em devir interage inevitavelmente com ela, modificando-a, recriando-a e realizando-a em uma direção ao invés de outra. O pensamento se aparenta assim a uma dança que tenta se harmonizar com o flux universal que o gera e o leva em um movimento só com a matéria.Palavras-chave: Bohm; Deleuze; totalidade indivisa em devir; física quântica; pós-estruturalismo; ontologia. (shrink)

The paper’s principal claim to originality lies in its deployment of Deleuze and Guattari’s concept of the ‘refrain’ in thinking the ‘resingularization’ of photography in the context of new media ecologies and the promise of what Guattari calls a ‘post-media era’. The paper itself constitutes a refrain and is structured according to the three moments of any refraining. Firstly, a refrain is a spatio-temporalization, a way of marking out space, keeping time and assembling and activating subjectivity. At its most rudimentary, (...) it is the establishment of a momentary centre, a point of order amidst chaos. We can conceive this in terms of the originary ‘cut’ of the photographic flash which – as in a familiar trope in horror films in which the flash of a camera guides the protagonist through a menacing darkness – illuminates one’s milieu, the spot on which one stands, and dispels the evils which gather on all sides. This flash is a singularity which, in rupturing darkness, does not merely constitute a representative image but is, as Guattari might say, a ‘vector of subjectivation’. Secondly, the refrain circumscribes a territory, a circle of control, ethos, interiority or home. Our media are architecture, part of the congealing and hardening of territory. Here emerges an ‘incorporeal Universe’ which signs itself ‘Photography’. We approach photographic territorialization principally in terms of genre. Photographic genres are refrains become clichés, habits, fictions which uncritically sustain and abet the ravages of capitalistic subjectivity. Adhering, photographically, to these affective algorithms – creatively reacting in the belief that There Is No Alternative – is to generatively maintain the existence of a virtually stable territory. It is this territory that, we insist, requires estrangement through the amplification of its moments of uncertainty. The third moment of the refrain is precisely the exacerbation of its instability, its transformation into a ‘music’ which is the cracking open of the territory to the world and its opening out onto futurity and alterity. We conceive this in two ways. On the one hand, the opening of the photographic refrain can be understood in terms of the ontology of mediation. Rather than a freezing of the moment, the photographic image is in and of the middle, medial – that is, it constitutes an event of interruptive time, the construction of an interval which is excessive and untimely. Here, we heed recent calls for a new ethics of photographic practice which understands and takes responsibility for the process of mediation ‘from within the process itself’. On the other hand, the opening of the photographic refrain can be understood in connection with the subjective pluralism which is the excess of the social. We are plural, polyphonic subjects, comprising affective communities which exist in relation to a ‘constellation of Universes’, at the intersection of refrains which variously harness anti-chaotic forces and can be resingularized and opened onto the forces of the future. Along lines intimated by Guattari, we commend the collective reappropriation and resingularization of photography in order to escape its impasse, to reflexively trigger ‘an existential agglomeration’. Mediation itself offers the promise of a ‘post-media era’ in which we liberate the creativity and virtuality of media in order to ‘bifurcate existence’, realizing the possibility of new constellations of Universes and an autopoiesis of subjectivity. Tapping into such excess requires a pedagogy of excess, too. For us, to respond ethically to the new powers of mediation means respecifying photography as a collective endeavour, beyond the principles of ‘self expression’ and ‘independence’ which have long dominated photography education. It also means going beyond the conventions of genre and ‘socially-engaged’ practice, not simply through the usual judgement and denunciation of territory but through its falsification. As we see it, photography’s ‘fabulatory function’ is to both make perceptible and betray the ‘working forces’ of territorial refrains, to both activate and ‘fail to satisfy’ them. Indeed, it is in this sense that photography might become a transversal tool with which to think the artistic and social simultaneously. (shrink)

These core conversations between Peter Stanlis and Robert Frost occurred during 1939-1941. They are written in the much larger context of nearly a quarter century of friendship that ended only with the passing of Frost in 1963. These discussions provide a unique window of opportunity to appreciate the sources of Frost's philosophical visions, as well as his poetic interests. The discussions between Stanlis and Frost were held between six consecutive summers, when Stanlis was a student at the Bread Loaf Graduate (...) School of English. These were augmented by additional exchanges at Bread Loaf in 1961-1962. These conversations provide original insights on important subjects common to both men.Frost insisted that it was impossible to make a complete or final unity out of the conflicts between spirit and matter. Ordinary empirical experience and rational discursive reason and logic could not harmonize basic conflicts. He held that the best method to ameliorate apparent contradictions in dualistic conflicts was through the "play" of metaphorical thinking and feeling. Metaphors included parables, allegories, fables, images, symbols, irony, and the forms and techniques of poetry such as rhyme, rhythm, assonance, dissonance, personifications, and connotations.These are the arsenal from which poets draw their insightful metaphors, but such metaphors are also the common property of every normal person. A poem is "a momentary stay against confusion," a form of revelation for "a clarification of life," but not a final, absolute answer to the mysteries and complexities in man's life on Earth. So too-at their best-are science, religion, philosophy, education, politics, and scholarship as a means of ameliorating human problems. (shrink)

The aim of this contribution is to investigate certain selected parts of the extended evolutionary synthesis which all have a common denominator, namely evolution by meaning attribution. We start by arguing that living organisms can manipulate and interpret their genetic script via epigenetic modifications in a semiotic manner, that is, by meaning attribution. Genes do not build living beings to be transmitted to future generations. Genes have been shaped by evolution as a memory medium that is transmitted from one generation (...) to the next, but the actual reading of such scripts is modified by momentary contexts. Secondly, we show that phenotypic evolution variously re-uses already existing homologies which in evolving systems acquire a new meaning. We also suggest that the ways in which organisms perceive their environment and other living beings is an important but still largely neglected evolutionary force. Variations in perception influence the direction and intensity of sexual selection and some behaviourally mediated regimes of natural selection. Thirdly, we point out that especially if we want to study their evolution, living beings should not be considered in isolation but in their mutual coexistence, in their historically established being together. Recent attempts to view living beings as constructors of niches and holobionts seem compatible with the classical Umwelt theory. This approach seems capable of accounting for both competitiveness and cooperation, thus making the overall image of evolution more comprehensive. And finally, we argue that if we want to expand our understanding of biological evolution, in addition to variation, selection, and inheritance we also need to take into account processes which participate in meaning attribution. (shrink)

Augustine made a significant contribution to the history of philosophical accounts of affectivity which scholars have not yet noticed. He resolved a problem with the Stoic theory as it was known to him: the question of the cognitive cause of "preliminary passions" ( propatheiai ), reflex-like affective reactions which must be immediately controlled if a morally bad emotion is to be avoided. He identified this cognitive cause as momentary doubt, as I demonstrate by citing passages from sermons spanning twenty-seven (...) years in which Augustine consistently used a particular set of scriptural images and phrases as precise analogies for mental and affective states. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:FROM CAIN AND ABEL TO ESAU AND JACOB Angel Barahona UniversidadComplutense, Madrid The theme of twins or of enemy brothers is one which fascinates anthropologists owing to its frequency, the beauty of its mythopoetic settings, and its social significance. The theme always appears in relation to fratricidal violence, and is always linked to myths offoundation or origin. Clyde Kluckhohn in his book about brothers "born in immediate sequence" reminds (...) us that the death of one of them brings with it a momentary peace, the foundation ofa new social order. Thus it is not the fact ofbeing twins, or antagonistic brotherhood per se which is the key to the stories, but violence: Twins are impure in the same way that a warrior steeped in carnage is impure, or an incestuous couple, or a menstruating woman. All forms of violence lead back to violence. We overlook this fact because the primitive concept of a link between the loss ofdistinctions and violence is strange to us; butwe need only consider the calamities primitive people associate with twins to perceive the logic of this concept. Deadly epidemics can result from contact with twins, as can mysterious illnesses mat cause sterility in women and animals. Even more significant to us is the role oftwins in provoking discord among neighbors, a fatal collapse of ritual, the transgression of interdictions—in sort, their part in instigating asacrificial crisis....Behindthe image oftwins lurks the baleful aspectofthesacred, perceived as a disparate but formidableunified force. (Girard 1977, 58) All the mythological, literaryand historical accounts oftwinswhichwe have involve bloody conflict: Eteocles and Polyneices, Romulus and Remus, Richard the Lion Heart and John Lackland, and so on. To a 2 Angel Barahona surprising extent even the development of the different stories is similar. When Polynices departs from Thebes leaving his sister there, hoping to reign through her, he takes with him his fraternal conflict as if it were an attribute of his being. Wherever he goes his brother appears to him, and will oppose him to the death. When an oracle announced to Adrastrus that his two daughters would marry, respectively, a lion and a wild boar, animals which are different in their appearance but identical in their violence, it was presaging fraternal conflict. In Euripides' The Suppliant Women, the king tells how he came upon his sons-in-law. At his door, one night, Polynices and Tideus, both reduced to poverty, were quarreling furiously over possession ofa camp bed. Their brotherhood by virtue ofmarriage with two sisters brings them within the fraternalcategory, likeOedipus and Creon, orDionysus and Pentheus, rival cousins. A plot of land or a kingdom, a woman or an object, the status of firstborn or an unjust inheritance, all give pretexts for conflict. We cannot avoid conflict when desires converge on the same object. It is difficult for the brothers to be aware of their symmetry, their reciprocity, the intense violence which is hidden behind their brotherhood,—an awareness which might spare them their confrontations—because they never occupy the same positions atthe same time. The reciprocity is real, but it is the sum of non-reciprocal moments. The antagonists occupy the same positions in time, but successively, not simultaneously. The same acts and the same sentiments appear in cyclical alternation, but the brothers cannot directly observe their own reciprocity, and thus their identical nature, because they seem to be differentiated by the role which each one plays. Cain and Abel There are many stories ofconfrontations between brothers in Scripture, including those related to the rights of the first born. From Genesis 4,5 onwards we see how these are an interminable source ofconflicts. The first example, Cain and Abel: "And the LORD had regard for Abel and his offering, but for Cain and his offering he had no regard. So Cain was very angry, and his countenance fell" anticipates the themes ofthe blessing and the looking at the face. And we can observe the games of symmetry with the language: "the LORD had regard for Abel and his offering, but forCain and his offering he had no regard." Cain and Abel are presented as an agriculturalist and as a shepherd respectively, two forms ofsocial life. In this quarrel... (shrink)

Short-term or working memory provides temporary storage of information in the brain after an experience and is associated with conscious awareness. Neurons sensitive to the multiple stimulus attributes comprising an experience are distributed within many brain regions. Such distributed cell assemblies, activated by an event, are the most plausible system to represent the WM of that event. Studies with a variety of imaging technologies have implicated widespread brain regions in the mediation of WM for different categories of information. Each kind (...) of WM may thus be expected to involve many brain regions rather than a local, uniquely dedicated set of cells. Neurons in a distributed “cell assembly” may be self-selected by their temporally coherent activations. The process by which this fragmented representation of the recent past is reassembled to accomplish essentially automatic and reliable recognition of a recurrent event constitutes an important problem. One plausible mechanism to achieve the identification of past with previous events would require that the representational system mediating WM must coexist in spatial extent and somehow overlap in temporal activation with cell ensembles registering input from subsequent events. The detection of such a postulated mechanism required an experimental approach which would focus upon spatial patterns of coherent activation while information about different events was stored in WM and retrieved, rather than focusing upon the temporal sequences of activation in localized regions of interest. For this purpose, the familiar delayed matching from sample task was modified. A series of information-free flashes, or “noncontingent probes,” was presented before an initial series of visual information items, the Priming Sample, which were to be held in WM during a Delay Period. A second series of visual information items were then presented, the Matching Sample. The task required detection of any item in the second series which had beenabsentfrom the initial series. Thirty such trials with a particular category of visual information constituted a single task. Several DMS tasks with this standardized design, but with different categories of visual information, were presented within each test session. The information categories included letters of the alphabet, single digit numbers, or faces from a school yearbook. Event-related potentials , were computed from 21 standardized electrode placements, separately for information-free probes and for information items in each interval of the trials within a task. Because each electrode is particularly sensitive to coherent activation of neurons in the immediately underlying brain regions, topographic maps were constructed and interpolated across the surface of the scalp. The momentary fluctuations of the resulting voltage “landscapes” throughout the task were then subjected to quantitative analysis. Distinctive landscapes sometimes persisted for prolonged periods, implying sustained engagement of very large populations of neurons. “Difference landscapes” were constructed by subtraction of topographic maps evoked by noncontingent probes during the Delay Period from maps of probe ERPs before the presentation of the initial information in the Priming Sample. Such probe difference landscapes displayed recurrent high similarity to momentary landscapes elicited during subsequent presentation of the information items in the Matching Sample. It seemed as if the distributed cell assembly continuously engaged by mediation of WM of the diverse attributes of the initial stimuli was being dynamically compared to the ensembles engaged by registration of the subsequent stimuli. Spatial Principal Component Analysis was applied to the sequences of momentary voltage landscapes observed throughout trials of each task. This method sought a small number of spatial patterns with which these large sets of inhomogeneous spatial distributions of voltage could be reconstructed. This is the spatial analog of the reconstruction of local ERPs by temporal principal components, as often described previously. Five Spatial Principal Components were found which accounted for about 90% of the total variance of voltage across the surface of the scalp throughout every task. Theloadings,or distinguishing topographic features, of these SPCs, were highly similar during every cognitive task for every subject. However,factor scores,or relative average contribution to the overall voltage distributions, of the different SPCs varied substantially among subjects between the tasks and momentarily within successive intervals of each task. These five SPCs may reflect coherent activation of huge distributed ensembles of neurons which comprise independent but interacting functional brain subsystems. These subsystems may correspond to basic resources available to individuals for allocation to mediate conscious evaluation of information during cognitive activity, providing a filter to bind together fractionated representations of the past to evaluate the present. (shrink)

The intuitive experience of dreaming is that we “see” something with our mind’s eye and react to it. Indeed, dream formation conceptualizations have often focused on the visual image-to-verbal thought direction of causality, inspired by bottom-up models of perception. However, despite being experienced as external to us, the dream environment is internally generated, meaning that dreams are more like imagination than perception. Dream thoughts (experienced with a sense of agency or selfhood) also affect subsequent dream images (experienced as non-agentive (...) or external to one’s self). Thus, oneiric experiences are made up of reciprocal, continuous, moment-to-moment influences between the dream and the dreamer: visual images and verbal, abstract, or otherwise imageless thoughts. During wakefulness, a dreamlike cognitive processing dynamic of ever-changing meaningful image-thought-image momentary associations coupled with reduced agentive control of images may be present to a greater or lesser extent. Non-agentive visual images as a significant driving force in one’s spontaneous mental activity may relate to individual differences in fantasy proneness, suggestibility, dissociative absorption, or imagination tendencies. This feature carries implications for the field of spontaneous thought. Off-task thinking, or mind-wandering, are non-specific labels that may be used to denote internally generated mentation. Considering the tendency for dreamlike associations may represent a specific distinction, which may be relevant for understanding psychopathology. Whereas some individuals may find themselves distracted by abstract or semantic associations (e.g., verbal self-derogatory inner speech), others may find themselves drawn to intrusive—or alluring—visual images, which may interact significantly with their verbal thoughts and associations and even be experienced with decreased sense of agency. This may occur in obsessive-compulsive disorder, dissociative disorders, or maladaptive daydreaming, suggesting that clinicians need to pay attention to their clients’ spontaneous visual imagery. If a picture is worth a thousand words and seeing is believing, psychologists should be curious of how a visual thinking style may impact mental health. (shrink)

This article aims at reconstructing the logic and assessing the force of Socrates' argument against Protagoras' 'Measure Doctrine' at Theaetetus 171a–c. I examine and criticise some influential interpretations of the passage, according to which, e.g., Socrates is guilty of ignoratio elenchi by dropping the essential Protagorean qualifiers or successfully proves that md is self-refuting provided the missing qualifiers are restored by the attentive reader. Having clarified the meaning of MD, I analyse in detail the broader section 170a–171d and argue, against (...) an extensive scholarly consensus, that it contains two slightly different formulations of the same argument, and not two distinct arguments, that Socrates does not highlight his own strategy at 171a–c as especially clever, and that his argument successfully shows that md turns out to be untenable for Protagoras himself when submitted to scrutiny in dialectical contexts, without aiming at proving its absolute falsehood. Finally, I clarify the philosophical import of the final image of Protagoras' momentary return from the underworld. (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)

Experience with inverting glasses reveals key factors of spatial vision. Interpretations of the literature based on the metaphor of a “visual image” have raised the question whether visual experience with inverting glasses remains inverted or whether it may turn back to normal after adaptation to the glasses. Here, I report on my experience with left/right inverting glasses and argue that a more fine-grained sensorimotor analysis can resolve the issue. Crucially, inverting glasses introduce a conflict at the very heart of (...) spatial vision. At first, the experience of visual direction grounded in head movements differs from visual experience grounded in eye movements. During adaptation, this difference disappears, and one may learn to see without conflict where objects are located (this took me 123 h of practice). The momentary experience became once again integrated within the larger flow of visual exploration involving head movements, a change of experience that was abrupt and comparable to a Gestalt switch. The resulting experience remains different from normal vision, and I argue that this difference can be understood in sensorimotor terms. I describe how adaptation to inverting glasses is further reflected in mental imagery, supporting the idea that imagery is grounded in sensorimotor engagement with the environment as well. (shrink)

The momentum of globalization and universalism, operating through the media, information technology and politics, has steadily diminished the importance of cultural diversity. It has even threatened to erase many of our cultural traditions, or extinguish our diverse experiences of the sacred. Yet the sacred which seems to be lost is often still encased in our cultural objects, stories and religious rituals. This paper will discuss how the memories of the sacred can be both preserved and reawakened. This paper will focus (...) on three scholars who develop alternative approaches to the universal. Franz Rosenzweig saw universal historical progress as oppressive. He believed that the practice of his Jewish religion offered a resistance and a possible correction to the general movement of history. Walter Benjamin saw the forgotten 'ruins' of history encase memories of the sacred and the silenced voices within history. For Benjamin, the role of interpretation is to awaken these hidden memories and voices which are encoded within our objects, images and commodities. This led him to a particular idea of a momentary messianic redemption in relation to greater flow of time. And finally, Jacob Taubes read St. Paul as offering a revolutionary model on how to live one's particular faith within a wider political order. In general, each writer developed an idea of redemption which involves a kind of remembrance of what has been obscured by the more general universal movement of history itself. This is especially relevant for the various religious and cultural communities within Cambodia. The paper will begin and end by discussing the origin story of Cambodia – the marriage between Preah Thong, the Indian prince, and Neag Neak, the Naga princess. I will additionally try to demonstrate that the story and its various reenactments is important because it represents a regenerative process rooted in the eclectic character of South East Asian culture in general. Various forms of memory within the syncretic or eclectic context of Southeast Asia can operate to preserve the sacred in an age of universalization and globalization. It also illustrates how the performance of memory can also offer an antidote to the "trauma" of Cambodia's past. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Stumbling Block its IndexBrian Catling (bio)The Stumbling Block is a graphic font. This black plinth was once a brush or similar terminal that was the lips of an intense electrical arc. Industries proud and violent need spoke through it to turn the wheel or smelt and cast the constructed challenge. Now abandoned it finds benediction in seclusion. It has softened its mouth to hold water, so that small (...) animals and disjointed humans may drink or sign themselves in their passage. [End Page 218]The Stumbling Block has been used like an entrance step to sharpen knives on. Its fossil bristle of bright stone forcing the heavy blades down to a hiss along one edge. These are knives of gleaming hubris, long intentions honed for malice. They are magnetized and have been placed to construct a lectern. Each blade holding the next to form the platform. It may hold this index at its centre, hovering, placed outside in the aorta of streets. The removal of any of the blades from the assembled cluster will spill their fish bodies to the ground. The paper will drink any of the stains of their usage. [End Page 219]The Stumbling Block is an ark of extinction. A bouillon hive of the murdered past, frozen dry to a mass. Something has warmed its corner, the oxoed grit bleeds a vein of contagion, virulent in its passion to embrace and swim in human tides. [End Page 220]The Stumbling Block is unfound to the stained and unclear eye. But its nest, its negative hollow can be discovered in the mounds of waste and detritus that choke the streets. Its possible wedge, sphere or beam form is there; a vacant socket, easily trampled, destroyed or cleared away. It is watching. Its obstinate grace squinting across the demonstrations of power. It is the light in the eye of the needle grown solid with anger, a fat sugar that clogs the passage to any kind of paradise. [End Page 221]The Stumbling Block is a bell that sounds a deeper voice than the throats of men. Their image and cry shrinks the world.The communication of global gossip becomes a barbed wind of trivial penning; television enclosures of wired indifference, the reduction of memory removes the open field and causes blurred shivers to be understood as the same thing. The bell hums as acceleration eradicates silence, the foundation for stillness is removed. The speed of language clones its own restless manic hunger. The portable telephone, miniature televisions, satellites and their collection dishes are the cutlery for this gluttony.The inedible thinness they devour is obvious. To feed this addiction soapy fictions are boiled from the skin and bone of poverty. Tribes, villages, jungles and the very air itself can be wasted or burnt to secure a dry armpit in puppeted dramas of nightmare lives. Condensation is sweating inside the bell; a human modes sound that is unwelcome. It drips from the rim in whispers and pools beneath its limited protection. [End Page 222]The Stumbling Block is a shape shifter, a spirit bench that dwells in the cuffs of the expanding city. Over its warn layers of woven scars many forms have been stretched, clamped and tasted, licked and cut; reshaped. Anointed by abstraction, they are put back on the blinking streets, patted and set loose. In the deep pocketed burrows of the bench, termite-size clones dream white directions to colour the tiredness of their somnambulistic donors. [End Page 223]The Stumbling Block is a barrel organ dragged to the site of a crime. Its tin cup catching rain as it judders on the pounding box. The moon is caught between its throat and the water, and in the black gleam of its varnished vibration. It spills dance into the causeways, sucking revelers along the spindle of its cranked tune. They will spin and curl their lumpen massed centrifuge around the bellowing thing. The laughter is momentary but has soaked away the blood, only the scuffs of shoes and the scratched cobbles sing on. [End Page 224]The Stumbling Block is not a coffer, disguised by a wig of artifice. It cannot offer erudition or... (shrink)

The book collects seventeen new research papers on themes in Indian philosophy, contributed by contemporary scholars from around the world. The principal themes are knowledge and logic, consciousness, existence, and the self. The editor explains that the studies discuss Indian sources in their own context, rather than trying to be comparative or make connections to other traditions. This unfortunate directive is fortunately ignored by the strongest papers. Claus Oetke shows that despite their investigations of inference and syntax, Indian analysts had (...) little interest in formal structure per se. They investigated ways to exploit the formal structure in ordinary cases for the establishment of metaphysical tenets. Metaphysical aspirations rather than sheer formal analysis were the overriding concern. Another contributor describes Indian thought as “relentlessly empiricist in orientation.” Scripture is acknowledged for transcendent things like Dharma and Brahman, “but it is the senses that hold sway over the natural world.” Logic is not enough for inference, which must be grounded in perception. The fourth-century Buddhist Vasubandhu defines inference in terms of perception. The basis of inference is the observation of an object not occurring without the inferred object for one who knows the connection. Eli Franco explains how skepticism invaded Indian thought with the Madhyamaka movement in latter Buddhism, beginning with the great founder Nagarjuna. He denies any means to knowledge, using arguments that often resemble those of Western skepticism. Skepticism about means to knowledge became associated with the later materialist Lokayata school, from ninth century. Indian materialism is an anomaly somewhat like the Chinese rationalism of the Mohists. Pradeep Gokhale provides an overview of the school, which he describes as “a rationalist philosophical movement which attempted to solve individual and social issues merely on empirical, rational, and practical grounds without taking recourse to religion.” Like Epicurus, this materialism is a physical theory demystifying traditional morality and religion, which are replaced by hedonism. Consciousness originates in body and does not exist independent of matter. It is not originally in the elements but arises from them, as intoxication, not originally in molasses, arises by fermentation. Religion is a human creation. Other worlds do not exist. Nothing that we do makes a difference to future lives, which do not exist. Fallacious ideas like life after death vitiate sacrifice and morality. The path to liberation is to follow natural pleasure. Joel Feldman discusses the Buddhist doctrine of momentariness. Things do not endure. The experience of enduring things is a delusive result of imagining things to have a universal character when actually they are merely grouped together according to our desires by means of their exclusion from things that do not fulfill our purposes. We impose this vast delusion on what are in truth momentary self-characterized particulars, each with its own self-nature, producing an effect and then annihilating in a moment by that very self-nature. Destruction is never the work of an external cause. If a thing can self-destruct, then it must be destroyed immediately by its own self-nature as soon as it begins to exist. Papers by Alex Watson and Roy Tzohar survey the spectrum of Indian views on the self. Consciousness as light is an ancient image in Indian thought described in a contribution by Matthew MacKenzie. Isabelle Ratié explains the metaphor of the mirror in Indian thought about consciousness. For Brahminical tradition mirror images are sheer illusion. For the later Buddhists the perceived universe is comparable to an optical refection. The characteristic of reflecting entities like a mirror is the capacity to manifest themselves as something else while remaining what they are, and this is exactly like consciousness, which manifests itself in all the images of phenomenal nature. In all of these papers Indian ideas are repeatedly compared with ideas in Sartre, McGinn, Dretske, Searle, Husserl, Merleau-Ponty, Heidegger, Wittgenstein, and Sellars. (shrink)

These supporting concepts enable us to much more adequately understand the meaning of apoha. First, a sharp distinction is drawn between the real and the conceptual; the real is particular, unique, momentary and the basis of perception, while the conceptual is universal, general, only supposedly objective and the basis of language. Second, the complex nature of negation discloses the kind of negation meant by apoha. Negation by implication is seen as disclosing the necessary relation between simple affirmations and simple (...) negations. It is in this sense that Dignaga asserts that the meaning of words lies in the negation of the opposite. Third, the idea of apoha as the differentiation of concepts is to be distinguished from the Nyāya-Vaiśe $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ika notion of exclusion as a materially present quality in objects.Ratnakirti, and Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta following him, use the idea of negation by implication to explain apoha as the simultaneity of and logical relation between a positive assertion concerning an epistemological object and a negative assertion concerning all things which are not that epistemological object. For example, Ratnakirti in accordance with the theory of apoha explains that the term cow “harbors” the negation of non-cow in the same way that blue is harbored in the term blue lotus. The exclusion of the other, i.e., the negation of the non-cow, is held by Ratnakirti to be an actually apprehended attribute of the cow cognized (as distinct from the cow in itself). He says “... discrimination of non-cow inevitably arises simultaneously with the perception of the cow, for (the negation of non-cow) is the qualifier (of the individual).” This interaction between the positive and the negation of the other, i.e., the relation of negation by implication, as a simultaneous interaction is necessary lest when, e.g., asked to tie up a cow one ties up a horse instead.Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta denies three possible interpretations of apoha before putting forth his own definition. The first is that when an external object is conceptualized this is done as “the other (the dissimilar) is discriminated from this.”The second is much the same, only it is in terms of the mental image, i.e., the epistemological object rather than the ontological object as in the first. The third is that apoha means the negation of an assertion, i.e., the simple absence of the other. All three of these interpretations are unacceptable to Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta. He defines apoha as “the affirmation (of a positive entity) qualified by discrimination (of it from all other entities).”Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta goes on to explain this simultaneity more fully: ... those who stress affirmation think that after we have known the cow, we consequently determine the discrimination of the essence of the cow from that of the non-cow; those who stress the negative function of apoha are of the opinion that we first know the discrimination of the dissimilar thing and then consequently confirm the thing which is discriminated from others, viz., the cow. Thus (both interpretations) are wrong. For at the time of judgment we do not experience an order of comprehension in which (negation or affirmation) occurs first. In fact, it is not the case that one, having understood the affirmation, later confirms the negation by implication, or that one having understood the negation later confirms what is discriminated (from the dissimilar). Therefore, we say that the very understanding of the cow is the same as the understanding of what is discriminated from the dissimilar.We can see from this that for Ratnakirti and Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta apoha meant the simultaneous affirmation of and negation of the dissimilar from the (epistemological) object. Mok $$\underset{\raise0.3em\hbox{$\smash{\scriptscriptstyle\cdot}$}}{s}$$ ākaragupta's concern with the “time of judgment” also shows that the idea of apoha was understood by them as being psychologically descriptive. In the process of identifying an epistemological object as some particular thing, neither the negative nor the positive function have priority but are, rather, complementary one to the other. This simultaneity and complementarity are supported by the examination of mind “at the time of judgment,” i.e., it is a psychological description of the process of identification of an epistemological object as some particular thing.It is this fact of apoha describing the process of identification which, as described above, places apoha in the inference category of sources of truth. Apoha is clearly, therefore, involved with words and concepts rather than being on the perception side where it would have to be a metaphysical concept describing the real or absolute.Putting the idea of apoha into contemporary terms we can say that it is a psychological descriptor for the bipolar relation of concepts. Dignaga and the other Buddhist logicians are then to be understood here as being involved in producing a phenomenological description of linguistic thought processes. More broadly, as in the discussion of perception, they are involved in the phenomenological description of consciousness, a favorite Buddhist undertaking. As such, the work of the Buddhist logicians fits into the larger soteriological intention of all Buddhist thinkers, since enlightenment is understood to follow from insight into the nature of consciousness as productive of suffering.Some authors have criticized the logicians as being overly concerned with the un-Buddhist occupation of arguing. However, when their work is seen as expanding our understanding of the nature and working of consciousness, the logicians are certainly worthy of our respect. (shrink)

This study examines the theology of the fourth-century bishop, Hilary of Poitiers, concentrating particularly on two commentaries written at different times in his life. The main focus of the study is on Hilary's anthropological theology.

How must knowledge be formed, if made in the image of assertion? That is, given that knowledge plays the normative role of governing what one may assert, what can be inferred about the structure of the knowledge relation from this role? I will argue that what one may assert is sensitive to the question under discussion, and conclude that what one knows must be relative to a question. In short, knowledge in the image of assertion is question-relative knowledge.

In Paul and Image, Philip Erwin challenges conventional interpretations of First Corinthians by focusing on the role that ancient Roman visual culture played in the lives of Paul and those of the people of Corinth.

Plusieurs épreuves peuvent être engagées avec l’image, depuis les "devinettes" du Sphinx auxquelles répond brillamment Oedipe jusqu’à la panique télévisuelle que déclenche l’entrée en eau d’Éric Moussambani aux jeux Olympiques de Sydney. Chacune des épreuves prises en compte dans cet ouvrage implique la mise en relation de l’image et du corps. Cet ouvrage se propose de mener une enquête pour tenter de comprendre comment, pour faire-image, un corps doit s’insérer dans une nouvelle configuration du sensible, à partir (...) d’un choix d’objets issus du théâtre, de la littérature, de la philosophie, du cinéma et de la télévision. Depuis Oedipe jusqu’aux Monty Pythons, de La Bruyère à Hrundi V. Bakshi, le héros du film The Party, de Blake Edwards, avec les traités de Balzac, de Barbey d’Aurevilly ou de Marcel Mauss, une "épreuve de l’image" se précise dans une nouvelle transaction des corps et de l’espace, où se déploient également de nouvelles puissances des corps. (shrink)

There seems to be no dimension of bodily awareness that cannot be disrupted. To account for such variety, there is a growing consensus that there are at least two distinct types of body representation that can be impaired, the body schema and the body image. However, the definition of these notions is often unclear. The notion of body image has attracted most controversy because of its lack of unifying positive definition. The notion of body schema, onto which there (...) seems to be a more widespread agreement, also covers a variety of sensorimotor representations. Here, I provide a conceptual analysis of the body schema contrasting it with the body image as well as assess whether the body schema can be specifically impaired, while other types of body representation are preserved; and the body schema obeys principles that are different from those that apply to other types of body representation. (shrink)

This article is concerned with the relationship between body, image and affect within consumer culture. Body image is generally understood as a mental image of the body as it appears to others. It is often assumed in consumer culture that people attend to their body image in an instrumental manner, as status and social acceptability depend on how a person looks. This view is based on popular physiognomic assumptions that the body, especially the face, is a (...) reflection of the self: that a person’s inner character or personality will shine through the outer appearance. The modification and cosmetic enhancement of the body through a range of regimes and technologies can be used to construct a beautiful appearance and thereby a beautiful self. The article begins by examining body images in consumer culture and their relation to photography and moving images. This is followed by an examination of the consumer culture transformative process through a discussion of cosmetic surgery. The article then questions the over-simplistic logic that assumes that transformative techniques will automatically result in a more positive and acceptable body image. The new body and face may encourage people to look at the transformed person in a new way. But the moving body, the body without image, which communicates through proprioceptive senses and intensities of affect, can override the perception of the transformed appearance. A discussion of the affective body follows, via a closer examination of the body without image, the opening of the body to greater affect and indeterminacy. The affective body image and its potential greater visibility through new media technologies are then discussed through some examples taken from digital video art. The article concludes by examining some of the implications of these shifts within consumer culture and new media technologies. (shrink)

Consumers often feel embarrassed when buying products like condoms, hemorrhoid cream, and beriberi cream in crowded pharmacies. There is an interesting phenomenon in life: Some beriberi creams use the images of a “real foot”, while others use the images of a “cartoon foot.” Imagine if a young woman needed to go to a retail store for beriberi cream that would embarrass her, she would choose a “real foot image” or a “cartoon foot image” beriberi cream? It has been (...) shown that the embarrassment of these products has a strong negative impact on consumer buying behavior. Previous researches have explored how changing packaging elements of embarrassing products can effectively reduce consumer embarrassment. However, few have examined the impact of different image types of embarrassing product packaging with embarrassment. Therefore, this research explores the effect of image types on consumers’ willingness to purchase embarrassing products and reveals the mechanisms of the underlying effects. The results show that natural images can lead to lower purchase intention of embarrassing products when the advertisement uses first-person pronouns due to the mediating role played by negative body imagery. However, there is no significant difference in purchase intention between different image types in the third-person pronouns. Finally, this paper discusses its contributions and limitations. (shrink)

This chapter (in French) compares the ways to access to events in science and in art. In particular, the Déotte's concept of "appareil" is discussed. To be published in Jean-Louis Déotte and Sylvestra Mariniello (ed.), Appareil et Intermédialité, L'Harmattan, 2007.

A considerable group of contemporary philosophers and theologians—including those engaged in the science-theology dialogue, such as Barbour, Clayton, Davies, and Peacocke—supports panentheism, i.e., a theistic position which assumes that the world is in God, who is yet greater than everything he created. They see it as a balanced middle ground between the positions of classical theism and pantheism. In this article, I offer a presentation and a critical evaluation of the most fundamental principles of panentheism from the point of view (...) of classical theism. First, I list six main species of panentheism and the motivations of those who support it. In the second part, I analyze the three main difficulties concerning its ontological and theological principles, i.e., (1) the meaning of the preposition ‘in’ (_en_) in ‘pan_en_theism’; (2) the accuracy of panentheistic definition of divine immanence, and (3) the question of whether panentheism is successful in protecting God’s transcendence. I conclude that panentheism fails as a Christian theistic position. Nevertheless, it might still be valuable and play an important role in addressing the cognitive drama of the modern human beings, often seduced by secular (scientific) or spiritual naturalism, or pantheism. (shrink)

The Material Image contends that the historic Christian faith can be understood as fully at home with the naturalistic implications of contemporary science. Donald H. Wacome explores the materialist account of the human mind and freedom, evolutionary explanations of morality and religion, belief in miracles, and the resurrection of the body.