The research on Tibetan speech synthesis technology has been mainly focusing on single dialect, and thus there is a lack of research on Tibetan multidialect speech synthesis technology. This paper presents an end-to-end Tibetan multidialect speech synthesis model to realize a speech synthesis system which can be used to synthesize different Tibetan dialects. Firstly, Wylie transliteration scheme is used to convert the Tibetan text into the corresponding Latin letters, which effectively reduces the (...) size of training corpus and the workload of front-end text processing. Secondly, a shared feature prediction network with a cyclic sequence-to-sequence structure is built, which maps the Latin transliteration vector of Tibetan character to Mel spectrograms and learns the relevant features of multidialect speech data. Thirdly, two dialect-specific WaveNet vocoders are combined with the feature prediction network, which synthesizes the Mel spectrum of Lhasa-Ü-Tsang and Amdo pastoral dialect into time-domain waveform, respectively. The model avoids using a large number of Tibetan dialect expertise for processing some time-consuming tasks, such as phonetic analysis and phonological annotation. Additionally, it can directly synthesize Lhasa-Ü-Tsang and Amdo pastoral speech on the existing text annotation. The experimental results show that the synthesized speech of Lhasa-Ü-Tsang and Amdo pastoral dialect based on our proposed method has better clarity and naturalness than the Tibetan monolingual model. (shrink)

In this work, we propose a method to transform a speaker’s speech information into a target character’s talking video; the method could make the mouth shape synchronization, expression, and body posture more realistic in the synthesized speaker video. This is a challenging task because changes of mouth shape and posture are coupled with audio semantic information. The model training is difficult to converge, and the model effect is unstable in complex scenes. Existing speech-driven speaker methods cannot solve this (...) problem well. The method proposed in this paper first generates the sequence of key points of the speaker’s face and body postures from the audio signal in real time and then visualizes these key points as a series of two-dimensional skeleton images. Subsequently, we generate the final real speaker video through the video generation network. We take a random sampling of audio clips, encode audio contents and temporal correlations using a more effective network structure, and optimize and iterate network outputs using differential loss and attitude perception loss, so as to obtain a smoother pose key-point sequence and better performance. In addition, by inserting a specified action frame into the synthesized human pose sequence window, action poses of the synthesized speaker are enriched, making the synthesis effect more realistic and natural. Then, the final speaker video is generated by the obtained gesture key points through the video generation network. In order to generate realistic and high-resolution pose detail videos, we insert a local attention mechanism into the key point network of the generated pose sequence and give higher attention to the local details of the characters through spatial weight masks. In order to verify the effectiveness of the proposed method, we used the objective evaluation index NME and user subjective evaluation methods, respectively. Experiment results showed that our method could vividly use audio contentsto generate corresponding speaker videos, and its lip-matching accuracy and expression postures are better than those of previous work. Compared with existing methods in the NME index and user subjective evaluation, our method showed better results. (shrink)

This article reports results from a program that produces high‐quality animation of facial expressions and head movements as automatically as possible in conjunction with meaning‐based speech synthesis, including spoken intonation. The goal of the research is as much to test and define our theories of the formal semantics for such gestures, as to produce convincing animation. Towards this end, we have produced a high‐level programming language for three‐dimensional (3‐D) animation of facial expressions. We have been concerned primarily with (...) expressions conveying information correlated with the intonation of the voice: This includes the differences of timing, pitch, and emphasis that are related to such semantic distinctions of discourse as “focus,”“topic,” and “comment,”“theme” and “rheme,” or “given” and “new” information. We are also interested in the relation of affect or emotion to facial expression. Until now, systems have not embodied such rule‐governed translation from spoken utterance meaning to facial expressions. Our system embodies rules that describe and coordinate these relations: intonation/information, intonation/affect, and facial expressions/affect. A meaning representation includes discourse information: What is contrastive/background information in the given context, and what is the “topic” or “theme” of the discourse? The system maps the meaning representation into how accents and their placement are chosen, how they are conveyed over facial expression, and how speech and facial expressions are coordinated. This determines a sequence of functional groups: lip shapes, conversational signals, punctuators, regulators, and manipulators. Our algorithms then impose synchrony, create coarticulation effects, and determine affectual signals, eye and head movements. The lowest level representation is the Facial Action Coding System (FACS), which makes the generation system portable to other facial models. (shrink)

The purpose of this paper is to explicit the possible extension of Speech Act theory to the analysis of sublanguages or Languages for Special Purposes , and to show in particular its relevance to the subset known as English for Special Purposes . I will primarily introduce an outline of LSP-ESP and of the Speech Act theory: then, through a survey on relevant literature, the modalities whereby Speech Acts could be made useful for English for Specific Purposes (...) and, in so doing, I will attempt to make their applicability to ESP explicit and theory-informed, in order to reach a synthesis. (shrink)

Purpose The purpose of this paper is to present a quantitative and qualitative synthesis of the diverse academic proposals and initiatives for preventing and eliminating hate speech on the internet. Design/methodology/approach The foundation for this study is a systematic review of papers devoted to the analysis of hate speech. It has been conducted using the Preferred Reporting Items for Systematic reviews and Meta-Analyses (PRISMA) protocol and applied to an initial corpus of 436 academic texts. Having implemented the (...) suitability, screening and inclusion criteria, this corpus was refined to a sample of 74 articles. Findings The main subject categories studied in this corpus of academic research are legal issues and social media. In the majority of the articles, the use of hate speech via social media is associated with five typologies: religion, cyber racism, political slurs, misogyny and attacks on the LGTBI community. The absence of ethical reflection is one of the major shortcomings of IT-focused research and analysis devoted to online hate speech. Practical implications To date various systematic reviews have been presented, and they focus on detecting or describing hate speech. These have used either the search appraisal synthesis analysis framework or the Cochrane network. The PRISMA protocol was applied for this study, and both Scopus and texts in German were included. To date no major, rigorous systematic review has been undertaken of proposals to combat hate speech. Originality/value The link between hate speech and poverty has not been studied in depth within the academic sphere. Tolerance and ethical compassion are not granted the attention they merit when it comes to analysing the phenomenon of hate speech. (shrink)

In this paper, we study the performance of baseline hidden Markov model (HMM) for segmentation of speech signals. It is applied on single-speaker segmentation task, using Hindi speech database. The automatic phoneme segmentation framework evolved imitates the human phoneme segmentation process. A set of 44 Hindi phonemes were chosen for the segmentation experiment, wherein we used continuous density hidden Markov model (CDHMM) with a mixture of Gaussian distribution. The left-to-right topology with no skip states has been selected as (...) it is effective in speech recognition due to its consistency with the natural way of articulating the spoken words. This system accepts speech utterances along with their orthographic “transcriptions” and generates segmentation information of the speech. This corpus was used to develop context-independent hidden Markov models (HMMs) for each of the Hindi phonemes. The system was trained using numerous sentences that are relevant to provide information to the passengers of the Metro Rail. The system was validated against a few manually segmented speech utterances. The evaluation of the experiments shows that the best performance is obtained by using a combination of two Gaussians mixtures and five HMM states. A category-wise phoneme error analysis has been performed, and the performance of the phonetic segmentation has been reported. The modeling of HMMs has been implemented using Microsoft Visual Studio 2005 (C++), and the system is designed to work on Windows operating system. The goal of this study is automatic segmentation of speech at phonetic level. (shrink)

Despite the fact that in recent years there has been an active trend of growth of freedom of expression in Kazakhstan, domestic legislative and judicial practice lags far behind international standards. The purpose of the study is to examine the legal situation concerning freedom of expression in Kazakhstan, particularly with regard to the functioning of the media, and to find ways to effectively ensure and adequately regulate this issue in law. The methodological approach is based on the dialectical method used (...) to investigate the content and legal foundations of freedom of speech, synthesis, analysis, and comparative legal method. The results obtained provide an opportunity to analyse the state of national legislation in the sphere of implementation and protection of the right to freedom of expression, as well as to identify the largest gaps in this sphere and their subsequent resolution. The investigation of international legal experience and a comparative analysis allow identifying a significant difference between the legislations of countries with a high index of press freedom and freedom of speech, and Kazakhstan. This research is of critical importance for the development of the human rights and freedoms protection sector, as well as journalism, especially given the current situation in the Republic associated with strict state control over the activities of the media, the inability to express and publicly broadcast opinions and ideas that are unfavourable for the ruling circles. (shrink)

Long before Siri and ChatGPT uttered their first automated words, there was only one way to program synthetic speech: with paint and brush. During the transformative years between 1930 and 1960, artists, linguists, and engineers mixed sound and image in a way that combined artistic production with new technologies. What was known as “synthesis-by-art” grew into the rules that power computer speech today. This article concentrates on the emergence of rule-based speech synthesis at Haskins Laboratories (...) in mid-twentieth-century America. An unexpected outgrowth of their work with disabled Second World War veterans, members of the Haskins group had developed a new machine that converted visual patterns into sound: the Pattern Playback. Like holes in a player-piano roll, painted shapes were mechanically translated into distinct sounds. Early experiments at the laboratory promised “a new art form.” Researchers painted pictures of music and listened to geometric shapes. This work eventually grew into a psycholinguistic program committed to painting the shapes of speech. But these early aesthetic experiments had helped researchers cultivate a familiarity with paint, brush, and subjective bodily knowledge. This allowed them to intuitively develop a recipe for painting synthetic speech. In other words, their painting hands enacted knowledge long before they could articulate the complex rules that govern how phonemes interact. By the late 1950s, lab member Frances Ingemann successfully converted this “embodied knowing” into a machine-legible code that rigorously detailed how to paint synthetic speech. She had hoped that her rules might result in a reading machine for blind users that would automatically convert text into speech. Instead, her work was coopted by J. C. R. Licklider, who described Ingemann’s rulebook as “a digital code, suitable for use by computing machines.” While Licklider would use the work of Haskins Laboratories to spearhead his novel concept of man-computer symbiosis, he obscured the extent to which this digital code grew from the anomalous bodies of wounded war veterans and the subjective knowing of painting hands. Indeed, the forgotten history of early text-to-speech shows the indivisibility of interactive computing and digital codes from the material practices and embodied cognition from which they grew. (shrink)

In the paper, the formal model of the noetic synthesis functions is presented. Together with the functions of noematic synthesis, they are understood as components of functions of intentional reference, which are meant to be, in turn, formalizations of intentional acts of reference performed in the stream of consciousness. This research perspective allows us to extend the category of speech acts to the category of all intentional acts of reference. The functions of noetic synthesis are understood (...) as composed of the function of noetic intention acting on qualia, noetic moods and noetic modes. The model allows us to explain the phenomenon of autism as having its source in disorders of the noetic synthesis functions. The constructed model is not intended as the faithful reconstruction of the Husserlian conception of noesis. Intuitions of the creator of phenomenology are treated as the only source of inspiration. (shrink)

This chapter looks at the function of phobia in the work of Gilles Deleuze. It looks particularly at how Deleuze’s concepts of the ‘line of flight’ and ‘becoming’ find definition in a creative rethinking of Lacan’s understanding of phobia, transforming his own symptoms into a sinthome that links a fear of milk to the figure of the schizophrenic thereby offering a ‘nonsensical’ yet effective way of understanding the dynamic genesis and development of his philosophy, particularly the logic of sense.

Spoken communication between social robotic devices, powered by generative AI tools such as ChatGPT, and the senior population offers great potential for researching social interaction and robot identity perceptions as well as exploring the potential opportunities and challenges when implementing this human-machine interactions in real life situations and health care. In this paper we explore people’s perceptions of the social robot Furhat when administering verbal tasks similar to those used in screening for Alzheimer’s disease. We describe the Slovak system mounted (...) on the robot that includes a speech recognizer, the scenarios powered by generative large language model ChatGPT, and a speech synthesizer. We tested the functionality of the proposed approach with two groups of participants: attendees of a large science fair and a scientific conference. The observations from 87 collected questionnaires suggest good potential and applicability of such an approach for the given task and more positive attitudes of older subjects compared to younger ones. (shrink)

The synthetization of voices, or speech synthesis, has been an object of interest for centuries. It is mostly realized with a text-to-speech system, an automaton that interprets and reads aloud. This system refers to text available for instance on a website or in a book, or entered via popup menu on the website. Today, just a few minutes of samples are enough to be able to imitate a speaker convincingly in all kinds of statements. This article abstracts (...) from actual products and actual technological realization. Rather, after a short historical outline of the synthetization of voices, exemplary applications of this kind of technology are gathered for promoting the development, and potential applications are discussed critically to be able to limit them if necessary. The ethical and legal challenges should not be underestimated, in particular with regard to informational and personal autonomy and the trustworthiness of media. (shrink)

I propose an account of the speech act of prediction that denies that the contents of prediction must be about the future and illuminates the relation between prediction and assertion. My account is a synthesis of two ideas: (i) that what is in the future in prediction is the time of discovery and (ii) that, as Benton and Turri recently argued, prediction is best characterized in terms of its constitutive norms.

For many years the evolution of language has been seen as a disreputable topic, mired in fanciful “just so stories” about language origins. However, in the last decade a new synthesis of modern linguistics, cognitive neuroscience and neo-Darwinian evolutionary theory has begun to make important contributions to our understanding of the biology and evolution of language. I review some of this recent progress, focusing on the value of the comparative method, which uses data from animal species to draw inferences (...) about language evolution. Discussing speech first, I show how data concerning a wide variety of species, from monkeys to birds, can increase our understanding of the anatomical and neural mechanisms underlying human spoken language, and how bird and whale song provide insights into the ultimate evolutionary function of language. I discuss the “descended larynx” of humans, a peculiar adaptation for speech that has received much attention in the past, which despite earlier claims is not uniquely human. Then I will turn to the neural mechanisms underlying spoken language, pointing out the difficulties animals apparently experience in perceiving hierarchical structure in sounds, and stressing the importance of vocal imitation in the evolution of a spoken language. Turning to ultimate function, I suggest that communication among kin (especially between parents and offspring) played a crucial but neglected role in driving language evolution. Finally, I briefly discuss phylogeny, discussing hypotheses that offer plausible routes to human language from a non-linguistic chimp-like ancestor. I conclude that comparative data from living animals will be key to developing a richer, more interdisciplinary understanding of our most distinctively human trait: language. (shrink)

Prophethood (nubuwwah) is a divine institution that teaches the healthy progression of relations between Allah and humans, as well as between humans and the universe. However, from another perspective, it is also considered a human institution. Some opponents of religion, lacking strong evidence to challenge the existence of Allah, direct their objections towards prophethood, which is seen as a manifestation of Allah’s attribute of speech (kalām). To counter the rejection of prophethood, scholars of theology (kalām), hadith, and Prophetic biography (...) (sīrah) have compiled a body of literature known as Dalāʾil al-nubuwwah (Proofs of Prophethood). Their aim has been to collect proofs supporting prophethood as a response to these refutations and to dispel doubts regarding it. All extraordinary events occurring from before the birth until the death of Prophet Muhammad are considered evidence.During the fifth century, a notable figure in this tradition was the Shāfiʿī scholar al-Māwardī, who defended prophethood in his book Aʿlām al-nubuwwah (The Signs of Prophethood). Aʿlām al-nubuwwah has inspired subsequent works in this field due to its clarity and robust proofs. It became known by both names, Aʿlām al-nubuwwah and Dalāʾil al-nubuwwah, as it encompassed methods of narration and debate. Within his work, al-Māwardī mentions figures like Barāhimah, Dahriyyah, and certain philosophers as representatives of the idea rejecting prophethood. According to him, Barāhimah, of Indian origin is a sect that denies prophethood despite accepting the unity of Allah. Dahriyyah is a denialist sect attributing eternity to the universe and creativity to nature. Al-Māwardī considers these philosophers as infidels due to their comments on prophethood rather than outright denial. The basis of these movements' idea of denying prophethood lies in their efforts to portray reason (ʿaql) as an alternative to revelation (waḥy). Jews and Christians, on the other hand, are portrayed as groups that accept the concept of prophethood, however they reject Muḥammad’s. prophecy. Their objection stems from the fear of their religions being superseded. Al-Māwardī counters those rejecting prophethood by addressing the public interest (maṣlaḥah) of humans, the necessity of prophets, and the role of miracles. He illustrates that prophet charged with the duty of prophethood proves it through spectacular events orchestrated by Allah but carried out through his own hand. The prophet serves the public interest by conveying matters beyond human intellect and presenting them in a comprehensible manner, thereby ensuring the worldly and eternal felicity of humanity. Furthermore, he provides evidence for the Prophet Muḥammad’s prophethood through his moral character, prophetic biography, and accounts of miracles. The biography of Prophet Muhammad’s begins before his birth, and the method of proof is used to demonstrate his prophethood. In essence, al-Māwardī’s method of proving prophethood in Aʿlām al-nubuwwah can be seen as a synthesis of the approaches used by scholars of theology and hadith. One prominent figure in this tradition during the fifth century was the Shafi'i scholar al-Māwardī who defended prophethood through his book " ʿA'lām al-Nubuwwa" (The Signs of Prophethood). In his work, al-Māwardī mentions figures like Barahima, Dahriyya, and certain philosophers as representatives of the idea rejecting prophethood. While the Jews and Christians accept the concept of prophethood, they reject the prophecy of Muhammad (P.B.U.H). These groups attempt to present logic as an alternative to divine revelation (Wahy), as their objection stems from their concern that their religions may be abrogated. Al-Māwardī responds to those who reject the institution of prophethood by addressing the public interest (maslaha) of humans, the necessity of prophets, and the role of miracles. He also provides evidence for Muhammad's (P.B.U.H) prophethood through his moral character, prophetic biography, and accounts of miracles. In short, al-Māwardī's method of proving prophethood in "A'lām al-Nubuwwa " can be seen as a synthesis of the approaches used by scholars of theology (Kalam) and hadith. (shrink)

In June of 2008, the International Society for Comparative Studies of Chinese and Western Philosophy (ISCWP) convened its third Constructive Engagement conference, on the theme of “Comparative Philosophy Methodology.” During the opening speeches, Prof. Dunhua ZHAO, Chair of the Philosophy Department at Peking University, challenged the conference’s participants to put forward a minimal definition of “comparative philosophy” and a statement of its methods. Based on the papers from the conference and the extensive discussion that ensued, during my closing reflections at (...) the end of the conference I offered a tentative synthesis of the conference’s conclusions. That summary has already been published on-line as part of the bi-annual ISCWP newsletter (Angle 2008). In this brief essay, I recapitulate the themes of my earlier summary and expand, in my own voice, on some of the key points. (shrink)

This essay addresses the question whether artificial speakers can perform speech acts in the technical sense of that term common in the philosophy of language. We here argue that under certain conditions artificial speakers can perform speech acts so understood. After explaining some of the issues at stake in these questions, we elucidate a relatively uncontroversial way in which machines can communicate, namely through what we call verbal signaling. But verbal signaling is not sufficient for the performance of (...) a speech act. To explain the difference, we elucidate the notion of a speech act developed by Austin in the mid-twentieth century and then discuss Strawson’s influential proposal for how that notion may be related to Grice’s conception of speaker meaning. We then refine Strawson’s synthesis in light of Armstrong’s reconceptualization of speaker meaning in terms of objectives rather than intentions. We next extend this conception of speech acts to the cases of recorded, proxy, and conditional speech acts. On this basis, we propose that a characteristic role for artificial speakers is as proxies in the performance of speech acts on behalf of their human creators. We also consider two objections to our position, and compare our approach with others: while other authors appeal to notions such as “quasi-assertion,” we offer a sharp characterization of what artificial speakers can do that does not impute intentions or similarly controversial powers to them. We conclude by raising doubts that our strategy can be applied to speech acts generally. (shrink)

This book deals with a major problem in the study of language: the problem of reference. The ease with which we refer to things in conversation is deceptive. Upon closer scrutiny, it turns out that we hardly ever tell each other explicitly what object we mean, although we expect our interlocutor to discern it. Amichai Kronfeld provides an answer to two questions associated with this: how do we successfully refer, and how can a computer be programmed to achieve this? Beginning (...) with the major theories of reference, Dr Kronfeld provides a consistent philosophical view which is a synthesis of Frege's and Russell's semantic insights with Grice's and Searle's pragmatic theories. This leads to a set of guiding principles, which are then applied to a computational model of referring. The discussion is made accessible to readers from a number of backgrounds: in particular, students and researchers in the areas of computational linguistics, artificial intelligence and the philosophy of language will want to read this book. (shrink)

This study examines the Foucauldian notion of “parrhesia” within the context of curricular practices through a renewal of scholarly interest in Islamic metaphysics as represented by the Avicennean modalities of reality: necessity, contingency, and possibility. It explores the role of contingency in advancing educational practices that generate inclusive dissemination of knowledge that captures the language of Tajdeed (legitimate renovation) in Islamic education. This article argues that contingency, as a causality-oriented modality, determines whether meaning is relative or absolute, while necessity, as (...) an acknowledgment of universal truth, slips into demagoguery that can be used to canonize strict textualism and absolutism. Contingency is defined here as a practice that stimulates synthesis and dialogical understanding of knowledge. Accordingly, the study asks the following questions: How does infusing the Avicennean concept of contingency into curriculum practices offer opportunities for inclusivity and free speech? How can revisiting Islamic cosmological modalities help Muslim educators and curriculum writers move into the broader path of inclusive pedagogies? From an educational position, the article introduces a curriculum of metaphysics that advocates the implementation of contingency, which is considered essential to parrhesia and democracy. It also draws attention to an anti-metaphysical attitude that is generally present in curriculum theorizing. Accordingly, Metaphysics is invoked to challenge a state of flux or hegemonized assumptions; hence, metaphysics validates parrhesia. (shrink)

This study examines the Foucauldian notion of “parrhesia” within the context of curricular practices through a renewal of scholarly interest in Islamic metaphysics as represented by the Avicennean modalities of reality: necessity, contingency, and possibility. It explores the role of contingency in advancing educational practices that generate inclusive dissemination of knowledge that captures the language of Tajdeed (legitimate renovation) in Islamic education. This article argues that contingency, as a causality-oriented modality, determines whether meaning is relative or absolute, while necessity, as (...) an acknowledgment of universal truth, slips into demagoguery that can be used to canonize strict textualism and absolutism. Contingency is defined here as a practice that stimulates synthesis and dialogical understanding of knowledge. Accordingly, the study asks the following questions: How does infusing the Avicennean concept of contingency into curriculum practices offer opportunities for inclusivity and free speech? How can revisiting Islamic cosmological modalities help Muslim educators and curriculum writers move into the broader path of inclusive pedagogies? From an educational position, the article introduces a curriculum of metaphysics that advocates the implementation of contingency, which is considered essential to parrhesia and democracy. It also draws attention to an anti-metaphysical attitude that is generally present in curriculum theorizing. Accordingly, Metaphysics is invoked to challenge a state of flux or hegemonized assumptions; hence, metaphysics validates parrhesia. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Epic and Tragic Music: The Union of the Arts in the Eighteenth CenturyJoshua BillingsI. The Union of the Arts in WeimarAround 1800 in Weimar, thought on Greek tragedy crystallized around the union of speech, music, and gesture—what Wagner would later call the Gesamtkunstwerk. Friedrich Schiller and Johann Gottfried Herder both found something lacking in modern spoken theater in comparison with ancient tragedy’s synthesis of the arts. Schiller’s (...) 1803 “Trauerspiel mit Chören,” Die Braut von Messina, represents a radical experiment in recreating the ancient union of the arts.1 The Greek tragic chorus, revived in Schiller’s drama, becomes the modern locus for this union. In a preface appended to the published version of the play, Schiller writes,The tragic work of poetry first becomes a whole through its theatrical performance: the poet only gives the words; music and dance must be added as well to enliven them. As long as the chorus lacks this powerful sensory accompaniment, so long will it appear in the economy of a tragedy as an alien element, a foreign body, a retardation.2 [End Page 99]Exactly contemporary (and possibly in response), Herder’s discussion of drama in his journal Adrastea similarly views the union of the arts in ancient tragedy as a corrective for modern drama:3A Greek who attended our tragedy [Trauerspiel], used to the musical voice of his own, would have to find in it a sad play [trauriges Spiel]. “How wordy-mute,” he would say, “how dull and soundless! Have I stepped into a decorated grave? You shout and sigh and bluster! Move your arms, strain your facial features, reason, declaim; but does your voice and feeling never become song? Do you not miss the strength of this demonic expression? Do your rhythms, your iambs never urge you on to the accents of the true language of the gods?”4The focus on media distinguishes these Weimar discussions of tragedy both from the Jena aesthetics of the Schlegel brothers and from the Idealist “philosophy of the tragic” already underway in the works of Schelling, Hölderlin, and Hegel.5 Though both Schiller and Herder are relatively indifferent to dance, their writings reflect strong interests in music.6 Their considerations [End Page 100] of tragedy show a close engagement with the sensory experience of drama that is unusual for its time, and has little precedent in Germany.For Schiller’s late poetics, the union of words, music, and gesture is a means of radically dividing the experience of theater from daily life. The tragic chorus “should be for us a living wall, which tragedy sets up around itself in order to close itself off wholly from the real world.”7 It “justifies the tragic poet in this raising of tone, which fills the ear, which strains the spirit, which broadens the whole mind.”8 Musical speech, Schiller argues, allows for an expression that transcends conventional language and quotidian existence. Schiller had hoped “to let [the choral intermezzos] be recited in the way of song and to accompany them with an instrument,” though his wish went unfulfilled in the first, and subsequent performances.9 Yet even after relinquishing the real possibility of a union of the arts in performances of Braut, Schiller upheld it as an ideal in his preface.Herder is remembered today primarily for his elaboration of an organic historicism, which understands cultural phenomena according to the circumstances of their creation. Yet his concern was more than merely historical; especially in the Adrastea, he continually sought guidance for the present in the events of the past. A contemporary, writing shortly after Herder’s death, saw the two orientations, historical and critical, as equally important: investigation of the past was intended as “a didactic or warning image” for his own time.10 The guiding idea of the journal was similarly educative, based on Herder’s understanding of Adrastea as a principle of justice and moderation.11 In Herder’s thought, as in most writing on ancient literature of the eighteenth century, there is no absolute division between scholarly and critical concerns: the study of ancient works was both an end in itself and a... (shrink)

This article is a critical genealogy of Tay, an artificial-intelligence chatbot that Microsoft released on Twitter in 2016, which was quickly hijacked by internet trolls to reproduce racist, misogynist, and antisemitic language. Tay’s repetition and production of hate speech calls for an approach that draws on both media and cultural theory—the Frankfurt School’s dialectical analyses of language and ideology, in particular. Revisiting the Frankfurt School in the age of algorithmic reason shows that, contrary to views foundational to computing, a (...) neural-network chatbot like Tay does not sidestep meaning but rather carries and alters it, with unforeseen social and political consequences. A return to the work of Max Horkheimer and Theodor W. Adorno thus locates ideology in the digital world at the nexus of language’s ability to mean, language and meaning’s susceptibility to computation, and the design of a machine to compute both. Coming to critical terms with the antisemitism produced in Tay’s human-computer synthesis requires, as this article contends, addressing the uncanny embodiment and reflection of thought that is digital computation. (shrink)

We provide a short review on the recent and near-future developments of computational processing of emotion in the voice, highlighting self-learning of representations moving continuously away from traditional expert-crafted or brute-forced feature representations to end-to-end learning, a movement towards the coupling of analysis and synthesis of emotional voices to foster better mutual understanding, weakly supervised learning at a large scale, transfer learning from related domains such as speech recognition or cross-modal transfer learning, and reinforced learning through interactive applications (...) at a large scale. For each of these trends, we shortly explain their implications and potential use such as for interpretation in psychological studies and usage in digital health and digital psychology applications. We also discuss further potential development. (shrink)

Thirteenth-century India saw a huge revival of religious devotion among the common folk, similar to the waves of religious fervor that swept over late medieval Europe. One of the pillars of this revival was the poet-saint Jnaneshwar, author of an exquisite commentary on the Bhagavad Gita. Like his contemporary Dante, Jnaneshwar was a poet of the vernacular, who wrote in Marathi, the language of ordinary villagers, rather than the Sanskrit of the brahmin orthodoxy. Over the centuries, the Jnaneshwari, as his (...) commentary is known, has become a scripture in its own right. Expanding the Gita’s seven hundred verses to approximately nine thousand, and using the images of ordinary life to explain its lofty teachings, Jnaneshwar fashioned from human language one of the most sublime visions of the Absolute that has ever been put into speech. The Jnaneshwari is one of the marvels of world literature. The greatest study of the Jnaneshwar is still this work by the philosopher R. D. Ranade, originally published in 1933. In addition to being a renowned scholar, Ranade was also a mystic and an initiated disciple, and he brings all these broad currents of the Indian tradition to his analysis of the Jnaneshwari. Readers who are sometimes intoxicated by the richness of Jnaneshwar’s imagery, will appreciate the way Ranade has here uncovered the work’s inner structure, and how he has briefly summarized its approach to the Gita’s great themes: action vs. renunciation; devotion and dharma; the form and the formless aspects of God; and the subject dearest to Jnaneshwar’s heart, the nature of the spiritual Master. This book also includes Ranade’s study of Jnaneshwar’s abhangas, his religious songs, as well as an analysis of his magnificent Amritanubhav, “The Nectar of Self-Awareness,” an inspired synthesis of Samkhya and Shaivism. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Belief and Context Determinacy in Interpreting FictionChristine Richards (bio)1Context Determinacy and the Interpretation of FictionThe Pragmatics of ReadingThe basic pragmatic structure of the reading of fiction has been described as a communicative context which has a speaker who performs the speech acts represented by the text and a hearer (addressee) to whom the speech acts are directed [Adams 12]. This model is based on the assumption that (...) the reader and the writer share not only a common language but a common context, which clearly presents problems for readers of fiction, where generic conventions as well as other cultural conventions of writing, such as satire and irony, or the separation of writers and readers by time, have to be contended with. The code model, which assumes that the writer and the reader share a common context, can be represented as shown in figure 1. Click for larger view View full resolutionFigure 1.W = writer, S = speaker, H = hearer, R = reader.However, it has also been argued [Eco, Role of the Reader 40; Eco, Semiotics 69; Richards 262] that no theory of a text is possible without a theory of contexts, since texts are processed and given meaning by a synthesis of propositions in them with those which originate in readers’ supplied contexts; and since the contexts of readers consist, first and foremost, of their background knowledge, beliefs, and culture, which are fundamentally interrelated, interpretation is inevitably determined by extralinguistic as well as linguistic factors. The context model might be represented as shown in figure 2. Click for larger view View full resolutionFigure 2.W = writer, N = narrator, R = reader.[End Page 81]The Extralinguistic ContextA good example of the role played by extralinguistic contexts in the interpretation of a text is to be found in the multiple interpretations of the sentence “The red sun was pasted in the sky like a wafer,” from Stephen Crane’s The Red Badge of Courage [64]. Susan Horton, in her discussion of accounts of this sentence [10–14], shows both how R. W. Stallman interprets Crane’s antiwar fiction as a Christian allegory where the word “wafer” functions as a symbol of the Eucharist [130], and how Marston La France rejects Stallman’s interpretation on the basis that Crane is not a Christian, and certainly not a Catholic [99–100]. La France’s rejection of Stallman’s Christian context for atheism is rooted in his interpretation of the sun as a repeated image in the co-text, which he believes signifies nature’s indifference to death, war and heroism. Here the lexemes “pasted” and “wafer” become images of a seal at the end of a legal document, implying the finality of death in war. Milne Holton interprets the image of the sun as a characteristic of the symbolic imagination of the character Henry Fleming rather than of the writer (Crane) [90–91].Horton documents but does not theorize the determining features of these contexts, but this problem can be tackled by applying Marcello Pagnini’s theory of “the introjection of the referent” [9] to explain how the contextual semes of readers, determined by different cultural systems, are introjected into texts. Following Jurij M. Lotman’s typology of cultural systems [Lotman and Uspenskij], Pagnini cites as relevant systems ethics, ideology, history, philosophy, myth, the law, anthropology, politics, ethnicity, literature, aesthetics, psychology, rhetoric and symbolism [34], which represent fundamentally interrelated complexes of systems that make up societies. If Pagnini’s model is taken with that of Richards [267], which conceives of interpretation as a synthesis of propositional inferences in texts with those drawn from readers’ contexts, these two models provide a methodological basis for explaining how the contexts of Stallman’s and La France’s conflicting interpretations derive from philosophically opposed belief systems within culture—Christianity and atheism. These models also help to explain Holton’s interpretation as one located within a different philosophical context, that of the convention of character analysis in fiction, which during the last few decades has developed into the more theoretically sophisticated field of narratology. It should be stressed, however, that interpretations themselves always take place within historical and interactive frameworks, which are influenced... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Cynthia Willett HEGEL, ANTIGONE, AND THE POSSIBILITY OF ECSTATIC DIALOGUE In his lectures on aesthetics, Hegel argues that drama is the highest form of art. Only drama can resolve, or sublate (auflieben), an opposition between objective and subjective poles ofaesthetic experience.1 This opposition takes its penultimate form in the difference between epic and lyric poetry. Subjective feelings expressed in lyric and the objective representation ofevents in epic are sublated (...) in classical drama as ethical character and action. In this article I will examine both what Hegel does and does not say about the structure and function ofclassical drama in order to determine its role in the education of humanity, or what Hegel calls the "phenomenology of spirit." As it turns out, drama is not only a climactic moment in the development of spirit. The structure ofdrama also traces a paradigm and an historical origin for Hegel's dialectic. The ironic reversals and discoveries that emplot tragic drama also constitute dialectic. An immediate consequence of this parallel is mat, in accordance with Aristode's definition of tragic drama, dialectic demands the catharsis, or purging, of emotion from educated spirit.2 After establishing the analogy between dialectic and cathartic drama, I turn to the exemplary role that is played by Sophocles' Antigone in the Phenomenology ofSpirit. A reinterpretation of the play suggests that Hegel fails to see that emotional engagement, or the unsublated subjective feeling relegated to die lower art of lyric, in fact orients the dramatic action of Antigone. The resemblance between drama and dialectic suggests that desire can no more be purged from dialectic than from classical tragedy. As a consequence, Hegelian dialectic should be reconceived in terms of a notion of tragedy that is not cathartic but ecstatic. Philosophy and Literature, © 1990, 14: 268-283 Cynthia Willett269 In the AesUietks, Hegel places drama after epic and lyric as the third and final moment of the highest stage of art. Drama presents actions that are ethical and thus differs from the lyrical expression of feelings as well as the adventures narrated in epic (A, pp. 1158; 474). Hegel's definition of epic in terms of narration and description suggests that the language of epic functions as representation. Representational language externalizes, or objectifies, spirit's movement in a series ofevents which are related by the epic poet. This narration functions without the mediation ofa subject, which is to say without an "agent's inner will and character" (A, pp. 1160; 476). Lyric poetry, on the other hand, concerns feelings or "the inner life alone" (A, pp. 984; 254). In accordance with its subject matter, the language oflyric is not representational but expressive. Drama presents actions before an audience, such actions occurring primarily in the mode of speech (A, pp. 1159; 475). What we can characterize as the "speech-acts" performed in drama carry out intentions of, or ends soughtby, the main character. Drama advances dialectic because, as Hegel writes, "drama does not fall apart into a lyric inner life and an external sphere as its opposite, but displays an inner life and its external realization" (A, pp. 1 160; 476). First, events which occur episodically in epic attain the unity of a single action that comprises dramatic plot. Secondly, a "cleaned-up" version ofthe "chaotic" feelings expressed in lyric poetry develops into the intention of a character to adher to a universal ethical principle. It is important to emphasize that, according to Hegel, drama should not draw any of its effect from subjective emotions. Drama sublates lyrical feeling into ethical law. Only thus does drama bring together the epic-making events and lyrical subjectivity, notby wayofa mechanical synthesis, but in a metamorphosis enabling elements initially opposed to give rise to an original whole. The proximity ofdrama to dialectical thought appears in the contrast Hegel draws between dramatic action and action which is prosaic, or philosophically insignificant (A, pp. 1159; 475). Dramatic action, Hegel explains, "is notconfined to the simple and undisturbed accomplishment ofa specific aim; on the contrary, it rests entirely on collisions ofcircumstances, passions, and characters... which in turn necessitate a resolution of the conflict and discord" (A, pp. 1159; 475). On the other hand, a prosaic, or ordinary... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:382 HISTORY OF PHILOSOPHY the spiritual effort of all mankind. Many so-called historic events, he was convinced, will in the end be "as written in water," but the work of the human "spirit," however limited at any given time, is accumulative and helps prepare a better future. It seems fitting to close this review with the concluding words of high commendation addressed to him by the Argentinian Society of (...) Writers on the occasion of the appearance of the Theory of Man: "Se premia a un hombre, a una obra, a una conducta." (We are paying homage to a man, a work, a noble conduct.) COR~ELI~:S KRUS~ Wesleyan University The Knowledge o] Man. Selected Essays. By Martin Buber. Edited with an Introduction by Maurice Friedman. Translated by Maurice Friedman and Ronald Gregor Smith. (New York: Harper Torchbooks, The Cloister Library, TB 135H. Pp. 186. $1.45.) The present volume contains the English translations, previously published, of six anthropological essays of Martin Buber, which had appeared originally in German. They are: Distance and Relation (1950), Elements of the Interhuman (1954), What is Common to All (1956), The Word that is Spoken (1960), Guilt and Guilt Feelings (1957), Man and his Image-Work (1955). As an Appendix has been added the unpublished text of a discussion between the late Martin Buber and the psychologist Carl R. Rogers, in April 1957. An introductory Essay by Maurice S. Friedman intends to set these essays in the context of Buber's philosophy of dialogue and "to show their interrelations and their significance for other fields of thought" (p. 7). Both the Introductory Essay and the translated texts had been seen by Buber before going to the press. Broadly speaking, these essays concern the distinctive features of man, and the reality of the dazwischen (p. 12), translated as "there in-between," "the between" or "betweenness" (p. 107): between man and reality (art), and between man and man (the interhuman in dialogue, word and language, guilt and psychotherapy). No specific texts on religion and knowledge have been included in this collection, its purpose being to present Buber's "philosophical anthropology" (p. 7). One may speak of a synthesis of Buber's view of man, as it comes out in this volume. Man is constituting "a special category of being" (60), by being capable of entering into living relations; this happens in the sphere of "the between," in particular the interhuman, the unfolding of which is "the dialogicaI" (p. 75). Here the "spokenness" of the word has its place (p. 112), here are found the different forms of encounter from which the human "selves" emerge after "a bold swinging...into the life of the other" (p. 81) and making each other "present" through "imagining" the real in each other (p. 70). There is the permanent "temptation to... take refuge in the pseudo security of the world of It, the world of ordered objectivity and private subjectivity" (Friedman, p. 23). But there is also the "common world" (cosmos) as built by "common speech-with-meaning" (logos) (Friedman, p. 40); this is the world of the We (pp. 107-108). Buber dismisses the annihilation of the human person in the dream and sleep of the East (pp. 91-96), the "situationless" and "uncommunal" chemical holidays of Aldous Huxley (p. 100), the solipsism and panpsychism of C. G. Jung (p. 124-125) : by all of these "the pure duty and responsibility of waking togetherness" (p. 91) has been forsaken. Of particular interest are Friedman's pages concerning Buber's view of the unconscious (pp. 32-38): they replace an essay which Buber had intended to write on the subject. In this connection the essay on existential guilt to oneself and to others is illuminating ; this guilt is "as something of an ontic character" (p. 123), and only a--"for the man of our age" (p. 138)--difficult self-illumination can hereby give insight and open the door into "the identity of the human person as such with himself" (p. 147). Also, the discussion on psychotherapy should be mentioned, where Buber puts his finger on "this dialogue bounded by tragedy" (p. 174) in which "You are not equals and cannot... (shrink)

SUMMARY1 The rational soul becomes the constant and dimensionless Euclidean point in all experience - defining the situations in which it finds itself, but itself undefined and undefinable in any situation. It is in nature but not of nature. Just as the dimensionless Euclidean point can occupy infinite positions on a line and yet remain unaltered, so the immortal, active intellect remains unaffected by the world in which it finds itself. It is not influenced by age, sense data, sickness or (...) death. It is the knower whose nature is pure knowing or reason. This is in great part the basic assumption that runs through the history of Aristotelean and modern symbolic logics24.The rational soul grasps identity, reasons consistently, and knows objectively for though it is in the world it is not of the world. Thus it is unnecessary and impossible to relate its truth to time or place or condition. As the source of understanding it need not be understood. It understands in that it knows. It is this which places the objective knower and observer outside of all systems of knowledge that it creates in philosophy, science and theology, and frees it from subjective interpretation. It is the absolute observer beyond self-observation.252 Language, values, and meanings reflect the absolute viewpoint of the dimensionless observer beyond the necessity of observation. The task of this observer is to know trie world just as the task of the animal and plant soul is motion and reproduction. The rational soul performs its task beyond nature as surely as animals and plants perform their tasks in nature. This is why it is possible to discuss the necessary evolution of living organisms in nature, but unnecessary to discuss the necessary or unnecessary nature of the evolution of this discussion. This is one of the reasons why determinism or predestination which seem so clearly applicable to nature, need not be applied to theories of determinism and predestination. These are principles grasped in reality beyond nature and totally inapplicable to the non-natural spirit that comprehends their essences. Thus self-reflexive questions about the questioner are as irrelevant as would be questions historically of “in what sense might the definition of dimensionless point itself be dimensioned or dimension-less?”26 Questions, on the other hand, that relate to the observed world are important for they can be truly answered (where questions as to the nature of the questioner cannot). In this view reality is not nature, but rather it is from reality that the objective observer, philosopher, scientist, and theologian understands and controls nature.3 Logic, the science of reason, is the science of all sciences. It reflects the pure and innate rational nature of the knowing intellect or soul. It is pure form beyond nature. Its realm is that of first principles or axioms. These too are in the world but not of it, as with Plato's eidos and Aristotle's universals. They are clear, true and self-evident. This explains the on going use of axiomatized revelations in studies in the natural and social sciences, the arts and the humanities. In symbolic logics, natural languages are in and of the world, but meta-languages are the constructs of pure intellectual activity and thus not natural. The abstract tends to become the more real, the less it can be found in nature. Rational souls, however, share a common reality that is as universal for Frege as it was for Aristotle.274 The occidental object tradition in general breaks out of the nature continuum by withdrawing into reality where the intellect knows and manipulates the world in philosophy, science, and theology from its position in and understanding of reality. Nature is a sub-set of reality and not vice versa. Axioms are the laws and determinants of nature and logic, but they are not nature.28 This means that at the basis of the occidental continuum of nature there is a qualitative and irreducible dichotomy of reality vs. nature. This has been most useful in the history of occidental science, but it produces a world view in which nature may lose the race with reality. SUMMARY IIIn the first portion of my paper, I discussed the implications of the Euclidean egg for philosophy and science as nature is understood and manipulated from reality. I shall now turn to what I see as the implications of the three-legged chicken view that the human intellect is in and of nature and that reality is a perspective in nature and is not simply the other of an irreducible qualitative dichotomy. Although there are an endless number of such implications that I could explore, the following, it seems to me are the most important:1 In the natural continuum there is no “dimensionless real” which can serve either as the locus of an external observer or a fixed position in nature. There is no perspective which is not an aspect of that upon which it is a perspective. The Chinese sage, for example, is one who sees himself/herself as one with or within natural process. This is expressed in a number of ways. Fung Yu-lan speaks of the difference between having no knowledge and having no-knowledge.34 Within such a continuum there can be no abstracting out of the absolute and unchanging. The nameless is the source of the named. First principles are the process itself and these principles are the alternation of opposites:“The Nameless is the origin of Heaven and Earth;The Named is the mother of all things.Therefore let there always be non-being so we may see their subtlety, And let there always be being so we may see their outcome. The two are the same.“352 An empty mind is not a blank mind. Where Aristotle viewed the mind as a blank tablet at birth to be filled by sense experience, Hsun Tzu speaks of its emptiness. It is the emptiness of the Tao itself:“The mind is constantly storing up things, and yet it is said to be empty. The mind is constantly marked by diversity, and yet it is said to be unified. The mind is constantly moving, and yet it is said to be still. Inevitably it will see things for itself. And although the objects it perceives may be many and diverse, if its acuity is of the highest level, it cannot become divided within itself.”36The nature in which and of which the mind is both perspective and aspect remains a totality. Being a totality, it is empty of itself just as any part of a whole, while a part of the whole, is empty of the whole. My ideas of myself are both of myself and empty of myself. This point can be illustrated with the simple example of knowing and speaking about two hands – one of which is mine, and the second of which belongs to someone else. 1 can objectify the second hand and fill my blank mind with information and observations about it, but I continue to remain outside of it –the arbiter in my statements of its nature and reality. However, in knowing my own hand, the hand known is also the knower and what I know represents a perspective upon an aspective of a totality of which “I–my–hand” are aspects. Being an aspect of the whole is being empty of the whole. If mind is in and of nature, any perspective on nature is an aspect of the whole. A blank mind is an unnatural mind outside of nature, filling up with impressions of nature. An empty mind is nature viewing nature as aspect and perspective. The occidental would be ashamed to reach old age and still have a blank mind. The Chinese sage would be ashamed to reach old age and still not recognize that the mind is empty.3 If mind is in nature and like nature, then language too reflects natural flow and change and process. It is one thing for me to talk about myself and another for me to talk about someone else. In the case of the latter, I may insist that objectively this other subject fits into this or that category and even administer tests to determine that it does do indeed so. But when I talk about myself, the speaker and the object of speech are one and the same. The terms I select do represent a dichotomy of sorts, but it is one of aspect and perspective and not subject and object. When I say “this is my hand” for example, the words create distinctions which are aspects of awareness but do not create an / that is or is not my hand. Language does not model or even represent reality as opposed to nature. It makes reality possible as something that nature says or thinks. Reality through language is an aspect of nature and thus a perspective upon itself as aspect. This is an important distinction that translators often miss.4 Logic in this natural continuum is concerned with distinctions in a very different sense. As a consequence of the unity of nature and mind, three kinds of distinction in experience are manifested: (a) Those distinctions which come into being as aspects of the changing world.The 10,000 things are in this sense aspects and not separate “identities” as some philosophers and scientists presuppose.37 (b) Those distinctions which come into being as aspects of the human mind. These are impressions of and thoughts about the infinite distinctions of which the restless mind is capable, (c) Those distinctions which come into being by way of the mind's use of symbols. These are the distinctions which permit us to stabilize and store our experiences, preserve the answers to our questions, and name the world into compartments and relationships.Implicit in these three assumptions which connect the distinguishing mind to the unity of a nature of'10,000‘ aspects, is an inferential process of aspect to perspective to knowledge to understanding to attitude to action/response. The reasoning mind synthesizes some aspect of experience in nature with a perspective upon this aspect. This synthesis, in turn, is an aspect of mind and the reasoning process proceeds from it to a perspective upon it which is knowledge and understanding. Knowledge and understanding in turn are aspects of thinking and the reasoning process proceeds from them to a perspective upon them which is an attitude. Attitude in turn is an aspect of thinking and the reasoning process proceeds from it to a perspective upon it which is reflected in the reasoning individual's actions and responses. This inferential process is a continuum which proceeds from aspects of experience to perspectives in thought to action and response. In this sequence an aspect is always connected by a perspective which becomes an aspect, until action/non-action, response occurs. This is as applicable to the details of life as it is to mastering life as a whole. When this inference process is incomplete many problems may result, ranging from action without understanding to the confusion of aspect and perspective with one another or to “obsession with distinctions.”38In practice this is a logic of paradox. The human being is aware that he or she is a living-dying aspect of nature, but an aspect which is also a perspective upon nature's aspects of living and dying. This paradox is the process around which a profound logic of aspect/perspective is developed by the sage. This view of logic within a continuum does not mean that there is no principle of identity, contradiction or excluded middle present – as some Chinese and European philosophers assume.These principles are also implicit in the knowing of my hand versus the knowing of the hand of another. However, the content, meaning, and application of these principles may vary just as when I say propriety, I mean propriety, and when the Chinese says li he means li but the context, meaning and application of the term may differ in each case.5 Aspect logic as it relates mind to nature in a cosmological totality is a series of syntheses in a cyclic continuum organizing thinking in phases. Each phase is an aspect/perspective synthesis which becomes an aspect of a further aspect/perspective synthesis. This progression might be described thusly: The synthesis of nature/human which is Tao (non-being) translates into the aspects of being (the 10,000 things), and as such is a synthesis of aspect and perspective. This synthesis of aspect and perspective translates into an aspect of ideas and as such is a synthesis of perception and conception. This synthesis of perception and conception translates into an aspect of knowledge, and as such is a synthesis of knowledge and understanding (understanding is a perspective upon knowledge) i.e., no-knowledge. This synthesis of knowledge and understanding translates into an aspect of purpose, and as such is a synthesis of purpose and action. The perspective here on action is aesthetic and/or moral. This synthesis of purpose and actions translates again into an aspect of nature and as such is a synthesis beyond individual aspects and perspective, i.e. Tao. Thus there is a cyclic dynamic in the system which remains open to further development.Tai Chen in his Inquiry Into Goodness connects this cycle of syntheses with wisdom and benevolence:Because there are mind and intelligence, the superior man knows that the perfection of the Way of Man depends completely upon nature. When he looks at the signs of the natural (Cheng), he knows the beginning of things; when he cherishes the virtue of supreme illumination, (Shen-ming), he knows the end of things. Proceeding from mind and intelligence to the attainment of the virtue of supreme intelligence, [the superior man] in his treatment of things in the world will cause the world to return to [the principles of] benevolence; and in his treatment of the capability inherent in things, he will cause the world to follow wisdom (Chih).39. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Martin Luther King, Jr., and the Legacy of Boston PersonalismJ. Edward Hackett1. IntroductionWhen the question of the Rev. Dr. Martin Luther King, Jr.’s philosophical legacy arises in the academy, so far, the question remains open-ended (though, as I will shortly argue, the question has already been answered by King himself). Beyond his presence in public American consciousness, King left behind speeches, sermons, correspondence, and writings that inspire both philosophical (...) and theological reflection. However, King is also interpreted on the merits of the biases and philosophical traditions that we scholars navigate. Such biases and philosophical traditions mediate our experience of encountering King, and this mediation can impact our understanding of what exactly King’s philosophical legacy is.1Accordingly, we should seek to reconstruct King’s thoughts in the philosophical vocabulary King employed rather than displacing King from his own agency and the contexts that shaped him.2 In doing so, we prevent mistakes and misunderstandings that plague the public knowledge of King’s legacy. And yet, serious misunderstanding occurs every January with light fluff pieces in major newspapers and websites from authors who do not read King’s corpus. What’s more, some scholars are guilty of this lack of reading King widely. Consider Martha Nussbaum and her glaring error and omission in her recent contribution to a recent book that purports to look at King as a philosopher: “Although a religious man, [King] did not advance in his political writings a comprehensive and religious doctrine, as Gandhi did” (Nussbaum 123). In an otherwise interesting article about political emotions, Nussbaum completely neglects any historical consideration or development where King describes himself as a personalist.3 Like others, Nussbaum disregards King’s own self-description. This disregard is tantamount to a silent [End Page 45] and implicit racism that results in scholarly efforts that deprive King of his own intellectual agency when interpreting his work. This tendency prevails in both philosophy and theology departments, and this neglect has also been the larger challenge of African American philosophy gaining more acceptance as a field of philosophical inquiry (McClendon and Ferguson 38). My efforts in this article are to put an end to continual misreadings of King. First and foremost, King is a personalist.While this essay defends the personalist interpretation of King, let me lay out briefly those pieces of evidence. The interpretation of King as a personalist rests on four evidential sources: (1) King’s own words, (2) family background, (3) influence of personalist ideas on his writings, and (4) the tradition of King’s reception by other Boston personalists. First, King describes himself in his own words as a personalist. This is perhaps the biggest piece of evidence for why we should read King as a personalist. Second, King was influenced by personalism before studying Brightman’s philosophy with Gregory Davis at Crozers Theological Seminary.4 Before Morehouse College and Crozers Theological Seminary, according to Rufus Burrow, homespun personalism emerges out of King’s upbringing within the Black Church. For this reason, scholars should not doubt that King synthesizes personalist influences with how he was raised (Burrow, God and Human Dignity 17–31). Moreover, given that King chose to go to Boston University to study with Brightman and to be where Boston personalism was known to be strong, all of these facts indicate that King was a personalist (Burrow, God and Human Dignity 24).Homespun personalism gave King a vocabulary to bring together and synthesize many intellectual forces in his life, and this synthesis is recognized by other personalists. Walter Muelder is one such personalist. Muelder was Dean of Boston University’s School of Theology from 1945–1972 when King attended. Muelder and King exchanged correspondence, and Muelder delivered many lectures, some published and others unpublished, on the personalism of King. The most famous of these lectures is one Muelder gave to Morehouse College in 1983, in which Brightman’s moral law system is read into King’s own words. Taking this historical background and also that, to this day, some teachers at Morehouse College, like Lawrence Carter, make their students learn the personalist moral law system from Muelder and Bright-man, the personalist interpretation... (shrink)

7 lectures, Torquay, UK, August 12-20, 1924 (CW 311) These seven intimate, aphoristic talks were presented to a small group on Steiner's final visit to England. Because they were given to "pioneers" dedicated to opening a new Waldorf school, these talks are often considered one of the best introductions to Waldorf education. Steiner shows the necessity for teachers to work on themselves first, in order to transform their own inherent gifts. He explains the need to use humor to keep their (...) teaching lively and imaginative. Above all, he stresses the tremendous importance of doing everything in the knowledge that children are citizens of both the spiritual and the earthly worlds. And, throughout these lectures, he continually returns to the practical value of Waldorf education. These talks are filled with practical illustrations and revolve around certain themes--the need for observation in teachers; the dangers of stressing the intellect too early; children's need for teaching that is concrete and pictorial; the education of children's souls through wonder and reverence; the importance of first presenting the "whole," then the parts, to the children's imagination. Here is one of the best introductions to Waldorf education, straight from the man who started it all. German source: Die Kunst des Erziehens aus dem Erfassen der Menschenwesenhiet (GA 311). ∞ ∞ ∞ SYNOPSIS OF THE LECTURES LECTURE 1: The need for a new art of education. The whole of life must be considered. Process of incarnation as a stupendous task of the spirit. Fundamental changes at seven and fourteen. At seven, the forming of the "new body" out of the "model body" inherited at birth. After birth, the bodily milk as sole nourishment. The teacher's task to give "soul milk" at the change of teeth and "spiritual milk" at puberty. LECTURE 2: In first epoch of life child is wholly sense organ. Nature of child's environment and conduct of surrounding adults of paramount importance. Detailed observation of children and its significance. In second epoch, seven to fourteen, fantasy and imagination as life blood of all education, e.g., in teaching of writing and reading, based on free creative activity of each teacher. The child as integral part of the environment until nine. Teaching about nature must be based on this. The "higher truths" in fairy tales and myths. How the teacher can guide the child through the critical moment of the ninth year. LECTURE 3: How to teach about plants and animals (seven to fourteen). Plants must always be considered, not as specimens, but growing in the soil. The plant belongs to the earth. This is the true picture and gives the child an inward joy. Animals must be spoken of always in connection with humans. All animal qualities and physical characteristics are to be found, in some form, in the human being. Humans as synthesis of the whole animal kingdom. Minerals should not be introduced until twelfth year. History should first be presented in living, imaginative pictures, through legends, myths, and stories. Only at eleven or twelve should any teaching be based on cause and effect, which is foreign to the young child's nature. Some thoughts on punishment, with examples. LECTURE 4: Development of imaginative qualities in the teacher. The story of the violet and the blue sky. Children's questions. Discipline dependent on the right mood of soul. The teacher's own preparation for this. Seating of children according to temperament. Retelling of stories. Importance of imaginative stories that can be recalled in later school life. Drawing of diagrams, from ninth year. Completion and metamorphosis of simple figures, to give children feeling of form and symmetry. Concentration exercises to awaken an active thinking as basis of wisdom for later life. Simple color exercises. A Waldorf school timetable. The "main lesson." LECTURE 5: All teaching matter must be intimately connected with life. In counting, each different number should be connected with the child or what the child sees in the environment. Counting and stepping in rhythm. The body counts. The head looks on. Counting with fingers and toes is good (also writing with the feet). The ONE is the whole. Other numbers proceed from it. Building with bricks is against the child's nature, whose impulse is to proceed from whole to parts, as in medieval thinking. Contrast atomic theory. In real life we have first a basket of apples, a purse of coins. In teaching addition, proceed from the whole. In subtraction, start with minuend and remainder; in multiplication, with product and one factor. Theorem of Pythagoras (eleven-twelve years). Details given of a clear, visual proof, based on practical thinking. This will arouse fresh wonder every time. LECTURE 6: In first seven years etheric body is an inward sculptor. After seven, child has impulse to model and to paint. Teacher must learn anatomy by modeling the organs. Teaching of physiology (nine to twelve years) should be based on modeling. Between seven and fourteen astral body gradually draws into physical body, carrying the breathing by way of nerves, as playing on a lyre. Importance of singing. Child's experience of well being like that of cows chewing the cud. Instrumental music from beginning of school life, wind or strings. Teaching of languages; up to nine through imitation, then beginnings of grammar, as little translation as possible. Vowels are expression of feeling, consonants are imitation of external processes. Each language expresses a different conception. Compare head, Kopf, testa. The parts of speech in relation to the life after death. If language is rightly taught, out of feeling, eurythmy will develop naturally, expressing inner and outer experiences in ordered movements--"visible speech." Finding relationship to space in gymnastics. LECTURE 7: Between seven and fourteen soul qualities are paramount. Beginnings of science teaching from twelfth year only, and connected with real phenomena of life. The problem of fatigue. Wrong conceptions of psychologists. The rhythmic system, predominant in second period, never tires. Rhythm and fantasy. Composition. Sums from real life, not abstractions. Einstein's theory. The kindergarten--imitation of life. Teachers' meetings, the heart of the school. Every child to be in the right class for its age. Importance of some knowledge of trades, e.g., shoemaking, handwork, and embroidery. Children's reports-- characterization, but no grading. Contact with the parents. QUESTIONS AND ANSWERS: The close relationship of Multiplication and Division. How to deal with both together. Transition from the concrete to the abstract in Arithmetic. Not before the ninth year. Healthiness of English weights and measures as related to real life. Decimal system as an intellectual abstraction. Drawing. Lines have no reality in drawing and painting, only boundaries. How to teach children to draw a tree in shading, speaking only of light and color. (Illustration). Line drawing belongs only to geometry. Gymnastics and Sport. Sport is of no educational value, but necessary as belonging to English life. Gymnastics should be taught by demonstration. Religious Instruction. Religion lessons in the Waldorf school given by Catholic priest and Protestant pastor. "Free" religion lessons provided for the other children. Plan of such teaching described, of which the fundamental aim is an understanding of Christianity. The Sunday services. Modern Language Lessons. Choice of languages must be guided by the demands of English life. These can be introduced at an early age. Direct method in language teaching. Closing words by Dr. Steiner on the seriousness of this first attempt to found a school in England. (shrink)

On the basis of knowledge prior to 1988, Ashbrook pointed out that whereas most men are primarily dependent on the left cerebral hemisphere (“dominant hemisphere”) for verbally related functions, women show a greater hemispheric balance in this respect. For men, he argues, their possession of a “speaking” and a “non‐speaking hemisphere” results in a positive‐negative, bipolar way of thinking that may be characterized as dualistic and dialectically hierarchical. In contrast, the greater balance of hemispheric function in women appears to promote (...) greater generalization and synthesis in their thinking.In this article I cite more recent neuroanatomical and brain imaging studies that provide further evidence of disparities in structure and function of the brains of men and women. As background for an attempt to explain these differences, I give a brief review of the triune evolution of the mammalian brain leading up to the human cerebrum. It is of major significance that the female has played a central role in mammalian evolution for more than 180 million years and that the evolutionary transition from reptilian therapsids to mammals is characterized by the develoment of (1) nursing conjoined with maternal care; (2) audiovocal communication or aiding mother‐offspring contact; and (3) play. In human beings, the infant‐carrying hypothesis suggests one means by which, over generations, certain parts of a woman's right hemisphere could undergo functional and eventual anatomical expansion. The mother‐infant communication of basic mammalian sounds with vowel and consonant components suggests a basis for the origination of speech.Finally, in an expansion of Ashbrook's original thesis, we arrive at the rovocative consideration that, unlike men, with their dialectical reasoning, women, with their more balanced brain, are provided with a trialectial ladder for climbing to achieve knowledge. In terms of quantum mechanics, the particle and wave would correspond to the substance and strength of the sides of the ladder, and the derived psychic information (which is neither matter nor energy) would compare to the rungs in between. (shrink)

On March 25, 2023, the Faculty of Philosophy at Lomonov Moscow State University hosted the “Moscow Anthropological School: New Ideas in Philosophy” International Scientific Conference. The event was held in honor of Professor Fyodor Ivanovich Girenok’s jubilee. The conference welcomed speakers from Russia, Belarus, France, and the United Kingdom, along with attendees from various universities, cultural, government, and business institutions both within Russia and internationally. The conference delved into the fundamental issues of philosophical anthropology, highlighted contemporary strategies for understanding humanity, (...) explored future development prospects, and showcased the accomplishments of the Moscow School of Anthropology in shaping modern philosophical concepts. Among the anthropological strategies proposed were singular philosophy, event anthropology, synergistic anthropology, Messianic anthropology, the anthropology of silence, the anthropology of the tale, and network-centric anthropocentrism. A central theme that resonated through-out the conference discussions was the relationship between the human and non-human aspects of humanity, and the associated issue of the relationship between consciousness and artificial intelligence. Emphasizing the uniqueness of human existence, conference participants explored phenomena such as morality, action, meaning generation, imagination, inner life, self-action, self-falling, human duality, and non-objectibility. The conference under-scored the distinction between artificial intelligence, defined by an algorithmic function, and human consciousness, characterized as an extension of reality through the establishment of values and goals. The conference also paid special attention to the issue of language, specifically the dichotomy of word and image, sign and silence, and the potential for their synthesis in speech and the symbolization of social practices. (shrink)

The questions ‘What is man?’ and ‘What is Europe?’ were among the main interests of Thomas Mann. In dozens of his essays and speeches as well as in some of his major novels Mann searched for the essence of European culture. In this paper we discuss Mann’s ideas about humanism, which he considered to be the core of the European identity. In both Mann’s novels and his essays he investigates the opposition between Enlightenment values and Romantic thinking. Mann believed in (...) the necessity of a fusion of these two, a synthesis in which a belief in reason, morality and the possibility of progress go hand in hand with an awareness of the dark and tragic side of the human condition. ‘Dostoevsky in moderation’, as one of his essays is titled. This synthesis, which he named a ‘humanism of the homo Dei’, is Mann’s proposal for a renewed European identity. Mann’s ideas about a revived humanism as the foundation for the European identity are both interesting in the context of his literary oeuvre as well as inspiring in the light of our contemporary debates on European and Western values and identity. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Diacritics 29.3 (1999) 22-39 [Access article in PDF] Review Article Language, or No Language Daniel Heller-Roazen Werner Hamacher. Maser: Bemerkungen im Hinblick auf Hinrich Weidemanns Bilder. Berlin: Gallerie Max Hetzler, 1998. All translations from this text are my own. [M] ________. pleroma--Reading in Hegel. Trans. Nicholas Walker and Simon Jarvis. Stanford: Stanford UP, 1998. [pl] ________. Premises: Essays on Philosophy and Literature from Kant to Celan. Trans. Peter Fenves. (...) Cambridge, MA: Harvard UP, 1996. [P] Trans. of Entferntes Verstehen: Studien zu Philosophie und Literatur von Kant bis Celan. Frankfurt am Main: Suhrkamp, 1998. [EV] 1. The Rest of Language When Aristotle, at the opening of his treatise on interpretation, defines the nature and function of language, he does so by referring "the things in the voice [ta en tei phonei]" to impressions on the soul (pathe¯mata), which, in turn, he refers to "things [pragmata]" [De interpretatione 16a4 ff.]. Aristotle's text establishes, in this way, that vocal utterances are signs of things. The philosophical significance of this gesture could not be more decisive. Once De interpretatione determines the canonical form of the statement as a "meaningful sentence [logos se¯mantikos]" and, more precisely, as a "proposition [logos apophantikos]" bearing truth or falsity, and once it asserts that truth and falsity reside in the composition (synthesis) of elements [16a10-15], 1 the consequence is inevitable: the paradigmatic form of true speech must be that of the "statement of one thing concerning another thing [legein ti kata tinos]" [17a25]. 2 Here it matters little whether the relation of speech to things is grasped as one of imitation or constitution, reproduction or production; it matters little, moreover, whether the things at issue--that which language means--are understood as sensible objects or supersensuous entities, material beings or logical idealities. In every utterance, speech, by virtue of its very form, is necessarily capable of being dissolved into those things of which it speaks. Indeed, the Aristotelian principle of analysis (literally, "loosening up") demands this [End Page 22] dissolution as the end toward which all speech, insofar as it is both assertive and predicative, ultimately tends. Language is thus posited only in order to be effaced; its specific constituents are identified only to be returned, in the end, to the world of things. When Augustine writes, in a lapidary formula at the start of his De doctrina christiana, that "things are learned by signs [res per signa discuntur]" [1.2.2.20], he simply summarizes what is already stated in the Aristotelian locus classicus: words, the elements of language, function in the service of things; when words show what exists, their task is accomplished.Werner Hamacher's works constitute perhaps the most powerful contemporary attempt to delineate and interrogate this aporetic structure, by which language, in its classical philosophical and theoretical elaboration, is simultaneously constructed and effaced, identified as such and destituted of all propriety. The implications of this structure, which are both logical and metaphysical, extend not only to the Aristotelian, but even to the most modern theories of language and its operation. "At the end of every semantic theory of language and its truth," Hamacher thus writes in Premises: Essays on Philosophy and Literature from Kant to Celan, "stands the aporetic verdict: language does not speak; it has nothing to say" [P 338; EV 325]. When language is determined by its "semantic and referential functions," we read, it follows that at "the end and thus the site of its destination, it no longer means anything and no longer refers to anything" [P 338; EV 325]. If Hamacher's texts often take as their point of departure contemporary doctrines of literary production and language, it is because, in the field of literary studies, the invocation of the semantic determination of language thus leads thought to eliminate the very element that might have been its subject of examination: language. The one discipline that might have resisted the apophantic dissolution of language proves itself not to be, as the German term has it, a "science of literature [Literaturwissenschaft]" but, rather, "more or less clandestinely a science against literature" [P... (shrink)

Perception and expression are compared and contrasted as constituent parts of a semiotic system. Merleau-Ponty's phenomenological method of 1) description, 2) reduction, And 3) intentionality is analyzed as a synergic function for perception and expression. Perception is understood as the interplay of immanent and transcendent signs which signify a phenomenal presence. Expression is examined as the synthesis of "le langage," "la langue," and "la parole." then, Expression is viewed in its two modalities as 1) existential and 2) empirical (...) class='Hi'>speech. Finally, Merleau-Ponty's theory of communication or theory of intercorporeal being is drawn from the semiotic common ground of his theories of perception and expression. Hence, A single theory of signs is advanced to explain the synergism of intrapersonal and interpersonal being. (shrink)

The purpose of this article is to propose a synthesis of Jacques Poulain's philosophical reflection on language and its importance for human being and for the society. To do this, we begin with presenting what Poulain has constantly established in the light of anthropobiological knowledge in his various works by showing that the child does not directly enter the world through senses or action, but through language and that it cannot enter the world and become a subject able to (...) think and act in isolation, but necessarily through the intermediary of a Third of speech. The same goes for the author at the institutional level, since man, as a being of language, has only been able to transform himself indirectly, through the intermediary of this Third of speech, which first took the form of the gods, then by making the detour of the judgment. Today, as Poulain argues in polemic with Jürgen Habermas, there can be no other basis for global communication than transcultural linguistic understanding, ie. language constitutes the space where man can be recognized, exercise judgment and strive for harmony with others. (shrink)

The work is based on a two-year analytic review of the literature followed by a one-year synthesis of the findings. The one-year synthesis of the findings. The result, in the words of a pre-publication reviewer, "is an attempt to redirect research in this whole area by examining the demonstrated utility of various approaches, urging that we discard some and adopt others as promising." _The Effects of Mass Communication on Political Behavior_ will be indispensable for all students of communication, (...) political behavior, speech, journalism, political sociology, and social psychology. (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)

Hate speech law can be found throughout the world. But it is also the subject of numerous principled arguments, both for and against. These principles invoke a host of morally relevant features and practical considerations . The book develops and then critically examines these various principled arguments. It also attempts to de-homogenize hate speech law into different clusters of laws/regulations/codes that constrain uses of hate speech, so as to facilitate a more nuanced examination of the principled arguments. (...) Finally, it argues that it is morally fitting for judicial and legislative judgments about the overall warrant of hate speech law to reflect principled compromise. Principled compromise is characterized not merely by compromise over matters of principled concern but also by compromise which is itself governed by ideals of moral duty or civic virtue. (shrink)

In an ideal democracy, people from all walks of life would come together to talk meaningfully and respectfully about politics. But we do not live in an ideal democracy. In contemporary democracies, which are marked by deep social divisions, different groups for the most part avoid talking to each other. And when they do talk to each other, their speech often seems to be little more than a vehicle for rage, hatred, and deception. -/- Democratic Speech in Divided (...) Times argues that we should nevertheless not give up on the ideal of democratic public speech. Drawing on the resources of political theory, epistemology, and philosophy of language, this book develops a sustained account of the norms that should govern public discourse in deeply divided circumstances. Should we try to find common ground when we talk to our political opponents, even though they seem unreasonable? Should we refrain from expressing anger, if we want to get things done? How can we use our speech to fight hate speech and disinformation? And is it even possible to speak to 'the other side,' in settings where different groups dislike one another, live apart from one another, and don't know much about one another? By tackling these questions, Lepoutre demonstrates that, when governed by the right set of norms, public speech can be a powerful force for good even amidst profound social divisions. (shrink)

We give a brief overview of several recent strands of speech-act theory, and then survey some issues in social and political philosophy can be profitably understood in speech-act-theoretic terms. Our topics include the social contract, the law, the creation and reinforcement of social norms and practices, silencing, and freedom of speech.

In free speech theory ‘speech’ has to be defined as a special term of art. I argue that much free speech discourse comes with a tacit commitment to a ‘Subtractive Approach’ to defining speech. As an initial default, all communicative acts are assumed to qualify as speech, before exceptions are made to ‘subtract’ those acts that don’t warrant the special legal protections owed to ‘speech’. I examine how different versions of the Subtractive Approach operate, (...) and criticise them in terms of their ability to yield a substantive definition of speech which covers all and only those forms of communicative action that – so our arguments for free speech indicate – really do merit special legal protection. In exploring alternative definitional approaches, I argue that what ultimately compromises definitional adequacy in this arena is a theoretical commitment to the significance of a single unified class of privileged communicative acts. I then propose an approach to free speech theory that eschews this theoretical commitment. (shrink)