A preference method probed infants` perception of object motion on an inclined plane. Infants viewed videotaped events in which a ball rolled downward (or upward) while speeding up (or slowing down). Then infants were tested with events in which the ball moved in the opposite direction with appropriate or inappropriate acceleration. Infants aged 7 months, but not 5 months, looked longer at the test event with inappropriate acceleration, suggesting emerging sensitivity to gravity. A further study tested whether infants appreciate (...) that a stationary object released on an incline moves downward rather than upward; findings again were positive at 7 months and negative at 5 months. A final study provided evidence, nevertheless, that 5-monthold infants discriminate downward from upward motion and relate downward motion in videotaped events to downward motion in live events. Sensitivity to certain effects of gravity appears to develop in infancy. (shrink)

When observers view a rapidly moving stimulus they may see only a static streak. We report that there can be a transient percept of motion if such a moving stimulus is preceded or followed by a stationary image of that stimulus. A ring of dots was rotated so rapidly observers only saw a continuous outline circle and could not report its rotation direction. When an objectively stationary ring of dots preceded or followed this rotating ring, the stationary ring appeared (...) to visibly launch into motion from a standstill or visibly rotate to a halt, principally in the same direction as the actual rapid rotation. Thus, motions too rapid to be consciously perceived as motion can nonetheless be processed by the visual system, and generate neural transition states that are consciously experienced as motion percepts. We suggest such transition states might serve a unifying function by bridging discontinuous motion states. (shrink)

The purpose of the present study was two-fold. First we examined whether visible motion appearance was altered by the spatial interaction between invisible and visible motion. We addressed this issue by means of simultaneous motion contrast, in which a horizontal test grating with a counterphase luminance modulation was seen to have the opposite motion direction to a peripheral inducer grating with unidirectional upward or downward motion. Using a mirror stereoscope, observers viewed the inducer (...) and test gratings with one eye, and continuous flashes of colorful squares forming an annulus shape with the other eye. The continuous flashes rendered the inducer subjectively invisible. The observers’ task was to report whether the test grating moved upward or downward. Consequently, simultaneous motion contrast was observed even when the inducer was invisible . Second, we examined whether the observers could correctly respond to the direction of invisible motion: It was impossible. (shrink)

Ce qu'il s'agit d'analyser, d'ausculter, c'est ce que Walter Benjamin, en 1929 déjà, décrivait comme un espace chargé à cent pour cent d'images. Autrement dit : cette visibilité saturée qui nous arrive de partout, nous entoure et nous traverse aujourd'hui. Un tel espace iconique est le produit d'une histoire : celle de la mise en circulation et de la marchandisation générale des images et des vues. Il fallait ébaucher sa généalogie, depuis les premiers ascenseurs ou escalators (ces travellings avant la (...) lettre) jusqu'aux techniques actuelles de l'oculométrie traquant les moindres saccades de nos yeux, en passant par le cinéma, grand chef d'orchestre des regards. Mais, sous-jacente à cette innervation du visible, il y a une économie propre aux images : ce qu'on tente d'appeler leur iconomie. Deleuze l'avait entrevue lorsqu'il écrivait, dans des pages inspirées par Marx : "l'argent est l'envers de toutes les images que le cinéma montre et monte à l'endroit". Une phrase que l'on n'entendra dans toute sa portée ontologique qu'à condition de se souvenir que "cinéma" veut aussi dire ici : "l'univers". C'est pourquoi, tout en se laissant guider par des séquences d'Hitchcock, de Bresson, d'Antonioni, de De Palma ou des Sopranos, ces pages voudraient frayer la voie qui conduit d'une iconomie restreinte à ce qu'on pourrait nommer, avec Bataille, une iconomie générale. (shrink)

This revised edition of a standard textbook combines an examination of the cinema and television industries with a detailed analysis of their aesthetic and semiotic characteristics. John Ellis draws on his experience as an independent television producer to provide a comprehensive and challenging overview of the place of film, television and video in our daily lives and their future prospects in a changing media landscape.

Although much evidence indicates that young infants perceive unitary objects by analyzing patterns of motion, infantsÕ abilities to perceive object unity by analyzing Gestalt properties and by integrating distinct views of an object over time are in dispute. To address these controversies, four experiments investigated adultsÕ and infantsÕ perception of the unity of a center-occluded, moving rod with misaligned visible edges. Both alignment information and depth information affected adultsÕ and infantsÕ perception of object unity in similar ways, and (...) infants perceived object unity by integrating information about object features over time. However, infants perceived a moving, misaligned, three-dimensional object as indeterminate in its connectedness, whereas adults perceived it as connected behind the occluder. These findings indicate that the effectiveness of common motion in specifying unified surfaces across an occluder is reduced by misalignment of edges. Alignment information enhances perception of object unity either by serving directly as information for unity or by optimizing the detectability of motion-carried information for unity. In addition, young infants are able to retain information about edge orientation over short intervals in determining connectedness via a process of spatiotemporal integration. Ó 2003 Elsevier Science (USA). All rights reserved. (shrink)

For when men pray they do with the members of their bodies what befits suppliants—when they bend their knees and stretch out their hands, or even prostrate themselves, and whatever else they do visibly, although their invisible will and the intention of their heart is known to God. Nor does He need these signs for the human mind to be laid bare to Him. But in this way a man excites himself to pray more and to groan more humbly and (...) more fervently. I do not know how it is that, although these motions of the body cannot come to be without a motion of the mind preceding them, when they have been made, visibly and externally, that invisible inner motion which caused them is itself strengthened. And in this manner the disposition of the heart which preceded them in order that they might be made, grows stronger because they are made. Of course if someone is constrained or even bound, so that he cannot do these things with his limbs, it does not follow that, when he is stricken with remorse, the inner man does not pray and prostrate himself before the eyes of God in his most secret chamber.One smiles and tells the expert chef how good the sauce béarnaise is, not so much to inform him about the sauce as to assure him that we are enjoying it and that we appreciate his efforts. But when a man kneels in his pew and repeats a litany of thanksgiving it is not, it seems, that he means to be informing God of anything—not even of his thankfulness. For God, unlike the chef, has no need of information. (shrink)

The relationship between brain activity and conscious visual experience is central to our understanding of the neural mechanisms underlying perception. Binocular rivalry, where monocular stimuli compete for perceptual dominance, has been previously used to dissociate the constant stimulus from the varying percept. We report here fMRI results from humans experiencing binocular rivalry under a dichoptic stimulation paradigm that consisted of two drifting random dot patterns with different motion coherence. Each pattern had also a different color, which both enhanced rivalry (...) and was used for reporting which of the two patterns was visible at each time. As the perception of the subjects alternated between coherent motion and motion noise, we examined the effect that these alternations had on the strength of the MR signal throughout the brain. Our results demonstrate that motion perception is able to modulate the activity of several of the visual areas which are known to be involved in motion processing. More specifically, in addition to area V5 which showed the strongest modulation, a higher activity during the perception of motion than during the perception of noise was also clearly observed in areas V3A and LOC, and less so in area V3. In previous studies, these areas had been selectively activated by motion stimuli but whether their activity reflects motion perception or not remained unclear; here we show that they are involved in motion perception as well. The present findings therefore suggest a lack of a clear distinction between ?processing? versus ?perceptual? areas in the brain, but rather that the areas involved in the processing of a specific visual attribute are also part of the neuronal network that is collectively responsible for its perceptual representation. (shrink)

Categorization is fundamental for spatial and motion representation in both the domain of artificial intelligence and human cognition. In this paper, we investigated whether motion categorizations designed in artificial intelligence can inform human cognition. More concretely, we investigated if such categorizations (also known as qualitative representations) can inform the psychological understanding of human perception and memory of motion scenes. To this end, we took two motion categorizations in artificial intelligence, Motion‐RCC and Motion‐OPRA1, and conducted (...) four experiments on human perception and memory. Participants viewed simple motion scenes and judged the similarity of transformed scenes with this reference scene. Those transformed scenes differed in none, one, or both Motion‐RCC and Motion‐OPRA1 categories. Importantly, we applied an equal absolute metric change to those transformed scenes, so that differences in the similarity judgments should be due only to differing categories. In Experiments 1a and 1b, where the reference stimulus and transformed stimuli were visible at the same time (perception), both Motion‐OPRA1 and Motion‐RCC influenced the similarity judgments, with a stronger influence of Motion‐OPRA1. In Experiments 2a and 2b, where participants first memorized the reference stimulus and viewed the transformed stimuli after a short blank (memory), only Motion‐OPRA1 had marked influences on the similarity judgments. Our findings demonstrate a link between human cognition and these motion categorizations developed in artificial intelligence. We argue for a continued and close multidisciplinary approach to investigating the representation of motion scenes. (shrink)

This article brings a phenomenological account of the body into dialogue with theories of gender performativity, through an analysis of performance artist Cathy Sisler’s videos Aberrant Motion #1 (1993) and Aberrant Motion #4 (1994). In the work I discuss, Sisler foregrounds he limits of visibility and employs a visual mode which is more haptic than strictly optic. At the same time, the work makes explicit the power of visibility to regulate, control and mark out the subject and critiques (...) the effect of the gaze upon structures of identity formation and, crucially, the motility of the body. I argue that in this work, the viewer’s relation to the images is severed from the visual mastery associated with the modes of viewing which position Sisler as ‘other’, but which remain vitally at stake within the haptic visual economy she creates. (shrink)

James A. Diefenbeck, Wayward Reflections on the History ofPhilosophyThomas R. Flynn Sartre, Foucault and Historical Reason. Volume 1:Toward an Existential Theory of HistoryMark Golden and Peter Toohey Inventing Ancient Culture:Historicism, Periodization and the Ancient WorldZenonas Norkus Istorika: Istorinis IvadasEverett Zimmerman The Boundaries of Fiction: History and theEighteenth‐Century British Novel.

Experiments using a preferential looking method, a perceptual judgment method, and a predictive judgment method investigated the development, from 7 months to 6 years of age, of sensitivity to the effects of gravity and inertia on inanimate object motion. The experiments focused on a situation in which a ball rolled off a flat surface and either continued in linear motion (contrary to gravity), turned abruptly and moved downward (contrary to inertia), or underwent natural, parabolic motion. When children (...) viewed the three fully visible motions, both the preferential looking method and the perceptual judgment method provided evidence that sensitivity to inertia developed between 7 months and 2 years, and that sensitivity to gravity began to develop after 3 years. When children predicted the future location of the object without viewing the motions, the predictive judgment method provided evidence that sensitivity to gravity had developed by 2 years, whereas sensitivity to inertia began to develop only at 5±6 years. These findings suggest that knowledge of object motion develops slowly over childhood, in a piecemeal fashion. Moreover, the same system of knowledge appears to be tapped both in preferential looking tasks and in judgment tasks when children view fully visible events, but a different system may underlie children's inferences about unseen object motions. (shrink)

Models of planetary motion as observed from Earth must account for two principal anomalies: the nonuniform speed of the planet as it circles the zodiac, and the correlation of the planet’s position with the position of the Sun. In the context of the geometrical models used by the Greeks, the practical difficulty is to somehow isolate the motion of the epicycle center on the deferent from the motion of the planet on its epicycle. One way to isolate (...) the motion of the epicycle center is to determine the longitude and time of oppositions of the planet with the mean Sun. A Greek astronomer might have realized that the predictions of mean oppositions by Babylonian models could serve as useful proxies for real empirical observations. It is shown that a Greek astronomer with a reasonable understanding of Babylonian System A models for the outer planets and the Sun–Moon could have used those models to estimate approximate values for the eccentricity e and longitude of apogee A required for geometrical models. The same method would work for the inner planets if conjunctions were observable, but they are not, and the variation of the observable synodic events—first and last morning and evening visibilities—is dominated more by the motion of the planet in latitude than the nonuniform motion of the epicycle center. (shrink)

Adults and infants display a robust ability to perceive the unity of a center-occluded object when the visible ends of the object undergo common motion (e.g. Kellman, P.J., Spelke, E.S., 1983. Perception of partly occluded objects in infancy. Cognitive Psychology 15, 483±524). Ecologically oriented accounts of this ability focus on the primacy of motion in the perception of segregated objects, but Gestalt theory suggests a broader possibility: observers may perceive object unity by detecting patterns of synchronous change, (...) of which common motion is a special case. We investigated this possibility with observations of adults and 4-month-old infants. Participants viewed a center-occluded object whose visible surfaces were either misaligned or aligned, stationary or moving, and unchanging or synchronously changing in color or bright- ness in various temporal patterns (e.g. ¯ashing). Both alignment and common motion con- tributed to adults' perception of object unity, but synchronous color changes did not. For infants, motion was an important determinant of object unity, but other synchronous changes and edge alignment were not. When a stationary object with aligned edges underwent syn- chronous changes in color or brightness, infants showed high levels of attention to the object, but their perception of its unity appeared to be indeterminate. An inherent preference for fast over slow ¯ash rates, and a novelty preference elicited by a change in rate, both indicated that infants detected the synchronous changes, although they failed to use them as information for object unity. These ®ndings favor ecologically oriented accounts of object perception in which surface motion plays a privileged role. Ó 1999 Elsevier Science B.V. All rights reserved. (shrink)

The Cartesian concept of nature, which has determined modern thinking until the present time, has become obsolete. It shall be shown that Hegel's objective-idealistic conception of nature discloses, in comparison to that of Descartes, new perspectives for the comprehension of nature and that this, in turn, results in possibilities of actualizing Hegel's philosophy of nature. If the argumentation concerning philosophy of nature is intended to catch up with the concrete Being-of-nature and to meet it in its concretion, then this is (...) impossible for the finite spirit in a strictly a priori sense – this is the thesis supported here which is not at all close to Hegel. As the argumentation rather has to consider the conditions of realization concerning the Being-of-nature, too, it is compelled to take up empirical elements – concerning the organism, for instance, system-theoretical aspects, physical and chemical features of the nervous system, etc. With that, on the one hand, empirical-scientific premises are assumed (e.g. the lawlikeness of nature), which on the other hand become (now close to Hegel) possibly able to be founded in the frame of a Hegelian-idealistic conception. In this sense, a double strategy of empirical-scientific concretization and objective-idealistic foundation is followed up, which represents the methodical basic principle of the developed considerations. In the course of the undertaking, the main aspects of the whole Hegelian design concerning the philosophy of nature are considered – space and time, mass and motion, force and law of nature, the organism, the pro-blem of evolution, psychic being – as well as Hegel's basic thesis concerning the philosophy of nature, that therein a tendency toward coherence and idealization manifests itself in the sense of a (categorically) gradually rising succession of nature: from the separateness of space to the ideality of sensation. In the sense of the double strategy of concretization and foundation it is shown that on the one hand possibilities of philosophical penetration concerning actual empirical-scientific results are opened, and on the other hand – in turn – a re-interpretation of Hegel's theorem on the basis of physical, evolution-theoretical and system-theoretical argumentation also becomes possible. In this mutual crossing-over and elucidation of empirical and Hegelian argumentation not only do perspectives of a new comprehension of nature become visible, but also, at the same time – as an essential consequence of this methodical principle – thoughts on the possibilities of actualizing Hegel's philosophy of nature. (shrink)

For Alain Badiou, films think, and it is the task of the philosopher to transcribe that thinking. What is the subject to which the film gives expressive form? This is the question that lies at the heart of Badiouʹs account of cinema. He contends that cinema is an art form that bears witness to the Other and renders human presence visible, thus testifying to the universal value of human existence and human freedom. Through the experience of viewing, the movement (...) of thought that constitutes the film is passed on to the viewer, who thereby encounters an aspect of the world and its exaltation and vitality as well as its difficulty and complexity. Cinema is an impure art cannibalizing its times, the other arts, and people -- a major art precisely because it is the locus of the indiscernibility between art and non-art. It is this, argues Badiou, that makes cinema the social and political art par excellence, the best indicator of our civilization, in the way that Greek tragedy, the coming-of-age novel and the operetta were in their respective eras. -- Publisher description. (shrink)

Schelling's 1806 polemic against Fichte, and his last major work on the philosophy of nature. The heat of anger can concentrate the mind. Convinced that he had been betrayed by his former collaborator and colleague, Schelling attempts in this polemic to reach a final reckoning with Fichte. Employing the format of a book review, Schelling directs withering scorn at three of Fichte’s recent publications, at one point likening them to the hell, purgatory, and would-be paradise of Fichtean philosophy. The central (...) bone of contention is the understanding of nature: Fichte sees it as lifeless matter in motion, sheer opposition to be overcome, while Schelling waxes poetic in his defense of a living, organic nature of which humanity is a vital part. Indeed, we do not know ourselves without understanding our connection to nature, argues Schelling, anticipating many thinkers in contemporary environmental ethics. Dale E. Snow’s introduction sets the stage and explains the larger context of the conflict, which was already visible in the correspondence of the two philosophers, which broke off by 1802. Notes are included throughout the text, providing background information and identifying the many references to Fichte. Dale E. Snow is Associate Professor of Philosophy at Loyola University of Maryland and the author of Schelling and the End of Idealism, also published by SUNY Press. (shrink)

Plato's Tim. 90b1-c6 describes a pathway to the soul's salvation via the study of the heavens. This paper poses three questions about this theme in Platonism: 1. The epistemological question: How is the paradigmatic function of the visible heavenly bodies to be reconciled with various Platonic misgivings about the faculty of perception? 2. The metaphysical question: How can »assimilation« to the motions of bodies in the realm of Becoming provide for the salvation of souls when souls are »higher«- a (...) mid-point between Being and Becoming? 3. The psychological question: What can it mean for an incorporeal soul to utilise the motions of a body for an ethical and cognitive paradigm? And provides an account of how Proclus and some of his fellow Neoplatonists answered these questions. (shrink)

When looking at a scene, observers feel that they see its entire structure in great detail and can immediately notice any changes in it. However, when brief blank fields are placed between alternating displays of an original and a modified scene, a striking failure of perception is induced: identification of changes becomes extremely difficult, even when changes are large and made repeatedly. Identification is much faster when a verbal cue is provided, showing that poor visibility is not the cause of (...) this difficulty. Identification is also faster for objects mentioned in brief verbal descriptions of the scene. These results support the idea that observers never form a complete, detailed representation of their surroundings. In addition, results also indicate that attention is required to perceive change, and that in the absence of localized motion signals it is guided on the basis of high-level interest. (shrink)

There is a section in Samuel Delany’s magnificent autobiographical meditation, The Motion of Light in Water, that dramatically raises the problem of writing the history of difference, the history, that is, of the designation of “other,” of the attribution of characteristics that distinguish categories of people from some presumed norm.1 Delany recounts his reaction to his first visit to the St. Marks bathhouse in 1963. He remembers standing on the threshold of a “gym-sized room” dimly lit by blue bulbs. (...) The room was full of people, some standing, the rest an undulating mass of naked, male bodies, spread wall to wall. My first response was a kind of heart-thudding astonishment very close to fear. I have written of a space at certain libidinal saturation before. That was not what frightened me. It was rather that the saturation was not only kinesthetic but visible.2Watching the scene establishes for Delany a “fact that flew in the face” of the prevailing representation of homosexuals in the 1950s as “isolated perverts,” as subjects “gone awry.” The “apprehension of massed bodies” gave him a “sense of political power”:what this experience said was that there was a population—not of individual homosexuals … not of hundreds, not of thousands, but rather of millions of gay men, and that history had, actively and already, created for us whole galleries of institutions, good and bad, to accommodate our sex. [M, p. 174] 2. Samuel R. Delany, The Motion of Light in Water: Sex and Science Fiction Writing in the East Village, 1957-1965 , p. 173; hereafter abbreviated M. Joan W. Scott is professor of social science at the Institute for Advanced Study in Princeton, New Jersey. She is the author, most recently, of Gender and the Politics of History and is currently at work on a history of feminist claims for political rights in France during the period 1789-1945 as a way of exploring arguments about equality and difference. (shrink)

Background: Arthritis is very common but is not well understood. Actually, “arthritis” is not a single disease; it is an informal way of referring to joint pain or joint disease. There are more than 100 different types of arthritis and related conditions. People of all ages, sexes and races can and do have arthritis, and it is the leading cause of disability in America. More than 50 million adults and 300,000 children have some type of arthritis. It is most common (...) among women and occurs more frequently as people get older. Common arthritis joint symptoms include swelling, pain, stiffness and decreased range of motion. Symptoms may come and go. They can be mild, moderate or severe. They may stay about the same for years, but may progress or get worse over time. Severe arthritis can result in chronic pain, inability to do daily activities and make it difficult to walk or climb stairs. Arthritis can cause permanent joint changes. These changes may be visible, such as knobby finger joints, but often the damage can only be seen on X-ray. Some types of arthritis also affect the heart, eyes, lungs, kidneys and skin as well as the joints. Objectives: The main goal of this expert system is to get the appropriate diagnosis of disease and the correct treatment and give the appropriate method of treatment through several tips that concern the disease and how to treat it and we will see it through the application on the expert system. Methods: in this paper the design of the proposed Expert System which was produced to help Orthopedist in diagnosing Arthritis disease through its symptoms such as: pain on pressure in a joint , Inflammation indicated by joint swelling, Stiffness especially in the morning , Loss of flexibility of joint, Limited, joint movement, Deformity of the joints , Weight loss and fatigue , Non-specific fever and Crepitus. The proposed expert system presents an overview about Arthritis disease is given, the cause of diseases is outlined and the treatment of disease whenever possible is given out. SL5 Object Expert System language was used for designing and implementing the proposed expert system. Results: The proposed Arthritis disease diagnosis expert system was evaluated by Orthopedics students and they were satisfied with its performance. Conclusions: The Proposed expert system is very useful for Orthopedist, patients with arthritis and newly graduated Orthopedics students. (shrink)

In three experiments, subjects attempted to track multiple items as they moved independently and unpredictably about a display. Performance was not impaired when the items were briefly (but completely) occluded at various times during their motion, suggesting that occlusion is taken into account when computing enduring perceptual objecthood. Unimpaired performance required the presence of accretion and deletion cues along fixed contours at the occluding boundaries. Performance was impaired when items were present on the visual field at the same times (...) and to the same degrees as in the occlusion conditions, but disappeared and reappeared in ways which did not implicate the presence of occluding surfaces (e.g. by imploding and exploding into and out of existence, instead of accreting and deleting along a fixed contour). Unimpaired performance did not require visible occluders (i.e. Michotte’s tunnel effect) or globally consistent occluder positions. We discuss implications of these results for theories of objecthood in visual attention. (shrink)

Cinema Pessimism explores the challenges of representative democracy through film. Film allows us to see the problems of democracy from a unique perspective, illuminating dangers that are not always visible to us either from day-to-day experience or the classics of democratic theory. Joshua Foa Dienstag argues that there are threats lurking in our political systems that we fail to perceive due to the many pleasures that representation provides. Ultimately, Dienstag seeks to defend a kind of pessimistic politics that might (...) produce a better sort of democratic representation than what we have today. (shrink)

Partant du débat qui oppose les orientations sémiologique et esthétique, l'auteur propose une troisième voie qui, comme les deux autres, vise à rendre compte de la perception esthétique du film, mais, au lieu de s'enfermer dans l'antinomie discours-figure, ou représentation-visibilité, problématise le fait de " l'impossible à représenter " dans sa confrontation avec le langage et le visible. Ce projet peut être considéré, selon l'auteur, comme une poétique, en un sens plus radical que la notion traditionnelle ou son prolongement (...) chez les formalistes russes, étant donné le thème de " l'articulation des signifiants à l'impossible " - une poétique qui procède de la crise de la représentation dans certains films (Duras) et trouve ses principaux instruments dans la psychanalyse. La première partie du livre explore deux propositions majeures de poétique, comme étude du discours et comme approche du sensible, puis les met à l'épreuve du cinéma de Duras, avant d'utiliser les conclusions de cette partie pour instaurer un débat épistémologique autour de la théorie psychanalytique du sujet divisé, laquelle permet d'accéder à la problématique centrale du livre : la rencontre avec le réel comme impossible. Cette perspective renvoie aux travaux de Jacques Lacan sur lesquels l'auteur se fonde pour introduire sa contribution la plus personnelle : le projet d'une nouvelle poétique du cinéma. (shrink)

The paper considers the symmetries of a bit of information corresponding to one, two or three qubits of quantum information and identifiable as the three basic symmetries of the Standard model, U(1), SU(2), and SU(3) accordingly. They refer to “empty qubits” (or the free variable of quantum information), i.e. those in which no point is chosen (recorded). The choice of a certain point violates those symmetries. It can be represented furthermore as the choice of a privileged reference frame (e.g. that (...) of the Big Bang), which can be described exhaustively by means of 16 numbers (4 for position, 4 for velocity, and 8 for acceleration) independently of time, but in space-time continuum, and still one, 17th number is necessary for the mass of rest of the observer in it. The same 17 numbers describing exhaustively a privileged reference frame thus granted to be “zero”, respectively a certain violation of all the three symmetries of the Standard model or the “record” in a qubit in general, can be represented as 17 elementary wave functions (or classes of wave functions) after the bijection of natural and transfinite natural (ordinal) numbers in Hilbert arithmetic and further identified as those corresponding to the 17 elementary of particles of the Standard model. Two generalizations of the relevant concepts of general relativity are introduced: (1) “discrete reference frame” to the class of all arbitrarily accelerated reference frame constituting a smooth manifold; (2) a still more general principle of relativity to the general principle of relativity, and meaning the conservation of quantum information as to all discrete reference frames as to the smooth manifold of all reference frames of general relativity. Then, the bijective transition from an accelerated reference frame to the 17 elementary wave functions of the Standard model can be interpreted by the still more general principle of relativity as the equivalent redescription of a privileged reference frame: smooth into a discrete one. The conservation of quantum information related to the generalization of the concept of reference frame can be interpreted as restoring the concept of the ether, an absolutely immovable medium and reference frame in Newtonian mechanics, to which the relative motion can be interpreted as an absolute one, or logically: the relations, as properties. The new ether is to consist of qubits (or quantum information). One can track the conceptual pathway of the “ether” from Newtonian mechanics via special relativity, via general relativity, via quantum mechanics to the theory of quantum information (or “quantum mechanics and information”). The identification of entanglement and gravity can be considered also as a ‘byproduct” implied by the transition from the smooth “ether of special and general relativity’ to the “flat” ether of quantum mechanics and information. The qubit ether is out of the “temporal screen” in general and is depicted on it as both matter and energy, both dark and visible. (shrink)

In this study I attempt to provide an answer to the question how the Babylonian scholars arrived at their mathematical theory of planetary motion. Although no texts are preserved in which the Babylonians tell us how they did it, from the surviving Astronomical Diaries we have a fairly complete picture of the nature of the observational material on which the scholars must have based their theory and from which they must have derived the values of the defining parameters. Limiting (...) the discussion to system A theory of the outer planets Saturn, Jupiter and Mars, I will argue that the development of Babylonian planetary theory was a gradual process of more than a century, starting sometime in the fifth century BC and finally resulting in the appearance of the first full-fledged astronomical ephemeris around 300 BC. The process of theory formation involved the derivation of long “exact” periods by linear combination of “Goal–Year” periods, the invention of a 360° zodiac, the discovery of the variable motion of the planets and the development of the numerical method to model this as a step function. Longitudes of the planets in the Babylonian zodiac could be determined by the scholars with an accuracy of 1° to 2° from observations of angular distances to Normal Stars with known positions. However, since the sky is too bright at first and last appearances of the planets and at acronychal rising for nearby stars to be visible, accurate longitudes as input for theoretical work could only be determined when the planets were near the stationary points in their orbits. In this study I show that the Babylonian scholars indeed based their system A modeling of the outer planets on planetary longitudes near stations, that their system A models of Saturn and Jupiter provided satisfactory results for all synodic phenomena, that they realized that their system A model of Mars did not produce satisfactory results for the second station so that separate numerical schemes were constructed to predict the positions of Mars at second station from the model at first station, and finally that their system A model for Mars provided quite poor predictions of the longitude of Mars at first and last appearances over large stretches of the zodiac. I further discuss ways in which the parameters of the system A models may have been derived from observations of the outer planets. By analyzing contemporaneous ephemerides from Uruk of four synodic phenomena of Jupiter from the second century BC, I finally illustrate how the Babylonian scholars may have used observations of Normal Star passages of planets to choose the initial conditions for their ephemerides. (shrink)

In this study I attempt to provide an answer to the question how the Babylonian scholars arrived at their mathematical theory of planetary motion. Although no texts are preserved in which the Babylonians tell us how they did it, from the surviving Astronomical Diaries we have a fairly complete picture of the nature of the observational material on which the scholars must have based their theory and from which they must have derived the values of the defining parameters. Limiting (...) the discussion to system A theory of the outer planets Saturn, Jupiter and Mars, I will argue that the development of Babylonian planetary theory was a gradual process of more than a century, starting sometime in the fifth century BC and finally resulting in the appearance of the first full-fledged astronomical ephemeris around 300 BC. The process of theory formation involved the derivation of long “exact” periods by linear combination of “Goal–Year” periods, the invention of a 360° zodiac, the discovery of the variable motion of the planets and the development of the numerical method to model this as a step function. Longitudes of the planets in the Babylonian zodiac could be determined by the scholars with an accuracy of 1° to 2° from observations of angular distances to Normal Stars with known positions. However, since the sky is too bright at first and last appearances of the planets and at acronychal rising for nearby stars to be visible, accurate longitudes as input for theoretical work could only be determined when the planets were near the stationary points in their orbits. In this study I show that the Babylonian scholars indeed based their system A modeling of the outer planets on planetary longitudes near stations, that their system A models of Saturn and Jupiter provided satisfactory results for all synodic phenomena, that they realized that their system A model of Mars did not produce satisfactory results for the second station so that separate numerical schemes were constructed to predict the positions of Mars at second station from the model at first station, and finally that their system A model for Mars provided quite poor predictions of the longitude of Mars at first and last appearances over large stretches of the zodiac. I further discuss ways in which the parameters of the system A models may have been derived from observations of the outer planets. By analyzing contemporaneous ephemerides from Uruk of four synodic phenomena of Jupiter from the second century BC, I finally illustrate how the Babylonian scholars may have used observations of Normal Star passages of planets to choose the initial conditions for their ephemerides. (shrink)

continent. 1.1 : 3-13. / 0/ – Introduction I want to propose, as a trajectory into the philosophically weird, an absurd theoretical claim and pursue it, or perhaps more accurately, construct it as I point to it, collecting the ground work behind me like the Perpetual Train from China Mieville's Iron Council which puts down track as it moves reclaiming it along the way. The strange trajectory is the following: Kant's critical philosophy and much of continental philosophy which has followed, (...) has been a defense against horror and madness. Kant's prohibition on speculative metaphysics such as dogmatic metaphysics and transcendental realism, on thinking beyond the imposition of transcendental and moral constraints, has been challenged by numerous figures proceeding him. One of the more interesting critiques of Kant comes from the mad black Deleuzianism of Nick Land stating, “Kant’s critical philosophy is the most elaborate fit of panic in the history of the Earth.” And while Alain Badiou would certainly be opposed to the libidinal investments of Land's Deleuzo-Guattarian thought, he is likewise critical of Kant's normative thought-bureaucracies: Kant is the one author for whom I cannot feel any kinship. Everything in him exasperates me, above all his legalism—always asking Quid Juris? Or ‘Haven’t you crossed the limit?’—combined, as in today’s United States, with a religiosity that is all the more dismal in that it is both omnipresent and vague. The critical machinery he set up has enduringly poisoned philosophy, while giving great succour to the academy, which loves nothing more than to rap the knuckles of the overambitious [….] That is how I understand the truth of Monique David-Menard’s reflections on the properly psychotic origins of Kantianism. I am persuaded that the whole of the critical enterprise is set up to to shield against the tempting symptom represented by the seer Swedenborg, or against ‘diseases of the head’, as Kant puts it. An entire nexus of the limits of reason and philosophy are set up here, namely that the critical philosophy not only defends thought from madness, philosophy from madness, and philosophy from itself, but that philosophy following the advent of the critical enterprise philosophy becomes auto-vampiric; feeding on itself to support the academy. Following Francois Laruelle's non-philosophical indictment of philosophy, we could go one step further and say that philosophy operates on the material of what is philosophizable and not the material of the external world. [1] Beyond this, the Kantian scheme of nestling human thinking between our limited empirical powers and transcendental guarantees of categorical coherence, forms of thinking which stretch beyond either appear illegitimate, thereby liquefying both pre-critical metaphysics and the ravings of the mad in the same critical acid. In rejecting the Kantian apparatus we are left with two entities – an unsure relation of thought to reality where thought is susceptible to internal and external breakdown and a reality with an uncertain sense of stability. These two strands will be pursued, against the sane-seal of post-Kantian philosophy by engaging the work of weird fiction authors H.P. Lovecraft and Thomas Ligotti. The absolute inhumanism of the formers universe will be used to describe a Shoggothic Materialism while the dream worlds of the latter will articulate the mad speculation of a Ventriloquil Idealism. But first we must address the relation of philosophy to madness as well as philosophy to weird fiction. /1/ – Philosophy and Madness There is nothing that the madness of men invents which is not either nature made manifest or nature restored. Michel Foucault. Madness and Civilization. The moment I doubt whether an event that I recall actually took place, I bring the suspicion of madness upon myself: unless I am uncertain as to whether it was not a mere dream. Arthur Schopenhauer. The World as Will and Idea, Vol. 3. Madness is commonly thought of as moving through several well known cultural-historical shifts from madness as a demonic or otherwise theological force, to rationalization, to medicalization psychiatric and otherwise. Foucault's Madness and Civilization is well known for orientating madness as a form of exclusionary social control which operated by demarcating madness from reason. Yet Foucault points to the possibility of madness as the necessity of nature at least prior to the crushing weight of the church. Kant’s philosophy as a response to madness is grounded by his humanizing of madness itself. As Adrian Johnston points out in the early pages of Time Driven pre-Kantian madness meant humans were seized by demonic or angelic forces whereas Kantian madness became one of being too human. Madness becomes internalized, the external demonic forces become flaws of the individual mind. Foucault argues that, while madness is de-demonized it is also dehumanized during the Renaissance, as madmen become creatures neither diabolic nor totally human reduced to the zero degree of humanity. It is immediately clear why for Kant, speculative metaphysics must be curbed – with the problem of internal madness and without the external safeguards of transcendental conditions, there is nothing to formally separate the speculative capacities for metaphysical diagnosis from the mad ramblings of the insane mind – both equally fall outside the realm of practicality and quotidian experience. David-Menard's work is particularly useful in diagnosing the relation of thought and madness in Kant's texts. David-Menard argues that in Kant's relatively unknown “An Essay on the Maladies of the Mind” as well as his later discussion of the Seer of Swedenborg, that Kant formulates madness primarily in terms of sensory upheaval or other hallucinatory theaters. She writes: “madness is an organization of thought. It is made possible by the ambiguity of the normal relation between the imaginary and the perceived, whether this pertains to the order of sensation or to the relations between our ideas” Kant's fascination with the Seer forces Kant between the pincers of “aesthetic reconciliation” – namely melancholic withdrawal – and “a philosophical invention” – namely the critical project. Deleuze and Guattari's schizoanalysis is a combination and reversal of Kant's split, where an aesthetic over engagement with the world entails prolific conceptual invention. Their embrace of madness, however, is of course itself conceptual despite all their rhizomatic maneuvers. Though they move with the energy of madness, Deleuze and Guattari save the capacity of thought from the fangs of insanity by imbuing materiality itself with the capacity for thought. Or, as Ray Brassier puts it, “Deleuze insists, it is necessary to absolutize the immanence of this world in such a way as to dissolve the transcendent disjunction between things as we know them and as they are in themselves”. That is, whereas Kant relied on the faculty of judgment to divide representation from objectivity Deleuze attempts to flatten the whole economy beneath the juggernaut of ontological univocity. Speculation, as a particularly useful form of madness, might fall close to Deleuze and Guattari’s shaping of philosophy into a concept producing machine but is different in that it is potentially self destructive – less reliant on the stability of its own concepts and more adherent to exposing a particular horrifying swath of reality. Speculative madness is always a potential disaster in that it acknowledges little more than its own speculative power with the hope that the gibbering of at least a handful of hysterical brains will be useful. Pre-critical metaphysics amounts to madness, though this may be because the world itself is mad while new attempts at speculative metaphysics, at post-Kantian pre-critical metaphysics, are well aware of our own madness. Without the sobriety of the principle of sufficient reason we have a world of neon madness: “we would have to conceive what our life would be if all the movements of the earth, all the noises of the earth, all the smells, the tastes, all the light – of the earth and elsewhere, came to us in a moment, in an instant – like an atrocious screaming tumult of things”. Speculative thought may be participatory in the screaming tumult of the world or, worse yet, may produce its spectral double. Against theology or reason or simply commonsense, the speculative becomes heretical. Speculation, as the cognitive extension of the horrorific sublime should be met with melancholic detachment. Whereas Kant's theoretical invention, or productivity of thought, is self -sabotaging, since the advent of the critical project is a productivity of thought which then delimits the engine of thought at large either in dogmatic gestures or non-systematizable empirical wondrousness. The former is celebrated by the fiction of Thomas Ligotti whereas the latter is espoused by the tales of H.P. Lovecraft. /2/ – Weird Fiction and Philosophy. Supernatural horror, in all its eerie constructions, enables a reader to taste treats inconsistent with his personal welfare. Thomas Ligotti Songs of a Dead Dreamer. I choose weird stories because they suit my inclination best—one of my strongest and most persistent wishes being to achieve,momentarily, the illusion of some strange suspension or violation of the galling limitations of time, space, and natural law which forever imprison us and frustrate our curiosity about the infinite cosmic spaces beyond the radius of our sight and analysis H.P. Lovecraft. “Notes on Writing Weird Fiction” Lovecraft states that his creation of a story is to suspend natural law yet, at the same time, he indexes the tenuousness of such laws, suggesting the vast possibilities of the cosmic. The tension that Lovecraft sets up between his own fictions and the universe or nature is reproduced within his fictions in the common theme of the unreliable narrator; unreliable precisely because they are either mad or what they have witnessed questions the bounds of material reality. In “The Call of Cthulhu” Lovecraft writes: The most merciful thing in the world, I think, is the inability of the human mind to correlate all its contents. We live on a placid island of ignorance in the midst of black seas of infinity, and it was not meant that we should voyage far. The sciences, each straining in its own direction, have hitherto harmed us little; but some day the piecing together of dissociated knowledge will open up such terrifying vistas of reality, and of our frightful position therein, that we shall either go mad from the revelation or flee from the deadly light into the peace and safety of a new dark age. Despite Lovecraft's invocations of illusion, he is not claiming that his fantastic creations such as the Old Ones are supernatural but, following Joshi, are only ever supernormal. One can immediately see that instead of nullifying realism Lovecraft in fact opens up the real to an unbearable degree. In various letters and non-fictional statements Lovecraft espoused strictly materialist tenets, ones which he borrowed from Hugh Elliot namely the uniformity of law, the denial of teleology and the denial of non-material existence. Lovecraft seeks to explore the possibilities of such a universe by piling horror upon horror until the fragile brain which attempts to grasp it fractures. This may be why philosophy has largely ignored weird fiction – while Deleuze and Guattari mark the turn towards weird fiction and Lovecraft in particular, with the precursors to speculative realism as well as contemporary related thinkers have begun to view Lovecraft as making philosophical contributions. Lovecraft's own relation to philosophy is largely critical while celebrating Nietzsche and Schopenhauer. This relationship of Lovecraft to philosophy and philosophy to Lovecraft is coupled with Lovecraft's habit of mercilessly destroying the philosopher and the figure of the academic more generally in his work, a destruction which is both an epistemological destruction and an ontological destruction. Thomas Ligotti's weird fiction which he has designated as a kind of “confrontational escapism” might be best described in the following quote from one of his shortstories, “The human phenomenon is but the sum of densely coiled layers of illusion each of which winds itself on the supreme insanity. That there are persons of any kind when all there can be is mindless mirrors laughing and screaming as they parade about in an endless dream”. Whereas Lovecraft's weirdness draws predominantly from the abyssal depths of the uncharted universe, Ligotti's existential horror focuses on the awful proliferation of meaningless surfaces that is, the banal and every day function of representation. In an interview, Ligotti states: We don't even know what the world is like except through our sense organs, which are provably inadequate. It's no less the case with our brains. Our whole lives are motored along by forces we cannot know and perceptions that are faulty. We sometimes hear people say that they're not feeling themselves. Well, who or what do they feel like then? This is not to say that Ligotti sees nothing beneath the surface but that there is only darkness or blackness behind it, whether that surface is on the cosmological level or the personal. By addressing the implicit and explicit philosophical issues in Ligotti's work we will see that his nightmarish take on reality is a form of malevolent idealism, an idealism which is grounded in a real, albeit dark and obscure materiality. If Ligotti's horrors ultimately circle around mad perceptions which degrade the subject, it takes aim at the vast majority of the focus of continental philosophy. While Lovecraft's acidic materialism clearly assaults any romantic concept of being from the outside, Ligotti attacks consciousness from the inside: Just a little doubt slipped into the mind, a little trickle of suspicion in the bloodstream, and all those eyes of ours, one by one, open up to the world and see its horror [...] Not even the solar brilliance of a summer day will harbor you from horror. For horror eats the light and digests it into darkness. Clearly, the weird fiction of Lovecraft and Ligotti amount to a anti-anthrocentric onslaught against the ramparts of correlationist continental philosophy. /3/ – Shoggothic Materialism or the Formless Formless protoplasm able to mock and reflect all forms and organs and processes—viscous agglutinations of bubbling cells—rubbery fifteen-foot spheroids infinitely plastic and ductile—slaves of suggestion, builders of cities—more and more sullen, more and more intelligent, more and more amphibious, more and more imitative—Great God! What madness made even those blasphemous Old Ones willing to use and to carve such things? H.P. Lovecraft. “At the Mountains of Madness” On the other hand, affirming that the universe resembles nothing and is only formless amounts to saying that the universe is something like a spider or spit. Georges Bataille. “Formless”. The Shoggoths feature most prominently in H.P. Lovecraft's shortstory “At the Mountains of Madness” where they are described in the following manner: It was a terrible, indescribable thing vaster than any subway train – a shapeless congeries of protoplasmic bubbles, faintly self -luminous, and with myriads of temporary eyes forming and un-forming as pustules of greenish light all over the tunnel-filling front that bore down upon us, crushing the frantic penguins and slithering over the glistening floor that it and its kind had swept so evilly free of all litter. The term is a litmus test for materialism itself as the Shoggoth is an amorphous creature. The Shoggoths were living digging machines bio engineered by the Elder Things, and their protoplasmic bodies being formed into various tools by their hypnotic powers. The Shoggoths eventually became self aware and rose up against their masters in an ultimately failed rebellion. After the Elder Ones retreated into the oceans leaving the Shoggoths to roam the frozen wastes of the Antarctic. The onto-genesis of the Shoggoths and their gross materiality, index the horrifyingly deep time of the earth a concept near and dear to Lovecraft's formulation of horror as well as the fear of intelligences far beyond, and far before, the ascent of humankind on earth and elsewhere. The sickly amorphous nature of the Shoggoths invade materialism at large, where while materiality is unmistakably real ie not discursive, psychological, or otherwise overly subjectivist, it questions the relation of materialism to life. As Eugene Thacker writes: The Shoggoths or Elder Things do not even share the same reality with the human beings who encounter them—and yet this encounter takes place, though in a strange no-place that is neither quite that of the phenomenal world of the human subject or the noumenal world of an external reality. Amorphous yet definitively material beings are a constant in Lovecraft's tales. In his tale “The Dream-Quest of Unknown Kadatth” Lovecraft describes Azathoth as, “that shocking final peril which gibbers unmentionably outside the ordered universe,” that, “last amorphous blight of nethermost confusion which blashphemes and bubbles at the centre of all infinity,” who, “gnaws hungrily in inconceivable, unlighted chambers beyond time”. Azathoth's name may have multiple origins but the most striking is the alchemy term azoth which is both a cohesive agent and a acidic creation pointing back to the generative and the decayed. The indistinction of generation and degradation materially mirrors the blur between the natural and the unnatural as well as life and non-life. Lovecraft speaks of the tension between the natural and the unnatural is his short story “The Unnameable.” He writes, “if the psychic emanations of human creatures be grotesque distortions, what coherent representation could express or portray so gibbous and infamous a nebulousity as the spectre of a malign, chaotic perversion, itself a morbid blasphemy against Nature?”. Lovecraft explores exactly the tension outlined at the beginning of this chapter, between life and thought. At the end of his short tale Lovecraft compounds the problem as the unnameable is described as “a gelatin—a slime—yet it had shapes, a thousand shapes of horror beyond all memory”. Deleuze suggests that becoming-animal is operative throughout Lovecraft's work, where narrators feel themselves reeling at their becoming non-human or of being the anomalous or of becoming atomized. Following Eugene Thacker however, it may be far more accurate to say that Lovecraft's tales exhibit not a becoming-animal but a becoming-creature. Where the monstrous breaks the purportedly fixed laws of nature, the creature is far more ontologically ambiguous. The nameless thing is an altogether different horizon for thought. The creature is either less than animal or more than animal – its becoming is too strange for animal categories and indexes the slow march of thought towards the bizarre. This strangeness is, as aways, some indefinite swirling in the category of immanence and becoming. Bataille begins “The Labyrinth” with the assertion that being, to continue to be, is becoming. More becoming means more being hence the assertion that Bataille's barking dog is more than the sponge. This would mean that the Shoggotth is altogether too much being, too much material in the materialism. Bataille suggests that there is an immanence between the eater and the eaten, across the species and never within them. That is, despite the chaotic storm of immanence there must remain some capacity to distinguish the gradients of becoming without reliance upon, or at least total dependence upon, the powers of intellection to parse the universe into recognizable bits, properly digestible factoids. That is, if we undo Deleuze's aforementioned valorization of sense which, for his variation of materialism, performed the work of the transcendental, but refuse to reinstate Kant's transcendental disjunction between thing and appearance, then it must be a quality of becoming-as-being itself which can account for the discernible nature of things by sense. In an interview with Peter Gratton, Jane Bennett formulates the problem thusly: What is this strange systematicity proper to a world of Becoming? What, for example, initiates this congealing that will undo itself? Is it possible to identify phases within this formativity, plateaus of differentiation? If so, do the phases/plateaus follow a temporal sequence? Or, does the process of formation inside Becoming require us to theorize a non-chronological kind of time? I think that your student’s question: “How can we account for something like iterable structures in an assemblage theory?” is exactly the right question. Philosophy has erred too far on the side of the subject in the subject-object relation and has furthermore, lost the very weirdness of the non-human. Beyond this, the madness of thought need not override. /4/ - Ventriloquial Idealism or the Externality of Thought My aim is the opposite of Lovecraft's. He had an appreciation for natural scenery on earth and wanted to reach beyond the visible in the universe. I have no appreciation for natural scenery and want the objective universe to be a reflection of a character. Thomas Ligotti. “Devotees of Decay and Desolation.” Unless life is a dream, nothing makes sense. For as a reality, it is a rank failure [….] Horror is more real than we are. Thomas Ligotti. “Professor Nobody's Little Lectures on Supernatural Horror”. Thomas Ligotti's tales are rife with mannequins, puppets, and other brainless entities which of replace the valorized subject of philosophy – that of the free thinking human being. His tales such as “The Dream of the Manikin” aim to destroy the rootedness of consciousness. James Trafford has connected the anti-egoism of Ligotti to Thomas Metzinger – where the self is at best an illusion and we plead desperately for someone else to acknowledge that we are real. Trafford has stated it thus, “Life is played out as an inescapable puppet show, an endless dream in which the puppets are generally unaware that they are trapped within a mesmeric dance of whose mechanisms they know nothing and over which they have no control”. An absolute materialism, for Ligotti, implies an alienation of the idea which leads to a ventriloquil idealism. As Ligotti notes in an interview, “the fiasco and nightmare of existence, the particular fiasco and nightmare of human existence, the sense that people are puppets of powers they cannot comprehend, etc.” And then further elaborates that,“[a]ssuming that anything has to exist, my perfect world would be one in which everyone has experienced the annulment of his or her ego. That is, our consciousness of ourselves as unique individuals would entirely disappear”. The externality of the idea leads to the unfortunate consequence of consciousness eating at itself through horror which, for Ligotti, is more real than reality and goes beyond horror-as-affect. Beyond this, taking together with the unreality of life and the ventriloquizing of subjectivity, Ligotti's thought becomes an idealism in which thought itself is alien and ultimately horrifying. The role of human thought and the relation of non-relation of horror to thought is not completely clear in Ligotti's The Conspiracy Against the Human Race. Ligotti argues in his The Conspiracy Against the Human Race,that the advent of thought is a mistake of nature and that horror is being in the sense that horror results from knowing too much. Yet, at the same time, Ligotti seems to suggest that thought separates us from nature whereas, for Lovecraft, thought is far less privileged – mind is just another manifestation of the vital principal, it is just another materialization of energy. In his brilliant “Prospects for Post-Copernican Dogmatism” Iain Grant rallies against the negative definition of dogmatism and the transcendental, and suggests that negatively defining both over-focuses on conditions of access and subjectivism at the expense of the real or nature. With Schelling, who is Grant's champion against the subjectivist bastions of both Fichte and Kant, Ligotti's idealism could be taken as a transcendental realism following from an ontological realism. Yet the transcendental status of Ligotti's thought move towards a treatment of the transcendental which may threaten to leave beyond its realist ground. Ligotti states: Belief in the supernatural is only superstition. That said, a sense of the supernatural, as Conrad evidenced in Heart of Darkness, must be admitted if one's inclination is to go to the limits of horror. It is the sense of what should not be- the sense of being ravaged by the impossible. Phenomenally speaking, the super-natural may be regarded as the metaphysical counterpart of insanity, a transcendental correlative of a mind that has been driven mad. Again, Ligotti equates madness with thought, qualifying both as supernatural while remaining less emphatic about the metaphysical dimensions of horror. The question becomes one of how exactly the hallucinatory realm of the ideal relates to the black churning matter of Lovecraft's chaos of elementary particles. In his tale “I Have a Special Plan for This World” Ligotti formulates thus: A: There is no grand scheme of things. B: If there were a grand scheme of things, the fact – the fact – that we are not equipped to perceive it, either by natural or supernatural means, is a nightmarish obscenity. C: The very notion of a grand scheme of things is a nightmarish obscenity. Here Ligotti is not discounting metaphysics but implying that if it does exist the fact that we are phenomenologically ill-equipped to perceive that it is nightmarish. For Ligotti, nightmare and horror occur within the circuit of consciousness whereas for Lovecraft the relation between reality and mind is less productive on the side of mind. It is easier to ascertain how the Kantian philosophy is a defense against the diseases of the head as Kant armors his critical enterprise from too much of the world and too much of the mind. The weird fiction of both Lovecraft and Ligotti demonstrates that there is too much of both feeding into one another in a way that corrodes the Kantian schema throughly, breaking it down into a dead but still ontologically potentiated nigredo. The haunting, terrifying fact of Ligotti's idealism is that the transcendental motion which brought thought to matter, while throughly material and naturalized, brings with it the horror that thought cannot be undone without ending the material that bears it either locally or completely. Thought comes from an elsewhere and an elsewhen being-in-thought. The unthinkable outside thought is as maddening as the unthought engine of thought itself within thought which doesn't exist except for the mind, the rotting décor of the brain. /5/ - Hyperstitional Transcendental Paranoia or Self -Expelled Thought Weird fiction has been given some direct treatment in philosophy in the mad black Deleuzianism of Nick Land. Nick Land along with others in the 1990s created the Cyber Culture Research Unit as well as the research group Hyperstition. The now defunct hyperstitional website, an outgrowth of the Cyber Culture Research Unit, defined hyperstition in the following fourfold: 1-Element of effective culture that makes itself real. 2-Fictional quantity functional as a time-traveling device. 3-Coincidence intensifier. 4-Call to the Old Ones. The distinctively Lovecraftian character of hyperstition is hard to miss as is its Deleuzo-Guattarian roots. In the opening pages of A Thousand Plateaus Deleuze and Guattari write, “We have been criticized for over-quoting literary authors. But when one writes, the only question is which other machine the literary machine can be plugged into”. The indisinction of literature and philosophy mirrors the mess of being and knowing as post-correlationist philosophy, where philosophy tries to make itself real where literature, especially the weird, aims itself at the brain-circuit of horror. The texts of both Lovecraft and Ligotti work through horror as epistemological plasticity meeting with proximity as well as the deep time of Lovecraft and the glacially slow time of paranoia in Ligotti. Against Deleuze, and following Brassier, we cannot allow the time of consciousness, the Bergsonian time of the duree, to override natural time, but instead acknowledge that it is an unfortunate fact of existence as a thinking being. Horror-time, the time of consciousness, with all its punctuated moments and drawn out terrors, cannot compare to the deep time of non-existence both in the unreachable past and the unknown future. The crystalline cogs of Kant's account of experience as the leading light for the possibility of metaphysics must be throughly obliterated. His gloss of experience in Prolegomena to any Future Metaphysics could not be more sterile: Experience consists of intuitions, which belong to the sensibility, and of judgments, which are entirely a work of the understanding. But the judgments which the understanding makes entirely out of sensuous intuitions are far from being judgments of experience. For in the one case the judgment connects only the perceptions as they are given in sensuous intuition [....] Experience consists in the synthetic connection of appearances in consciousness, so far as this connection is necessary. Here it is difficult to dismiss the queasiness that Kant's legalism induces upon sight for both Badiou and David-Menard. Kant's thought becomes, as Foucault says when reflecting on Sade's text in relation to nature, “the savage abolition of itself”. For Badiou, Kant's philosophy simply closes off too much of the outside, freezing the world of thought in an all too limited formalism. Critical philosophy is simply the systematized quarantine on future thinking, on thinking which would threaten the formalism which artificially grants thought its own coherency in the face of madness. Even the becoming-mad of Deleuze, while escaping the rumbling ground, makes grounds for itself, mad grounds but grounds which are thinkable in their affect. The field of effects allows for Deleuze's aesthetic and radical empiricism, in which effects and/or occasions make up the material of the world to be thought as a chaosmosis of simulacra. Given a critique of an empiricism of aesthetics, of the image, it may be difficult to justify an attack on Kantian formalism with the madness of literature, which does not aim to make itself real but which we may attempt to make real. That is, how do Lovecraft's and Ligotti's materials, as materials for philosophy to work on, differ from either the operative formalisms of Kant or the implicitly formalized images of Deleuzian empiricism? It is simply that such texts do not aim to make themselves real, and make claims to the real which are more alien to us than familiar, which is why their horror is immediately more trustworthy. This is the madness which Blanchot discusses in The Infinite Conversation through Cervantes and his knight – the madness of book-life, of the perverse unity of literature and life a discussion which culminates in the discussion of one of the weird's masters, that of Kafka. The text is the knowing of madness, since madness, in its moment of becoming-more-mad, cannot be frozen in place but by the solidifications of externalizing production. This is why Foucault ends his famous study with works of art. Furthermore extilligence, the ability to export the products of our maligned brains, is the companion of the attempts to export, or discover the possibility of intelligences outside of our heads, in order for philosophy to survive the solar catastrophe. To borrow again from Deleuze, writing is inseparable from becoming. The mistake is to believe that madness is reabsorbed by extilligence, by great works, or that it could be exorcised by the expelling of thought into the inorganic or differently organic. Going out of our heads does not guarantee we will no longer mean we cannot still go out of our minds. This is simply because of the outside, of matter, or force, or energy, or thing-in-itself, or Schopenhauerian Will. In Lovecraft’s “The Music of Erich Zahn” an “impoverished student of metaphysics” becomes intrigued by strange viol music coming from above his room. After meeting the musician the student discovers that each night he plays frantic music at a window in order to keep some horridness at bay, some “impenetrable darkness with chaos and pandemonium”. The aesthetic defenses provided by the well trained brain can bear the hex of matter for so long, the specter of unalterability within it which too many minds obliterate, collapsing everything before the thought of thought as thinkable or at least noetically mutable on our own terms. Transcendental paranoia is the concurrent nightmare and promise of Paul Humphrey's work, of being literally out of our minds. It is the gothic counterpart of thinking non-conceptually but also of thinking never belonging to any instance of purportedly solid being. As Bataille stated, “At the boundary of that which escapes cohesion, he who reflects within cohesion realizes there is no longer any room for him” Thought is immaterial only to the degree that it is inhuman, it is a power that tries, always with failure, to ascertain its own genesis. Philosophy, if it can truly return to the great outdoors, if it can leave behind the dead loop of the human skull, must recognize not only the non-priority of human thought, but that thought never belongs to the brain that thinks it, thought comes from somewhere else. To return to the train image from the beginning “a locomotive rolling on the surface of the earth is the image of continuous metamorphosis” this is the problem of thought, and of thinking thought, of being no longer able to isolate thought, with only a thought-formed structure. [1] One of the central tenets of Francois Laruelle's non-philosophy is that philosophy has traditionally operated on material already presupposed as thinkable instead of trying to think the real in itself. Philosophy, according to Laruelle, remains fixated on transcendental synthesis which shatters immanence into an empirical datum and an a prori factum which are then fused by a third thing such as the ego. For a critical account of Laruelle's non-philosophy see Ray Brassier's Nihil Unbound. (shrink)

In this series of papers, I attempt to provide an answer to the question how the Babylonian scholars arrived at their mathematical theory of planetary motion. Paper I (de Jong in Arch Hist Exact Sci 73:1–37, 2019) was devoted to a study of system A theory of the outer planets. In this second paper, I will study system A theory of the planet Venus. All presently known ephemerides of Venus appear to have been written after 200 BC so that (...) the development of system A theory of Venus may have been a late development. On the other hand, there are several earlier texts in which the motion of Venus, going from one synodic phenomenon to the next one, is parametrized in quite some detail. At least six computational systems of Venus are known of which only two, systems A0 and A3, are genuine type-A systems. Both are based on the hypothesis that in exactly 1151 years Venus experiences 720 synodic phenomena of the same kind and that after this period of 1151 years Venus returns to exactly the same position in the sky. This period relation was probably derived from the observational fact that after 8 years Venus returns to a position in the zodiac that falls on average 2.5° short of its previous position. The study of the Babylonian planetary theory of Venus presented here will be primarily based on the system A3 theory of Venus because it is the most complete of the two systems. The parameters of the four step functions characterizing the system A3 model of the first and last appearances of Venus are known from previous studies of tablet BM 32599 (ACT 1050). Based on a database of synthetic observations of the first and last appearances (morning first, morning last, evening first and evening last) and the two stationary points (morning station and evening station) of Venus between 315 BC and 50 BC, I first discuss the observational material from the point of view of a Babylonian astronomer. This involves deriving synodic time intervals and synodic arcs from the observed dates and longitudes of Venus. Both vary with the position of Venus in the zodiac. This variation shows up most purely in the synodic arcs and synodic time intervals of Venus at its stations. The variation pattern of the synodic arcs and of the synodic time intervals at the first and last appearances of Venus differ considerably because they are strongly affected by atmospheric extinction and by the ecliptic latitude of Venus. A comparison of predictions of the first and last appearances of Venus computed according to system A3 with observations in the synthetic database shows that the models provide fairly accurate fits to the observations of evening last and morning first with typical standard deviations of about 2° but rather poor fits to the observations of morning last and evening first with typical standard deviations of about 7° and 4°. Quite surprisingly, it turns out that the morning first A3 model fits the observed longitudes of Venus at its stations almost perfectly, with standard deviations of about 1°. This suggests that observations of the stations of Venus must have been available to the Babylonian astronomer(s) who constructed the system A3 model of Venus and who computed the longitudes of Venus at its first and last appearances preserved in tablet BM 32599. This is quite puzzling because observations of the stations of Venus were definitely not part of the standard observing program of the Babylonian astronomers as we know it from the Astronomical Diaries. To resolve this problem, I propose that observations could have been made by some individual astronomer for his own use but that these observations never became part of the tradition of what was regularly observed and recorded in the Astronomical Diaries. It turns out that 25 years of observations of Venus (here illustrated for the years 203 BC to 178 BC) is sufficient for the construction of a system A model that perfectly fits the variation of the synodic arcs of Venus at its stations. By combining observed time intervals and known velocities of Venus, observations over this limited timespan can also be used to construct longitudes of Venus at its first and last appearances from previous known positions of Venus based on Normal Stars passages or from known positions at its stations. This is the only way in which positions of Venus at its first and last appearances can be determined because at its first and last appearances the sky is too bright for Normal Stars to be visible. I propose that the Babylonian system A3 models of Venus were based on longitudes constructed in this way. I finally suggest that the tablet, of which BM 32599 is the remainder, was filled line by line starting with a set of initial values in the bottom left-hand corner of the tablet and that the choice of these initial values was based on an observation of Venus at its evening station when it was exceptionally close to the Normal Star η Piscium in February 179 BC. Based on this choice of initial conditions, the tablet covers the years 403 BC to 170 BC and it may have been composed around 170 BC. It was probably computed with the purpose of creating a raster of longitudes with mazes of about 2.5° that could be used to predict future positions of Venus at its first or last appearance once a position at a previous first or last appearance was available. (shrink)

In this series of papers, I attempt to provide an answer to the question how the Babylonian scholars arrived at their mathematical theory of planetary motion. Paper I (de Jong in Arch Hist Exact Sci 73:1–37, 2019) was devoted to a study of system A theory of the outer planets. In this second paper, I will study system A theory of the planet Venus. All presently known ephemerides of Venus appear to have been written after 200 BC so that (...) the development of system A theory of Venus may have been a late development. On the other hand, there are several earlier texts in which the motion of Venus, going from one synodic phenomenon to the next one, is parametrized in quite some detail. At least six computational systems of Venus are known of which only two, systems A0 and A3, are genuine type-A systems. Both are based on the hypothesis that in exactly 1151 years Venus experiences 720 synodic phenomena of the same kind and that after this period of 1151 years Venus returns to exactly the same position in the sky. This period relation was probably derived from the observational fact that after 8 years Venus returns to a position in the zodiac that falls on average 2.5° short of its previous position. The study of the Babylonian planetary theory of Venus presented here will be primarily based on the system A3 theory of Venus because it is the most complete of the two systems. The parameters of the four step functions characterizing the system A3 model of the first and last appearances of Venus are known from previous studies of tablet BM 32599 (ACT 1050). Based on a database of synthetic observations of the first and last appearances (morning first, morning last, evening first and evening last) and the two stationary points (morning station and evening station) of Venus between 315 BC and 50 BC, I first discuss the observational material from the point of view of a Babylonian astronomer. This involves deriving synodic time intervals and synodic arcs from the observed dates and longitudes of Venus. Both vary with the position of Venus in the zodiac. This variation shows up most purely in the synodic arcs and synodic time intervals of Venus at its stations. The variation pattern of the synodic arcs and of the synodic time intervals at the first and last appearances of Venus differ considerably because they are strongly affected by atmospheric extinction and by the ecliptic latitude of Venus. A comparison of predictions of the first and last appearances of Venus computed according to system A3 with observations in the synthetic database shows that the models provide fairly accurate fits to the observations of evening last and morning first with typical standard deviations of about 2° but rather poor fits to the observations of morning last and evening first with typical standard deviations of about 7° and 4°. Quite surprisingly, it turns out that the morning first A3 model fits the observed longitudes of Venus at its stations almost perfectly, with standard deviations of about 1°. This suggests that observations of the stations of Venus must have been available to the Babylonian astronomer(s) who constructed the system A3 model of Venus and who computed the longitudes of Venus at its first and last appearances preserved in tablet BM 32599. This is quite puzzling because observations of the stations of Venus were definitely not part of the standard observing program of the Babylonian astronomers as we know it from the Astronomical Diaries. To resolve this problem, I propose that observations could have been made by some individual astronomer for his own use but that these observations never became part of the tradition of what was regularly observed and recorded in the Astronomical Diaries. It turns out that 25 years of observations of Venus (here illustrated for the years 203 BC to 178 BC) is sufficient for the construction of a system A model that perfectly fits the variation of the synodic arcs of Venus at its stations. By combining observed time intervals and known velocities of Venus, observations over this limited timespan can also be used to construct longitudes of Venus at its first and last appearances from previous known positions of Venus based on Normal Stars passages or from known positions at its stations. This is the only way in which positions of Venus at its first and last appearances can be determined because at its first and last appearances the sky is too bright for Normal Stars to be visible. I propose that the Babylonian system A3 models of Venus were based on longitudes constructed in this way. I finally suggest that the tablet, of which BM 32599 is the remainder, was filled line by line starting with a set of initial values in the bottom left-hand corner of the tablet and that the choice of these initial values was based on an observation of Venus at its evening station when it was exceptionally close to the Normal Star η Piscium in February 179 BC. Based on this choice of initial conditions, the tablet covers the years 403 BC to 170 BC and it may have been composed around 170 BC. It was probably computed with the purpose of creating a raster of longitudes with mazes of about 2.5° that could be used to predict future positions of Venus at its first or last appearance once a position at a previous first or last appearance was available. (shrink)

One fundamental assumption seems to underlie – explicitly or implicitly – every critique of Brenner I have seen: that there can be no such thing as a Marxist theory of competition, the ‘horizontal’ relation among many capitals, that does not presuppose the ‘vertical’ class relation between capital and living labour. To start with the relation between capital and living labour is the only way to establish one's Marxist credentials. In support of that assumption, more than one critic has invoked Marx's (...) comment that competition does not produce or explain capitalist laws of motion but merely executes them, as their visible manifestation in the external movements of individual capitals. Predictably, too, some critics have gleefully turned against Brenner the charge he has famously levelled against other Marxists: that his focus on competition and the market makes him a ‘neo-Smithian’. (shrink)

Shapes that are rendered invisible through backward masking are still able to influence motor responses: this is called masked priming. Yet it is unknown whether this influence is on the control of ongoing action, or whether it merely influences the initiation of an already-programmed action. We modified a masked priming procedure such that the critical prime-mask sequence was displayed during the execution of an already-initiated goal-directed pointing movement. Psychophysical tests of prime visibility indicated that the identity of the prime shapes (...) were not accessible to participants for conscious report. Yet detailed kinematic analysis of the finger in motion revealed that masked primes had an influence on the pointing trajectories within 277 ms of their appearance, 56 ms earlier than the trajectory deviations observed in response to the visible masks. These results indicate that subliminal shapes can indeed influence the control of ongoing motor activity. (shrink)

In this series of papers I attempt to provide an answer to the question how the Babylonian scholars arrived at their mathematical theory of planetary motion. Papers I and II were devoted to system A theory of the outer planets and of the planet Venus. In this third and last paper I will study system A theory of the planet Mercury. Our knowledge of the Babylonian theory of Mercury is at present based on twelveEphemeridesand sevenProcedure Texts. Three computational systems (...) of Mercury are known, all of system A. System A1is represented by nineEphemeridescovering the years 190 BC to 100 BC and system A2by twoEphemeridescovering the years 310 to 290 BC. System A3is known from aProcedure Textand from Text M, anEphemerisof the last evening visibility of Mercury for the years 424 to 403 BC. From an analysis of the Babylonian observations of Mercury preserved in theAstronomical DiariesandPlanetary Textswe find: (1) that dates on which Mercury reaches its stationary points are not recorded, (2) that Normal Star observations on or near dates of first and last appearance of Mercury are rare (about once every twenty observations), and (3) that about one out of every seven pairs of first and last appearances is recorded as “omitted” when Mercury remains invisible due to a combination of the low inclination of its orbit to the horizon and the attenuation by atmospheric extinction. To be able to study the way in which the Babylonian scholars constructed their system A models of Mercury from the available observational material I have created a database of synthetic observations by computing the dates and zodiacal longitudes of all first and last appearances and of all stationary points of Mercury in Babylon between 450 and 50 BC. Of the data required for the construction of an ephemeris synodic time intervals Δt can be directly derived from observed dates but zodiacal longitudes and synodic arcs Δλ must be determined in some other way. Because for Mercury positions with respect to Normal Stars can only rarely be determined at its first or last appearance I propose that the Babylonian scholars used the relation Δλ = Δt −3;39,40, which follows from the period relations, to compute synodic arcs of Mercury from the observed synodic time intervals. An additional difficulty in the construction of System A step functions is that most amplitudes are larger than the associated zone lengths so that in the computation of the longitudes of the synodic phases of Mercury quite often two zone boundaries are crossed. This complication makes it difficult to understand how the Babylonian scholars managed to construct System A models for Mercury that fitted the observations so well because it requires an excessive amount of computational effort to find the best possible step function in a complicated trial and error fitting process with four or five free parameters. To circumvent this difficulty I propose that the Babylonian scholars used an alternative more direct method to fit System A-type models to the observational data of Mercury. This alternative method is based on the fact that after three synodic intervals Mercury returns to a position in the sky which is on average only 17.4° less in longitude. Using reduced amplitudes of about 14°–25° but keeping the same zone boundaries, the computation of what I will call 3-synarc system A models of Mercury is significantly simplified. A full ephemeris of a synodic phase of Mercury can then be composed by combining three columns of longitudes computed with 3-synarc step functions, each column starting with a longitude of Mercury one synodic event apart. Confirmation that this method was indeed used by the Babylonian astronomers comes from Text M (BM 36551+), a very early ephemeris of the last appearances in the evening of Mercury from 424 to 403 BC, computed in three columns according to System A3. Based on an analysis of Text M I suggest that around 400 BC the initial approach in system A modelling of Mercury may have been directed towards choosing “nice” sexagesimal numbers for the amplitudes of the system A step functions while in the later final models, dating from around 300 BC onwards, more emphasis was put on selecting numerical values for the amplitudes such that they were related by simple ratios. The fact that different ephemeris periods were used for each of the four synodic phases of Mercury in the later models may be related to the selection of a best fitting set of System A step function amplitudes for each synodic phase. (shrink)

In the creation myth of the Timaeus Plato describes God as wishing that all things should be good so far as is possible. Wherefore, finding the whole visible sphere of the world not at rest, but moving in an irregular fashion, out of disorder He brought order, thinking that this was in every way an improvement. To achieve His end He placed intelligence in soul and soul in body, reflecting that nothing unintelligent could ever be better than something intelligent (...) . From this account of creation it would seem that God confronted a chaotic world whose disorderly motions existed in full independence of the principle of soul. Yet, in his doctrinal pronouncements in the Laws and the Pbaedrus on the origin of motion, Plato declares soul to be elder born than bodies and the prime source of all their changes and transformations. (shrink)

In chapters 12-18 of "Against Proclus," Philoponus continues to do battle against Proclus' arguments for the beginninglessness and everlastingness of the ordered universe. In this final section there are three notable issues under discussion. The first concerns the composition of the heavens and its manner of movement. Philoponus argues against the Aristotelian thesis that there is a fifth heavenly body that has a natural circular motion. He concludes that even though the celestial region is composed of fire and the (...) other three elements, it can move in a circle by the agency of its soul, and that this circular motion is not compromised in any way by the innate natural motion of the fire. Chapter 16 contains an extended discussion of the will of God and His relation to particulars. Here Philoponus addresses issues that become central to medieval philosophical and theological discussions, including the unity, timelessness and indivisibility of God's will. Finally, throughout these seven chapters Philoponus is engaged in a detailed exegesis of Plato's Timaeus which aims to settle a number of familiar interpretive problems, notably how we should properly understand the pre-cosmic state of disorderly motion, and the statement that the visible cosmos is an image of the paradigm. Philoponus' exegetical concerns culminate in chapter 18 with an extensive discussion of Plato's attitude to poetry and myth. (shrink)

One fundamental assumption seems to underlie – explicitly or implicitly – every critique of Brenner I have seen: that there can be no such thing as a Marxist theory of competition, the ‘horizontal’ relation among many capitals, that does not presuppose the ‘vertical’ class relation between capital and living labour. To start with the relation between capital and living labour is the only way to establish one's Marxist credentials. In support of that assumption, more than one critic has invoked Marx's (...) comment that competition does not produce or explain capitalist laws of motion but merely executes them, as their visible manifestation in the external movements of individual capitals. Predictably, too, some critics have gleefully turned against Brenner the charge he has famously levelled against other Marxists: that his focus on competition and the market makes him a ‘neo-Smithian’. (shrink)

It is precisely through movement that the subject inscribes itself into the world and becomes visible to others. The subject is a movement directed to the outside, that is to say, the subject is desire. Desire is the “tension” toward the “extrême dehors” that we call the world. In all of his works Maurice Merleau-Ponty reaffirms, without thematizing it, a conception of life as movement, and of body as action and desire: the human being is “a certain lack of....” (...) In other words, it is the distance between myself and the absent that drives me to move, to annul the distance through motion. Thus life is nothing but the unfinished act of moving into space and thereby creating space—the space in which we, as desire and movement, encounter both others and the world. As the act of moving is the way one appears to another, every relationship is based on appearing. In short, life is the movement that leads us towards the world and coincides with our desire to make it appear.C’est précisément par le mouvement que le sujet s’inscrit dans le monde et devient visible pour les autrui. Le sujet est un mouvement dirigé au dehors, c’est-à-dire, le sujet est désir. Le désir est la « tension » vers le « dehors extrême » que nous appelons le monde. Partout, Merleau-Ponty affirme, sans la thématiser explicitement, une conception de la vie comme mouvement, et une conception du corps comme action et désir : l’homme est « un certain manque de ». En d’autres termes, c’est la distance entre moi-même et l’absente qui me force à bouger, à annuler la distance à partir du mouvement. Donc la vie n’est rien que l’acte inachevé de bouger dans l’espace et par là la création de l’espace – l’espace dans lequel nous, comme désir et mouvement, rencontrons les autrui et le monde. Comme l’action est le moyen par lequel l’un apparait à l’autre, tous les rapports sont basés sur l’apparence. En bref, la vie est le mouvement qui nous amène vers le monde et qui coïncide avec notre désir de le faire apparaître.È attraverso il movimento che il soggetto si iscrive nel mondo e diviene visibile per l’altro. Il soggetto è un movimento in direzione del “fuori”, il che significa che il soggetto è desiderio. Il desiderio è “tensione” verso quell’“estremo fuori” che chiamiamo mondo. Ovunque Merleau-Ponty riafferma, senza tematizzarlo esplicitamente, una concezione della vita come movimento, e una concezione del corpo come azione e desiderio: l’uomo è “una certa mancanza di”. In altri termini, è la distanza tra me e l’assente che mi forza a muovermi, ad annullare la distanza tramite il movimento. Dunque la vita non è che l’atto incompiuto di questo muoversi nello spazio e di questo creare lo spazio – lo spazio nel quale noi come desiderio e movimento incontriamo gli altri e il mondo. E poiché l’azione è il mezzo attraverso cui l’uno appare all’altro, tutti i rapporti sono basati sull’apparenza, e la vita è il movimento che ci conduce verso il mondo e che coincide col nostro desiderio di farlo apparire. (shrink)

The paper discusses the philosophical conclusions, which the interrelation between quantum mechanics and general relativity implies by quantum measure. Quantum measure is three-dimensional, both universal as the Borel measure and complete as the Lebesgue one. Its unit is a quantum bit (qubit) and can be considered as a generalization of the unit of classical information, a bit. It allows quantum mechanics to be interpreted in terms of quantum information, and all physical processes to be seen as informational in a generalized (...) sense. This implies a fundamental connection between the physical and material, on the one hand, and the mathematical and ideal, on the other hand. Quantum measure unifies them by a common and joint informational unit. Furthermore the approach clears up philosophically how quantum mechanics and general relativity can be understood correspondingly as the holistic and temporal aspect of one and the same, the state of a quantum system, e.g. that of the universe as a whole. The key link between them is the notion of the Bekenstein bound as well as that of quantum temperature. General relativity can be interpreted as a special particular case of quantum gravity. All principles underlain by Einstein (1918) reduce the latter to the former. Consequently their generalization and therefore violation addresses directly a theory of quantum gravity. Quantum measure reinterprets newly the “Bing Bang” theories about the beginning of the universe. It measures jointly any quantum leap and smooth motion complementary to each other and thus, the jump-like initiation of anything and the corresponding continuous process of its appearance. Quantum measure unifies the “Big Bang” and the whole visible expansion of the universe as two complementary “halves” of one and the same, the set of all states of the universe as a whole. It is a scientific viewpoint to the “creation from nothing”. (shrink)

“Doing Gender,” Candance West and Don Zimmerman’s famous 1987 article, has become a folk concept—a trope or commonsense resource within the sociology of gender. Yet at the same time, most gender scholars overlook its ethnomethodological premise, visible in both poststructuralist misunderstandings of its argument outside the discipline of sociology and what I term a realist misunderstanding of it in the study of structures and identities within the discipline. Reading West and Zimmerman queerly while clarifying ethnomethodology’s ontology, I refocus attention (...) for critical scholarship on ethnomethodology’s analytic sensibilities for research on gender, race, and sexuality, among other embodiments. Specifically, ethnomethodology reframes a vision of actors as relational, practical actors; repositions gender as accountable, jointly produced social relations, not individual identity; and foregrounds resistance in addition to conformity. Hence, my gender is not mine; it is ours. Ethnomethodology’s ontological shift in temporality to reality-in-production enables interpretive-materialism: a queer, anti-racist, intersectional sociology that is future-facing and in motion. (shrink)

Mental Images: Towards a Media History of the Psyche around 1900. Presupposing that visual practices are inherent to the social constitution of knowledge, this article suggests juxtaposing photographs and films produced in a psychiatric environment to popular films run in theaters around 1900, thus identifying cinema’s particular “Denkstil” (Fleck). Rejecting science’s dominating paradigm of visual objectivity (Daston/Galison), the visual apparatus [dispositif] of early cinema facilitates subjective experience of unreason and irrationality and thus initiates a different epistemological approach to knowledge as (...) self‐knowledge of a modern, self‐reflexive subject. This is particularly evident in early cinema’s depiction of the psyche, which does not solely focus on the physical manifestation of the ‘mad’, ‘insane’ body, but also visualizes the subject’s inner life: technical means like montage, multiple exposure or stop motion can be employed to illustrate subjective visions, fantasies or dreams. Thus, the invisible mind becomes visible as the “unthinkable within thinking” (Deleuze), while the subject is invited to participate in cinema’s “gay science” (Nietzsche). (shrink)