An edition, with a new Latin text and full commentary, of Book 2 of Quintilian's Education of the Orator. Education and the conceptualization of technical disciplines are now focal points of research into Graeco-Roman antiquity, and Quintilian's work is central to both areas. Following the treatment of elementary education in Book 1, Quintilian proceeds to the discussion of the second stage of instruction, provided by the teacher of rhetoric. He gives important insights into the way teaching was conducted in a (...) rhetorical school in Rome in the first century AD, and discusses the various elementary rhetorical exercises one by one. The second half of the book is concerned with Quintilian's theoretical conception of rhetoric. Rhetoric is seen as an 'art', a technical discipline grounded in rules and organized like medicine or seafaring, and - less obviously - as a virtue. The section as a whole provides an argument for Quintilian's celebrated claim that the perfect orator is 'a good man, skilled in speaking'. (shrink)

The main thesis behind the article is that Ad Reinhardt in hisPaintings, through a ‘painting away’ of what traditionally constitutes painting, color, pictorial space and gesture, leads our attention towards visuality. The thesis shall be pursued through a discussion of two different approaches to visual sensing as aesthetic experience, one that prefaces a hermeneutical/phenomenological approach claiming sensuousness to unfold through the gesture of chiasm and ‘intertwining’, as it is formulated by Gottfried Boehm, and another, through Jean-Luc Nancy’s post-phenomenological approach (...) accentuating aesthetic experience as a gesture of distance. In the essay I shall focus on differences between the two and look into the question of how an implementation of a phenomenological chiasm and a hermeneutical claim for meaning in contrast to an epistemological and ontological focus on absence and the picture as Le distinc, leads to fundamental difference concerning the question of meaning, of interpretation. (shrink)

“To hear silence is to find stillness in the midst of the restlessness that makes creative life possible and the inescapability of death acceptable.” So writes Mark C. Taylor in his latest book, a philosophy of silence for our nervous, chattering age. How do we find silence—and more importantly, how do we understand it—amid the incessant buzz of the networks that enmesh us? Have we forgotten how to listen to each other, to recognize the virtues of modesty and reticence, and (...) to appreciate the resonance of silence? Are we less prepared than ever for the ultimate silence that awaits us all? Taylor wants us to pause long enough to hear what is not said and to attend to what remains unsayable. In his account, our way to hearing silence is, paradoxically, to see it. He explores the many variations of silence by considering the work of leading modern and postmodern visual artists, including Barnett Newman, Ad Reinhardt, James Turrell, and Anish Kapoor. Developing the insights of philosophers, theologians, writers, and composers, Taylor weaves a rich narrative modeled on the Stations of the Cross. His chapter titles suggest our positions toward silence: Without. Before. From. Beyond. Against. Within. Between. Toward. Around. With. In. Recasting Hegel’s phenomenology of spirit and Kierkegaard’s stages on life’s way, Taylor translates the traditional Via Dolorosa into a Nietzschean Via Jubilosa that affirms light in the midst of darkness. Seeing Silence is a thoughtful meditation that invites readers to linger long enough to see silence, and, in this way, perhaps to hear once again the wordless Word that once was named “God.”. (shrink)

Throughout the history of psychoanalysis, the study of creativity and fine art has been a special concern. _Psychoanalytic Studies of Creativity, Greed and Fine Art: Making Contact with the Self_ makes a distinct contribution to the psychoanalytic study of art by focusing attention on the relationship between creativity and greed. This book also focuses attention on factors in the personality that block creativity, and examines the matter of the self and its ability to be present and exist as the essential (...) element in creativity. Using examples primarily from visual art_ David Levine_ explores the subjects of creativity, empathy, interpretation and thinking through a series of case studies of artists, including Robert Irwin, Ad Reinhardt, Susan Burnstine, and Mark Rothko. _Psychoanalytic Studies of Creativity, Greed and Fine Art_ explores the highly ambivalent attitude of artists toward making their presence known, an ambivalence that is evident in their hostility toward interpretation as a way of knowing. This is discussed with special reference to Susan Sontag’s essay on the subject of interpretation. Psychoanalytic Studies of Creativity, Greed and Fine Art contributes to a long tradition of psychoanalytically influenced writing on creativity including the work of Deri, Kohut, Meltzer, Miller and Winnicott among others. It will be of interest to psychoanalysts, psychoanalytic psychotherapists, historians and theorists of art. (shrink)

Kate Armstrong examines the philosophies of the Marquis de Sade, Søren Kierkegaard, Martin Heidegger, and the artwork of Andy Warhol, Michael Heizer, Kasimir Malevich, Ad Reinhardt, and Barnett Newman, arguing that, in reaction to the crisis of modernity, these writers and artists are involved in the process of refiguring the divine. Armstrong views these artists and their strategies in relation to "death of God" theology to demonstrate how, through inverting or shifting the transcendent and the immanent, they are attempting (...) to refigure the divine. _ Crisis and Repetition: Essays on Art and Culture_ explores the cultural crisis that ensues from the transformation or displacement of a transcendent God. It examines the ramifications of positing a transcendent God in the world by discussing theological accounts in conjunction with contemporary cultural explorations of the crisis of modernity. This crisis is central to modernity, modern thought and modern art, as we struggle to find meaning in existence. (shrink)

Bringing Flowers HomeWe try to put a bandage on the wound,offering a vague apology:Forgive me, distant wars, for bringing flowers home.Towers turn out to have been built on sand.Regimes collapse. No use in asking whywe ripped the bandage off that bleeding wound.An earthquake followed by a hurricane,fires, floods: they've passed some of us by.Us. And who is we? And what is home?Last week an enormous yellow moonhung low in a corner of the sky.Beauty is no bandage for the wound,hole in (...) the future much too big to mendor even to imagine, though we tryto camouflage it, bringing flowers home.You said, when we were talking of the end,that no one teaches us to say goodbye,or how to ease the bandage from the wound.Forgive me, death. I brought these flowers home.Moving the PianoCompact, gleaming, black and white,this sturdy Yamaha uprightstood staunchly in one room for yearsuntil, maneuvered through several doorstoday by two young slender menand up a ramp into their van,it ventured briefly out into the world again.The change of space, the space of change:the walls look naked, empty, strange.Heavy has given way to light.Habitual soliditytoo familiar to seeyields to possibilitytoo unfamiliar to see.Late and early, early, late,end, beginning—all are swirledinto a mist that veils the world.The black and white of status quoblends to a color I don't know,transition that I cannot name,but I salute it all the same.Goodbye, piano, and hello.So where is the piano going?Where will it find another life,music and memories unpackedin an unfolding second act?North Carolina, near a riverwhose stream, like time, is always flowing.My son lives there with his wife.Beloved, nothing is forever.You can't step twice into this life.Nap at Stony PointMy cousin and my friendon their respective recent deathbedsslid from my mind. I noticedthe scarlet splash of a cardinal perched on a cannonon a bluff above the Hudson.I lay down on a picnic table,sun on my face, five turkey vulturescircling overhead, and closed my eyes.And when I opened them I felt as pleasedas if I had completed some needful taskinstead of having forgottenhow my friend in January and my cousin in March,both of them alert and wry and tranquil,had faced what each of them clearly saw approaching—more, had recognized and greeted it,instead of ignoring it by looking through it,the way some people, even iftheir office is two doors down the hall,look right through you, pretending not to see you.Or maybe they don't see youany more than one envisions deathon a sunny April afternoon.The Last Lecture HallTheaters that were never ours,classrooms empty and refill.Nor do the trees belong to us.We cross the stage and disappearor venture in among the treesand lose ourselves there.Feverish categories blur.Genre distinctions: what for?The empty theater becomesa lecture hall. A classroom morphsinto a forest murmuringwith voices. Words pelt down like rainor rise like mist and dissipate.The rustling trees swell to a roar.But they were never still.Theater, classroom, maple, fir:feverish categories blur,presences pressing through the veilof the phenomenal;a leopard padding down the aisle.Tiger-masked students fill the seatsof the amphitheater.The old professor, looking outover the upturned faces, said“You are all allegoricalfigures to me. I will not learnyour names.” Did the students laugh?Tragedy, satire, comedy:genres are deciduous.Modes blur, leaves spin and fall.The leaves of memory seemed to makeA mournful rustling in the dark(Longfellow, “The Fire of Driftwood”).Lights go on in the theater.Class is over. We stumble out.The GatesWhen I woke up I had walked through a gate.I looked around the room—trickle or torrent, stepping into time—and bent my head to drink at a black stream.I look around a roomthick with the dust of after and before.Am I meant to drink from this black stream?My lips are dry,thick with the crust of after and before,gate of ivory and gate of horn.My lips are dry, I'm thirsty.Heat, cold, fire, snow, sun.Gate of ivory and gate of horn:to cross a threshold ends one story(firelight; snow squeaking; winter sun)and begins another.To cross a threshold ends one story(ever after? or a transformation?)and begins anotherthere is no law compelling us to enter.Ever after or a transformation.Torrent, trickle: we set foot in time,but there's no law compelling us to enterstory once we've latched the gate of dream.FilamentsYour past is thickening. You can seeits filaments, as carefullyyou begin to part the strands(they're all connected) with both hands,and clear a path. Now warilyenter the web—not all the way,but toward some kind of clarity.We have been rightly taught that wecan't finish, but must do, the work.Partway through the leafy murk,crisscrossing dapple of the trees,so tough and so precarious,you find yourself in the dawn air,the circle's center everywhere.Along the PromenadeReading a book about transitioningin the twenty-first-century meaning of the wordblends with plans for my son's upcoming weddingand scraps of conversation overheardat the Japanese-themed street fair today.Somnambulists along the promenadefloat in the warm currents of Broadway,eat talk look linger in the sun and shade.Then to the park: October leaves still green(climate change or merely Indian summer?).Snatched memories, I catch them on the wing:Samos Septembers, pomegranate tree,lemon tree, okra, a chameleon,the little summer of Saint Dimitri,they called it. All this happened; but to me?Streams of conversation flowing by.The sound artist described his work like this(if work is the right word): “Accidentallyuploading seemingly private messages,”which describes, also, dreams and poetry,the drifting crowd, incessant carousel,city and weather, time and holiday,all lived, palped, tasted, tested, overheard.Somnambulists along the promenadehave set up booths, their dreams... Bookending my dawn dream: symmetricalsoaking sponges dripping... DNA?Destiny, temperament, personality:the cards we're dealt and that we have to play,except we now can change them gradually.Transition: he or she or rather they,constructed, deconstructed, rearranged,the tarot spread of genealogy,inheritance as aleatoric play.We walked west to Eleventh Avenue,drawn by rumors of Ad Reinhardt's blue,which buzzed and throbbed. Stand still: my head was spinning.Allusions to water or to sky,dense, deep, alarming, ending or beginning... I sat awhile and watched the crowd glide by,enchanted promenaders all drawn inon the exhibition's last dayby the silence's cerulean humming.And then they climbed the stairs, and so did we,to lighter textures on an upper floorwhere Ruth Asawa's baskets in midairweightlessly demonstrated gravity,twigs, trees, crowns, bubbles dancing in white space.Next week my class will read “On Being Ill.”“Blogs,” I'll tell them, is the word we nowuse, not “essay,” for the moving mind,that saunterer who takes note and leaves behindand doubles back and ponders and regretsamidst the wash of vision, the flowand tidal pull of what we see and know,what we've dreamed, what we have said and heard,the thrumming colors and the floating crowd,as if the bubbly brew of sunny dayand anxious dreams could somehow all be caughtup in one enormous, one all-encompassing word. (shrink)

According to a theorem due to Kenneth Kunen, under ZFC, there is no ordinal [Formula: see text] and nontrivial elementary embedding [Formula: see text]. His proof relied on the Axiom of Choice (AC), and no proof from ZF alone is has been discovered. [Formula: see text] is the assertion, introduced by Hugh Woodin, that [Formula: see text] is an ordinal and there is an elementary embedding [Formula: see text] with critical point [Formula: see text]. And [Formula: see text] asserts that (...) [Formula: see text] holds for some [Formula: see text]. The axiom [Formula: see text] is one of the strongest large cardinals not known to be inconsistent with AC. It is usually studied assuming ZFC in the full universe [Formula: see text] (in which case [Formula: see text] must be a limit ordinal), but we assume only ZF. We prove, assuming ZF [Formula: see text] [Formula: see text] [Formula: see text] “[Formula: see text] is an even ordinal”, that there is a proper class transitive inner model [Formula: see text] containing [Formula: see text] and satisfying ZF [Formula: see text] [Formula: see text] [Formula: see text] “there is an elementary embedding [Formula: see text]”; in fact we will have [Formula: see text] ⊆[Formula: see text], where [Formula: see text] witnesses [Formula: see text] in [Formula: see text]. This result was first proved by the author under the added assumption that [Formula: see text] exists; Gabe Goldberg noticed that this extra assumption was unnecessary. If also [Formula: see text] is a limit ordinal and [Formula: see text]-DC holds in [Formula: see text], then the model [Formula: see text] will also satisfy [Formula: see text]-DC. We show that ZFC [Formula: see text] “[Formula: see text] is even” [Formula: see text] [Formula: see text] implies [Formula: see text] exists for every [Formula: see text], but if consistent, this theory does not imply [Formula: see text] exists. (shrink)

A study of Jim Jones and the Peoples Temple. It features a prologue that considers the meaning of the tragedy for a post-Waco, post-9/11 world.

The final section of the book considers two features of the world which transcend the categories, existence and negation.

The "art of being free" is an essential part of democracy. It involves, Mark Reinhardt believes, bringing into being the multiple spaces in and practices through which individuals and groups help to constitute their lives, their selves, their worlds. Americans are presently witnessing a contraction of officially sanctioned spaces for citizen action. It is now crucial, Reinhardt argues, to identify ways of opening new spaces for the direct practice of democratic politics. Reinhardt treats the writings of Alexis (...) de Tocqueville, Karl Marx, and Hannah Arendt as exemplary sources for an expansion of political possibility. These writers indicate where and how the new spaces can be brought into being, and they reveal acts of making space as some of the prime moments of politics. Reinhardt's extended readings of these writers, never previously treated together, are quite unlike the familiar understandings of their thought. "Taking liberties," he brings the literary and political sensibility usually associated with postmodernism to a sympathetic if critical encounter with eminently modern thinkers. The result is a strong and idiosyncratic book, accessible and stylish, that mixes acute readings of canonical thinkers with more practical applications and illustrations. Reinhardt combines attention to textual detail and nuance with concern for contemporary politics, discussing as an unusually inventive example the AIDS activist group ACT UP. (shrink)

Throughout the post-World War II decades, the United States has wrestled in its own unique style with a problem that is shared by all modern societies: how to achieve a reasonably equitable distribution of health care, without losing control of total spending on health care, and without suffocating the delivery system with controls and regulations that inhibit technical progress.Because an equitable distribution of health care inevitably requires at least some government regulation, and because government regulations tend to impose rigidity on (...) any system, it is widely believed in the United States that a trade-off actually exists between fairness in the distribution of care and the health system’s ability to innovate. This troublesome trade-off bedevils American policy makers to this day. (shrink)

Professor Grossman’s introduction to the revolutionary work of Husserl, Heidegger and Sartre studies the ideas of their predecessors too, explaining in detail Descartes’s conception of the mind, Brentano’s theory of intentionality, and Kierkegaard’s emphasis on dread, while tracing the debate over existence and essence as far back as Aquinas and Aristotle. For a full understanding of the existentialists and phenomenologists, we must also understand the problems that they were trying to solve. This book, originally published in 1984, presents clearly how (...) the main concerns of phenomenology and existentialism grew out of tradition. (shrink)

A translation of Kant's early paper, ‘Die Frage, ob die Erde veralte, physikalisch erwogen’ is presented, and the main features of his position on this question in 1754 are summarized. In that year, Kant believed that the Earth was ageing, and that it was about 6000 years old. The paper allows us to understand the approximate outline of Kant's general ‘theory of the Earth’, and the relation of this theory to the cosmogony that he propounded in 1755. His ideas on (...) the processes of erosion, and the formation of rivers, deltas and sandbanks, are noteworthy, and provide a contribution to the eighteenth-century literature on the denudation dilemma. Kant's general theory of erosion and deposition was, it seems, based to a significant extent on his knowledge of the geographical features of the Königsberg district. The general teleological position underpinning his philosophy may be discerned in this early paper, and he may be thought of as having been trying to orientate himself in space and time, so to speak, before undertaking his major reconstructions in philosophy. (shrink)

This book is available either individually, or as part of the specially-priced Arguments of the Philosphers Collection.

1. „Schwache“ oder „freie Menschen“? „Weil es aber doch einem nachdenkenden und forschenden Wesen anständig ist, gewisse Zeiten lediglich der Prüfung seiner eigenen Vernunft zu widmen, hierbei aber alle Parteilichkeit gänzlich auszuziehen, und so seine Bemerkungen anderen zur Beurteilung öffentlich mitzuteilen; so kann es niemanden verargt, noch weniger verwehrt werden, die Sätze und Gegensätze, so wie sie sich, durch keine Drohung geschreckt, vor Geschworenen von seinem eigenen Stande verteidigen können, auftreten zu lassen.“ These: Wer diesen Text kritisch liest, stutzt – (...) was sollen die „schwachen Menschen“ hier? Ist nicht das bizarre „schwacher“ durch „freier“ zu ersetzen? Kant verbindet mit der Gerichtshofmetapher die gegen die Politik der Machtsprüche des Absolutismus, aber auch gegen die Gesetzlosigkeit des „status naturalis“ gerichtete Freiheit der Richter und Geschworenen, nicht aber deren Schwäche. Erst im Staat unter Freiheitsgesetzen könne ein Gerichtshof eingerichtet werden – „Zu dieser Freiheit gehört denn auch, seine Gedanken, seine Zweifel, die man sich nicht selbst auflösen kann, öffentlich zur Beurteilung auszustellen, ohne darüber für einen unruhigen oder gefährlichen Bürger verschrieen zu werden [„durch keine Drohung geschreckt“] Das liegt schon in dem ursprünglichen Rechte der menschlichen Vernunft, welche keinen anderen Richter erkennt, als selbst wiederum die allgemeine Menschenvernunft, worin ein jeder seine Stimme hat.“ Die Freiheit bezieht sich auf den Bürgerstand der Menschen und ihre Freiheitsgesetze. Wir befinden uns im Bereich einer Rechtsinstitution – was soll da der Appell an die Schwäche? Gibt es einen bürgerlichen Stand der Schwachen? Nein. Das Ergebnis der Gerichtsverhandlung wird sein, dass weder Satz noch Gegensatz gilt oder dass beide gelten könnten. Nun kommt hinzu, dass Kant zuvor den Menschen charakterisiert, der zwischen These und Antithese hin- und herschwankt – ein schwacher Mensch, dem der nachdenkende und forschende Mensch entgegengesetzt wird, der nun entschlossen vor dem Gerichtshof erfahren will, wie es um die Ansprüche der beiden Parteien steht. Auch im nachfolgenden Text wird emphatisch dafür argumentiert, dass der Mensch das Problem der Antinomie und seine Auflösung in seiner eigenen Vernunft findet und daher „die Verantwortung [Beantwortung?] nicht von sich abweisen und auf den unbekannten Gegenstand schieben kann“. (shrink)

In Plato's Meno , there is a famous discussion of desire and evil. This paper is not a contribution to Platonic scholarship, but a direct taking up of the issue whether someone can desire evil. One stock interpretation of the putative impossibility of desiring what is evil or bad is the interpretation which emphasizes an internal or conceptual tie between desire and good. This interpretation compares pairs of terms such as ‘fear—danger’, ‘belief—truth’ and ‘desire—good’. To fear something is to regard (...) it as, or believe that it is, dangerous ; to believe something is to regard it as, or believe it to be, true ; to desire something is to regard it as, to believe it to be, good. Since it is obvious that people believe things which are false, it is maintained that it is equally obvious that people may desire what is bad and fear what is harmless or of no danger. Let us call this interpretation of the doctrine that it is impossible to desire evil the weak thesis. The weak thesis allows what seems a plain fact of human reality, that people believe falsehoods, fear things that cannot harm them and desire things which are not good. Equally obviously, it allows that people fail to believe truths, fail to desire goods, and fail to fear things that are dangerous. On this weak interpretation, the manner in which wickedness to others and self-destructiveness are due to ignorance is that people are ignorant about the nature of things and ways of acting, ignorant about what it would be like to possess something or ignorant about what it would be like to do something or other. (shrink)

Hilary Putnam has recently observed that the fact/value distinction has acquired a strength and pervasiveness in our culture that make it akin to an institution. 1 I take it he meant an institution in the sense that Taboo is an institution in some cultures, not in the sense that the Church is an institution in ours. Invoking the distinction is a widespread conversational gambit in social life, not only in academic discussions. ‘That's a value judgment’ and ‘That's emotive’ are to (...) be heard at dinner parties more often than ‘Pass the salt’. (shrink)

Susan Sontag once remarked that since the invention of the camera, photography has “kept company with death.” And indeed, images of suffering human beings and devastated landscapes appear regularly in the popular media and even in contemporary art. This volume explores these painful images from the past few decades of photography, weighing in on the intense critical debate that has arisen in recent years around depictions of acute human suffering—especially those that are beautifully rendered. Drawing on works from advertising, photojournalism, (...) art photography, and conceptual art, Beautiful Suffering features reproductions of all the pieces in the Williams College Museum of Art exhibition that shares its name—including portrayals of AIDS sufferers, Abu Ghraib prisoners, refugees, and casualties of war. It also includes five critical essays that engage the works themselves as well as the larger issues the exhibition confronts: Is it inherently problematic to seek aesthetic pleasure in a rendering of pain? And if so, why? These essays, composed by scholars in fields as diverse as art history and political science, are perfect complements to the powerful images of suffering that probe some of the most pressing issues we face today. (shrink)

Review on Cicero, On Academic Scepticism, translated with introduction and notes by Charles Brittain, Hackett, Indianapolis and Cambridge, 2006.

El objeto de este artículo lo constituye la idea luliana de la eviternidad que media entre la eternidad de la presencia del término en las obras Dios y la temporalidad del hombre. En el primer apartado se demuestra la presencia de Raimundo Lulio, de modo particular en su gran enciclopedia "Arbor scientae". Tras una breve exposición de la prehistoria de la idea luliana de la «eviternidad» o del «Evo» en el apartado segundo, en el tercero se destaca que Lulio, a (...) diferencia de los demás teólogos medievales, no refiere la eviternidad al tiempo de los ángeles, sino que, para él, eviternidad es un concepto escatológico que significa la medida de duración de la vida de los salvados o condenados. El artículo concluye con un repaso a una controversia teológica actual en la que se discute la utilidad del término «evo» para aclarar el carácter de la vida eterna. (shrink)

The paper investigates Maurice Merleau-Ponty’s discussion of body and space and Gilles Deleuze’s reading of Francis Bacon’s work, in order to derive a renegotiated interrelation between habitual body, phenomenal space, preferential plane and constructive line. The resulting system is ap- plied as a filter to understand the sartorial fashion of Rei Kawakubo and Hussein Chalayan and their potential as a spatial prosthesis: the operative third skin. If the evolutionary nature of culture demands a constant change, how does the surface of (...) a third skin, which embodies the generative of stable/ unstable, respond to changes of context? The fleeting, shifting conditions of contemporary culture/ lifestyle rely upon, result in, and reflect one constant, change: change of working conditions, family structures, modes of inhabitation, relation networks, of userprofile and identity, of social and territorial boundaries. We occupy the shift- ing spatial parameters of a transitional supermodern environment. Culture, as enacted or embodied through each of these fields, is regulated by a number of abstract and factual variables that interplay constantly: time, space, movement, surface, individual, and data. Elizabeth Grosz argues that culture is an evolutionary effect: it regenerates itself in order to ensure the survival of the species. Each “prosthetic” expression of culture – language, fashion, architecture, etc. – changes repeatedly. Here change is not an end in itself, but a means. And the most successful prosthesis may not be the one that is able to answer the largest number of challenges, but one which itself undergoes a process of learning, self-modification, and differentiation – in short, a process of evolution. Any prosthesis is by nature an extension of the body. In the case of architecture and fashion the prosthesis addressing change is most often external to the body – a “cultural fur” or a surface phenomenon, that is, a highly profiled supplementary skin. As with all prostheses, their respective life-span depends on their ability to reflect a change in context and value systems. They are adapted or updated, if not, they vanish. Any situation of change is processed as a differentiation between the actual and the virtual of a given context. Grosz identifies distinctions between the actual and virtual, the real and the possible: the possible is a preformed real that has not yet received its final materiality, and thus delineates a range of options of becoming. The real is the blueprint of the possible, negotiated by factual limitations, and it is conjoint with the actual through a process of differentiation and divergence. The virtual comprises alternate variations of the actual, it defines a realm of deviation from the blueprint. In order to be responsive to change, the balance between the actual and virtual thus must be rendered unstable: “The virtual requires the actual to diverge, to differentiate itself, to proceed by way of division and disruption, forging modes of actualisation that will transform this virtual into others unforeseen or uncontained within it.” 4 The integration of the virtual allows a re-ordering of the blueprint, a return to the crossroad of possibilities, unlimiting and processing an alternative real, and establishing a state of continual change. A repeated change – not as a choice between a number of options but as a gradual process – marks the moment of evolution, and requires a dynamic system. Such a dynamic can be rendered as an adaptable, flexible, modular, mobile, or morphing system of change. The key lies with the fluency and ability of adaptation for the proposed differentiation between actual and virtual – thus it is an elastic change that is required. The nature of this elasticity is encoded in a repeated repositioning of the variables: a constant fine-tuning of a maximum number of parameters that engineer, alter and define the blueprint. When looking for a dynamic system that incorporates a transformation of skin or space, we are in search of dynamics through an operative surface, controlled by means of the constructive line. Both operative surface and constructive line are generative methods for the formation and form finding of the second and third skin of sartorial fashion and architecture respectively, as they both produce inhabitable or wearable envelopes with a specific responsiveness. Both professions share communication, coding and signage, form information programs, pattern charts, volume outlines, texture fields, surface operations, and implement electronic or digital extensions. In both, the constructive line shapes the surface twice: before production and in operation. The surface demarcates space, spatial envelope, enclosing garment, field of action. In which way can an operative system of the surface with stable/ unstable conditioning generate a phenomenological or evolutionary change in the reconstruction of body and context? How do time, space, movement, surface, individual and data interact in this framework? What is the impact of surface strategies and constructive line on that system? (shrink)