This book brings together leading representatives of activity-theoretically-oriented and socioculturally-oriented research around the world, to discuss creativity as a collective endeavour strongly related to learning to face the societal challenges of our world. As history shows, major accomplishments in arts and technological innovations have allowed us to see the world differently and to identify new learning perspectives for the future which were seldom limited to individual action or isolated activities. This book, while primarily focused on educational insitutions, extends its examination (...) of creativity and learning to include other settings (such as government agencies) beyond the limits of schooling. (shrink)

Academia is a competitive environment. Early Career Researchers (ECRs) are limited in experience and resources and especially need achievements to secure and expand their careers. To help with these issues, this book offers a new approach for conducting research using the combination of mindsponge innovative thinking and Bayesian analytics. This is not just another analytics book. 1. A new perspective on psychological processes: Mindsponge is a novel approach for examining the human mind’s information processing mechanism. This conceptual framework is (...) used to construct models in studies. The framework is highly flexible and widely applicable for many different types of information processes. The mindsponge approach can help researchers discover interesting ideas or even formulate their very own theories when investigating psychosocial phenomena. This approach brings a fresh wind to the current landscape of social sciences and humanities (SSH). 2. Easy-to-follow analysis protocol: The Bayesian Mindsponge Framework (BMF analytics) is useful in terms of computing and visualizing power but also easy to learn and apply. Contrary to being intimidating, the Bayesian analytics section of this book is presented in a reader-friendly manner with a detailed yet clear step-by-step procedure. Examples are from published BMF articles, allowing readers to immediately practice the method and quickly create their own applications. With educational purposes in mind, the book is very suitable for ECRs who are looking to innovate their research methods. 3. Advocating for low-cost, high-quality research: Doing science can be very costly. Mindsponge innovative thinking and BMF analytics help produce impactful studies using openly available data on online repositories. This is based on the authors’ previous works and experiences. The book presents examples of employing the open R package bayesvl on secondary data from different sources. With less financial constraints, researchers can have more freedom of thought to pursue their curiosity and creativity. ECRs in low- and middle-income countries may find this aspect crucial in their careers. 4. Support and collaboration: The authors share their insights from experiences in the academic publishing system to help readers get through the processes of manuscript writing and peer-reviewing more easily. The authors are also ready to support other researchers with further inquiries and collaboration opportunities at the following website, mindsponge(dot)info. This book is for: a) ECRs whose only abundant resources are their innovation capacity and strength of will; b) Researchers in SSH who want to explore a novel approach to thinking and study conducting; c) Low- and middle-income countries’ researchers looking for a cost-effective research protocol; and, d) Innovative thinkers who want to turn their interesting thoughts into good publications. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Latina/o Social Ethics: Moving beyond Eurocentric Moral Thinking, and: Racism and God-Talk: A Latino/a PerspectiveKevin N. York-SimmonsLatina/o Social Ethics: Moving beyond Eurocentric Moral Thinking Miguel A. de La Torre, Waco Tex.: Baylor University Press, 2010. 160 pp. $24.95.Racism and God-Talk: A Latino/a Perspective Rubén Rosario Rodríguez New York: New York University Press, 2008. 320 pp. $24.00Although Latina/o theologians have contributed much to Christian moral (...) discourse in recent decades, the impact of these contributions has too often remained limited to other Latina/os and those with particular interests in liberation theologies. Miguel de La Torre and Rubén Rosario Rodríguez build on the contributions of theologians before them while challenging the broader theological community to take notice of these rich and provocative works.In four concise chapters, Miguel de La Torre’s Latina/o Social Ethics delivers a forceful criticism of prominent thinkers in the field of Christian ethics and offers a creative reconstruction of ethics from a Latina/o perspective. De La Torre offers a critique of “Euroamerican” Christian ethicists whose works have greatly influenced contemporary Christian moral discourse. He addresses the writings of Walter Rauschenbusch, Reinhold Niebuhr, Stanley Hauerwas, Anthony Campolo, Ron Sider, and Jim Wallis. De La Torre faults these theologians for the ways in which their moral thinking participates in the oppression and marginalization of Latina/os, either through their silence or through their endorsement of specific polices. De La Torre concludes that the legacy of cultural and economic privilege and the oppression of Latinas/os are so [End Page 199] deeply embedded in the Eurocentric thinking that has dominated the field of Christian ethics that it cannot be the foundation for Latino social ethics.De La Torre’s aim is to “move beyond” Eurocentric modes of thinking rather than dwell on critique. This eagerness to move forward to the creative and constructive aspects of Latina/o ethics, however, limits the forcefulness of his critique of Euroamerican ethicists. De La Torre’s reading of Euroamerican ethics—and even the application of that term—is highly selective, both in terms of the thinkers chosen and the writings examined. While De La Torre’s criticisms of these thinkers are generally insightful and serve to illustrate his basic criticism of Eurocentric ethics, these criticisms are limited in their depth of analysis. De La Torre is less concerned with the broader historical and theological considerations at work in these Euroamerican ethicists than with their failures to adequately address issues of concern to Latinas/os.The second half of Latina/o Social Ethics moves to his constructive, or “reconstructive,” project. De La Torre reviews central concepts in the methodology of Latina/o social ethics, including lo cotidiano, nepantla, la lucha, en conjunto, and acompañamiento. De La Torre’s explanation of these terms is brief and accessible. Moving beyond these concepts, the fourth chapter of Latina/o Social Ethics offers a creative approach to a liberative ethics that draws on Christian tradition as well as broader Hispanic cultural resources, including folk characters and themes of the trickster found in Afro-Caribbean religious traditions. De La Torre addresses the concern for how to imagine a Christian ethics with a role for the trickster, including identifying trickster characters and themes in the Bible. His “disruptive ethics” challenges the preference for order over justice that has characterized Eurocentric ethics, for which he provides helpful examples. De La Torre is clearly concerned with imperialism, immigration, and free trade, yet it is unclear what justice means in those contexts. Perhaps due to the powerlessness of marginalized Latina/os, criticisms of injustice weigh far more heavily than visions of justice.The concise length of this book broadens its appeal. Academics unfamiliar with some of the concepts and methodologies of Latina/o theologians will find this short introduction a useful starting point. This provocative book would also be a welcome addition to the classroom, either in part or in its entirety.In contrast to De La Torre’s short work, Rubén Rosario Rodríguez sets a broader and more ambitious task in his Racism and God-Talk. His project... (shrink)

Study of obstacles to creative thinking in science in developing countries - analyses the history of science in Europe; examines science and technology prior to colonialism, focusing on South Asia, and the spread and dominance of Western physical and social sciences in the Third World; considers the impact of social development and independence on scientific development and dependence, and the social implications of technology transfer, esp. Agricultural technology. Bibliography.

Rituals are a very important part of daily life, traditions, cultural and religious gatherings and have a significant role on teaching about cultural heritage and social codes. Teaching about religious and cultural rituals have also important effects on personal development, acculturation and social engagement of an individual. Exploring and understanding the personal, cultural and social aspects of rituals is an important purpose of education and especially religious education. Educational drama offers educational environments that students can improve creativity, (...) critical thinking, empathy, communication skills, knowing others and respect to differences. Creative drama offers a suitable learning environment for students to understand social aspects and importance of rituals it allows students to share their previous experiences and to learn from other students. The aim of this article is to determine the effects of creative drama on teaching about religious and cultural rituals in the school context. For this purpose, creative drama sessions on daily prayer in Islam, fasting in Ramadan, religious feasts in Islam, month of Muharrem and Ashoura and Nawruz Festival has been carried out with 16 secondary school students. Research data has been gathered with focus group interviews and analyzed with thematic analysis method via NVIVO program. It is determined that students have reached an understanding about; basic information about rituals, understanding the source of rituals, being eager to participate to the rituals and knowing about others. These findings can be considered as learning outcome of creative drama sessions on cultural and religious rituals. And students have found creative drama sessions are beneficial in regard of active participation, sharing personal experiences and exploring differences. (shrink)

Social justice is a concept we take for granted. We assume that it means using state structures to ensure equality and fairness. But is that true? Or, do state structures of social order actually inhibit creativity, freedom, social welfare, and belonging? This collection broadens the boundaries of the ways we think about what constitutes criminality and interrogates issues of social justice and power in new, innovative and critical ways. The essays examine a wide variety of themes, (...) including the deconstruction of concepts of freedom and equality, notions of criminality and deviance, state regulation of social order, and various aspects of feminist criminology. (shrink)

This book looks closely at discourses of creativity in the lifelong learning sector from the perspective of a teacher educator. It reworks the idea of creativity for lifelong learning using an analysis of the cinema of Michelangelo Antonioni as a basis. The book argues that ethics and creativity are indissociable and that more relevant practices in teaching, learning and research can be developed from and with them. To do this, the book examines Deleuze's notion of counter-actualization as a form of (...) creative practice and establishes ethical and practical consequences for this diverse sector. (shrink)

Social integration is a basic ingredient of any description of a good society. We feel that all people should get the opportunity to realise their full human potential, i.e. to realise their own goals and aspirations. In this paper we claim that this is also part of the responsibility of private sector firms and, therefore, an integral aspect of business ethics. We first argue against the (popular) conviction that the situation of the unemployed is their own responsibility, either because (...) they choose to be unemployed (section 2), or because they choose to be low skilled (section 3). As a consequence, we do not believe that the dismantling of the social security system or the restructuring of the educational system can fully solve the problem of the least skilled in our societies. Nor do we think that the integration of the least skilled is a matter for government policy alone. In section 4 we argue that job creation remains indispensable for a real attack on the problem of social exclusion. In section 5, we highlight the important role of the private sector in this regard. Such job creation will require a lot of effort and imagination at the micro-level of the firm and a lot of creative thinking about how to structure the macrosocial market environment within which private firms operate. (shrink)

This article provides an introduction to plagiarism and the numerous negative aspects associated with it. Some examples from history have also been provided along with their outcomes. There are different types of plagiarism with varying legal and social aspects. The taxonomy of plagiarism is built by classifying it, with respect to the method involved in plagiarism, the form in which it happens or the intention of the plagiarist. The strategies suggested in the literature to avoid plagiarism are organized into (...) individual and organizational levels. Individuals can adopt strategies to build habits of avoiding plagiarism and focus on their original and innovative way of thinking. Similarly, institutions can make policies to cope with plagiarism and hence maintain their reputation. In this paper, the focus is not on mentioning the plagiarism detection methods; rather we believe that building awareness in the people about plagiarism outcomes is more important than teaching them about the different methodologies used for detection. Some students avoid plagiarism detection as if playing a game and it can be only avoided by educating them in ethics. (shrink)

This book is for anyone interested in how to build a teacher education program utilizing the arts as one central modality for teaching and learning or for those interested in building some of their program along these lines. Throughout the book you will find reference to the intersection of ethics, aesthetics, and teaching. We provide an integrated program devoted to good learning and the good society. In the book we discuss how the program came to be and the underlying educational (...) thinking that informs the whole program. This section of the book is invaluable for understanding how the reader can build her/his own arts approach to teacher education. The central section of the book is devoted to the specific coursework of the program. Each author describes in detail how she/he leverages aesthetics and art to expand the possibilities of learning and teaching (including a chapter focused on the core competency course, Teaching, Imagination, Creativity) in language and literacy, psychology of education, science education, mathematics education, social studies education, and classroom management including many examples from our teaching. The book ends with a focus group discussion about the program by former students. (shrink)

This book presents my concept of poetic thinking in the context of debates around the anthropological question, that is 'what is being human?', building on 'thinking language' and dialogical thinking, developing a poetological anthropology. It evokes political and social issues to demonstrate why poetics is of general relevance for our times. The essay relates these questions to insights of quantum physics and neurosciences and discusses aspects of contemporary technology, media and medicine, employing notions from contemporary thinkers, (...) such as atmospheres, immanent transcendence, silence and presence. Poetic thinking considers the world in its togetherness, offering an alternative to the opposition of subject and object. It demonstrates the transformative power in the interaction of the form of language and the form of life. Poetic thinking takes place when a subject constitutes itself in creative and dialogical language, transforming its ways of feeling and thinking, in short, its way of perceiving the world. (shrink)

Reappraising ideas associated with Ernst Bloch, Roland Barthes and Gaston Bachelard within the context of a utopian pedagogy, Hope, Utopia and Creativity in Higher Education reframes the transformative, creative and collaborative potential of education offering new concepts, tactics and pedagogical possibilities. Craig A. Hammond explores ways of analysing and democratising not only pedagogical conception, knowledge and delivery, but also the learning experience, and processes of negotiation and peer-assessment. Hammond shows how the incorporation of already existent learner hopes, daydreams, and (...) creative possibilities can open up new opportunities for thinking about popular culture and memory, learning and knowledge, and collaborative communities of support. Drawing together theoretical and cultural material in a teaching and learning environment of empowerment, Hammond illustrates that formative articulations of alternative, utopian futures, across sociological, humanities, and education studies subjects and curricula, becomes possible. (shrink)

From one of Time magazine’s 100 most influential people in the world, a rousing defense of the role of science in our lives The latest developments in physics have the potential to radically revise our understanding of the world: its makeup, its evolution, and the fundamental forces that drive its operation. Knocking on Heaven’s Door is an exhilarating and accessible overview of these developments and an impassioned argument for the significance of science. There could be no better guide than Lisa (...) Randall. The bestselling author of Warped Passages is an expert in both particle physics (the study of the smallest objects we know of) and cosmology (the study of the largest). In Knocking on Heaven’s Door, she explores how we decide which scientific questions to study and how we go about answering them. She examines the role of risk, creativity, uncertainty, beauty, and truth in scientific thinking through provocative conversations with leading figures in other fields (such as the chef David Chang, the forecaster Nate Silver, and the screenwriter Scott Derrickson), and she explains with wit and clarity the latest ideas in physics and cosmology. Randall describes the nature and goals of the largest machine ever built: the Large Hadron Collider, the enormous particle accelerator below the border of France and Switzerland—as well as recent ideas underlying cosmology and current dark matter experiments. The most sweeping and exciting science book in years, Knocking on Heaven’s Door makes clear the biggest scientific questions we face and reveals how answering them could ultimately tell us who we are and where we came from. (shrink)

In the epistemological context of theory transferand scientific exchanges, the aim of this paper is to indicate the presence of Weberian categories and ideas on dependency theory formulated by Fernando Cardosoand Enzo Faletto. Here we see how the construction of this paradigm was based on some issues, concepts, approaches and orientations of the Weberian research program formulated by José Medina Echavarría to explain Latin American development. We will also consider the contexts of enunciation and reception theories, allowing us to talk (...) about the "sociological school" that was formed in the Social Planning Division of ILPES in mid-sixties, crucial for understanding the history of sociology in Latin America. En el contexto de la discusión epistemológica sobre el examen de las transferencias y los intercambios científicos de las teorías, el objetivo de este artículo es señalar la presencia de categorías e ideas weberianas en lateoría de la dependencia formulada por Fernando Cardoso y Enzo Faletto. Aquí veremos cómo la construcción de este paradigma se sustentó en algunos temas, conceptos, enfoques y orientaciones del programa de investigación weberiano formulado por José Medina Echavarría para explicar el desarrollo latinoamericano. También tendremos en cuenta los contextos de enunciación y de recepción de las teorías, lo que nos permitirá hablar de la "escuela sociológica" que se formó en la División de Planificación Social del ILPES a mitad de los años 60, decisiva para comprender la historia de la sociología en América Latina. (shrink)

The study addresses some aspects of Suprematist theory of perception, allowing to investigate the structure of Suprematist phenomenon in the context of ontology, socio-political and religious-mystical works of K. Malevich. The aim of the paper is to present Malevich’s theory of perception in the framework of enactivism. Namely, the article focuses on the theory of social affordances, which today is widely used in design, game development and other everyday practices. The author refers to Malevich’s theoretical and sociopolitical essays, as (...) well as to the commentary literature. Although Suprematism represents a well-researched tradition in art theory, the author stress the need for a follow-up study of Malevich’s theoretical essays in the contemporary context of philosophy of consciousness. The author also emphasizes the relevance of Suprematist philosophy for today’s way of thinking. For the most authentic presentation of Malevich’s ideas I use the phenomenological and hermeneutical method on a par with elements of the ecological approach in psychology and enactivism in the philosophy of consciousness. Consequently, the theory of affordances an effective and natural unification of all the aspects discussed above. The study shows the affinity of Malevich’s ideas to this theory. The author focused on the thesis of feeling as the goal of the expressive act of art. As one could see, Kazemir Malevich always emphasized the bodily-affective dimension of art, and in this sense he participated in a global cultural-historical shift in our conception of the essence of art. Since then, art has ceased to be elitist, but has instead inherited everyday practices. Thus, Malevich speaks of a new art that suits the man of the new world, the Soviet citizen. In this context, I relate the idea of affordance, which means the creation of a feeling-opportunity for subjective action (agency), to the artistic act whose goal, according to Malevich, is the creation of an emotional body-affective feeling. I defend the theory of social affordances, explaining the mechanism of social interaction, as the most adequate model for explaining Suprematism. As a result, based on the already developed concept of bodily-affective dynamics, I show how visionary and creative Malevich was, and how his ideas contribute to the development of a theory of social, emotional affordances. (shrink)

Where do we recruit novel and unconventional conceptual materials from when we speak, think and act metaphorically, and why? This question has been partially answered in the cognitive linguistic literature but, in my view, a crucial aspect of it has been left out of consideration or not dealt with in the depth it deserves: it is the effect of various kinds of context on metaphorical conceptualization. Of these, I examine the following: (1) the immediate physical setting, (2) what we know (...) about the major entities participating in the discourse, (3) the immediate cultural context, (4) the immediate social setting, and (5) the immediate linguistic context itself. I suggest that we recruit conceptual materials for metaphorical purposes not only from bodily experience but also from all of these various contexts. Since the contexts can be highly variable, the metaphors used will often be variable, novel, and unconventional. The phenomenon can be observed in both everyday forms of language and literary texts. (shrink)

Today, in a post-pandemic space, all types of art, comprehending, due to their figurative specificity, certain spheres of objective reality, already as a result of this, circumstances have their own, only inherent laws. Using the inexhaustible possibilities of the plasticity of the human body, choreography has refined and developed expressive dance movements for many centuries. As a result of this complex process, a system of choreographic movements arose, that is, a special artistic and expressive speech of plastics, constitutes the (...) class='Hi'>creative material of dance imagery. Choreographic art includes various types of arts: music, choreography itself, drama, painting. Each of them, changing in accordance with the requirements of this type of art, becomes a necessary component of choreographic figurative thinking. Each type of art is achieved thanks to its own figurative specificity, patterns and certain pictorial and expressive means. Choreographic activity dictates its own laws of reflection of reality, is based not on the correspondence of life and artistic material, but on the degree of devotion to the metaphorical reflection of life. A comprehensive study of social constituting dance art in today's post-pandemic space is a complex and versatile task, it mainly involves the study of all its components. Moreover, each of them should be considered not in isolation, but in the general system of their internal connections - in the aspect of their rhythmic and metric, that is, motor organization. (shrink)

ABSTRACT "Why can’t I decide to be happy?" This is the question that encapsulates the meaning behind Gabriele’s story, the main character of the novel Il film delle emozioni (The Movie of Emotions; Calabretta 2007a, in Italian). Gabriele is a victim of his negative emotions, and is completely in the power of his self-blame and self-devaluative thinking, which he learns to change only at the end of the novel, thanks to creativity and to the artistic expression of his own (...) traumatic experiences (see Sparrow and Wegner 2006). The novel tells of Gabriele’s several attempts at writing, first, the script of an autobiographical "educational" movie on emotion regulation; and then at transforming it into a novel. In reality, it reveals itself as a book popularizing the most recent scientific knowledge on psychology of emotions; as a dramatization of a scientist’s life—of his interior, interpersonal, and social conflicts (as well as political ones); and as a dramatization of the creative process of writing. As we will see in this article, The Movie of Emotions is a very particular novel that has much to do with creativity viewed in three different aspects—creativity in the novel’s structure, creativity in the process of the novel’s creation, and proposed techniques to increase creativity. (shrink)

By supplementing the work of Schutz, the article critically contests the methodological requirement, widely accepted within phenomenological sociology, that social scientific constructs be consistent with the constructs of common-sense experience of social reality. First, the article proposes that insofar as our everyday ways of speaking and thinking perceive the world as consisting of static and self-consistent entities, adhering to the methodological requirement makes research vulnerable to substantialist assumptions. To be able to account for how things change and (...) involve other entities in their make-up therefore ultimately requires going against common sense along the lines of processual-relational thinking. Second, the article suggests that adhering too strictly to the methodological requirement easily renders social scientific concepts reactive and representational, trapped within the present and the actual. Against this, the article argues for a view of concepts as active and creative, stressing their utopian aspects. Social scientific thinking that gravitates towards creation emphasises potentiality and the future instead of perpetuating the actual and the present: it engages with present practices, institutions, and structures for the benefit of the future. Instead of merely describing or representing the social world as it is, its concepts present a challenge to what is, and thereby open up new ways of thinking, acting, and being and potentially “give a new event to things”. (shrink)

The relevance of the article is due to the fact that in the modern world, various utopian concepts do not lose their ideological strength, which for more than two centuries have significantly influenced public consciousness and have caused significant transformations in the socio-cultural life of mankind. The connection among social utopias and Christian eschatology has been noticed for a long time, and the thoughts expressed on this occasion by Protopresbyter Alexander Schmemann in articles and diary entries can contribute to (...) a better understanding of deep cognitive processes that largely determine modern social realities. The purpose of the study was based on the analysis of the works of this worthy representative of the philosophy of the Russian diaspora, comparing the traditional religious eschatological "prototype" and later views on the "end of history". These views contributed to the development of utopianism and ideologism in the public mind. The authors focus attention on the antinomical nature of Christian eschatology, in contrast to the various socio-utopian modifications that define social ideals in a field transcendental to everyday human activities. The striving of religious thinking towards the "non-worldly" ideal, as Protopresbyter Alexander Schmemann believed, made it possible to form a Christian's attitude to earthly life, which inevitably required a qualitative transformation corresponding to the notion of the ultimate goal. However, over time, the Christian faith paid less and less attention to the eschatological dimension of human life, which contributed to the formation of new eschatologies seeking their social ideals in the immediate givenness of earthly life and affirming the belief in the possibility of their empirical achievement. The authors of the article come to the conclusion that the most important factor in the formation and development of the "ideological faith" in the public consciousness, the concept of which is defined in the most general terms in the works of Protopresbyter Alexander Schmemann, was the isolation of the dominant ideological structures based on social utopian ideas, from traditional faith grounds. Thus, ideologies ceased to be functional aspects of concrete historical religions, lost their official character and themselves became the foundation for pseudo-religious creativity. (shrink)

The article examines social and creative capitals and their interconnections. Some authors observe similarities in them as well as areas where they complement each other. Other authors argue that social and creative capitals are still mutually exclusive and cannot be compared. The article analyses various aspects of social and creative capital, searches for similarities and differences between them, and reviews measurement methodologies and issues related to the reliability of measurement indices and criteria. All this (...) is analysed in the context of the creative society. (shrink)

This paper sketches the fundamental characteristics of metaphorical language which enable it to subserve not only the shaping of particular discourses, but also crucial aspects of our powers of enquiry and understanding. It argues that without metaphorical creativity we cannot make adequate sense of the more complex and open-ended aspects of our experience. This is illustrated from the way in which we deploy the closely related key environmental metaphors of 'stewardship' and 'natural capital', including the more specific 'real option' sub-version (...) of the latter idea reported on by other contributions to this Special Issue. But a condition of making such thinking operational and socially productive is the development of a genuine learning society. (shrink)

Creative motivation is considered in the context of personality structure and flourishing as an indicator of positive development. The aim of the present study is to explore the relationships in the field of creativity and creative motivation as factors for achieving psychological well-being and flourishing, as well as their presence within various psychological profiles. Hypotheses have been raised in order to measure the presence of creativity indicators within certain psychological types in relation to the level of creative (...) motivation and flourishing. The survey instruments used are: Myers Briggs Type Indicator, Torrance Creative motivation scale and Diener Flourishing Scale. The results presented are based on a pilot study conducted in Plovdiv. The sample includes people in early adulthood, authentic folklore dance performers. (shrink)

FOR THE PAST TWO YEARS I HAVE BEEN TRYING TO UNDERSTAND THE causes and mechanisms involved in human rights atrocities, as well as strategies for preventing or interdicting their occurrence. Although I have focused my attention on social scientific and psychological investigations in an effort to develop an integrated schema or framework that could be applied to particular cases, I launched a faculty seminar at Florida State University and taught correlated courses on crimes against humanity that specifically used humanistic (...) materials in examining such criminal activity. The underlying rationale for this effort stemmed from the charge to the FSU human rights center to develop an interdisciplinary curriculum emphasizing the international, comparative, and interdisciplinary aspects of human rights education and drawing on faculty resources throughout the university's schools and departments. In this essay I report on the theme that emerged in the FSU initiative that human rights education could be especially enhanced by engagement with humanistic materials ranging across history, literature, philosophy, and the arts. These materials can raise profound questions, appeal to the imagination and moral sensibilities, and engender critical and creative thinking. (shrink)

Legal apparatus looks like a set of norms which rely on a rational project of life, yet it is possible, following Deleuze but also Hume and Kafka, to recognise the irrational aspect of this system. Is the law a dream? In what relation is the law with the subject? If the legal subject acts in a dream, what are the results? This paper develops around such questions with the aim of critically reflecting on the foundations of subjectivity and its connections (...) with the legal normativity that requires obedience as the main form of respect and adherence. In this apparently free and creative present, which is unfolded on a digital codex of information, it seems relevant to be highly suspicious of the barriers that are going to be tightened more and more around thought and its potential creative evolutions. Can we think of – beyond the legal/illegal, obedient/disobedient dichotomy – a system of social relations that, instead of giving space to the permanent and repetitive features of subjects, discovers a wider margin of affective, innovative and creative connections in response to the behavioral exemplifications of diktats? (shrink)

Linguistic Modelling of Scenarios proposes a paradigm change from the 'systemic VIEW' to 'systems SCIENCE', so as to extend the methodology of conventional science of physics into the domains hitherto beyond the reach of this kind of treatment. The book: I. Identifies the problematic issues in current approaches to the 'systemic or structural view' of parts of the world as opposed to the 'quantitative/qualitative views' of conventional science of physics and the arts whereby introducing the 'third culture'. II. Locates the (...) position of the structural view in the context of 'human intellectual endeavour'. III. Discusses the fundamental questions raised by modelling aspects of human behaviour. IV. Introduces the basic ideas and the symbolism of linguistic modelling which are then applied to turning descriptions of scenarios as a story or narrative into reasoning schemes. V. Describes a methodology of 'problem solving' of which design thinking and the operation of purposive systems are seen as essential ingredients. Problem solving is a universal activity of living in particular human beings through innovation, invention and creativity. Lack of this activity leads to death! Problem solving is regarded as pivotal point which may propel the spread of the modified structural view into social, technical, cultural and educational awareness. VI. Shows the location of aspects of conventional science within the scheme of systems science whereby achieving a 'continuity of the scientific endeavour'. VII. Outlines a teaching scheme for 'linguistic modelling'. Janos Korn explains how a view can be converted into a science which can lead to a possibility of 'organised speculation' or simulation of behaviour, exploring the effects of variation of parameters on performance, and the occurrence of outcomes of operations, beneficial or not, of dynamic structures. Static and dynamic structures are expressed in more rigorous and computable terms so that the results of analysis and design of human activity scenarios could be exposed to at least thought experiments. Linguistic Modelling of Scenarios is an informative read for any professionals, teachers and students of engineering, social science, management, business and production. (shrink)

The author reflects on the peculiarity of European integration suggesting that its unique characteristics calls for a completely new approach which demands a great deal of creativity in our thinking. Such creativity is needed, first of all, in a very discourse applied to the European integration. Conceptual creativity must help us to depart from the centuries old ideas which do not allow us to see the specificity of the new political reality in Europe. Next, there is a need to (...) overcome two dilemmas that limit our imagination in building new conceptual framework of integrating Europe. These are: the dilemma of liberal or social Europe and the dilemma of federal or intergovernmental Europe. Neither of these two oppositions takes into consideration the unprecedented nature of European Union. In conclusion the author suggests that the way out of the mentioned dilemmas is also through a radical rebuilding of a European integration discourse which must concentrate rather on “solidarity” than on “democracy” as its organizing concept. (shrink)

Study of the philosophy of education in the USA - covers current systems and trends, and includes political aspects, social implications and psychological aspects thereof, creative thinking, intellectual and socialist concepts, social change, cultural change, human rights, religion, the importance of curriculum, Motivation for learning, educational opportunities, etc. Bibliographys.

My comments on Jacqueline Taylor's rich and interesting study1 will focus on a theme which I found particularly thought provoking: the discussion of Hume's treatment of pride. I think the topic of pride is central to the book's structure—closely integrated with the recurring consideration of what is distinctive in Hume's approach to the social significance of the passions.I am going to come at this theme indirectly—through consideration of the differences between Hume and Spinoza on the nature and significance of (...) pride. Taylor shows that Hume has made it possible for pride to be considered as a positive trait, perhaps even as a virtue. Spinoza's attitude to pride in the Ethics is, in contrast, quite negative. The... (shrink)

After reading the essays of Mr. Ts'ai and Mr. Chu, I have a few immature opinions. Generally speaking, I feel that in dealing with the errors of their opponents, both Ts'ai I in his criticism of Huang Yüeh-mien and Chu Kuang-ch'ien in his criticism of Ts'ai I are quite accurate and convincing. However, in presenting their own arguments of what is right, both of them are on shaky ground and in error. That is because in one way or another, consciously (...) or unconsciously, they either deny the objective aspect of the existence of beauty or deny the social aspect of the existence of beauty . All of them consider the objective and the social aspects of beauty as being either this or that, as mutually exclusive and irreconcilable opposites. They think that if we acknowledge the social aspect of beauty, we then have to deny the objective aspect, the fact that the existence of beauty does not depend on the subjective conditions of a person ; or if we acknowledge the objective aspect, we have to deny the social aspect, the fact that the existence of beauty depends on the social life of human beings. But in fact it is not like that. On the one hand, beauty cannot be separated from human society; on the other hand, it can have an objective existence which is independent of man's subjective consciousness. It is this question that I shall discuss. (shrink)

The article is an attempt to outline a new paradigm of thinking, contained in the dialogical “you are.” Józef Tischner creatively developed ideas of Buber and Levinas. He claimed that in the face of “death of a man” there is a need to search for new ways of rescuing our humanity. The philosophy of drama starts from a question, which is a “cry of pain” in the presence of evil. A man — according to Nietzsche’s discovery — looks for (...) power, understood by Tischner as a “grace,” which is a specific good. Forces of good and evil influence a man both in a constructive and destructive way. A desire for unlimited power inevitably appears in the depth of a human heart. Evil, as a false power, reveals itself both in the individual and social aspect. Dehumanized global structures grow today as “systems of evil.” The agathological drama is being realized also in the dimension of faith and unbelief, in the sphere of the division between faith and mind. The “resurrection” of man is possible owing to meeting with another person whose dignity and beauty one may discover no matter how different he is. In the civilization of work the man is often treated as a tool, an instrument for egoistic benefit. The agathological philosophy aims to be a way of thinking attached to a specific man, while it looks for a key and a solution to a drama of a man, entangled in the system of work, consumption, empty hopes and pseudo-values. This philosophical thought has great potential to diagnose our times, which is the first step on the way to the “transformation of all values.” Key words GOOD, EVIL, AGATHOLOGY, REASON, FAITH. (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)

The practice of psychotherapy, or any form of counseling, inevitably requires an anthropological foundation from which to work. Defining the nature of personhood is a task which necessitates an explanation of the various aspects of the self, and the relationships between those aspects. In particular, it is crucial to delineate how the person is both an individual being and a relational being, for we intuitively experience life in both dimensions. These are two characteristics which have often been presented in opposition (...) to each other, however. What is needed is a theory which balances the individual character of personhood with the social character of personhood. The task at hand is to develop such a balance which can serve as a foundation for a Christian psychology. ;C. Stephen Evans, a philosopher and post-empirical critic of modern psychology, has emphasized the individual aspects of personhood. Soren Kierkegaard has influenced Evans' view of the self. Thus, Evans conceives of the person as fundamentally an agent, who chooses freely, acts purposefully and reasonably, and is responsible for the consequences of those choices and actions. ;Ray S. Anderson has developed a theological anthropology and on that basis has articulated a theoretical view of Christian counseling. His theory of the nature of personhood, influenced by the theologies of Karl Barth and Dietrich Bonhoeffer, is a thoroughly social perspective. The person is essentially relational, such that one is social before one is psychological. ;The present work constructs an integrative theory which balances the individual and social insights from Evans' and Anderson's views, respectively. It is accomplished through an analysis of the self across two ontological statuses and three orientations . A biblical paradigm is developed to illustrate the grounding of that theory in a Christian framework. Implications for therapeutic interventions are provided. (shrink)

Natural language plays a fundamental role in cognition and communication, but in the modern information society, language is increasingly used as a data transmission technology. The study of the problem of language power over thinking is a significant contribution to understanding the nature of language and its relationship with thinking. This article presents an analysis of the peculiarities of M. Foucault’s views on the problem of relationship between language and thinking. The author applies the elements of Foucault’s (...) archaeological approach and studies his concepts in connection with the ideas of other French thinkers. During the analysis, the author formulates her vision of the concepts of power and discourse. The first part of the article considers the understanding of natural language as a complex open sign system that interacts with the outside world and constantly accumulates elements of culture and creativity, from the point of view of philosophy and structural linguistics. The understanding of the division of language into separate discourses is explained. The presentation of the original methodology of Foucault’s language research explains what makes it possible to reveal the peculiarities of the historical development of discourse in the social aspect. Further, Foucault’s views on the role of language in obtaining knowledge and the formation of thinking are reflected, as well as an understanding of the relations of power that the philosopher notices in mental and speech activity of individuals. There follows J. Baudrillard’s criticism of Foucouldian concept of power and the process of language development in society. In conclusion, the author summarizes the analyzed views on power, development of language and thinking as well as Foucault’s understanding of language. (shrink)

Publication date: 16 April 2018 Source: Author: Svitlana Serdiuk, Dmytro Volkov This article highlights the results of the research on psychological features of eschatological expectations of young people with different levels of creative thinking. Our study shows that 26 % of respondents believe that the End of the World will not arrive. Twenty-four per cent of respondents are skeptical about the likelihood of the Apocalypse, but they admit its possibility. Thirty-seven per cent of respondents believe that the End (...) of Time will not come soon and the remaining 13% expect the Apocalypse very soon. Some respondents indicate that growth in the rate of prophecies connected with the End of the World in recent years suggests that humanity itself seeks it, while 9 % of respondents state the religious point of view in their works. Also 9 % of respondents believe that there will be no destruction of civilization or destruction of the planet but there will be a mental transition to another level of being. The existence of correlation between creative thinking and eschatological expectations was also empirically established in our study, especially in the group of respondents with a high level of verbal creativity. There is no correlation between the index of non-verbal creativity, personal religiosity and eschatological expectations in the sample. These results confirm that our study is relevant and offers great prospects for further scientific research. (shrink)

In this article, we argue that there is an essential difference between social intelligence and creative intelligence, and that they have their foundation in human sexuality. For sex differences, we refer to the vast psychological, neurological, and cognitive science research where problem-solving, verbal skills, logical reasoning, and other topics are dealt with. Intelligence tests suggest that, on average, neither sex has more general intelligence than the other. Though people are equals in general intelligence, they are different in special (...) forms of intelligence such as social intelligence and creative intelligence, the former dominant in women, the latter dominant in men. The dominance of creative intelligence in men needs to be explained. The focus of our research is on the strictly anthropological aspects, and consequently our explanation for this fact is based on the male-female polarity in the mating systems. Sexual dimorphism does not only regard bodily differences but implies different forms of sex life. Sex researchers distinguish between two levels of sexual intercourse: procreative sex and recreational sex, and to these we would add “creative sex.” On all three levels, there is a behavioral difference between men and women, including the subjective experience. These differences are as well attributed to culture as genetically founded in nature. Sexual reproduction is only possible if females cooperate. Their biological inheritance makes females play a decisive role in mate choice. Recreational sex for the purpose of pleasure rather than reproduction results from female extended sexual activity. Creative sex, on the contrary, is a specifically male performance of sexuality. We identify creative sex with eroticism. Eroticism evolved through the transformation of the sexual drive into a mental state of expectation and fantasizing. Hence, sex differences (that nowadays are covered up by cultural egalitarianism) continue to be the evolutionary origin of the difference between social and creative intelligence. (shrink)

The significance of the research topic is found in the analysis of the problem of thinking, one of the most important abilities of man, which today, in combination with knowledge, appears as a means of creating a new world and man. The purpose of the study is to identify the main content load of thinking in the process of its formation and development in the system of various intellectual and cognitive practices, in the culture of communication, which determines (...) its role in the acquisition and transformation of the surrounding reality - natural, social, spiritual. Objectives of the study - to identify the main directions of development of thinking - logical, philosophical, psychological, to reveal the content of the concept of "productive thinking", its development in classical epistemology and post-classical philosophy of science, which show the polymeaningfulness of the phenomenon of thinking. Methodology of the research - analytical-historical, contaminant, rational-heuristic methods are used, which allows to carry out a systematic analysis of thinking, which acquired a variety of forms and means in the history of philosophy and culture; methods of contemporary socio-philosophical and cognitive analysis showed the relationship of theoretical foundations of thinking with practical principles. The result of the study is the conceptualization of the problem of thinking as an effective intellectual, heuristic, cognitive and theoretical tool in the development of knowledge, objectivized in concepts, principles, and laws. The establishment of the role of thinking in the development of scientific knowledge, in the creation of new paradigms of knowledge is also an important aspect. The result of the analysis is the development of scientific-theoretical and methodological approaches in identifying the heuristic, creative essence of thinking, whose influence on the objective and subjective world causes their transformation and the transition to a new quality. Conclusion - the solution of theoretical problems of intellectual and intellectual activity as a factor in the formation and development of philosophy, culture and creative activity of man. (shrink)

In this work, starting from the social practice theory, we identified two kinds of creativity. A \textit{situational creativity} that takes place when a social practice is performed and a \textit{creativity of habit} that concerns the agents’ capacity of evoking different practices from habit. To test this hypothesis the Torrance Test of Creative Thinking (Verbal Form A) was analyzed in the light of praxeology.

The intended title was “Universe Oriented Ontology” or “Multiverse Oriented Ontology”, or “Universe or Multiverse Metaphysics”. I mention this as it gives an idea about the meaning and intention of the title and the work as well as the titles I considered and why I moved away from them to the present one. The sub-title provides a further hint towards the intentions of the work, namely: ” Beyond Earth- and Human-centricity’. I opted for ‘transcending’ rather than beyond, as I am (...) still in the process of describing the process of transcending and many of the ideas I am obliged to use from our conceptual system and practices are still earth- and anthropo-centered, And, they have not yet gone to a state beyond those two -isms. I say something about universe-centeredness, then about planet earth as point and frame of reference and anthropo-centricity. The socio-cultural practice of philosophy and the doing of philosophy is merely one of many human, social and cultural practices. I post different notions of philosophy by a number of writers, some of them philosophers. These notions are about their perceptions of what philosophy is. Few of them go into detail about the subject-matter of philosophy. No one really deal with the aims, purposes and objectives of the discipline and none deal with the nature of the doing of philosophy or philosophizing. Activities that I suggest resemble certain features of the processes of theorizing. I end with explorations of possible characteristics of original- and creative thinkers. I do this by mentioning a number of themes of meta-philosophy listed and described by Peter Suber. I make a number of comments in them and highlight aspects relevant to these type of thinkers. One find them of course in all disciplines and socio-cultural [racticesand disciplines be they the arts,humanities, sciences, etc. I am of course specifically concerned with original andcreative thinkers inthe Western tradition of philosophy. As I am a radical and absolute sceptic, I end with an article on this theme. It is said by everyone, for example Hume, Russell and Pascal, that such a radical position is psychologically impossible and that it cannot be lived 24/7. Pascal for example opted for believe or faith and he and a number of writers suggest that that is the only way out and the final position of radical sceptics. I disagree with him. (shrink)

When physicist Alan Sokal recently submitted an article to the postmodernist journal Social Text, the periodical's editors were happy to publish it--for here was a respected scientist offering support for the journal's view that science is a subjective, socially constructed discipline. But as Sokal himself soon revealed in Lingua Franca magazine, the essay was a spectacular hoax--filled with scientific gibberish anyone with a basic knowledge of physics should have caught--and the academic world suddenly awoke to the vast gap that (...) has opened between the scientific community and their mould-be critics. But the truth is that not only postmodern critics but Americans in general have a weak grasp on scientific principles and facts. In Connected Knowledge, physicist Alan Cromer offers a way to bridge the chasm, with a lively, lucid account of scientific thinking and a provocative new agenda for American education. Science, Cromer argues, is anything but common sense: It requires a particular habit of mind that does not come naturally. For example, something as simple as buoyancy can only be explained through Archimedes' principle--that a body in a fluid is subject to an upward force equal to the weight of fluid it displaces--yet few scientists could arrive at this ancient concept by trial and error. School children, however, are often given a ball and a tank of water, and asked to explain buoyancy any way they can. Today's de emphasis on teaching pupils necessary facts and principles, he argues, "far from empowering them, makes them slaves of their own subjective opinions." This movement in education, known as Constructivism, has close ties to postmodern critics (such as the editors of Social Text) who question the objectivity of science, and with it the existence of an objective reality. Cromer offers a ringing defense of the knowability of the world, both as an objective reality and as a finite landscape of discovery. The advance of scientific knowledge, he argues, is not unlike the mapping of the continents; at this point, we have found them all. He shows how the advent of quantum mechanics, rather than making knowledge less certain, actually offers a more precise understanding of the behavior of atoms and electrons. Turning from philosophy to education, he argues that instead of allowing students to flounder, however creatively, schools should follow a progressive curriculum that returns theoretical knowledge to the classroom. Connected Knowledge, however, goes much farther. As a discipline that insists upon connecting theory with measurable reality, physical science offers a new direction for reforming the social sciences. Cromer also shows how some of the hottest issues in public policy--including the debates over special education and group variations in I.Q., can be resolved through clear, hard headed thinking. For example, he argues for use of the G.E.D. as a national educational standard, with a new "politics of intelligence" to guide the distribution of school resources. Always forthright and articulate, Alan Cromer offers a startling new vision for integrating science, philosophy, and education. (shrink)

Research on human decision making is at the present time undergoing rapid changes. From previously being much focused on models and approaches with an origin in economy, much of the present day research finds its inspiration from disciplinary approaches concerned with incorporating more of the context that the decision making takes place in. This context includes psychological aspects of the decision maker and social-cultural aspects of the situation he or she acts in. All human decision making occurs in dynamically (...) changing contexts. One factor contributing to this is that human beings or groups in many situations act as entrepreneurs trying to improve the situation for themselves or their organization. Given that this is the case, it is of increasing interest for both researchers and practitioners interested in the social aspects of decision making to consider the relation between creativity and decision making. (shrink)

Dialectics of Knowing strengthens the philosophical basis of formal education that has been weakened by neoliberalism over the past thirty years. It draws upon Greek philosophy that asked 'How should we live?' and European Enlightenment that considered 'What can we know?' to question today 'What does it mean to experience mind, to act, think and create ethically?' Focusing particularly on the notion of praxis and specific issues involving indigenous, feminist and practitioner knowing, this book will help scholars and practitioners to (...) transform their education theories and practices in ways that encourage democracy, emancipation, social action, culture, inquiry and creativity. (shrink)

Why do we understand media the way we do? Sometimes we think about media simply as means of communication and instruments of human creativity. At other times we understand media as powerful technologies that influence human culture and that can even govern how we think and act. Dominic Boyer grapples with these complexities in Understanding Media, where he questions what our different strategies of engaging media actually tell us about media, their messages and powers." "Understanding Media explores, in a serious (...) yet entertaining way, our common habits of thinking about the presence and significance of media in our lives. Offering analysis of the philosophical and social foundations of contemporary media theory as well as everyday strategies of knowing media, it addresses the advantages and limitations of different ways of understanding media. Boyer also reflects on the practical issue of how we can know media better than we do."--Jacket. (shrink)

Shows how we must make deep changes to complete our paradigm shift from the old mechanistic worldview to the new organic worldview • Reveals the distinct stages of paradigm shifts through the ages, including the 18th-century Enlightenment and the critical stage of our current shift • Explains how the new organic worldview began with Goethe and Kant • Offers solutions for each of us to be able to realize and make the deep changes needed for global regeneration In Global Awakening, (...) Michael Schacker shows that hidden within our global crises is a positive future for the planet. Sharing his 30 years of intensive research into the history of change as well as the evolution of consciousness and regenerative science, Schacker explains how our current shift from the old mechanistic worldview to a new organic worldview based on biological models follows the same pattern as other paradigm shifts across history, including the 18th-century Enlightenment and the American Revolution. He reveals the creative geniuses who have contributed to the birth of the organic worldview, beginning with Goethe, Kant, and Hahnemann. Exposing the scientific and social forces that drive paradigm shifts, he details the stages every paradigm shift progresses through: the early Enlightenment, the conservative backlash, the intensive phase, and and the transformational phase leading to the Organic Shift. Explaining that we are currently in the throes of the paradigm flip, the critical last phase of our paradigm shift, Schacker shows how the mechanistic worldview is crumbling around us and nothing but a complete transformation in the way we think will keep us from the path of total self-destruction. Providing a map to overcome the allure of the simplistic mechanical model that has spawned countless unsustainable practices and problems--from global warming to intense economic disparities--the author offers concrete solutions showing how each of us can use our talents, skills, and time to make the deep changes needed for global regeneration. (shrink)

Public goods, as well as commercial commodities, are affected by exclusive arrangements secured by intellectual property (IP) rights. These rights serve as an incentive to invest human and material capital in research and development. Particularly in the life sciences, IP rights regulate objects such as food and medicines that are key to securing human rights, especially the right to adequate food and the right to health. Consequently, IP serves private (economic) and public interests. Part of this charge claims that the (...) current IP regime is privatizing the very building blocks of research and development – that used to be part of the commons. The public domain, in contrast to the private domain, may be the locus of much more diverse forms of creativity that at the same time ensures a wider plurality of productive traditions. An IP regime must support a sense of public morality because it is dependent upon civil support. This inevitably prompts questions of what are “good” exclusive rights and what are “bad” exclusive rights, and how shall such IP rights be developed. We argue that the democratization of the current IP regimes is an important first step to respond to these issues. (shrink)

In this paper I argue that creative and critical thinking operate in tandem in the mind as a purposeful dialectic of generative and evaluative dimensions of sense-making. The complementariness of these two forms of thought are dramatized through a case study in an innovative literature-history class, by tracing thc development of critical and creative thinking in one students process of authoring. In the class the teachers mediated students’ thinking by engaging them in open-forum conversation about (...) varied cultural-historical perspectives and then providing strategies for both generating interpretations and questioning/critiquing them. As multiple conflicting perspectives from literature and history interplayed in the class, the student was prompted to construct a point of view by considering opposing lines of thought in a dialogue of creative and critical thinking. He appropriated these new tools, internalizing strategies for and a disposition toward creative and critical thinking to make sense of complex texts and social issues. Vygotsky’s notions of problem-solving, play, mediation, ZPD, and internalization are used to explain how student thinking developed in this context. (shrink)

The book by professor Stanisław Kowalczyk, renowned scholar in the field of social philosophy, is, without doubt, one of the most important studies on the idea of freedom. The concept of freedom is as old as mankind. It has many meanings and has been interpreted in many different ways. For instance, we also have the word „liberty," which means „freedom or right" and is synonymous with the word freedom, which means „the condition of being free." The author indicates that (...) in our times the notion of freedom is most frequently used; however, it is often misused or deceptive. Mass media and people of all walks of life talk of liberty; everyone talks of freedom and, for many, it is the highest value. Longing for freedom is rooted in the heart of every human being, for freedom is an existential correlate and the fulfilment of the rational human being. The semantic confusion about the notion of freedom leads to many misuses of the concept. Personalism, as a philosophical concept in which a person stands in the centre of all discussion, serves as a framework for the author's delineation on the concept of freedom. He further states that the appropriate understanding of this value is possible in the context of the personalistic interpretation of a human being. This is the focus of this informative and insightful book. (shrink)

The argument that cumulative technological culture originates in technical-reasoning skills is not the only alternative to social accounts; another possibility is that accumulation ofbothtechnical-reasoning skillsandenhanced social skills stemmed from the onset of a more basic cognitive ability such as recursive representational redescription. The paper confuses individual learning of pre-existing information with creative generation of new information.