Greely argues that surrogates for living human brains in vivo might be of tremendous benefit to understanding human brain function—and eventually to curing devastating brain diseases—without...

Borsboom and colleagues have recently proposed a “network theory” of psychiatric disorders that conceptualizes psychiatric disorders as relatively stable networks of causally interacting symptoms. They have also claimed that the network theory should include non-symptom variables such as environmental factors. How are environmental factors incorporated in the network theory, and what kind of explanations of psychiatric disorders can such an “extended” network theory provide? The aim of this article is to critically examine what explanatory strategies the network theory that includes (...) both symptoms and environmental factors can accommodate. We first analyze how proponents of the network theory conceptualize the relations between symptoms and between symptoms and environmental factors. Their claims suggest that the network theory could provide insight into the causal mechanisms underlying psychiatric disorders. We assess these claims in light of network analysis, Woodward’s interventionist theory, and mechanistic explanation, and show that they can only be satisfied with additional assumptions and requirements. Then, we examine their claim that network characteristics may explain the dynamics of psychiatric disorders by means of a topological explanatory strategy. We argue that the network theory could accommodate topological explanations of symptom networks, but we also point out that this poses some difficulties. Finally, we suggest that a multilayer network account of psychiatric disorders might allow for the integration of symptoms and non-symptom factors related to psychiatric disorders and could accommodate both causal/mechanistic and topological explanations. (shrink)

This is an attempt at reviving Kneale's version of the description theory of names, which says that a proper name is synonymous with a definite description of the form ‘the individual named so-and-so’. To begin with, I adduce a wide range of observations to show that names and overt definites are alike in all relevant respects. I then turn to Kripke's main objection against Kneale's proposal, and endeavour to refute it. In the remainder of the paper I elaborate on Kneale's (...) analysis, adopting a theory of presupposition proposed by van der Sandt. (shrink)

There is a wealth of experimental data showing that the way a problem is framed may have an effect on people's choices and decisions. Based on a semantic analysis of evaluative expressions like ‘good’, I propose a new explanation of such framing effects. The key idea is that our choices and decisions reveal a counterfactual systematicity: they carry information about the choices and decisions we would have made if the facts had been otherwise. It is these counterfactual alternatives that may (...) diverge between otherwise equivalent versions of the same task, and thus explain the effects of framing. (shrink)

In this volume, Geurts takes discourse representation theory (DRT), and turns it into a unified account of anaphora and presupposition, which he applies not only to the standard problem cases but also to the interpretation of modal expressions, attitude reports, and proper names. The resulting theory, for all its simplicity, is without doubt the most comprehensive of its kind to date. The central idea underlying Geurts' 'binding theory' of presupposition is that anaphora is just a special case of (...) presupposition projection. But this is only one of the ways in which the concept of presupposition is taken beyond its traditional limits. Geurts shows, furthermore, that presupposition projection is crucially involved in several phenomena that are not usually viewed in presuppositional terms, such as modal subordination, de re readings of attitude reports, and rigid designation. While making his case for DRT and the binding theory, Geurts also presents an incisive analysis of what is probably still the most influential account of presupposition, viz. the satisfaction theory, demonstrating that there are fundamental problems not only with this theory but with the very framework in which it is couched. (shrink)

This paper consists of two main parts and a coda. In the first part I present the ''binding theory'' of presupposition projection, which is the framework that I adopt in this paper (Section 1.1). I outline the main problems that arise in the interplay between presuppositions and anaphors on the one hand and attitude reports on the other (Section 1.2), and discuss Heim''s theory of presuppositions in attitude contexts (Section 1.3).In the second part of the paper I present my own (...) proposal. To begin with, I define an extension of DRT in which attitude reports can be represented (Sections 2.1–2.2). I then argue that the verb believe triggers a certain presupposition and that, given the binding theory, this presupposition determines the projection behaviour of the verb (Section 2.3). This analysis yields predictions which are incomplete in the sense that they do not fully account for speakers'' intuitions about presuppositions and anaphors in belief contexts. In Section 2.4 I suggest that this is as it should be because we may assume on independent grounds that there is a class of plausibility inferences which complement the predictions of the presupposition theory. Finally, the analysis is extended to the verb want (Section 2.5). (shrink)

Conditional sentences with quantifying expressions are systematically ambigous. In one reading, the if -clause restricts the domain of the overt quantifier; in the other, the if -clause restricts the domain of a covert quantifier, which defaults to epistemic necessity. Although the ambiguity follows directly from the Lewis- Kratzer line on if, it is not generally acknowledged, which has led to pseudoproblems and spurious arguments.

Abstract: The Gricean theory of conversational implicature has always been plagued by data suggesting that what would seem to be conversational inferences may occur within the scope of operators like believe , for example; which for bona fide implicatures should be an impossibility. Concentrating my attention on scalar implicatures, I argue that, for the most part, such observations can be accounted for within a Gricean framework, and without resorting to local pragmatic inferences of any kin d. However, there remains a (...) small class of marked cases that cannot be treated as conversational implicatures, and they do require a local mode of pragmatic interpretation. (shrink)

This paper is devoted to the formulation and investigation of a dynamic semantic interpretation of the language of first-order predicate logic. The resulting system, which will be referred to as ‘dynamic predicate logic’, is intended as a first step towards a compositional, non-representational theory of discourse semantics. In the last decade, various theories of discourse semantics have emerged within the paradigm of model-theoretic semantics. A common feature of these theories is a tendency to do away with the principle of compositionality, (...) a principle which, implicitly or explicitly, has dominated semantics since the days of Frege. Therefore the question naturally arises whether non-compositionality is in any way a necessary feature of discourse semantics. Since we subscribe to the interpretation of compositionality as constituting primarily a methodological principle, we consider this to be a methodological rather than an empirical question. As a consequence, the emphasis in the present paper lies on developing an alternative compositional semantics of discourse, which is empirically equivalent to its non-compositional brethren, but which differs from them in a principled methodological way. Hence, no attempts are made to improve on existing theories empirically. Nevertheless, as we indicate in section 5, the development of a compositional alternative may in the end have empirical consequences, too. First of all, it can be argued that the dynamic view on interpretation developed in this paper suggests natural and relatively easy to formulate extensions which enable one to deal with a wider range of phenomena than can be dealt with in existing theories. Moreover, the various approaches to the model-theoretic semantics of discourse that have been developed during the last decade, have constituted a ‘fresh start’ in the sense that much of what had been accomplished before was ignored, at least for a start. Of course, this is a justified strategy if one feels one is trying to develop a radically different approach to recalcitrant problems. However, there comes a time when such new approaches have to be compared with the older one, and when an assessment of the pros and cons of each has to be made. One of the main problems in semantics today, we feel, is that a semantic theory such as Montague grammar, and an approach like Kamp’s discourse representation theory, are hard to compare, let alone that it is possible to unify their insights and results.. (shrink)

Human papillomavirus (HPV) is one of the most common sexually transmitted infections. It is a leading cause of cervical cancer in women but the virus is increasingly being linked to several other cancers in men and women alike. Since the introduction of safe and effective but also expensive vaccines, many developed countries have implemented selective vaccination programs for girls. Some however argue that these programs should be expanded to include boys, since (1) HPV constitutes non-negligible health risks for boys as (...) well and (2) protected boys will indirectly also protect girls. In this paper we approach this discussion from an ethical perspective. First, on which moral grounds can one justify not reimbursing vaccination for the male sex? We develop an ethical framework to evaluate selective vaccination programs and conclude that, in the case of HPV, efficiency needs to be balanced against non-stigmatization, non-discrimination and justice. Second, if vaccination programs were to be expanded to boys as well, do the latter then also have a moral duty to become immunized? Two arguments in favor of such a moral duty are well known in vaccination ethics: the duty not to harm others and to contribute to the public good of public health. However, we argue that these are not particularly convincing in the context of HPV. In contrast, we believe a third, more powerful but also more controversial argument is possible. In our view, the sexual mode of transmission of HPV constitutes an additional reason to believe that boys in fact may have a moral obligation to accept vaccination. (shrink)

Gricean pragmatics. Saying vs. implicating ; Discourse and cooperation ; Conversational implicatures ; Generalised vs. particularised ; Cancellability ; Gricean reasoning and the pragmatics of what is said -- The standard recipe for Q-implicatures. The standard recipe ; Inference to the best explanation ; Weak implicatures and competence ; Relevance ; Conclusion -- Scalar implicatures. Horn scales and the generative view ; Implicatures and downward entailing environments ; Disjunction : exclusivity and ignorance ; Conclusion -- Psychological plausibility. Charges of psychological (...) inadequacy ; Logical complexity ; Abduction ; Incremental processing ; The intentional stance ; Alternatives ; Conclusion -- Nonce inference or defaults?. True defaults ; Strong defaultism ; Weak defaultism ; Contextualism ; Conclusion -- Intentions, alternatives, and free choice. Free choice ; Problems with the standard recipe ; Intentions first ; Free choice explained ; Comparing alternatives ; Two flavours of Q-implicature ; Conclusion -- Embedded implicatures : the problems. The problems ; Varieties of conventionalism ; Against conventionalism ; Conclusion -- Embedded implicatures : a Gricean approach. Disjunction ; Belief reports ; Factives and other presupposition inducers ; Indefinites ; Contrastive construals and lexical pragmatics ; Conclusion. (shrink)

This paper presents an analysis of wh-complements in Montague Grammar. We will be concerned primarily with semantics, though some remarks on syntax are made in Section 4. Questions and wh-comple ments in Montague Grammar have been studied in Hamblin (1976), Bennett (1979), Karttunen (1977) and Hauser (1978) among others. These proposals will not be discussed explicitly, but some differences with Karttunen's analysis will be pointed out along the way.

Refutation systems are formal systems for inferring the falsity of formulae. These systems can, in particular, be used to syntactically characterise logics. In this paper, we explore the close connection between refutation systems and admissible rules. We develop technical machinery to construct refutation systems, employing techniques from the study of admissible rules. Concretely, we provide a refutation system for the intermediate logics of bounded branching, known as the Gabbay–de Jongh logics. We show that this gives a characterisation of these logics (...) in terms of their admissible rules. To illustrate the technique, we also provide a refutation system for Medvedev’s logic. (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)

Joint attention customarily refers to the coordinated focus of attention between two or more individuals on a common object or event, where it is mutually “open” to all attenders that they are so engaged. We identify two broad approaches to analyse joint attention, one in terms of cognitive notions like common knowledge and common awareness, and one according to which joint attention is fundamentally a primitive phenomenon of sensory experience. John Campbell’s relational theory is a prominent representative of the latter (...) approach, and the main focus of this paper. We argue that Campbell’s theory is problematic for a variety of reasons, through which runs a common thread: most of the problems that the theory is faced with arise from the relational view of perception that he endorses, and, more generally, they suggest that perceptual experience is not sufficient for an analysis of joint attention. (shrink)

In a recent publication in the European Journal for Philosophy of Science, Romero and Pérez claim to reveal new trouble for the already difficult life of presentism in relativistic spacetimes. Their argument purports to demonstrate the impossibility of postulating a viable present in the presence of black holes, in particular the Schwarzschild geometries. I argue that their argument is flawed, and that the Schwarzschild geometries they consider offer no novel threats to presentism. However, if we consider more general black holes, (...) different and more potent threats may be lurking in the dark. I discuss these threats and sketch how a presentist may respond, thus painting a more balanced picture of the way the existence of black holes might impact presentist metaphysics. At present there is no decisive verdict from black holes, but it turns out a close scrutiny of the developments in the relevant physics will be needed to see whether their import will remain so inconclusive. (shrink)

Bayesian networks (BN) and argumentation diagrams (AD) are two predominant approaches to legal evidential reasoning, that are often treated as alternatives to one another. This paper argues that they are, instead, complimentary and proposes the beginnings of a method to employ them in such a manner. The Bayesian approach tends to be used as a means to analyse the findings of forensic scientists. As such, it constitutes a means to perform evidential reasoning. The design of Bayesian networks that accurately and (...) comprehensively represent the relationships between investigative hypotheses and evidence remains difficult and sometimes contentious, however. Argumentation diagrams are representations of reasoning, and are used as a means to scrutinise reasoning (among other applications). In evidential reasoning, they tend to be used to represent and scrutinise the way humans reason about evidence. This paper examines how argumentation diagrams can be used to scrutinise Bayesian evidential reasoning by developing a method to extract argument diagrams from BN. (shrink)

People talk not only to others but also to themselves. The self talk we engage in may be overt or covert, and is associated with a variety of higher mental functions, including reasoning, problem solving, planning and plan execution, attention, and motivation. When talking to herself, a speaker takes devices from her mother tongue, originally designed for interpersonal communication, and employs them to communicate with herself. But what could it even mean to communicate with oneself? To answer that question, we (...) need a theory of communication that explains how the same linguistic devices may be used to communicate with others and oneself. On the received view, which defines communication as information exchange, self talk appears to be an anomaly, for it is hard to see the point of exchanging information with oneself. However, if communication is analysed as a way of negotiating commitments between speaker and hearer, then communication may be useful even when speaker and hearer coincide. Thus a commitment-based approach allows us to make sense of self talk as well as social talk. (shrink)

In this paper we study the admissible rules of intermediate logics. We establish some general results on extensions of models and sets of formulas. These general results are then employed to provide a basis for the admissible rules of the Gabbay–de Jongh logics and to show that these logics have finitary unification type.

Conventions are regularities in social behaviour of the past that enable us to coordinate our actions. Some conventions are lawlike: they are expected to be observed always or nearly always. However, in order to coordinate our actions, it may suffice that a precedent has occurred often enough, and sometimes even a single precedent will do. So, in general, conventions merely enable us to solve our coordination problems; lawlike conventions are a special case. Grammatical conventions are often lawlike; sense conventions are (...) typically enabling. In order to resolve the indeterminacies that sense conventions give rise to, interlocutors must rely on the common ground. In this and other ways, common ground is a prerequisite for convention‐based communication. (shrink)

The Gricean theory of conversational implicature has always been plagued by data suggesting that what would seem to be conversational inferences may occur within the scope of operators likebelieve, for example; which for bona fide implicatures should be an impossibility. Concentrating my attention on scalar implicatures, I argue that, for the most part, such observations can be accounted for within a Gricean framework, and without resorting to local pragmatic inferences of any kind. However, there remains a small class of marked (...) cases that cannot be treated as conversational implicatures, and they do require a local mode of pragmatic interpretation. (shrink)

This paper is concerned with the moral justification for palliative sedation until death. Palliative sedation involves the intentional lowering of consciousness for the relief of untreatable symptoms. The paper focuses on the moral problems surrounding the intentional lowering of consciousness until death itself, rather than possible adjacent life-shortening effects. Starting from a Kantian perspective on virtue, it is shown that continuous deep sedation until death (CDS) does not conflict with the perfect duty of moral self-preservation because CDS does not destroy (...) capacities for agency. In addition, it is argued that CDS can frustrate the imperfect duty of self-cultivation by reducing consciousness permanently. Nevertheless, there are cases where CDS is morally acceptable, namely, cases where the agent has already permanently lost the possibility for free action in advance of sedation—for example, due to excruciating and ongoing pain. Because the latter can be difficult to diagnose properly, safeguards may be needed in order to prevent the application of CDS for the wrong reasons. (shrink)

When the likelihood ratio approach is employed for evidential reasoning in law, it is often necessary to employ subjective probabilities, which are probabilities derived from the opinions and judgement of a human. At least three concerns arise from the use of subjective probabilities in legal applications. Firstly, human beliefs concerning probabilities can be vague, ambiguous and inaccurate. Secondly, the impact of this vagueness, ambiguity and inaccuracy on the outcome of a probabilistic analysis is not necessarily fully understood. Thirdly, the provenance (...) of subjective probabilities and the associated potential sources of vagueness, ambiguity and inaccuracy tend to be poorly understood, making it difficult for the outcome of probabilistic reasoning to be explained and validated, which is crucial in legal applications. The former two concerns have been addressed by a wide body of research in AI. The latter, however, has received little attention. This paper presents a novel approach to employ argumentation to reason about probability distributions in probabilistic models. It introduces a range of argumentation schemes and corresponding sets of critical questions for the construction and validation of argument models that define sets of probability distributions. By means of an extended example, the paper demonstrates how the approach, argumentation schemes and critical questions can be employed for the development of models and their validation in legal applications of the likelihood ratio approach to evidential reasoning. (shrink)

The development of ever smaller integrated circuits at the sub-micron and nanoscale—in accordance with Moore’s Law—drives the production of very small tags, smart cards, smart labels and sensors. Nanoelectronics and submicron technology supports surveillance technology which is practically invisible. I argue that one of the most urgent and immediate concerns associated with nanotechnology is privacy. Computing in the twenty-first century will not only be pervasive and ubiquitous, but also inconspicuous. If these features are not counteracted in design, they will facilitate (...) ubiquitous surveillance practices which are widely available, cheap, and intrusive. RFID technology is an instructive example of what nanotechnology has in store for privacy. (shrink)

In the semantics of natural language, quantification may have received more attention than any other subject, and one of the main topics in psychological studies on deductive reasoning is syllogistic inference, which is just a restricted form of reasoning with quantifiers. But thus far the semantical and psychological enterprises have remained disconnected. This paper aims to show how our understanding of syllogistic reasoning may benefit from semantical research on quantification. I present a very simple logic that pivots on the monotonicity (...) properties of quantified statements - properties that are known to be crucial not only to quantification but to a much wider range of semantical phenomena. This logic is shown to account for the experimental evidence available in the literature as well as for the data from a new experiment with cardinal quantifiers ("at least n" and "at most n"), which cannot be explained by any other theory of syllogistic reasoning. (shrink)

Linguistic research has revealed several pathways of language change that may guide our understanding of the evolution of mental‐state attribution. In particular, it turns out that, in many languages, quotative verbs have been exapted for attributing a variety of mental states, including beliefs and intentions. In such languages, the literal translation of, “Betty said: ‘There will be war’”, may be used not only to quote Betty's words, but also to convey that she thought or intended there to be war. This (...) paper presents a model of the pragmatic shifts underlying this pathway, and proposes an evolutionary trajectory from quotation to the public practice of attributing beliefs and intentions, and thence to implicit belief/intention attribution. (shrink)

Gricean pragmatics has often been criticised for being implausible from a psychological point of view. This line of criticism is never backed up by empirical evidence, but more importantly, it ignores the fact that Grice never meant to advance a processing theory, in the first place. Taking our lead from Marr, we distinguish between two levels of explanation: at the W-level, we are concerned with what agents do and why; at the H-level, we ask how agents do whatever it is (...) they do. Whereas pragmatics is pitched at the W-level, processing theories are at the H-level. This is not to say that pragmatics has no implications for psychology at all, but it is to say that its implications are less direct than is often supposed. (shrink)

Scholarly discourse on “disruptive technologies” has been strongly influenced by disruptive innovation theory. This theory is tailored for analyzing disruptions in markets and business. It is of limited use, however, in analyzing the broader social, moral and existential dynamics of technosocial disruption. Yet these broader dynamics should be of great scholarly concern, both in coming to terms with technological disruptions of the past and those of our current age. Technologies can disrupt social relations, institutions, epistemic paradigms, foundational concepts, values, and (...) even the nature of human cognition and experience – domains of disruption that are largely neglected in existing discourse on disruptive technologies. Accordingly, this paper seeks to reorient scholarly discussion around a broader notion of technosocial disruption. This broader notion raises three foundational questions. First, how can technosocial disruption be conceptualized in a way that clearly sets it apart from the disruptive innovation framework? Secondly, how does the notion of technosocial disruption relate to the concordant notions of “disruptor” and “disruptiveness”? Thirdly, can we advance criteria to assess the “degree of social disruptiveness” of different technologies? The paper clarifies these questions and proposes an answer to each of them. In doing so, it advances “technosocial disruption” as a key analysandum for future scholarship on the interactions between technology and society. (shrink)

In the last 30 years, the key issue in developmental Theory of Mind has been if and when children are capable of representing false beliefs. Moving away from this research question, the aim of this study was to investigate the role of attentional processes in false-belief tasks. We focused on the design of the test phase and investigated two factors that may be critical for 3-year-old children’s success: the form of the wh-question and the salience of the target object. The (...) results of two experiments confirmed that 3-year olds are able to explicitly choose the correct answer in a false-belief task provided that they are allowed to focus on the protagonist throughout the task. The salience of the target object, however, was a critical factor in the design of the test phase, as increasing it had a negative effect on children’s performance. These results suggest that the experimental record of the last 30 years may be skewed since standard false-belief tasks do not control for the relative salience of the wrong response, potentially hindering the performance of children under 4. We conclude that a careful investigation of performance factors in false-belief tasks has the potential to reveal deep insights into the development of Theory of Mind skills, even if not directly focused on children’s representation of beliefs. (shrink)

Explores the place of intellectual virtues and vices in a social world. Chapters are divided into four sections: Foundational Issues; Individual Virtues; Collective Virtues; and Methods and Measurements.

It appears that in mixed quotations like the following, the quoted expression is used and mentioned at the same time: (1) George says Tony is his ``bestest friend''. Most theories seek to account for this observation by assuming that mixed quotations operate at two levels of content at once. In contradistinction to such two-dimensional theories, we propose that quotation involves just a single level of content. Quotation always produces a change in meaning of the quoted expression, and if the quotation (...) is mixed the shift is, to a first approximation at least, from '...' to ``what x calls '...''', where x is a variable whose value is determined by the context. We argue that quotation is generally context dependent in various ways, and that some of these ways are presuppositional in nature; we present a detailed analysis of the presuppositions in question. (shrink)

It is argued that Pettit’s conception of “contestatory democracy” is superior to deliberative, direct and epistemic democracy. The strong and weak points of these conceptions are discussed drawing upon the work of a.o Bruce Bimber. It is further argued that ‘contestation’ and ‘information’ are highly relevant notions in thinking about, just, viable and sustainable design for E-democracy.