A number of experiences have demonstrated how digital solutions are effective in improving quality of life (QoL) and health outcomes for older adults. Smart Health Age-Friendly Environments (SHAFE) is a new concept introduced in Europe since 2017 that combines the concept of Age-Friendly Environments with Information Technologies, supported by health and community care to improve the health and disease management of older adults and during the life-course. This chapter aims to provide an initial overview of the experiences available not only (...) in Europe, based on the research work of the participants of the International Interdisciplinary Network on Health and Well-being in an Age-Friendly Digital World (NET4Age-Friendly), which could be of interest to preventive, health and social authorities. The chapter reports good practices, pain points, and bottlenecks that may require a collaborative, interdisciplinary research approach to facilitate the transformations towards smart, sustainable, health and age-friendly cities and communities. (shrink)

"In Nature's infinite book of secrecy A little I can read." William Shakespeare Environmental degradation. Globalization. The closure of our public life to the transcendent dimensions of human existence. For esteemed philosopher Kenneth Schmitz these are the by-products of modernity and post-modernity. But The Recovery of Wonder is not a denunciation of modern philosophy. Instead, it seeks to point out what needs to be rethought at fundamental levels of our understanding and to show clearly how contemporary social concerns can (...) be illuminated by a new look at the history of philosophy. While acknowledging the significant gains modernity and post-modernity offer Western civilization in the areas of liberty and knowledge, Schmitz sees in their arguments a superficiality that does not "bite to the bone." In The Recovery of Wonder he proposes we approach the world as a gift in order to regain the sense of wonder Shakespeare so eloquently recognized. (shrink)

It is commonly argued that the fact that our universe is fine-tuned for life favors both a design hypothesis as well as a non-teleological multiverse hypothesis. The claim that the fine-tuning of this universe supports a non-teleological multiverse hypothesis has been forcefully challenged however by Ian Hacking and Roger White. In this paper we take this challenge even further by arguing that if it succeeds, then not only does the fine-tuning of this universe fail to support a multiverse hypothesis, but (...) it tends to favor a single-universe hypothesis instead. (shrink)

This article proposes a role for aesthetic judgment in our practical thought. The role is related to those moments when practical reason seems to give out, when it fails to yield a judgment about what to do in the face of a choice we cannot avoid. I argue that these impasses require agents to create, but that not any creativity will do. For we cannot regard a response to one of these problems as arbitrary or capricious if we want to (...) act on it. We must instead regard that response as justified by the problem itself. I suggest that this combination of creativity and normativity is characteristic of aesthetic judgment and this makes it a promising candidate for making these very difficult choices. (shrink)

Michelman's Constitutional Essentials raises important questions about the idea of political liberalism and related idea of public reason. This essay offers a sympathetic commentary while also exploring the importance of the idea of reciprocity for both Rawls and Michelman.

If representation is resemblance, how we do we think of groups or classes of things? According to a tradition Berkeley opposed—a tradition represented by Locke—we do so by forming abstract or incomplete ideas. I show that Berkeley's opposition does not depend on his own personal failure to form abstract images, but on what he took to be the impersonal or objective impossibility of abstract objects. Berkeley himself accounts for general thinking not in terms of abstract or incomplete ideas, but in (...) terms of our selective attention to ideas both concrete and determinate. Contentful thought about the natural world is impossible without ideas as objects, Berkeley believes, but ideas do not, in his view, completely fix the content of our thought. (shrink)

After describing the corpuscularian background of Berkeley's work, I consider whether Berkeley can endorse the existence of immaterial atoms or corpuscles. I suggest that he hopes to avoid a definite commitment. He wants his position to ‘float’, its level to be determined by the kind of empirical evidence that would strike materialists and immaterialists with equal force. This chapter foregrounds the role played by the notion of intelligibility, both in the defence of modern corpuscularian science and in Berkeley's critical response (...) to it. (shrink)

This chapter reviews and assesses Berkeley's main arguments for immaterialism, his arguments against the existence of matter or material substance. I place particular emphasis on the themes of earlier chapters: intentionality, abstraction, necessity, and intelligibility. My aim is to show that Berkeley's thinking about these topics made a powerful contribution to his immaterialism, even if they seem, on the surface, to be distant from it. I provide an account of immediate perception as Berkeley understands it, and emphasize the phenomenalist elements (...) in Berkeley's development of immaterialism. (shrink)

I suggest that in his early, unpublished notebooks, Berkeley experimented with a radically formal conception of necessity, according to which necessity is nothing more than the inclusion of one idea within the definition of another. Berkeley's experiment was defeated by the same objective connections that rule out the existence of simple ideas. Although Berkeley was left without an understanding of the nature of necessity, he never wavered in his conviction that necessity is something objective—that ideas and the world have an (...) inherent, inescapable structure. (shrink)

I offer an interpretation and partial defence of Berkeley's belief that he is a mind or spirit—a spiritual substance—distinct from his ideas. I argue in particular that the arguments examined in earlier chapters, particularly the account of representation or intentionality developed in Ch. 1, and the immaterialist arguments reviewed in Ch. 6, do not force Berkeley to conclude that spiritual substance is no less impossible than matter.

Many empiricists, among them Locke and Hume, make a distinction between simple and complex ideas. Berkeley refuses to do so, because he finds connections—objective connections incompatible with simplicity—even among the ‘simplest’ of ideas. Simple ideas, in his view, are illegitimately abstract.

This is the first of three chapters examining the consequences of Berkeley's immaterialism and the problems to which it gives rise. In the present chapter, I defend a phenomenalist interpretation of Berkeley on unperceived objects. Appealing to his denial of blind agency, I show that a phenomenalist interpretation can be reconciled with texts that seem to go against it. I provide a modest interpretation of Berkeley's doctrine of archetypes, and argue briefly that even in Siris, Berkeley's doctrine of archetypes is (...) unambitious and not especially Platonic. (shrink)

This chapter explores the difference between two kinds of signs that Berkeley followed Locke in recognizing: words and ideas. I argue that Berkeley does not assume that ideas are images of things but concludes it, as part of a deliberate attempt to explain how at least some of our thoughts succeed in referring to the world. For Berkeley, representation—the intentionality or ‘aboutness’ of thought—is sometimes a matter of resemblance.

From the moment of discovery, the Piltdown "fossils" were the center of controversy. Piltdown apparently provided a human fossil on English soil, a maker for the eoliths, and proof that the brain came first in human evolution and that an anatomically modern braincase was present at the beginning of the Ice Age. Every conclusion was important and controversial, and for many years it was not possible to discuss human evolution without considering Piltdown. Hundreds of papers were written about the discoveries, (...) but the problem remained. Anatomically it seemed impossible to associate the skull and jaw, but the chance association of an ape's jaw and a human skull in England seemed at least as improbable. The solution came when J.S. Weiner, Kenneth Oakley, and W.L. le Cros Clark showed that everything was fake–the bones had been stained, ape's teeth filed down, and fossils added to the assemblage to determine the antiquity. The whole matter is carefully reviewed in Weiner's The Piltdown Forgery ( 1955). (shrink)

The central unifying element in the philosophy of Peter Browne is his theory of analogy. Although Browne's theory was originally developed to deal with some problems about religious language, Browne regards analogy as a general purpose cognitive mechanism whereby we substitute an idea we have to stand for an object of which we, strictly speaking, have no idea. According to Browne, all of our ideas are ideas of sense, and ideas of sense are ideas of material things. Hence we can (...) conceive of spiritual things – including even our own spirit – only by analogy. One interesting application Browne makes of his theory is an account of how concepts such as knowledge can be correctly applied to beings that have no intrinsic properties in common, such as non-human animals, humans, angels, and God. I argue that this is best understood as what, in the contemporary literature, is known as a ‘multiple realizability’ problem and that Browne's solution to this problem has important similarities to functionalist theories in recent philosophy of mind. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:September 24, 2010 (10:17 pm) C:\Users\Milt\Desktop\backup copy of Ken's G\WPData\TYPE3001\russell 30,1 032 red corrected.wpd 1 Just what exactly “separated by degree” means is a bone of contention among those playing the game. But it seems to me that if you have actually met a person Xz, then you have knowledge by acquaintance of X, whereas if you meet someone who met Xz you are separated from Xz by (...) one degree. Thus, I never met the jazz great Sun Ra, but my friend Warren Allen Smith (former head of a recording studio) worked with him on several of his albums, so I am one degree of separation from Sun Ra. russell: the Journal of Bertrand Russell Studies n.s. 30 (summer 2010): 63–7 The Bertrand Russell Research Centre, McMaster U. issn 0036-01631 eu d’sprit “SIX DEGREES OF BERTRAND RUSSELL” Timothy J. Madigan Philosophy / St. John Fisher College Rochester, ny 14618, usa [email protected] One of the most quoted phrases in current popular culture is “six degrees of separation”. It expresses the idea that any human being is connected with any other human being by a chain of at most six acquaintances.1 While there is much debate as to whether this is literally true, it is an interesting thoughtexperiment, as well as the basis for many fun parlour games. One of these is entitled “Six Degrees of Kevin Bacon”, in which Wlm fans try to connect the aforementioned actor with any other movie star in as few links as possible. I have been thinking of launching a similar parlour game called “Six Degrees of Bertrand Russell”, in which any Wgure from the past 200 years or so could be connected with Bertie in as few steps as possible. Why Bertie rather than, say, Ludwig Wittgenstein (who after all had a stated interest in games)? For two reasons: Wrst, Russell lived to the ripe old age of 97, and thus had the time to interact with a wide variety of people; and secondly he was for most of that long life a celebrity, who rubbed elbows with all manner of individuals, many of whom were either celebrities themselves at the time or came to be celebrated later. As is often pointed out, Russell’s list of acquaintances stretched from Lenin (V.yI.) to Lennon (zJohn), from the Bloomsbury Group to the Doomsday Prophets, from William Gladstone to Harold Wilson. Russell’s grandfather, LordJohn Russell, had as a young man visited Napoleon on the island of Elba and shaken his hand. When I shake the hand of Honorary Russell Archivist Ken Blackwell, September 24, 2010 (10:17 pm) C:\Users\Milt\Desktop\backup copy of Ken's G\WPData\TYPE3001\russell 30,1 032 red corrected.wpd 64 timothy j. madigan 2 Other historical writings by Russell are discussed in Kenneth R. Stunkel, “Bertrand Russell’s Writings and ReXections on History”, Russellz 21 (2001): 129–53. who met Bertie, I often think that I am only three degrees of separation from shaking Napoleon’s hand as well. And as for Napoleonz—zwell, who knows where that hand had been? Given this strong connection to history, it is not surprising that Russell himself would write an essay entitled “How to Read and Understand History”.2 In his Autobiographyz and other works such as Portraits from Memory, Russell made it quite clear that his aristocratic and privileged background gave him access to many of the most important movers and shakers in twentieth-century politics, literature, and academia, areas in which he himself excelled. He was aware that, unlike many of his fellow philosophers, who were known only to a small coterie of fellow deep thinkers, he was an historic Wgure, one who could interact on a personal level with cabinet ministers, Nobel prize-winners in all Welds, press lords, movie stars, presidents and premiers. During the Cuban Missile Crisis, for instance, many concerned individuals tried to reach Kennedy and Khrushchev to give them advice, but Russell was one of the few outsiders whose letters actually got through, as he no doubt knew they would. For all of his concern with... (shrink)

By the early twentieth century there was a growing need within palaeoanthropology and prehistoric archaeology to find a way of dating fossils and artefacts in order to know the age of specific specimens, but more importantly to establish an absolute chronology for human prehistory. The radiocarbon and potassium–argon dating methods revolutionized palaeoanthropology during the last half of the twentieth century. However, prior to the invention of these methods there were attempts to devise chemical means of dating fossil bone. Collaborations (...) between Emile Rivière and Adolphe Carnot in the 1890s led to the development of the fluorine dating method, but it was not until the 1940s that this method was improved and widely implemented by Kenneth Oakley to resolve a number of problems in palaeoanthropology, including the Piltdown Man controversy. The invention of the fluorine dating method marked a significant advance in the quest for absolute dating in palaeoanthropology, but it also highlights interesting problems and issues relating to the ability of palaeoanthropologists and chemists to bring together different skills and bodies of knowledge in order successfully to develop and apply the fluorine dating method. (shrink)

This paper examines the causal theory of knowledge put forth by Alvin Goldman in his 1967 paper “A Causal Theory of Knowing.” Goldman contends that a justified, true belief is knowledge if and only if it is causally connected to the fact that makes it true. This paper provides examples, however, of justified, true beliefs with such causal connections that are clearly not knowledge. The paper further shows that attempts to salvage the causal theory are unsatisfactory.

This lucid and wide-ranging volume constitutes a self-contained introduction to the elements and key issues of the philosophy of language.

Michel Foucault is often criticised in English-speaking circles for being interested only in power as domination, and of being uninterested in freedom and social reform. This paper shows, however, that Foucault's overarching concern was with the constitution of the self under conditions of modernity. It emphasises the significance of his interest in the Classical project of ‘Self-care’, and of his countermodernist educational programme in which the skills of self-governance and the ethical (non-dominating) governance of others, as well as the practice (...) of freedom through self-creation, are the key ingredients. (shrink)

Can I be free to perform an action if God has decided to ensure that I do not choose that action? I show that Molinists and simple foreknowledge theorists are committed to answering in the affirmative. This is problematic for their status as theological incompatibilists. I suggest that strategies for preserving their theological incompatibilism in light of this result should be based on sourcehood. However, the path is not easy here either, since Leibniz has shown how theological determinists can offer (...) an extremely robust form of sourcehood. Proponents of these views must identify a valuable form of sourcehood their theories allow that Leibniz’s theory doesn’t. (shrink)

This chapter argues that Hegel is a major (albeit unrecognized) epistemologist: Hegel’s Introduction provides the key to his phenomenological method by showing that the Pyrrhonian Dilemma of the Criterion refutes traditional coherentist and foundationalist theories of justification. Hegel then solves this Dilemma by analyzing the possibility of constructive self- and mutual criticism. ‘Sense Certainty’ provides a sound internal critique of ‘knowledge by acquaintance’, thus undermining a key tenet of Concept Empiricism, a view Hegel further undermines by showing that a series (...) of non-logical a priori concepts must be used to identify any particular object of experience. Most importantly, Hegel justifies a semantics of singular cognitive reference with important anti-skeptical implications. ‘Perception’ extends Hegel’s criticism Concept Empiricism by exposing the inadequacy of Modern theories of perception (and also sense data theories) which lack a tenable concept of the identity of perceptible things. Hegel demonstrates that this concept is a priori and integrates two counterposed sub-concepts, ‘unity’ and ‘plurality’. Hegel’s examination of this concept reveals his clear awareness of what is now called the ‘binding problem’ in neurophysiology of perception, a problem only very recently noticed by epistemologists. ‘Force and Understanding’ exposes a fatal equivocation in the traditional concept of substance which thwarts our understanding of force and causal interaction. Hegel’s disambiguation of that concept enables us to comprehend how relations can be essential to physical particulars. Hegel contends that Newtonian universal gravitation shows that gravitational relations are essential to physical particulars, and he criticizes a series of attempts—including the infamous ‘inverted world’—to avoid this conclusion. Hegel’s cognitive semantics supports Newton’s Fourth Rule of philosophizing, which rejects mere logical possibilities as counter-examples to empirical hypotheses. This is an important anti-Cartesian, also anti-empiricist, insight. Finally, Hegel’s cognitive semantics reveals a previously unnoticed link between Pyrrhonian and Cartesian skepticism and empiricist anti-realism about causality within philosophy of science: all three appeal to premises, hypotheses, or counter-examples which, as mere logical possibilities, lack in principle fully determinate, cognitively legitimate meaning. ‘Consciousness’ thus establishes basic principles and features of human cognition to which Hegel returns throughout the Phenomenology. The chapter concludes by summarizing Hegel’s over-arching epistemological analysis in the Phenomenology. (shrink)

Arnauld follows Descartes in denying that sensible qualities like color are modes of external objects. Yet, unlike Malebranche, he resists the apparent implication that ordinary statements like ‘this marble is white’ are false. Arnauld also follows Descartes in saying that we perceive things by having ideas of them. Yet, unlike Malebranche, he denies that this sort of talk implies the existence of intermediaries standing between the mind and its external objects. How can Arnauld avoid these implications? I argue that the (...) answer lies in Arnauld’s sophisticated theory of mental and linguistic representation and, in particular, his account of extrinsic denomination. (shrink)

It is widely agreed among broadly Anselmian theists that God is in some sense the 'delimiter of possibilities.' In other words, the scope of possibility is explained by the manner in which the universe emanates from God. However, existing accounts of God's role here—in terms of freedom, choice, or power—face serious difficulties. The present paper provides a new account of God's role as the delimiter of possibilities in terms of the different manner in which the non-actuality of non-actual states of (...) affairs is explained. Intuitively and metaphorically, we can think of the menu of states of affairs being 'whittled down' in successive stages of a process of divine decision-making, with the different species of impossibility corresponding to when and how the states of affairs are ruled out. I argue that this approach provides genuine contingency while also preserving the Principle of Sufficient Reason. (shrink)

This paper discusses the role of religious speech in the public square and the common school. It argues for more openness to political theology than many liberals are willing to grant and for an educational strategy of engagement over one of avoidance. The paper argues that the exclusion of religious debate from the public square has dysfunctional consequences. It discusses Rawls’s more recent views on public reason and claims that, while they are not altogether adequate, they are consistent with engagement. (...) The outcome of these arguments is applied to three ‘hot button’ issues in US education: creationism, an issue of gay rights, and teaching the Bible in schools. (shrink)

This article argues that correctional institutions violate the Eighth Amendment when they refuse to establish MAT programs and prevent doctors from exercising medical judgment to properly treat incarcerated people with OUD.

The social philosophy of Kenneth Boulding.

This paper argues that Hegel’s Philosophical Outlines of Justice develops an incisive natural law theory by providing a comprehensive moral theory of a modern republic. Hegel’s Outlines adopt and augment a neglected species of moral constructivism which is altogether neutral about moral realism, moral motivation, and whether reasons for action are linked ‘internally’ or ‘externally’ to motives. Hegel shows that, even if basic moral norms and institutions are our artefacts, they are strictly objectively valid because for our very finite form (...) of semi-rational embodied agency they are necessary and because sufficient justifying grounds for these norms and institutions can be addressed to all persons. Hegel’s moral constructivism identifies and justifies the core content of a natural law theory, without invoking metaphysical issues of moral realism, anti-realism, irrealism or ‘truth makers’, etc. I begin with Socrates’ question to Euthyphro to distinguish between moral realism and moral irrealism. I then summarise basic points of constructivist method and how Hume’s theory of justice inaugurates this distinctive species of natural law constructivism. How this approach addresses issues of political legitimacy is highlighted by Rousseau’s juridical innovation. How this approach is better articulated and justified by Kant’s specifically Critical method is briefly considered in connection with his justification of rights to possession, so that we can then recognise Hegel’s natural law constructivism in his Outlines. Hegel’s account of rights to possession corresponds closely to Kant’s, and his account of juridical relations as human interrelations accords with natural law constructivism. This finding is corroborated by some central features of Hegel’s account of Sittlichkeit, including how Hegel adopts, undergirds and augments Rousseau’s and Kant’s Independence Requirement for political legitimacy. (shrink)

Lifelong learning has become a key concern as the focus of educational policy has shifted from mass schooling toward the learning society. The shift started in the mid 1960s and early 1970s under the impetus of a group of writers and adult educators, gravitating around UNESCO, with a humanist philosophy and a leftist agenda. The vocabulary of that movement was appropriated in the 1990s by other interests with a very different performativist agenda emphasizing effectiveness and economic outcomes. This change of (...) interest, described in the book, has signified the death of education. The Learning Society in a Postmodern World explores different theoretical resources to respond to this situation, mainly those that propose some restoration of an educated public or, to the contrary, individual self-creation, and uses the works of a broad range of philosophers and thinkers - notably MacIntyre, Habermas, Foucault, Derrida, Rorty, and Baudrillard. In addition, it raises important questions about postmodern and poststructuralist responses to education in the postmodern world. Its comprehensiveness and historical background make it an essential textbook for theoretical courses in lifelong learning and in educational theory in general. A broad range of interests and subject matter make it important reading for educators, policy specialists, media specialists, researchers on the subject of lifelong learning and on the relation between education and the postmodern world, political theorists, philosophers, and philosophers of education. (shrink)

continent. 1.2 (2011): 136-140. In early 2011, Cow Heavy Books published The Official Catalog of the Library of Potential Literature , a compendium of catalog 'blurbs' for non-existent desired or ideal texts. Along with Erinrose Mager, I edited the project, in a process that was more like curation as it mainly entailed asking a range of contemporary writers, theorists, and text-makers to send us an entry. What resulted was a creative/critical hybrid anthology, a small book in which each page opens (...) to a new iteration of textual desire. These texts explore the material possibilities of the book. Somewhat parallel to the call of N. Katherine Hayles who, in her book Writing Machines , urges literary theorists to take up the practice of Medium Specific Analysis (to account for the way the medium in which it is presented conditions or at least bears on a literary text). I see in the imagined works of The Official Catalog a call for the innovative writers of today to become Medium-Responsive. This would mean thinking through the specific (materially constrained) possibilities offered by the media in which texts are presented, and in thinking of the literary text as a kind of art in the greater context of other arts and the book as a medium situated within the context of many other media. In doing so, the contemporary writer refutes the chorus of critics who lament the death of the book by consistently reinvigorating literary innovation. The following are selections from The Official Catalog of the Library of Potential Literature that show possible paths for (thinking about) new writing that engages with its medium. —Ben Segal, Editor THE CUBE Even the most radical non-linear texts have tended to exploit or subvert only the sequential possibilities of print—from the continuous loop of Joyce's Finnegans Wake to the shuffled cards of Marc Saporta's Composition No. 1 —but The Cube takes such multiplicities to an entirely new level. Set in a grid, the book's words can be read conventionally, across the page, as well as down each column—with either route making complete grammatical sense. But they can also be read as stacked strata and mined like lexical core samples through the layered pages of the book. Each path tells the same story from a different perspective (the narrative, naturally, hinges on the potential outcomes of a throw of cubed dice). By opening up the z-axis to reading in this way, The Cube recognizes the book as a three-dimensional sculptural space. Taking its lead from Armand Schwerner's (If Personal) and Raymond Queneau's Cent mille milliards de poèmes , The Cube reads like a experiment by Christian Bök precision printed by Emily McVarish. Craig Dworkin is the editor, most recently, of The Consequence of Innovation: 21st Century Poetics (Roof Books, 2008), The Sound of Poetry/The Poetry of Sound , with Marjorie Perloff (U. Chicago Press, 2009), and Against Expression: An Anthology of Conceptual Writing , with Kenneth Goldsmith (Northwestern UP, 2010). He teaches at the University of Utah. HE GOES In He Goes , we read notes, letters and e-mails from a scholar father to his novelist daughter. We read of the father's musings on Beckett, on Pinter, on Anne Frank; his description of a woman hanging laundry from a line. We read about his journey toward dying, followed by a brief, third person account of his death, and his obituary. Then a long series of blank pages that demand to be read in real time, non-sentence by non-sentence, blank page by blank page. Finally—and it is here that this peculiar little book begins to soar—the dead father writes to his as-of-yet-still-living daughter. He does not write from death. He does not write from life. The words unprint, unstamp, unkindle. Still, they require no translation. The father "writes" (for lack of a better word) about the serendipitous, the commonplace; he recommends another book. He jokes. He asks his daughter how her stomach is. He says forget about presence in absence, darling; screw words as memorial and the guys in garbage cans and loss as redemption and I can't go on I must go on. He goes, "Love, Fodder." He goes, "incidentally." He goes, "I thought you might like to know." Elizabeth Graver is the author of a story collection, Have You Seen Me? , and three novels: Unravelling ; The Honey Thief ; and Awake . Her work has been anthologized in Best American Short Stories , Best American Essays , and Prize Stories: the O. Henry Awards . She teaches at Boston College. THE PAPER ARCHIVIST A stunning package and a triumph of imagination, The Paper Archivist at times looks to be less a book than an abstract expressionist painting. Softly bound, its contents unfold to a single sheet of uneven thickness and texture—a canvas splattered with colored lines, stickers, broken sentences, and nonsense pictographs. But by following the directions to fold, dip, smell, rub, scratch, and tear the sheet according to the contingencies of the weather and using only the objects at hand, the reader slowly brings the forces hidden in the noise into a glorious sculptural convergence, processing a different story and shape each time. This is the rare book that continues to stir, whirl, and pop on every new reading. Sean Higgins blogs at BOMBlog where he is responsible for the column Volumes and Territories, as well as Ghost Island , a fledgling collaborative intellectual collective. THE SLOW BOOK The Slow Book , written by an anonymous author at the dawn of literacy, on a minor planet (otherwise notable only as the source of that exceptionally hardy, not very tasty grain called “shef” sowed on hostile planets as an early step to colonization), and encoded into a series of punctures on a strip of copper coiled inside a clever device, something between a player piano and an old-fashioned film projector, is being released into print, as was the author’s intention, at a rate of one word per century (local time). Each word is, across the Forty Galaxies, agreed to be uncannily apt for the century in which it appears—even “of,” in a century during which the highest value was attached to fidelity, whether to ideals, worlds, or romantic love; even “the,” which governed two centuries, one extraordinarily materialistic, during which advances in propulsion and navigation accelerated the exchange of exceptional objects between the remotest planets of the Forty, and one in which the central concern, both of philosophers and the common man, was whether, in an age of rapidly proliferating hypothetical worlds, anyone or anything concretely existed at all. Even those words published long before interstellar contact can be seen in retrospect to have transgalactic pertinence. As a result, attempts to abstract the machine from its publishers, Hobson & Hui, in order to “predict the future” for insight or gain by “fast- forwarding” the copper strip have been many and ingenious. While, in centuries of skepticism (“maybe”), or of unrest (“go”) the book has been nearly forgotten, in others it seems to haunt every thought, every deed, despite the fact that the subject of The Slow Book is still unclear. So far only a few sentences exist in print; everyone knows them, can quote them, offer the standard exegeses and assorted heresies; yet certainties are the stuff of adolescence; mature readers are forced to acknowledge that these sentences are probably only a preamble to the main argument. They contain no proper nouns, nor can we identify any definite theme. There is even disagreement about their tone, whether coolly ironic, as some insist, or ardent. The appearance of an unusual grammatical case, sometimes called the future pluperfect continuous, used to describe events that at some future point will have always been true (but are not yet)—hitherto known to appear only in the synthetic dogmas of the Thanatographical Society, and in certain highly circumscribed religious contexts—has suggested to some scholars that the Slow Book was originally intended for ritual use, but the proximity of the usage to a term designating a small hand plow that, as Pott and Mielcke have convincingly shown, would have borne a distinctly obscene double meaning in its culture of origin in the author’s time, argues otherwise. It is likewise unclear whether the situation that seems to be—with teasing incompleteness—sketched out in these few lines is intended as an illustration of general principles, a case study, a dramatic scene, or an extended metaphor. In short, we have no idea what The Slow Book is about. In our own time, we believe that it is almost certainly a work of fiction, but that may be because we live in the century of “if”. In each age, perhaps, we see the book we most need to read. Some have dared to suggest that the metal strip is blank until, with millennial fanfare, it advances into its new position, that no ur-text exists, that the book itself is brought into being—written—by our need. But that is exactly the sort of thing we would believe, in 7645. Shelley Jackson is the author of the story collection The Melancholy of Anatomy , the novel Half Life , and hypertexts including Patchwork Girl . The recipient of a Howard Foundation grant, a Pushcart Prize, and the 2006 James Tiptree Jr Award, she has also written and illustrated several children's books, including The Old Woman and the Wave ; Sophia, the Alchemist's Dog ; and Mimi's Dada Catifesto . Her stories and essays have appeared in Conjunctions , McSweeney's , The Paris Review , and Cabinet Magazine . In 2004 she launched her project SKIN , a story published in tattoos on 2095 volunteers. THE BOOK OF SOUNDS The Book of Sounds is just that: a book of sounds made when letters are construed in new ways to bring forth out of the alphabet new forms of speech. A book meant to be read out loud, The Book of Sounds is not unlike Laurie Anderson's O Superman or Brian Eno's Music for Airports in its attempt to make music out of the most primary and simplest of methods. It breaks language down to its barest bones and makes out of the page a drum that has never before been beaten upon. Peter Markus is the author of a novel, Bob, or Man on Boat (Dzanc Books) as well as two books of short fiction, Good, Brother and The Singing Fish , both of which were published by Calamari Press. A new collection of stories, We Make Mud , is now available from Dzanc Books. PARADISE OF THE BLIND by Celan Solen Although the reclusive Celan Solen published his first and only book in 1963—paying out-of-pocket for a limited edition of the slim collection No One May Have the Same Knowledge Again —he remained in American obscurity for almost three decades. In 1992 a micro-press in Istanbul brought out No One in Turkish. A German translation followed in 1995. Soon it became clear in literary circles Solen was a world-class (if highly unclassifiable) artist—lyrical, dense, enigmatic—who could undo the conventional short story in 397 words by inventing impossible worlds housed in impossible whirls (in “Small Sadnesses,” a single chartreuse tree frog in Borneo unknowingly holds time together by its very presence in the universe, while each letter of its tale refers, not to itself, but to the one preceding it in the alphabet). By his disappearance last year, Solen was considered master by a generation of writers and critics (except, alas, for those gentlemen in the Swedish Academy). Imagine, then, that generation’s delight at the discovery, locked away in the author’s safe-deposit box, of his second and final composition. Had Lynch’s Lost Highway been book instead of film, and had it been penned by Beckett at his least certain, revised by Barthelme at his most formally deranged, and typeset by Derrida at his most semiotically catastrophic, the result might have been something like Paradise of the Blind : interlacing narratives of a man composed of borrowed organs (whose most cheerless and difficult to locate, god, could only have been invented by an empty heart), a nonexistent medieval painting blamed for the ruin of future hope, and the spread of a philosophy that holds earth a mistake constantly recurring in the dream of a fish lying on the floor of the Atlantic (if the fish wakes, our world winks off)—all contained in a text packed with typed-over passages, torn postcards, poems that can be deciphered only when held up to a mirror, pages ornamented with trompe-l'œil paperclips and coffee stains and buzzing houseflies, some busy with illegible runes that dissolve when exposed to light, three that smell like roses or lemons (depending on whether a man or woman is reading), two that stain with the bloody fingerprints of the those who handle them, one that ignites when brushed with breath, thirteen sewn from baby skin, one that moans when touched, and one that screams—yet all without mass, unimaginable, and invisible. Lance Olsen is author of more than 20 books of and about innovative fiction, including, most recently, the novels Calendar of Regrets (2010) and Head in Flames (2009). He teaches experimental narrative theory and practice at the University of Utah. SUPERSTRUCTURE! by Barbara D'Albi As soon as I opened the third drawer of Barbara D'Albi's wooden novel, everything became hopeless. Now in Ithaca, there was no going back. And it wasn't just the intricate series of shelves, hinged doors and locked drawers which D'Albi layered into the book, no, lo, I was constructed anew by the story. Who else but D'Albi to imagine a God who becomes a carpenter and gets killed?! And makes it good! You want stories? D'Albi is a skyscraper, built with planes and levers. Momentarily I wondered where I could shelve this book, and then I thought: no matter; I couldn't put it down. Adam Robinson lives in Baltimore, where he runs Publishing Genius. He is the author of Adam Robison and Other Poems and Say, Poem. 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Jack Goody’s work on the origins, spatial extent and defining characteristics of modernity has vigorously questioned claims that only European history led to assorted modern characteristics: capitalism, science, democracy, romantic love, and inwardly-motivated personal restraint. He argues that many societies which experienced the Bronze Age urban revolution share certain important material similarities which set them apart from others, and are best understood by constructing an analytical grid rather than categorical stages. With respect to alleged affective differences, Goody takes a more (...) strongly relativist stance, rejecting any developmental divide in the prevalence of romantic love, internalized self-discipline, etc. These useful steps nonetheless generate new problems. One concerns the relationship between material/technical changes, which seem to suggest a few very general historical periods, and affective traits, which have no history in this schema. A second concerns periodization itself; while agreeing that periods defined by the experience of one region are usually unhelpful, some general terms do seem essential for conceptualizing developments that, though less epochal than writing or fossil fuels, are nonetheless important. (shrink)

In this essay, I consider three different conceptions of ‘the people’ and what it means to ‘respect’ their collective will and wisdom: (a) the democratic conception of the people as a sprawling demos, (b) the populist conception of the people as an authentic folk (c) and, finally, the vanguardist conception of the people as the semi-mute masses who stand in need of revolutionary transformation. Although my ultimate aim is to defend the democratic conception of the people over both the populist (...) conception and the vanguardist conception, much of this essay is taken up simply spelling out each of these conceptions of the people and outlining their consequences for the conduct of politics. I begin by contrasting the democratic conception with the populist conception. I then turn briefly to the vanguardist conception. I close with a brief, and admittedly incomplete defence of a particular form of democracy – what I call transformative or ameliorative democracy – which conceives of the people as a self-transformative totality. (shrink)