Volume 11, Issue 1-2, January–December 2024.

This essay introduces this special issue on virtue ethics in relation to military AI. It describes the current situation of military AI ethics as following that of AI ethics in general, caught between consequentialism and deontology. Virtue ethics serves as an alternative that can address some of the weaknesses of these dominant forms of ethics. The essay describes how the articles in the issue exemplify the value of virtue-related approaches for these questions, before ending with thoughts for further research.

In the final years of his life, the Belgian phenomenologist Marc Richir started to question if philosophical writing would become pointless when artists, great poets for example, have already achieved so well what philosophers have always aspired to achieve. There is no doubt that Richir considers himself in alliance with artists, since he basically believes that “phenomenology is trying to say the same thing as poets or musicians, or even possibly painters, but with philosophical language”. He seems thereby to imply (...) that phenomenology is destined to become self-aware as a sort of art. There is no surprise in this regard if we notice how frequently, throughout his entire career of philosophical production, he employs the Kantian term of the sublime to express what constitutes the phenomenon as nothing but phenomenon. This article goes through his phenomenological interpretation of Kantian aesthetics, his elaboration of the affinity between phenomenology and art, and then his genealogical conception of art, in order to introduce an original thought on what he calls “the moment of the sublime”. (shrink)

In this text, which employs the analytic-comparative method, we read the Poetics of Aristotle in a new way to take an example of translation as an artistic creation. We can present the result of the essay as a metaphor called “the art of translation”, and then we refer to four evidences which can support our metaphor: reading the text as seeing the world, understanding the meaning as perceiving the main action, representing the text as recreating an image, and word making (...) as the art of poetic. If we want to explain the useful dimension of our research, it can be said: every translation has a moral dimension which depends on its imitation of the author’s line and reader’s culture, and also has an artistic dimension that attends to the beauty of text and new vision of culture. According to Moderation theory of Aristotle, an ideal intercultural translation sees the right of author and reader by the equal criterion. Then it shows a production that is combined with “representation”, a term which can embrace the beauty and ethic in the art of translation. Keywords: poetics, representation, artistic creation, art of translation, cultural relationship 1. Mimesis in art and translation As Aristotle has said about art and poetry, they are based on Mimesis or imitation. It means that he believes art is Mimesis. But his theory about this issue is totally different to Plato’s thought. He thinks that Mimesis is not imitation of Ideas as Plato thought. Mimesis in his thought is imitation from the existence, aspect or form of things in this world. So he emphasizes that Mimesis is imitation of something or maybe happenings outside of man. After collecting all of Aristotle’s thoughts, especially about poetry, it seems clear that the imitation or Mimesis is a representation of the subject of imitation in which sometimes the subject of imitation has been represented better than its fact, like tragedy, and sometimes worse, like Comedy. It seems that we can see translation as imitation, understanding the latter as in Aristotle’s conception of art mentioned above. Indeed, a translator at the beginning of is translation process looks at the text deeply and tries to understand it as well as possible. After that, he thinks about the value of translations. In this step, if the text has repeatability in other languages and cultures, the translator starts the imitation from an original text to create another text. It seems that this process is like what an artist does to create artworks. 2. resemblances between art and translation On the basis of Aristotle’s Poetics, we want to explain some resemblances between art and translation to describe our conception of translation as an art. We think those resemblances can convince us to see translation as an art. The first resemblance between creation of artworks and translation is at the first step of them. The first resemblance between the artistic creation and translation is in their first step. Viewing the environment and finding something for imitation is the first step of artistic creation, which is like confronting and reading a text for translation. It is clear that viewing the environment deeply and reading a text carefully are necessary for artistic creation and translation because a surface of them cannot be suitable and helpful for Mimesis or imitation. The second step of artistic creation and translation is the accurate understanding of the subject of imitation. In Fact, deep and accurate understanding is necessary for exact imitation. Without comprehensive understanding, imitation of things is not possible. Both artist and translator in the process of imitation should take this step. In the other words, it seems that by deep and exact understanding they can find the direction of similarity between subject of imitation and artwork or translated text. Rewriting text in a new language like representing an image is the third step of imitation that is visible in the process of artistic creation and translation. In this step, combining their understanding and viewing the environment, translator and artist try to create the subject of imitation in a new style and a new form. The last step of imitation in artistic creation and translation is that of choosing colors in art and words and other literary elegances in translation, and using them. In this step, paying attention to details of their work, artist and translator try to create a new thing that is similar to the subject of imitation, although it is a new thing and there may be some differences between them. As was stated, the understanding of the subject of imitation by artist and translator is a very important step, in which, however, their thought of the subject of imitation is not totally the same as it, and so, during creating the new thing their understanding and thought can affect the form and the style of the new thing. 3. conclusion In conclusion, it seems that, because of the similarity between art and translation based on Aristotle’s conception of art, we can move from ethical and aesthetic functions of art, and artist’s moral duty in creating art, to the same aspects in translation and translator. In other words, based on Aristotle conception, while translator makes a faithful imitation and a creative presentation of the source, after the ethical decision to translate and promote the original text, he should pay attention to linguistic and cultural details of his translation. In this regard, while observing his audience in the target language, he also refreshes his insights and attitudes because this two-sided view, the center of gravity of moderation, will take into account the aspects of beauty and ethics in the cultural interactions of societies. References - Aristotle,, Ethics of Nicomachus, translation of Mohammad Hasan Lotfi, Tehran, New Design. - Aristotle,, About the Art of Poetry, Translated by Soheil Mohsen Afnan, Tehran, Hekmat. - Aristotle,, Fan al-Sha’r, Abdul Rahman Badawi’s research, Beirut, Dar al-Safat. - Aristotle, Sermon, Translation by Ismail Sa’adat, Tehran, Hermes. - Aristotle,, Metaphysics, Sharaf al-Din Khorasani Translation, Fourth Edition, Tehran, Wisdom. - Plato,, Period of works, translation by Hasan Lotfi, Tehran, Kharazmi. - Bermann, Sandra and Wood,, Michael, Nation, language, and the ethics of translation, Princeton University Press. - Koskinen, Kaisa,, Beyond Ambivalence; Postmodernity and the Ethics of Translation, University of Tampere. - Meschonnic, Henri,, Ethics and Politics of Translating, Translated and edited by Pier-Pascale Boulanger, Benjamins Translation Library. - Venuti, Lawrence,,The Translation Studies Reader, Routledge. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Thou Art Translated! The Pull of Flesh and MeaningKarmen MacKendrickIn A Midsummer Night’s Dream, William Shakespeare offers us a particularly comic instance of translation. In the first scene of the third act, the mischievous fairy Puck has set into motion all manner of havoc, including the substitution of a donkey’s head for the ordinary head of poor Nick Bottom, a weaver who had been innocently engaged in rehearsing a (...) play that he and other “rustics” intended to perform for visiting royalty. Bottom is, understandably, a little cranky and confused about this buffoonish substitution—he had offered to play the far nobler part of a lion (Shakespeare 2004, Act 1, scene 2, 68–70)—and he does not react happily to the responses that it generates among other members of his company. The first to see him is the tinker Tom Snout, who declares, “O Bottom, thou art changed! what do I see on thee?” (Act 3, scene 1, 114). And Snout is followed by Peter Quince, a carpenter and the author of the ill-fated play that had been in rehearsals, who will give us our relevant line, as he exclaims in surprise, “Bless thee, Bottom! bless thee! thou art translated” (Act 3, scene 1, 118).Indeed he is. Bottom, when he declares the events a dream, proposes that Quince shall write a ballad of this transformation (Act 4, scene 1, 224–26).1 This ballad might be seen as a further translation, of the sort Umberto Eco calls “intersemiotic”—a translation across forms, rather like that of interpretive dance, which is sort of famous for translating badly. What is not quite clear, though, is how layered this translation may already be just in Nick Bottom’s appearance. The use of “ass” for buttocks—that is, for the bottom—is first attested only in 1860,2 more than two and a half centuries after A Midsummer [End Page 36] Night’s Dream was written (sometime in the 1590s). But there is some speculation that the pun may already have been current, even if cutting-edge, when Shakespeare translated Bottom to ass, and certainly such a pun would not have been out of character for the author—after all, we also find a snout among the would-be actors, and Shakespearean brilliance is hardly incompatible with crude punning. The translation of the flesh is in this instance also a translation of the word, not just in parallel but somehow of one another, and the visible head of the indignant ass betrays the indignity of the rustic weaver sporting the name of Bottom.We don’t so often think of bodies being translated, but before turning to more abstract considerations here, let me offer one further instance, one a little closer to the main current of my own research. The translation of relics (that is, of pieces or close possessions of saints) is their movement from one location—specifically, from one church congregation—to another. This sounds markedly unexciting, I grant, but that’s only if you don’t know that throughout the Middle Ages the relics were sometimes said to have translated themselves, moved of their own volition. This was held to demonstrate the desire of the relevant saints for the newly privileged location—which means their desire to patronize and to bless the new church or congregation. This happened especially often when those of us with less devotion would more likely say that the relics had been stolen by members of their new communities.In the translation of relics, an original—a whole, unified original in the form of an intact body—is the very source of meaning. The relic matters because it belonged to the body of a saint, and each fragment is held to contain, somehow, the wholeness of saintly power and sancitity (for more detail on this very complex subject, see MacKendrick 2008, 102–31). But as a rule, that original is impossible to find; the meaningful pieces are only ever fragments. (In fact, studies of older relics often show that they are not even fragments of humans.) Now the relic means what it is translated to mean: the saint’s blessing upon... (shrink)

MARINA PAOLA BANCHETTI-ROBINO is Associate Professor and Chair of the Philosophy Department at Florida Atlantic University. Her areas of research include phenomenology, philosophy of language, philosophy of science, philosophy of mind, and zoosemiotics. Her publications have appeared in such journals as Synthese, Husserl Studies, Idealistic Studies, Philosophy East and West, and The Review of Metaphysics. She has also contributed essays to The Role of Pragmatics in Contemporary Philosophy (1997), Feminist Phenomenology (2000), and Islamic Philosophy and Occidental Phenomenology on the (...) Perennial Issue of Microcosm and Macrocosm (2006). She co-edited Philosophies of the Environment and Technology (1999) and is currently working on a book-length project entitled The Birth of Science Out of the Spirit of Myth: A Historico-Phenomenological Re-Examination of the Crisis of the European Sciences. BERNARD BOXILL was born in Saint Lucia, West Indies where he received his primary and secondary education. He studied philosophy at the University of New Brunswick, Canada and at the University of California, Los Angeles where he was awarded a doctorate in philosophy in 1971. He has published numerous articles, a book, Blacks and Social Justice (1992), and is professor of philosophy at the University of North Carolina at Chapel Hill. ED BRANDON was born and educated in England, studying philosophy and linguistics at The University of York, England, and later philosophy at The University of Oxford with the late John Mackie. After teaching in Sierra Leone and briefly in England, he went to teach philosophy of education at the University of the West Indies at Mona, Jamaica in 1978. From 1992 he has been attached to a policy unit of the Vice-Chancellery, based at the Cave Hill campus in Barbados, where he has been assisting since 2000 with a new major in philosophy. His academic work can be accessed from http://cavehill.uwi.edu/bnccde/epb/personalpage.html CAROLYN CUSICK is a doctoral candidate in the Department of Philosophy at Vanderbilt University. She is a founding member of the Phenomenology Roundtable. Her research focuses on feminist epistemology, Africana philosophy, and phenomenology. LEWIS GORDON is President of the Caribbean Philosophical Association. He is Laura H. Carnell Professor, the most distinguished chair, at Temple University, where he holds appointments in philosophy, religion, and Judaic studies and directs the Institute for the Study of Race and Social Thought and the Center for Afro-Jewish Studies. He is also Ongoing Visiting Professor of Philosophy and Government at the University of the West Indies at Mona, Jamaica. He is the author of several books, including the award-winning Her Majesty's Other Children: Sketches of Racism from a Neocolonial Age (Rowman and Littlefield, 1997), Disciplinary Decadence: Living Thought in Trying Times (Paradigm, 2006), An Introduction to Africana Philosophy (Cambridge University Press, forthcoming), and co-editor of A Companion to African-American Studies (Blackwell, 2006) and Not Only the Master's Tools: African-American Studies in Theory and Practice (Paradigm, 2005). CLEVIS HEADLEY is currently Associate Professor of Philosophy at Florida Atlantic University, director of the Ethnic Studies Certificate Program, as well as director of the Master's in Liberal Studies. Professionally, he serves as the Vice-President and Treasurer of the Caribbean Philosophical Association. Professor Headley has published widely in the areas of Critical Race Theory and Africana philosophy. He has also published in Analytic philosophy, focusing specifically on Gottlob Frege. PAGET HENRY is Professor of Sociology and Africana Studies at Brown University. He is the author of Caliban's Reason: Introducing Afro-Caribbean Philosophy, Peripheral Capitalism and Underdevelopment in Antigua, and the co-editor of C. L. R. James' Caribbean. Professor Henry also serves as the editor of the C. L. R. James Journal, and has published numerous articles on the political economy of the Caribbean as well as on African, African-American, and Afro-Caribbean philosophy. ESIABA IROBI is Associate Professor of International Theatre/Performance Studies at Ohio University, Athens. His groundbreaking book: A Theatre for Cannibals: Resisting Globalization on the Continent and Diaspora since 1441 will be published by Palgrave Macmillan, London, in 2007. He has been invited to be an External Resident Fellow at the prestigious Dartmouth College Humanities Institute for the 2007-2008 academic year. CHIKE JEFFERS is a graduate student in the Ph.D. program of the Philosophy Department at Northwestern University. His interests are in Africana philosophy, social and political philosophy, ethics, philosophy of religion and aesthetics. He is originally from Toronto, Ontario, Canada. CATHERINE JOHN is Associate Professor of African Diaspora Literary and Cultural Studies at the University of Oklahoma. Her book Clear Word and Third Sight: Folk Groundings and Diasporic Consciousness in African Caribbean Writing was co-published by Duke University Press and UWI Press in 2003. She has published several articles on Caribbean literature and culture and her current book project is entitled The Just Society and the Diasporic Imagination. She spends her summer working in Woodside, St. Mary, Jamaica helping with a summer school for children and participating in the community's emancipation celebration. KENNETH KNIES is a doctoral student in philosophy at Stony Brook University. His areas of focus are phenomenology and ancient philosophy. He is also a contributing editor for Political Affairs magazine. EDIZON LEN is a photographer and coordinator of the Fondo Documental Afro-Andino at the Universidad Andina Simòn Bolivar in Quito, Ecuador. In 2006, he was curator of the photo exhibit "The Color of the Diaspora" presented at the Cultural Center of the Catholic University of Ecuador and the University of Tennessee in Knoxville. He is currently completing his doctorate at the Universidad Andina Simòn Bolivar with a focus on Maroon thought. REKHA MENON is Associate Professor of Art History at State University of New York, Buffalo State. She is the author of Seductive Aesthetics of Post Colonialism (forthcoming). Her area of research focuses on current philosophical investigations in colonial and neocolonial aspects of Indian art, artistic/cultural practices and philosophies and their relationship to Western arts and philosophies. Her manuscripts under review are: Ashamed of Our Nakedness, Is There Ever a Naked Body? Ambivalence in Contemporary Indian Expressive Aesthetics and Insatiable Desire. MICHAEL R. MICHAU is a Ph.D. candidate in the Philosophy and Literature Program at Purdue University, and during the 2006-2007 school year, a lecturer in the Department of Comparative Studies and Department of Philosophy at Ohio State University. He is the co-founder and co-secretary of the North American Levinas Society. CHARLES W. MILLS is Distinguished Professor of Philosophy at the University of Illinois at Chicago. He works in the general area of oppositional political theory, and is the author of numerous articles and three books: The Racial Contract (Cornell University Press, 1997), Blackness Visible: Essays on Philosophy and Race (Cornell University Press, 1998), and From Class to Race: Essays in White Marxism and Black Radicalism (Rowman and Littlefield, 2003). MABOGO P. MORE is currently Associate Professor of Philosophy at the University of KwaZulu-Natal, South Africa. He has published articles on African philosophy and social and political philosophy in a number of academic journals, such as South African Journal of Philosophy, Dialogue and Universalism, Alternation, Theoria, and African Journal of Political Science. MARILYN NISSIM-SABAT, Ph.D., M.S.W. is Professor Emerita and Adjunct Professor of Philosophy, Lewis University. Dr. Nissim-Sabat is also a psychotherapist in private practice. She is the author of numerous book chapters and papers in the fields of philosophy (Husserlian phenomenology), psychoanalysis, feminism, and critical race theory. Citations of her works can be found on her website: marilynnissim-sabat.com. FREDERICK OCHIENG'-ODHIAMBO is a Senior Lecturer of Philosophy and Coordinator of the discipline at The University of the West Indies, Cave Hill, Barbados. His major research areas are African philosophy and social philosophy. He has published several articles on philosophic sagacity. IVAN PETRELLA is an Assistant Professor of Religious Studies at the University of Miami. He is author of The Future of Liberation Theology: An Argument and Manifesto (SCM Press, 2006) and editor of Latin American Liberation Theology: The Next Generation (Orbis Books, 2005) as well as co-editor of the series Reclaiming Liberation Theology (SCM Press) RICHARD PITHOUSE is a research fellow at the University of KwaZulu-Natal in Durban, South Africa. He is editor of Asinamali: University Struggles in Post-Apartheid South Africa (Africa World Press, 2006). SATHYA RAO is Assistant Professor in French translation at the Department of Modern Languages and Cultural Studies, University of Alberta, Canada. His research fields include: theory of translation, continental philosophy, postcolonial studies, discourses on Africa, and Francophone cinema and literature. He has published articles in various peer-reviewed journals and written chapters in several collective books such as: De l'Ecrit Africain a l'Oral le Phenomene Graphique Africain, Simon Battestini (Ed.) (Paris: L'Harmattan, 2006) and Thèorie-rèbellion. Un Ultimatum, Gilles Grelet (Ed.) (Paris: L'Harmattan, 2005). He has a co-edited a book on Francophone African cinema L'Afrique fait son cinema (Montreal: Memoires d'encrier, forthcoming). Sathya Rao is vice-president of the International Non-Philosophical Organisation (INPhO), member of the Canadian Association of Translatology (CATS), coordinator of the research team Poexil, and Secretary of the Caribbean Philosophical Association. He is co-founder of an online journal Alternative Francophone. CATHERINE WALSH is Professor and Director of the doctoral program in Latin American Cultural Studies at the Universidad Andina Simon Bolivar in Quito, Ecuador. Her research interests include the geopolitics of knowledge, interculturality and concerns related to the Afro-Andean Diaspora and the production of decolonial thought. Among her recent publications are Pensamiento crìtico y matriz colonial (Quito: Abya Yala, 2005), "Interculturality and the Coloniality of Power. An 'Other' Thinking and Positioning from the Colonial Difference," in Coloniality of Power, Transmodernity, and Border Thinking, R. Grosfoguel, J.D. Saldivar, and N. Maldonado-Torres (Eds.) (Durham: Duke University Press, forthcoming) and "Shifting the Geopolitics of Critical Knowledge: Decolonial Thought and Cultural Studies 'Others' in the Andes," Cultural Studies (forthcoming). KRISTIN WATERS has published widely in the areas of race and gender. Her anthology Enlightened Conversations: Women and Men Political Theorists (Blackwell, 2000) challenges political theorists to be more inclusive of race and gender in their research and teaching. Her book Black Women's Intellectual Traditions: Speaking Their Minds, co-edited with Carol Conaway (University of Vermont Press, forthcoming), addresses the varied intellectual traditions of black women's thought that spans more than two hundred years in North America. She is currently Professor of Philosophy at Worcester State College and Visiting Research Associate at Brandeis University. (shrink)

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_, a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or negate (...) the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

Marcel Duchamp is often viewed as an "artist-engineer-scientist," a kind of rationalist who relied heavily on the ideas of the French mathematician and philosopher Henri Poincaré. Yet a complete portrait of Duchamp and his multiple influences draws a different picture. In his _3 Standard Stoppages_ (1913-1914), a work that uses chance as an artistic medium, we see how far Duchamp subverted scientism in favor of a radical individualistic aesthetic and experimental vision. Unlike the Dadaists, Duchamp did more than dismiss or (...) negate the authority of science. He pushed scientific rationalism to the point where its claims broke down and alternative truths were allowed to emerge. With humor and irony, Duchamp undertook a method of artistic research, reflection, and visual thought that focused less on beauty than on the notion of the "possible." He became a passionate advocate of the power of invention and thinking things that had never been thought before. The _3 Standard Stoppages_ is the ultimate realization of the play between chance and dimension, visibility and invisibility, high and low art, and art and anti-art. Situating Duchamp firmly within the literature and philosophy of his time, Herbert Molderings recaptures the spirit of a frequently misread artist-and his thrilling aesthetic of chance. (shrink)

This open access book is about exploring interesting borderline cases of art. It discusses the cases of gustatory and olfactory artworks, proprioceptive artworks, intellectual artworks, as well as the vague limits between painting and photography. The book focuses on the author’s research about what counts as art and what does not, as well as on the nature of these limits. Overall, the author defends a very inclusive view, 'extending' the limits of art, and he argues for its (...) virtues. Some of the limits discussed concern our senses, some concern vagueness and fuzzy boundaries between different types of works of art, some concern the amount of human intention and intervention in the process of creation of an artwork, and some concern the border between art and science. In these various ways, by understanding better such borderline cases, Benovsky suggests that we get a better grip on an understanding of the nature of art. (shrink)

One of the most common contemporary approaches for developing an ethics of artificial intelligence (AI) involves elaborating guiding principles. This essay explores the limitations of this approach, using the history of bioethics as a comparative case. The examples of bioethics and recent AI ethics suggest that principles are difficult to implement in everyday practice, fail to direct individual action, and can frequently result in a pure proceduralism. The essay encourages an additional attention to virtue, which forms the dispositions of actors, (...) directs them to valued ends, and encourages right action in particular situation to complement principles. Practices and professions like medicine or warfighting that already have rich traditions of reflection on virtue ethics will be especially fruitful fields for developing an AI ethics of virtue. (shrink)

1. To list Pound’s triumphs of recognition in the realm of art, music, or literature is by itself no more enlightening than to catalog his oversights. Thus, for example, his instant and almost uncanny responsiveness to the work of Henri Gaudier-Brzeska is not more informative than his bizarre ranking of Francis Picabia’s paintings above those of Picasso or Matisse. Clearly it is essential to know, with as much specificity as possible, exactly what Pound said about a particular work of art (...) or literature and, equally important, given the frequent shifts of emphasis and interest throughout his long career, just when these opinions were first formulated. Like every reader of the The Cantos, I am conscious of the enormous service rendered by Pound scholars whose research is giving us a more complete inventory of the poet’s various statements and positions, and it would be foolish to take my point here as a derogation of such efforts. But a list, no matter how complete, is not an argument, and an inventory, no matter how scrupulously assembled, is not an explanation; a recurrent problem in Pound studies is that too often the compoilation of discrete items of information is seen as a sufficient answer to problems of interpretation and understanding. In other words, I think it essential that discussions of pound and the Visual Arts move beyond the quagmire resulting from still another frain-storm of “factual atoms” chronicling his various passions and dislikes.2. Far from implying, however, that we must therefore simply accept Pound’s brilliant discoveries and pass over his “howling blunders,” my position would emphasize the need to take his ideas seriously enough to confront them, to test them against the material to which they are a response and for which they often seek to provide an explanatory account. There are times, as I have argued in an analogous context, when it is less demeaning to give a man credit for his worst errors than to remove from him the capacity to err.3. What we require, I believe, is less a catalog of all of Pound’s specific statements about various artists, with each utterance assigned a positive or negative prefix depending upon our own personal and currently sanctioned hierarchy of values, than a careful study of the place of those statements in the logic and texture of Pound’s own work. The attempt to focus attention on The Cantos’ network of artistic references—its invocation of masterpieces and privileged moments of cultural achievement—will yield only trivial results unless the inner dynamic linking Pound’s various exampla and the actual role these play in the poem’s argument become clearer in the process. Michael André Bernstein, associate professor of English and comparative literature at the University of California, Berkeley, is the author of The Tale of the Tribe: Ezra Pound and the Modern Verse Epic and Prima della Rivoluzione , a volume of verse. He is currently completing a study of the Abject Hero and literary genealogy. His previous contribution to. (shrink)

Jamake Highwater is a master storyteller and one of our most visionary writers, hailed as "an eloquent bard, whose words are fire and glory" (Studs Terkel) and "a writer of exceptional vision and power" (Ana"is Nin). Author of more than thirty volumes of nonfiction, fiction, and poetry, Highwater--considered by many to be the intellectual heir of Joseph Campbell--has long been intrigued by how our mythological legacies have served as a foundation of modern civilization. Now, in The Mythology of Transgression, (...) he uses his remarkable narrative powers to offer a personal and extraordinarily far-ranging examination of how people who stand outside of society--by dint of their sexual orientation, physical appearance, ideas, artistic inclinations, or ethnic heritage--often achieve lasting, even profound influence upon the culture at large. Drawing from a stunningly rich variety of sources ranging from the arts and literature to biology, physics, psychology, and anthropology, Highwater looks at his own outsider status--as a gay man, an artist, and an orphaned Native American--in an attempt to explore how mythologies from ancient times to the present have shaped the ways we think about social "abnormality" and alienation. Throughout, he points to a paradox at the center of Western values--the competing notions that the outsider is at once sinful and wise, that in everyday life the transgressor is ostracized, while in our most durable folklore and religious legends, heroes must break the rules to achieve greatness. Focusing in particular on homosexuality as a modern metaphor of transgression, Highwater brilliantly mixes personal anecdotes with wide ranging research, leading us on a tour through the history of social conformity and rejection, citing examples that span from Judeo-Christian-Islamic doctrines of good and evil, to the Navajo Nation's ambivalence toward the nature of sexuality, to Carson McCullers's treatment of physical deformity in the novella Member of the Wedding, to Descartes's theories of dualism. He also pays special attention to the debates currently raging in science regarding the biology of homosexuality and provides an engaging discussion of why we are motivated to seek a genetic basis of sexual orientation in the first place. Jamake Highwater has long been celebrated as a writer uniquely suited to give voice to the social outsider. Often provocative, always fascinating, The Mythology of Transgression is a tour de force of eloquent scholarship, a book that will prompt discussion and debate on the subject for years to come. (shrink)

That art historians have felt it necessary to emulate this effort to express personal input can be explained by our need to gain credibility in that aspect of our work that is indistinguishable in method from other historical research: the reconstruction, through documents and artifacts, of past events, conditions, and attitudes. Most of us simply ignore the ambivalence of our position; I cannot recall having heard or read discussions of it, but it is bound to creep out from under (...) the rug. If a student asks me why I think Rembrandt and Picasso are good artists—which most students are too well trained to do—and if I answer that judgments of value are not discussed by historians, I am within my rights, like a witness at a congressional hearing claiming the protection of the Fifth Amendment. But I ought to be found in contempt of the classroom. And if I try to answer seriously, I ought not begin by saying that I chose Rembrandt because he has been acknowledged by generations to have been a great artist but rather because I find more to think, feel, and speak about in his works than in those of, for example, Nicolaes Maes, and because I believe that the student stands to gain more by looking at them. I want the student to have the most rewarding experiences, and, as a result, perhaps to learn to make value discriminations of his own—even ones different from mine and from the so-called consensus of history—and ultimately to explain the grounds on which he makes them. This means having to know and to explain what I think is "rewarding." James S. Ackerman, professor of fine arts at Harvard University, is the author of, among other works, The Architecture of Michelangelo, Art and Archaeology, The Cortile del Belvedere, and Palladio. He is currently writing on Renaissance art, science, and naturalism and making a film on Andrea Palladio and his influence in America. "Transactions in Architectural Design," his previous contribution to Critical Inquiry, appeared in the Winter 1974 issue. (shrink)

Recent research has pointed to the modern nature of the state that Islamists posit in contrast to medieval Islamic notions of political authority. This paper argues that a conceptual framework derived from romantic aesthetics underpinned the Islamist thought of Sayyid Qutb, who was for many years a secular literary writer. The aesthetic framework made possible the notion of human freedom and progress as the enactment of the general or collective will, which is the source of the state. Classical formulations (...) of the general will in Rousseau, Kant, and Hegel are closely related to contemporaneous aesthetic notions of freedom as creative expression of interiority. Qutb participated in this line of thinking. The vitalist metaphysics and expressivist aesthetic theory of his literary period led him to later formulate an account of the general will that is embodied in Islamic law, the sharīʿa, which he identified with the state. He presented the Islamic state on this basis as resolving the fundamental contradiction of western modernity that romantic aesthetics had identified in the context of establishing the redemptive value of art. This contradiction, the disunity of the spiritual and the material, was equated by Qutb with the separation of church and state. Islamic law as the state is thus justified on aesthetic grounds as the reconciliation of humanity and nature now divided by Western materialism. Qutb’s thought in the context of its aesthetic genesis provides valuable insight into the nature of modern notions of individual and collective will. (shrink)

My letter of invitation to this seminar expresses the thought that “it will be very useful to have someone from outside the field help us see ourselves.” Given my interests in what you might call the fact of literary study, I was naturally attracted by the invitation to look at literary study as a discipline or profession but also suspicious of the invitation. I thought: Do professionals really want to be helped to see themselves by outsiders? This is an invitation (...) to get a group of people sore at me, and it will only result in the group’s having an occasion not to see itself, since any member of it can easily dismiss anything I say as uninformed. But the invitation goes on to give the title for this session as “The Nature and Function of Literary Study: As Others See Us.” Reading that, I thought: That is different. That identifies me as an other to the “academic and professional concerns” of the field—hence, not just outside but intimately outside, as if my position were an alternative to yours. And how could I not be better informed about being other to you than you are?But of course I know that there is no single unified “you” to which I am other, that some of you, perhaps most, have other others than philosophy and see your practice not against philosophy but against history or criticism or literary theory. So I should perhaps say that I am not exactly single or unified myself, that I am also other to the Anglo-American profession of philosophy, to which at the same time I belong. A way of expressing my otherness to this profession of philosophy is simply to say that I take you as also among my others, that I recognize the study of literature to be an alternative to what I do—a path I might have taken, might still irregularly be taking—to occupy a relation to the way I think, that for most of the members of my profession would be occupied by a profession of logic or science. I will not try here to account theoretically for the intimate differences that may make philosophy and literature alternative studies, which means that I will not here systematically try taking the perspective of an other. But I will be bearing in mind its certain messages and rumors that have lately been coming my way from the field of literary studies. You have, for example, not kept it secret that you have been worrying, as a profession, and sometimes in the form of conducting arguments about the obligation to literary theory as part of literary study, nor secret that these arguments sometimes take on the color or texture of strong statements of, or against, something called deconstruction. I will try to say something about these poorly kept secrets. Stanley Cavell, professor of philosophy at Harvard University, is the author of many works, including Must We Mean What We Say?, The Senses of “Walden,” The Claim of Reason, and, most recently, Themes Out of School. He has been chosen by the American Academy and Institute of Arts and Letters to receive the 1985 Morton Dauwen Zabel Award for Criticism. His most recent contribution to Critical Inquiry, “Politics as Opposed to What?,” appears in the September 1982 issue. (shrink)

In Bielefeld, Germany in April, 1997 an author conference was devoted to Arthur C. Danto's 1995 Mellon Lectures After the End of Art: Contemporary Art and the Pale of History . This essay provides an introduction to seven essays given at that conference and expanded for this Theme Issue of History and Theory. Danto presented his view of the nature of art in The Transfiguration of the Commonplace . He then added in the Mellon lectures a sociological perspective on (...) the current situation of the visual arts, and an Hegelian historiography. The history of art has ended, Danto claims, and we now live in a posthistorical era. Since in his well-known book on historiography, Analytical Philosophy of History , Danto is unsympathetic to Hegel's speculative ways of thinking about history, his adaptation of this Hegelian framework is surprising. Danto's strategy in After the End of Art is best understood by grasping the way in which he transformed the purely philosophical account of The Transfiguration into a historical account. Recognizing that his philosophical analysis provided a good way of explaining the development of art in the modern period, Danto radically changed the context of his argument. In this process, he opened up discussion of some serious but as yet unanswered questions about his original thesis, and about the plausibility of Hegel's claim that the history of art has ended. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Place for Healing:A Hospital Art Class, Writing, and a Researcher's TaskJulia Kellman (bio)Introduction[O]bjects transform the top of our chest into a site of memory. I think of private landscapes like this one as querencias, places that hold the heart. The word has been translated as homing instinct and affection. Expatriate Alastair Reid introduced me to it in 1965, writing about the Spanish bullfight in The New Yorker. (...) After the first wound the bull chooses his querencia, the place in the ring where he returns for a moment to rest before the fight goes on, and where he finally dies. Querencia comes from the common Spanish verb querer; among its many meanings are to love, to want, to hold, and to command. Reid spoke of hometowns and native countries as querencias; exiles cling to their memories of them.1Place, "space that has the capacity to be remembered and to evoke what is most precious,"2 by its nature orients us to a particular perspective, to a way of looking at the world. Each place has its own local accent, its own constellation of habits, its own rhythm of language and thought. We are grounded in landscape in the same manner that we are situated in our social world, imprinted like other creatures on a typography, pattern of weather, cycle of seasons, scents, and colors.3Our hearts, too, are embedded in such places; and in this article, through this "act of personal witness," this "inscription of a self and a description of an object" as the anthropologist and writer Ruth Benhar4 describes it, we will see how the members of an art class for people with HIV/AIDS at a local hospital have similarly become grounded in their art space and in the tiny art community that has grown up around it. Additionally, we will discover the importance of a more descriptive style of writing as means for examining the role of art in the lives of people who are ill, for their various difficult [End Page 106] situations call for particular clarity and empathy that both honors and relates the stories of their lives. It will become clear as this article proceeds that the personal engagement of a researcher/writer in such a situation is critical as well. For not only must she be open—vulnerable, as Behar suggests—to the people with whom she works as a means of spanning the chasm between a life of illness and a life of health, but she must also be sensitive to the reader's needs, for she is the reader's guide and surrogate.5 This role as guide and alter-ego demands that the researcher tell the story of other lives in a manner that enables the reader to empathetically and eagerly undertake a journey with the researcher into a world unlike her own.6Personal Engagement: The Researcher/WriterHoward Brody, doctor and medical ethicist, explains the necessity for stories of illness to be descriptive.7 He asserts that the stories in which we are most interested are not merely factual recitations; they are about what the illness means to the individual—they include how that person understands events. "It is far too simple-minded" he writes, to assume that "the writer of literature presents to us a world of fantasy that never existed whereas the author of a nonfictional pathography has some special insight into the world as it really exists, even if the relevant world is nothing but his own subjective experiences."8 He concludes "in stories of that sort (stories of the meaning of things) the line between so-called truth and fiction becomes more blurred and ceases to affect the uses we make of the stories for the deeper understanding of the human response to illness."9 Further, Brody continues, one must understand stories of sickness in order to truly develop a philosophical understanding of what it means to be ill. Such an understanding, Brody suggests, not only provides ethical guidance for health care workers and others but also will lead to improved care for patients and better education of health professionals.10 This view of... (shrink)

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

Two persons have been proposed as the author of the Summa Lamberti, a thireenth-century treatise on logic. Franco Alessio takes him to be the Auxerre Dominican Lambert of Ligny-le-Châtel, and he basis his claim on Dominican sources from the fourteenth to the nineteenth centuries. Recently, Alain de Libera has presented a counter-proposal: the author was Lambert of Lagny, a secular cleric at the time of the composition, who afterwards became a Dominican. This claim is based on the acta (...) of the counts of Champagne and a document of Pope Urban IV. I conclude that, given the present evidence, de Libera’s case rests on more historically sound data, but that to arrive at this conclusion one must impeach the Dominican sources (not done by de Libera) and take into consideration additional data from the research of Michèle Mulchahey on the introduction of logic into the Dominican curriculum. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Art and SelectionBrian BoydArt Instinct: Beauty, Pleasure, and Human Evolution, by Denis Dutton; 279 pp. New York: Bloomsbury Press, 2009, $25.00. Oxford: Oxford University Press, £16.99.In the interests of full disclosure: Denis Dutton, the author of The Art Instinct: Beauty, Pleasure, and Human Evolution, not only edits this journal but has also published here a number of my essays. We share enthusiasms and aversions, but we also now (...) and again disagree. And we both enjoy spirited discussion, which is why I asked him if I might review his book for this journal. Now can we begin?Ellen Dissanayake, the first to take a modern evolutionary approach to art, in her What Is Art For? (1988), doubts that sexual selection can explain much about art. After all, she notes, men can compete about anything, even about who can pee the highest.1 Denis Dutton, the first philosopher to take a sustained evolutionary approach to the arts, suggests that much in art arises from sexual selection—and he spends a good deal of time discussing and dismissing the kind of philosophy of art that orients itself around the urinal that Marcel Duchamp christened Fountain.Dutton begins by reporting recent research into the universality of human landscape preferences. Although these preferences explain little about art in the round, they vividly demonstrate the link between human emotions and preferences across cultures now and human survival [End Page 204] needs thousands of generations ago. In chapter 2, Dutton shows that although recent philosophers of art have not sought to ground art in human nature, that has been an aim of their predecessors from Aristotle to Hume and Kant.But Dutton really starts with the intuitions that art seems a fundamentally similar pursuit around the world, and that artworks like Duchamp's Fountain or Andy Warhol's Brillo Boxes should not be central to our thinking about art, even if they have been central for prominent philosophers of art like George Dickie and Arthur Danto. Dutton stresses that we can appreciate art across cultures. He did so himself when he lived in India while in the Peace Corps, and, an accomplished pianist, learned the sitar from a student of Ravi Shankar, or later, when he lived by the Sepik River in northern Papua New Guinea to ascertain whether "local criteria for beautiful art agree with what Western aficionados and connoisseurs of Sepik art call beautiful. My conclusion was unequivocal: Sepik standards of beauty closely match the opinions of Western experts, including curators and collectors who enjoy a wide experience with Sepik museum collections but who have never set foot in the country" (p. 11).As this passage makes clear, Dutton is not your average armchair academic analytical aesthetician—thank goodness. Unlike the typical professional philosopher of art, he does not hide behind the porcupine quills of philosophese, good for defense and a certain kind of bristly display but utterly rebarbative. Like that other maverick philosopher, Daniel Dennett, he instead engages with work, the world, and readers outside his discipline.Dutton argues convincingly for the need to focus first on indisputable examples of art rather than on problematic cases, just as discussions of murder should not begin with assisted suicide, abortion or capital punishment (p. 50). One of his best chapters offers a cluster concept of art, a dozen features shared by the most unequivocal art. Doubtful cases will satisfy fewer than the full checklist, but there is no fixed threshold, no necessary and sufficient number of criteria. And no criterion by itself distinguishes art from non-art. Indeed one of the most fascinating aspects of his cluster concept is that, for each criterion, he parenthetically notes examples elsewhere in human life that would satisfy that criterion but that nobody would consider art. Skill and virtuosity, for instance, he insists on as features of the indisputably artful, but he adds also: "High skill is a source of pleasure and admiration in every area of human activity beyond art, perhaps most notably today in sports. [End Page 205] Almost every regularized human activity can be turned competitive in order to emphasize the development and admiration of its technical, skill aspect. Guinness World Records... (shrink)

This edited text recaptures many of Joe L. Kincheloe's national and international influences. An advocate and a scholar in the social, historical, and philosophical foundations of education, he dedicated his professional life to his vision of critical pedagogy. The authors in this volume found mentorship, as well as kinship, in Joe and express the many ways in which he and his work made profound differences in their work and lives. Joe's research always pushed the limits of what critically reflective (...) and informed teaching entailed, never diluting the import of comprehending the complexity of sociopolitical, cultural, economic, and educational discourses and practices. Dedicated to a praxis of social and political activism rooted in students' development as citizens and workers, the labor of teachers as action researchers, cultural workers, and social mediators is always at the heart of all he achieved. We who were so influenced directly and indirectly by him knew his genius and relished the generosity with which he shared his ideas, advice, encouragement, and art. The world is better because of Joe L. Kincheloe scholarship-inextricably related to "critical" critical thinking and enactment of education that tenaciously interrupts complacency, mediocrity, always responding thoughtfully to particular educational contexts. (shrink)

continent. 2.1 (2012): 56–58 Nechvatal, Joseph, Immersion Into Noise , Open Humanities Press, 2011, 267 pp, $23.99 (pbk), ISBN 1-60785-241-1. As someone who’s knowledge of “art” mostly began with the domestic (Western) and Japanese punk and noise scenes of the late 80’s and early 90’s, practices and theories of noise fall rather close to my heart. It is peeking into the esoteric enclaves of weird music and noise that helped me understand what I think I might like art to (...) be: A way of learning about the world through perturbation—exploration by incitement and speculation of possible conditions. What I have always loved about artistic investigations influenced by noisy aesthetics or sensibilities is that they can be simultaneously transcendent and absurd, amusing and revelatory, singular and pluralistic, mindless and intensely penetrating. The provocative friction that noise brings to bear on aesthetic experience, artistic practice, and “the” Art World acts as a kind of impulse response, proposing new energies while revealing underlying structure; noise signals are a simultaneous synthesis and analysis of spaces, subjects and relations. About two weeks prior to Christmas 2011, Joseph Nechvatal was generous enough to spend some time with me at 39 Quai des Grands Augustins, Paris . We each had one glass of red wine, briefly discussed common acquaintances, shared points of interest, and his published writings. We also, I recall, disagreed lightheartedly about how much contemporary relevance the ideas of telematic-artist Roy Ascott have for today’s art-and-technology practitioner (Joseph > Jamie). After the encounter, I read through a PDF version of Immersion Into Noise Joseph was kind enough to send me ( the HTML version is here ). A number of points of entry into cultures of “noise” are available these days. There are the acoustic-spatial approaches of thinkers like Douglas Kahn, Brandon LaBelle and Salome Voegelin; the techno-cultural musicologies of Jonathan Sterne and David Toop; the political writings of Jacques Attali, former adviser to President François Mitterrand, in his Noise: The Political Economy of Music (spoiler alert: It’s not really about music). Enter the new writings of one Joseph Nechvatal, with his invitation of an Immersion Into Noise . Nechvatal has been active for over 20 years in on- and off-line discussions of art, technology, virtuality, as well as his own set of art-theoretical departures and terminologies. A practicing artist, and instructor at the School of Visual Arts in New York City, Immersion Into Noise , is Nechvatal’s third published volume. His writings, broadly, address a concern with the possibilities of a synthesis between the biological and the virtual, and the contemporary artistic resonances that these possibilities suggest. Nechvatal’s project is to try to name contemporary currents of artistic practice within our technologized culture. He comes at this through art history, post-modern philosophy, anthropology and consciousness studies. Portions of Immersion Into Noise have appeared in his PhD dissertation, as well as online art publications like Zing Magazine . An open-access publication, and part of the impressive and heartening activities of the Open Humanities Press, Nechvatal’s book is a somewhat unexpected addition to the Critical Climate Change series edited by Tom Cohen of SUNY University and Claire Colebrook of Penn State. Other titles in the series have address themes of post-globalism and cultures of threat. Joseph Nachvetal’s title is the first to focus entirely on art history, art practice and aesthetics. It is awkward to too easily fit Nechvatal’s writings in with the aforementioned burgeoning canon of cultural and artistic practice in, and writings on, noise (Russolo, Schaeffer, Cage and Yves Klein through to Kahn, LaBelle, Voegelin, et. al). Immersion Into Noise is not primarily an examination of sound-noise or phenomenologies of sound, and the relativist, non-objectivist possibilities arising therefrom in social, public, and exhibition art practices. Although Nechvatal makes mention of sonic practice and experience (his own encounter in 1968 with the technological complex was set in motion at a Jimi Hendrix concert at the Chicago Coliseum), he does so only by way of introducing a broader concept of “art-noise.” The noise-scape can envelope various kinds of involvement in all kinds of art, by artists, audiences, and distributed amalgams of all of these. Midway through the book, we are offered characteristics of an “immersive noise vision theory.” This theory, leading to an even more syncretic thinking about the art experience, is sketched out through further reference to the author’s personal observation, as well as his art-historical research and notes. Personal examples take on the reflex of a kind of art-noise-travel-writing, as Nechvatal visits Ryoji Ikeda’s Datamatics [ver 2.0] installation at the Centre Pompidou, Paris), hears Cecil Taylor at Alice Tully Hall in New York, spends time with the cave paintings of Lascaux, France, and explores the Wagner-inspired Venus Grotto of Linderhof, Bavaria, to name a few. These site-events, to varying degrees, are renderings of noise-art’s potential to “place us back into a ritual position by dragging art down into the felt 360° noise-perspective of the enthusiastic and participatory.” (p.103) The arc of the ideas proposed here position immersiveness, saturation and “scopic all-over tension” as most productively foundational to noise art, or art-noise. An itinerary from the most ancient of artistic expressions (cave drawings) to the most digital of presentations is charted (Ikeda’s minimal/maximal bitwise works for synchronized audio and visual projection). The harsh sonic onslaught of Masami Akita (a.k.a. Merzbow), is, under this analysis, not so far from colossal denseness of the churches of the High Baroque (Nechvatal visits the Rosario Chapel in Santo Domingo Church, Puebla, Mexico). And there is much more here, eaten up by noise: A rethinking of the work of Duchamp, Jackson Pollock, Nicolas Schöffler (whom Nechvatal names the true “the Father of Cybernetic Art”) and the Happenings of Alan Kaprow, all as art-noise in their own right. Each of these artists and moments demonstrate techniques of destabilization, immersiveness, frame-breaking and “all-over fullness and fervor.” Here is writing on art and art history that is as ambitious as it is promising: “wildly visionary,” Nechvatal states as in conclusion. Self-admittedly far-reaching to the point of verging on totalization, we are asked to consider that the moments, spaces, arts and artists Nechvatal appreciates in the book all derive from an increasingly prevalent “noise consciousness.” Along the way we gain an appreciation of noise as a productive and proactive tension in art, rather than an unwanted signal or unwelcome intrusion. Most promising here for me are Nechvatal’s revealing descriptions of the potential for noise to make manifest the material-perceptual framework of individual and collective art experience. How might we allow what we have been repeatedly taught is our contemporary condition of “information overload” to transform itself into a calm, warm, sympathetic kind of inundation. Treatment of experience in this way, dissolves boundaries between the bodily, informational, material and technical complexes that make up our world, and is the promise of a radical, if momentary, Immersion Into Noise. (shrink)

It is difficult to overestimate the impact, beginning in the 1960s, which Gombrich’s discussion of visual representation made on a good number of theorists in an entire generation of thinking about art and—even more—about literary art. For literary theory and criticism were at least as affected by his work as were theory and criticism in the plastic arts. Art and Illusion radically undermined the terms which had controlled discussion of how art represented “reality”—or, rather, how viewers or members of the (...) audience perceived that representation and related it to their versions of “reality.” And, for those who accompanied or followed him—from Rosalie Colie to Wolfgang Iser—Gombrich helped transform for good the meaning of a long revered term like “imitation” as it could be applied to both the visual and verbal arts. I believe he must, then, be seen as responsible for some of the most provocative turns that art theory, literary theory, and aesthetics have taken in the last two decades.In much of his work since the 1960s, however, Gombrich has appeared more and more anxious to dissociate himself from those who have treated his earlier books and essays as leading to the theoretical innovations which have claimed support from them. In The Image and the Eye, the statements which put distance between himself and such followers seem utterly unambiguous. And against the charge that his work has become more conservative with the passing years, I suspect Gombrich would argue that any claim of difference between, say, Art and Illusion and The Image and the Eye is a result of an original misreading, that the recent work is only more explicitly defending a traditional position which was quietly there all along, though supposedly friendly theorists wrongly saw him as subverting it in the earlier work. Thus Gombrich is now self-consciously committed to undoing what he sees as our errors of reading rather than his own errors of writing. Murray Krieger is University Professor of English at the University of California, Irvine. He is the author of, among other works, The Tragic Vision, The Classic Vision, Theory of Criticism: A Tradition and Its System, Poetic Presence and Illusion: Essays in Critical History and Theory, and, most recently, Arts on the Level. He is presently working on Ekphrasis: Space, Time, and Illusion in Literary Theory . His latest contribution to Critical Inquiry, “Poetic Presence and Illusion: Renaissance Theory and the Duplicity of Metaphor,” appeared in the Summer 1979 issue. (shrink)

The article emphasizes the cultural and educational importance of H. Skovoroda Institute of Philosophy for the spiritual development of the Ukrainian society, especially in the direction of democracy and establishment of the worldview culture as a requirement for the culture of freedom. From the position of the included observer the author of the article describes some episodes of relationship in the scientist’s communities which can be defined as justice and solidary community. On the basis of the Heidegerian scheme, some (...) dangers are analyzed as demands addressed to philosophical thinking. This scheme is used by structuring of the article. The metaphoric of these dangers indicates the contextual problems which are important for producing of philosophical ideas. The experience of the Institute of Philosophy gained by solving of problems is very remarkable for the fulfillment of philosophical studies and educational practices especially by mentoring of the postgraduate students. The fact of naming the Institute after H. Skovoroda is regarded as a symbolic act with a great creative potential and energy which can be used for reviving of national traditions of philosophical thinking. The role of lyric in activating of philosophical ideas is showed. The symbiotic coexisting of the poetry, art, journalism and philosophy is one of the original features of the Skovorodian tradition caring by the well-known representatives of the Institute. All these characteristics joined with the civic culture, which was demonstrated by all generations of the Institute, allow defining it as a metaphysical place with the ability both to follow on the road of the way of light and to represent it on the landscapes of philosophical science and education. The history of the Institute, especially, in the period of its post-totalitarian transformations, gives the opportunity of taking comparison with the Institute for Social Research Frankfurt. The civic courage of the Ukrainian intellectual elites was always initiated, supported and generated by philosophers gathering in Institute of Philosophy. (shrink)

In this essay, I will examine Henri Maldiney’s phenomenological aesthetics, focusing on his claim that “art is the truth of the sensible.” This claim is presented by Maldiney in the context of a two-fold critique of Husserl’s and Heidegger’s respective attempts to phenomenologically elucidate the experience of artworks. According to Maldiney, both Husserl and Heidegger fail to recognize what he, following Erwin Straus, terms the “pathic” moment of sense experience, which is also the key moment of the aesthetic reception of (...) art. Drawing on this concept of the pathic and its way of engaging what Maldiney calls the “transpassibility” of receptivity, I argue that his phenomenology of art can be viewed as an attempt to bring together the two senses of the aesthetic in the Kantian sense, namely as an aesthetics of sense experience and as an aesthetics of art, from within the domain of sensibility itself. I develop this idea by turning to Maldiney’s notion of rhythm and examining how he thinks that it can be applied to the visual arts. Ultimately, I suggest that Maldiney’s aesthetics imbues art with ontological significance, since he takes the rhythmic presence of artworks to be a sensuous manifestation of the rhythmic ground of the world’s constitution. The truth of art, in this sense, is a revelation of the ontological functioning of rhythm. (shrink)

Explores the practical applicability of the philosophy of science to scientific research, but also considers its relevance to practice within the realms of technology, design, crafts, and even within the world of arts and the humanities. The attempt to engage working scientists with the issues raised by the philosophy of science may profitably be extended to examine its applicability to any other fields of knowledge that encompass a problem-solving dimension. Drawing on his experience as a research and development (...) scientist in the biomedical device industry, the author shows how the principles of the philosophy of science illuminate the research process. The book is structured on the concept of the inspirational text; it consists of short chapters, each of which provides an accessible discussion of an aspect of the philosophy of science. Each chapter concludes with a list of practical pointers towards the development of attitudes and skills which will benefit the student researcher.. (shrink)

Trilling's "larger naturalism," acknowledging as it does the value of mystery and the power of fact, aligns him with Arnold and Freud and Forster in an effort to synthesize the legacies of the Enlightenment and of the Romantic movement: conscious of the authority of the imagination, he "never deceives himself into believing that the power of the imagination is sovereign, that it can make the power of circumstance of no account" ; committed to reason and to an ideal of rational (...) order, he is yet continuously aware of the limits of reason, of the rational intellect's potential tyranny over the emotions, of those forces within men and without which frustrate the mind's will to organize and control experience.1 And this "larger naturalism," with its emphasis upon "a social tradition," implicates Trilling in a particular view of the novel - a view which may be said to inform all of his thinking but which achieves its fullest and clearest expression in such well-known essays as "Manners, Morals and the Novel" and "Art and Fortune." "The novel," he remarks in the first of these polemics, "...is a perpetual quest for reality, the field of its research being always the social world, the material of its analysis being always manners as the indication of the direction of man's soul” . · 1. Nathan A. Scott, Jr., makes substantially the same point in his superb and very nearly definitive account of Trilling's "Anxious Humanism" . Readers familiar with Professor Scott's study will recognize at once the deep and general indebtedness which I am pleased to acknowledge here. Tom Samet is an instructor in literature at Douglass College, Rutgers University. He is currently preparing essays on Henry James and on Conrad and Hemingway. "The Modulated Vision" is part of a study, in progress, of Lionel Trilling and the Anxieties of the Modern. (shrink)

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

In the last thirty years, work in analytic philosophy of art has flourished, and it has given rise to considerably controversy. Stephen Davies describes and analyzes the definition of art as it has been discussed in Anglo-American philosophy during this period and, in the process, introduces his own perspective on ways in which we should reorient our thinking. Davies conceives of the debate as revealing two basic, conflicting approaches--the functional and the procedural--to the questions of whether art can be defined, (...) and if so, how. As the author sees it, the functionalist believes that an object is a work of art only if it performs a particular function (usually, that of providing a rewarding aesthetic experience). By contrast the proceduralist believes that something is an artwork only if it has been created according to certain rules and procedures. Davies attempts to demonstrate the fruitfulness of viewing the debate in terms of this framework, and he develops new arguments against both points of view--although he is more critical of functional than of procedural definitions. Because it has generated so much of the recent literature, Davies starts his analysis with a discussion of Morris Weitz's germinal paper, "The Role of Theory in Aesthetics." He goes on to examine other important works by Arthur Danto, George Dickie, and Ben Tilghman and develops in his critiques original arguments on such matters of the artificiality of artworks and the relevance of artists' intentions. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Tale of Two ConferencesProfessional Discourse, Music Education, and JusticeEric ShiehThis is an exploration of misunderstandings. Beginning with my own.It is 3:15pm at the Pearson International Airport, Toronto. I am leaving the musica ficta/Lived Realities conference on "Engagements and Exclusions in Music, Education, and the Arts" held at the University of Toronto, January 2008, and this is what I write: "I am thinking about what I am going to (...) take from this conference and I think ultimately it may be a profound sense of disappointment. I do not feel anymore that I am part of a larger community that will support me, or that there is a web of people engaged in justice-oriented practice …."Explicitly addressing issues of equity and social justice in music education, the conference shared similar themes and a similar participant base with a conference held at Teachers College, New York City, in October 2006, titled the "International Conference on Music Education, Equity, and Social Justice," the first of its kind. Yet where I left the Toronto conference with a sense of disappointment, I found myself writing after the New York conference: "Don't forget—the [End Page 203] feeling of urgency … of wanting to engage again in philosophy, and wanting to read again and renew faith with the project of change."The difference that provoked these polar reactions, I contend here, is in part a difference in the research presented at the two conferences—a differing orientation toward issues of social justice as well as toward the music education profession itself. I also argue, however, that the researchers share more similarities than the discourses surrounding the conferences allow and in part the differences perceived are a by-product of professional structures that serve to polarize discourse—structures that are foregrounded in these two conferences. My intent here, then, is not to valorize the NYC conference or disparage the Toronto conference based on my reactions but to read these reactions as problematic, where euphoria can be reactionary and resistance productive, with the understanding that they are heavily limited by my identification as a young, unestablished music practitioner. I begin first by unpacking those reactions through a reading of the differences between the two conferences. Ultimately, I seek the implications of these differences and similarities for research and practice at the intersection of social justice and music education, and argue that my initial reactions are symptomatic of a wider and potentially harmful approach to this work.Justice, Positively and Negatively ConceivedI wish to begin explicating the differences between the two conferences at an oddly revealing detail: the inscriptions featured on the covers of the respective conference booklets and, in the case of the Toronto conference, replicated on the website and call for papers. The NYC conference features a lengthy and hopeful quote by Maxine Greene, worth reproducing in full: "Because it is only through the projection of a better social order that we can perceive the gaps in what exists and try to transform and repair…. This can happen in classrooms, in corridors, in schoolyards, in the streets around."1 Contrast this with the authorless four-word mantra of the Toronto Conference: "Charity is Not Justice," represented as a photograph of graffiti on what looks to be a construction site. The difference is stark: the Greene quote indicates that the NYC conference might seek to project a better social order from which action might arise. The Toronto conference, on the other hand, forcefully declares the project of justice in the negative: it is not charity.It is worth taking a moment to put these two inscriptions in dialogue. There is a way, certainly, that Greene in this quote allows for—and perhaps encourages—charitable work. If a person, for example, believes that a better world includes feeding the homeless, he or she might be moved to open a soup kitchen. Insofar as this is an act of charity (and most people would agree that it is), the mantra of the Toronto conference rejects it outright. Furthermore, the use of a [End Page 204] photograph of presumably authentic graffiti lays claim to a kind of streetwise, oppressed authority that throws a... (shrink)

This dissertation is an attempt to examine the role of historical argument in political theory. Its main contention is that political theory, rather than relying on concepts of abstract right and timeless duty, often attempts to convince by giving its readers a particular sense of history. I argue that authors of political theory in many instances present to their readers a narrative, rather than a logic, of politics. Political theory persuades not simply by reason but by giving the reader a (...) more convincing account of history and of the particular role s/he is to play. Consequently, I maintain, we put our own powers of interpretation in a strait-jacket if we approach each book of political theory only in search of an everlasting argument. Our readings will be more fruitful if we consider the qualities of historical argument alongside those of abstract right. The project of political theory, I conclude, is not so much to reform our morals as it is to reform our memories. ;The weight of my argument falls on extended interpretations of three figures in the history of political thought: G. W. F. Hegel, John Locke, and Friedrich Nietzsche. My aim in each chapter is to show that these theorists are at their most persuasive when the historical element in their thought is brought to the forefront. Taken together, however, they do not provide a single 'historical' viewpoint; instead they offer markedly different narratives which rest on different notions of human experience: Locke's account stresses labor, both mental and physical. Hegel's story is rooted in his understanding of art and beauty. Nietzsche's history centers on matters of violence and pain. ;In the prologue and conclusion I consider how political debates can often appear as historical disputes . By reading political theory with an eye to history, I hope to restore it to a position from which it can contribute to such controversies and speak directly to some of our political concerns, even if it must remain, to some degree, persistently aloof from them. (shrink)

What is the relationship between scientific research and ethics? Some think that science should be free from ethical and political considerations. _Biomedical Research and Beyond_ argues that ethical guidance is essential for all forms of inquiry, including biomedical and scientific research. By addressing some of the most controversial questions of biomedical research, such as embryonic research, animal research, and genetic enhancement research, the author argues for a rich moral framework for the (...) ethics of inquiry, based on the ideal of human flourishing. He then looks at other areas of inquiry, such as journalistic ethics, and military investigation, to see how similar they are to the ethics of scientific research. Finally, he looks at the virtues that must play a role in any life that is devoted to research and inquiry as a vocational commitment. (shrink)

Ṣāliḥ Nābī (d. 1914) is a person who lived in the last periods of the Ottomans and is a medical graduate and interested in Turkish music. In 1910, he received a work called al-Falsafa al-Mūsiḳī (Philosophy of Musica). In this study, the effects of music on the human soul, music history, and musical understanding in the Ottoman period were found. Throughout history, many musical compositions have been received and reflected some philosophical thoughts. But an independent study of philosophy and music (...) is not found before the 20th century. For this reason, Ṣāliḥ Nābī's al-Falsafa al-Mūsiḳī work is remarkable in terms of its title. There are brief explanations about various issues in the work but the most important issue that attracts our opinion is the musical perception of the period. Because Ṣāliḥ Nābī, as a witness at that time, thinks that music has been neglected for a long time in the Ottoman Empire. This is the reason why he has already taken him to a work. In this article, it has been tried to be given to today's musical literalism. Summary: Ṣāliḥ Nābī was born on May 5, 1886, in Istanbul Yedikule. After his primary and secondary education, he started the Military Medicine Faculty in Cengelkoy on March 13, 1901. He graduated in 1911 after having studied for a total of ten years here. Prior to his graduation he worked as assistant at Bel-Air Hospital in Switzerland for a while. He died at the age of twenty-eight in 1914 after having practiced medicine in several different regions.Ṣāliḥ Nābī, who died at a young age, has two works that arrive present days. One of them is the graduation thesis named Mental Illnesses and Bel-Air Hospital in the Twentieth Century. In this work that he published in 1911, he made suggestions about the architectural works to be done in this area by making use of some of the examinations in Switzerland Bel-Air Bâmârhânesi where he served as an assistant for a while. The other work, which is also the subject of our work, is named al-Falsafa al-Mūsiḳī(Philosophy of Musica).Al-Falsafa al-Mūsiḳīis composed of thirty-two pages. The first fascicle, which is the subject of our work, is the only known number of this work that planned to be published as monthly magazines. This work is written to explain the subjects of music and philosophy. But this work could not continue because of Ṣāliḥ Nābī’s participation in the Balkan Wars after his graduation and later his death at a young age. Al-Falsafa al-Mūsiḳīconsists of three parts, one of which is the introduction part. Under the heading entitled "Medhal", the cultural and musical environment of the Ottomans in those days is mentioned and the purpose of writing the work is explained. The second part is about the musical influences on soul. This section examines the following topics: Musical influence on soul, the importance and service of the ancient Greeks to music, some notes about music in history. The name of the last part is “Mūsiḳīnin İctimā’iyāt ve Tārihle Munāsebeti (Relation of Music with Sociology and History)”. Under the last title these subjects are respectively discussed: the place of music in social life, the origins of music, the invention of some instruments used by the ancient Greeks, especially the "lyric", the services of the ancient Greeks as music, the development of music in the Arab world and its pioneers, the effect of the invention and dissemination of musical notation.As you can see, although the author uses “music” and “philosophia” words in the name of work, he has made statements on many issues. We will examine these issues under five headings in terms of better understanding of the work and on the subject matter integrity. These are: The origin of the word of “al-Mūsiḳī/music”, the musical thought in the work, the history of music, the musical understanding and works in the Ottoman in the twentieth century and the music-literature relation. Since the topics under these headings will be given in detail in the article, we can summarize them briefly as follows. There is some information in the sources of musicology that the origin of the word of “al-Mūsiḳī/music” is derived from the ancient Greeks. According to this idea, word of “al-Mūsiḳī/music” comes from “musa” which is the goddess of poetry and music. But Ṣāliḥ Nābī did not accept this claim. The author states that this word is used to be by the ancient Greeks, but also existed long before them. Moreover, Sālih Nâbî states that such thoughts arise as a result of a mistake such as searching for the origin of everything in the ancient Greeks. Ṣāliḥ Nābī states that music is art that can express the deepest feelings of the soul. This is the humane direction of music. On the social side, music is the most important means of revealing the structure of a society and the world of thought. For this reason, the development of music shows the development of the country. Therefore, music is important in child bringing-up and in the first education period of a child. Because the generation who knows the music, senses the deepest feeling of the soul (which is the conscience, they also have moral norms that are socially necessary. There are some explanations of music history in the work of Ṣāliḥ Nābī. The author bases musical history before the creation of Adam. Because the voice was there before man was created. The works of the ancient Greeks in the history of music cannot be denied. They have reached important information on issues such as instrument inventions, influence of music on soul, the fact that music becomes a science, and they have conveyed them to future generations with their works. The author, who stated that similar works were done in the world of Islam, gives two examples with the mention of Fārābī and Ibrāhīm al-Mavsilī. One of the issues that the author is talking about is the influence of music on soul. Ṣāliḥ Nābī is a doctor interested in music. He had also done research on this subject, prepared a thesis as mentioned before, and published his work. The author, explaining this effect of music, has given examples in the history that some wars have been gained thanks to music.One of the most remarkable parts of the work of Ṣāliḥ Nābī is that he analysed the situation of the Ottoman Empire at that time. The author criticizes the current rulings for their indifference to Turkish music. Moreover, he expresses that they are trying to dig root of Turkish music for a while. During this period, a disconnection between the Ottoman palace and the people has begun. Because in the Ottoman palace music is considered to be an elite art and the pleasures of the people are ignored. The author, describing this negative situation, states that despite all of this, there is a correction in the current state of Turkish music in its period. Now the Ottoman palace was not indifferent to Turkish music. In addition, some theoretical studies about Turkish music have begun to emerge in the Ottoman Empire.The author, who also deals with the relationship between music and literature, expresses that these two fields are very close to each other. Therefore, a good poet should know music and a good musician should know literature. (shrink)

Student evaluations of teaching are ubiquitous in higher education; however, most prior research has focused on the numeric ratings, with little systematic attention given to the qualitative comments. In this study, written comments were collected as part of the regular evaluation of a community health nursing course over four semesters. Taken as a whole, student comments were strikingly consistent and mostly negative. Students emphasized the authority of the textbook and framed the course as preparation for the National Council Licensure (...) Examination (NCLEX). Instructor efforts to focus on critical analysis of social issues were met with confusion, suspicion, and resistance. Student comments were further analyzed in relation to 3 levels of discourse: the student/teacher level, the nursing‐education level, and the social–historical level. For each level, the comments reveal problems, but not the ones suggested by a conventional reading of student evaluations. If students and teachers have conflicting expectations about goals and methods for learning, formal student evaluations may be less useful as a measure of teaching effectiveness. This study also raises troubling concerns about current practices in nursing pedagogy, particularly the emphasis on standardized testing and highly structured didactics, and the overlap between student evaluation systems and the technologies of neoliberalism. (shrink)

In the face of the most recent developments in digital and visual art, the Internet, the latest frontiers and currents, the new languages and technologies, Souriau’s schema does not work, but his reflections on the aesthetic notions of instauration and skeuopoetics do, and they pertain both to classical painting and to future perspectives. In fact, we note strong connections with research that the philosopher had had conducted on feelings, relations, forms, and processes, in terms of synaesthesia and structural correspondences. (...) On the basis of his thinking, we can still argue the importance of these concepts and these relations as they relate to physical and phenomenal existence, to materiality and transcendence: a conceptual and imaginative universal that is considered to be eternal. Art is seen as the producer of things capable of performing actions that are purely physical. He makes this claim because these actions expressly and intentionally create things whose existence is their sole purpose. (shrink)

Historians of science have attributed the emergence of ecology as a discipline in the late nineteenth century to the synthesis of Humboldtian botanical geography and Darwinian evolution. In this essay, I begin to explore another, largely neglected but very important dimension of this history. Using Sergei Vinogradskii’s career and scientific research trajectory as a point of entry, I illustrate the manner in which microbiologists, chemists, botanists, and plant physiologists inscribed the concept of a “cycle of life” into their investigations. (...) Their research transformed a longstanding notion into the fundamental approaches and concepts that underlay the new ecological disciplines that emerged in the 1920s. Pasteur thus joins Humboldt as a foundational figure in ecological thinking, and the broader picture that emerges of the history of ecology explains some otherwise puzzling features of that discipline – such as its fusion of experimental and natural historical methodologies. Vinogradskii’s personal “cycle of life” is also interesting as an example of the interplay between Russian and Western European scientific networks and intellectual traditions. Trained in Russia to investigate nature as a super-organism comprised of circulating energy, matter, and life; over the course of five decades – in contact with scientists and scientific discourses in France, Germany, and Switzerland – he developed a series of research methods that translated the concept of a “cycle of life” into an ecologically conceived soil science and microbiology in the 1920s and 1930s. These methods, bolstered by his authority as a founding father of microbiology, captured the attention of an international network of scientists. Vinogradskii’s conceptualization of the “cycle of life” as chemosynthesis, autotrophy, and global nutrient cycles attracted the attention of ecosystem ecologists; and his methods appealed to practitioners at agricultural experiment stations and microbiological institutes in the United States, Western Europe, and the Soviet Union. (shrink)

The volume starts with the paper of Lynn Maurice Ferguson Arnold, former Premier of South Australia and former Minister of Education of Australia, concerning the Exposition Internationale des Arts et Techniques dans la Vie Moderne (International Exposition of Art and Technology in Modern Life) that was held from 25 May to 25 November 1937 in Paris, France. The organization of the world exhibition had placed the Nazi German and the Soviet pavilions directly across from each other. Many papers are devoted (...) to the interpretation of this opposition. Arnold’s paper considers the differences in the two totalitarian states’ architectural and design discourse styles. Although each of them communicated a totalitarian language of purposes, permissions, and boundaries, they essentially differed in the styles of discourse represented by the architecture and design of their respective pavilions. They were opposites of each other and the liberal ideals they contested. The internationalist viewpoint reflecting the multi-ethnic mix of the USSR is contrasted to the ein Volk homogeneity represented in the German pavilion. The Soviet pavilion opted for a utopian future to be arrived at by “benign” leadership, whereas the German pavilion anchored itself in the myth of Teutonic history with the nostalgic pride protected by the swastika-bearing eagle. Jean-Yves Béziau is best known as a logician and founder of Universal Logic. However, in this paper, he poses a new philosophical question: why philosophical discourse does not use images? The paper begins with a general analysis of different types of philosophical discourses. Then, he focuses on why images have been and are still rejected in philosophical discourse. He explains various ways to use images in a fruitful way to develop philosophical thinking and discourse and illustrates his view by providing several examples. He concludes with a promising programmatic declaration about founding a new journal entitled World Journal of Pictorial Philosophy to stimulate the usage of images for developing philosophical thinking. Although complaints about the obscurity of many philosophers’ discourse are widespread, Tatiana Denisova, ex-professor of the Surgut University and a research associate of the University of the Aegean undertakes a positive attitude to this problem. She explains that the reasons for the obscurity of philosophical texts, the subsequent complexity in communicating philosophers’ meanings and their eventual incomplete understanding is not a sign of their inferiority. On the contrary, it is a sign of the fruitfulness of philosophical discourse, which can generate new meanings. Thus, the darkness of philosophical discourse is like the life-giving chaos, and the obscurity that it inevitably contains can be the keeper of implicit meanings and even their generator. Katarzyna Gan-Krzywoszyńska and Piotr Leśniewski, authors of a monograph on Polish philosopher Kazimierz Ajdukiewicz (1890 – 1963), make a comparative analysis of his educational style with that of Paulo Reglus Neves Freire (1921 – 1997). The authors highlight that these scholars have distinctly different backgrounds. The former was an educator, philosopher and a leading advocate of critical pedagogy connected with the dialogical Latin-American tradition. The latter was a philosopher and logician, a notable representative of the Lwów–Warsaw school of logic with significant contributions to semantics, model theory and the philosophy of science. Despite their apparent difference, the authors identify some striking similarities regarding their attitudes towards education; notably, their approaches are essentially dialogical. Gilah Yelin Hirsch is a multidisciplinary artist who works as a painter, writer, curator, educator, and filmmaker. In her experiential paper, he explains how and why she uses four channels of communication in her creative expression: writing, painting, filmmaking, and teaching, as dialogic inquiry. She considers that these channels compose a continuum of discourse styles, each reaching a different facet of kaleidoscopic consciousness. She claims that her choice of medium is prompted by a need to communicate her insights profoundly. Thus, for instance, she created painted allegories to express narratives based on dreams and visions emerging from her subconscious. Art and healing is another Tibetan-rooted type of discourse practised by the author. Creating and observing a healing image produces a positive psychophysiological change in both the artist and the viewer. The discourse here is tripartite between creator, image, and viewer. Filmmaking is another type of discourse she practices between the filmmaker/artist as shaman or healer and the viewer as respondent or participant. These films are meant to be experienced frame by frame, physically and emotionally in both the body and mind. Jocelyn Ireson-Paine is a cartoonist and programmer. His paper offers an original attempt to use category theory in cartooning. Category theory is a branch of mathematics that provides concepts and methods to describe general abstract structures in terms of a labelled directed graph called category, whose nodes are called objects, and whose labelled directed edges are called arrows (or morphisms or transformations or mappings). The author explores different ways to define “style” in art using category theory and a relational view of art. Moreover, he examines how “translation” (transformation) between styles could be defined and reveals the difficulties of how it could be implemented in a computer using special software. Jens Lemanski is a philosopher who has revived research in Arthur Schopenhauer’s legacy by exploring his work on mathematical evidence, logic diagrams, and problems of semantics. In this paper, he advances a new approach to eristic as an art of protecting oneself from the one who deliberately violates norms of discourse ethics to win an argument. The author attributes the origins of this view to Schopenhauer, suggesting a new reading of his work. According to the author, eristic is a prohibitive technique that takes effect when the norms of discourse ethics are transgressed and violated. Thus, eristic is viewed as a discipline of Enlightenment philosophy and a correlate of discourse ethics. Roshdi Rashed is an authority on the history of Arabic mathematical sciences. Proceeding from Gilles-Gaston Granger’s definition of mathematical style, he studies the question of whether a mathematical work can be characterized by a single style or by a multitude of styles. This question is explored within the style of a single work, namely Menelaus’s Sphaerica, and through the study of the development of a single problem over time, namely the isoperimetric problem. He indicates Menelaus’s divergence from the Euclidean style of (plane and stereometric) geometry caused by the drop of the Parallel Postulate, which associated it with hyperbolic geometry. Hence, the author concludes that Menelaus’s Sphaerica incorporates the well-known Euclidean style with a variation of the non-Euclidean one. On the other hand, examining the isoperimetric problem reveals another interesting historical picture. A succession of different styles (cosmological, geometric, infinitesimalistic, style of the calculus of variations, of synthetic geometry) can be observed due to the transformation of the research object over time. Boris Shalyutin, a Russian social philosopher, and Ombudsman for Human Rights in the Kurgan Region, explores the origins of discourse in combination with the birth of society and law. He claims that legal discourse marks the historical emergence of discourse in general. Homo Juridicus generated Homo Sapiens, which have created new spheres of discourse, notably moral discourse and further philosophical, political, and scientific discourse. Petros Stefaneas, a logician, computer scientist and novelist, suggests an alternative to the traditional narratology approach for studying (interactive) social media discourse. He claims that style describes how the parts of a narrative are blended into a whole. The author relies upon Goguen’s and Harrel’s concept of style as a choice of blending principles and transfers to the study of the social media narratives elements from the methodology of studying Web-based collaborative search for mathematical proofs like those implemented within the Polymath project. The last paper belongs to Ghil‘ad Zuckermann, a linguist, language revivalist, and proponent of a model of the emergence of Israeli Hebrew, according to which Hebrew and Yiddish were the primary sources of Modern Hebrew. This paper explores the fascinating and multifaceted Yiddish language and its survival in Israeli. Yiddish is characterized by a unique style that embeds psycho-ostensive expressions throughout its discourse. The author highlights the cross-fertilization between Hebrew and Yiddish as it manifests itself in any aspect of the Israeli language. He claims that Yiddish survives beneath Israeli phonetics, phonology, discourse, syntax, semantics, lexis, and even morphology, although traditional and institutional linguists have been most reluctant to admit it. (shrink)

Scientists have recently discovered a new law of nature. Its footprints are virtually everywhere - in the spread of forest fires, mass extinctions, traffic jams, earthquakes, stock-market fluctuations, the rise and fall of nations, and even trends in fashion, music and art. Wherever we look, the world is modelled on a simple template: like a steep pile of sand, it is poised on the brink of instability, with avalanches - in events, ideas or whatever - following a universal pattern of (...) change. This remarkable discovery heralds what Mark Buchanan calls the new science of 'ubiquity', a science whose secret lies in the stuff of the everyday world. Combining literary flair with scientific rigour, this enthralling book documents the coming revolution by telling the story of the researchers' exploration of the law, their ingenious work and unexpected insights. Mark Buchanan reveals how the principle of ubiquity will help us to manage, control and predict the future. More controversially, he claims that it may well contain the beginnings of a mathematics of cultural and historical change. Every decade sees a major scientific breakthrough that has implications that go way beyond science. 'Ubiquity' is one of them. This book, the world's first on the topic, will change how we think about the world and our place in it. Chaos Disorder from order. Complexity Complexity from simplicity. UBIQUITY World has a natural 'rhythm': there is a mysterious archetypal organisation that works in the world at all levels and which gives rise to a universal pattern of change - in groups of people, things or ideas. (shrink)

This book is without doubt the most meticulously researched, carefully argued, and comprehensive study of Socratic religion to date. When McPherran refers to the religion of Socrates, he means the religion of the historical Socrates. Like many contemporary scholars, McPherran thinks that Plato’s early dialogues are generally reliable sources for the views of the historical Socrates. With uncommon clarity, the author develops the philosophical and religious commitments of this Socrates and shows how they are really complementary parts of a (...) single outlook. Not surprisingly, the very nature of the project generates a multitude of puzzles. McPherran does a masterful job of developing these paradoxes and showing how Socrates was prepared to disarm them. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:True Names: Vergil and the Alexandrian Tradition of Etymological WordplayPamela R. BleischJames J. O’Hara. True Names: Vergil and the Alexandrian Tradition of Etymological Wordplay. Ann Arbor: University of Michigan Press, 1996. xvii 1 320 pp. Cloth, $44.50, £35.This monograph provides a study and catalogue of Vergilian poetic etymological wordplay, defined by O’Hara as “explicit reference or implicit allusion to the etymology of one of the words a poet (...) is using. A poet may simply explain or allude to the derivation of a word or may suggest further that the derivation of the name is appropriate because it corresponds to some essential feature of the thing named, or gives the true explanation (etymos logos) of the thing” (3). O’Hara’s monograph includes an introductory essay of 163 pages: in part 1 he surveys etymological thinking and wordplay before Vergil, particularly, but not exclusively, the Alexandrian poets; in part 2 he analyzes the form and style of Vergilian wordplay; and in part 3 he examines how etymologizing furthers Vergil’s poetic goals, focusing on some of the prevailing imagery and themes of the Aeneid. The main portion of the monograph is a heavily annotated catalogue which presents and discusses all examples of etymological wordplay that O’Hara or any other scholar has found in Vergil’s Aeneid, Eclogues, and Georgics.O’Hara’s catalogue of Vergilian etymological wordplay is a gold mine of information and a welcome contribution to Vergilian studies. Bartelink’s Etymologisering bij Vergilius, published more than thirty years ago and never translated from the Dutch, had made Vergilian etymology a largely inaccessible topic. Organized by category and lacking indices locorum and verborum, Bartelink’s work did not readily lend itself to consultation. O’Hara’s monograph, with running commentary format, indexes, and cross-references, is easy to use. His catalogue is heavily annotated: each entry includes a quotation of the Vergilian etymologizing passage, discussion of the wordplay, passages from ancient grammarians or poets that explicitly mention the derivation, passages from elsewhere in Vergil or other poets which allude to the same or similar etymologies, [End Page 300] and, finally, up-to-date bibliographical references. As for dubious examples of etymologies, O’Hara tends to be much more inclusive and open-minded than Bartelink: “I place them in the catalogue, with question marks and often with discussion of the problem, in part because what looks implausible to me may look more plausible to another” (112 n. 367). He does not restrict his study to poetic etymology alone but includes “a slightly broader range of wordplay, both to be more useful and because strenuous efforts to distinguish or separate etymological wordplay from ‘related phenomena,’ are not worthwhile, and probably not true to the practice of the poets” (3). Thus he even includes anagrams (e.g., amor/Roma at Aeneid 4.347) in his catalogue, although he expresses reasonable doubts about their value as etymologies. The catalogue contains a wealth of material not found in Bartelink; see, for example, the discussion of Dictamnum, of mater Acidalia, and the section on wandering Dido and the planets. (This last is a must-read, and, to my mind, provides compelling evidence for Pöschl’s identification of Dido with the moon in Iopas’ song [Art of Vergil, Ann Arbor, 1966: 151–54]; and cf. Brown, HSCP 1989, 322–23).The monograph takes a descriptive rather than analytical approach and refrains from engaging in the debate over the determinacy or indeterminacy of meaning in Vergilian poetry; it may prove more accessible and timeless as a result. O’Hara is a reader’s writer: clear, concise, and helpful; his bibliography demonstrates his characteristic thorough research. The University of Michigan Press has done a beautiful job formatting a text fraught with pitfalls: extensive quotations in Latin and Greek featuring italics, boldface, and dotted underlining; plenteous and lengthy footnotes featuring all of the above. The very few errors I found did not detract from the authority or accessibility of the book; the volume does credit to both press and author.O’Hara’s introductory essay is intended as a preliminary to the catalogue, rather than as a full discussion of... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Reason and Rhetoric in the Philosophy of HobbesWilliam WalkerReason and Rhetoric in the Philosophy of Hobbes, by Quentin Skinner; xvi & 477 pp. Cambridge: Cambridge University Press, 1996, $49.95.Having shown in his earlier work how the classical Roman texts on rhetoric governed to an important extent the formulation of republican ideas in Italian Renaissance and therefore modern political thought, Skinner now returns to these texts in order to (...) treat more comprehensively one of the major subjects of his research over the last thirty years—Thomas Hobbes. Determined to understand not so much what Hobbes’s writings mean as what Hobbes is doing, what “traditions he reacts against, what lines of argument he takes up, what changes he introduces into existing debates” (p. 8), Skinner devotes the entire first half of the book to “classical eloquence in Renaissance England” (p. 17). Citing mainly the Ad Herennium and the texts on rhetoric by Cicero and Quintilian, he provides a superb account of the classical Roman theory of persuasive speaking, as well as the ideal of citizenship which underlies it: for the Romans, the vir civilis, the good citizen, is the virtuous, wise, rational man [End Page 204] who exercises his mastery of the art of rhetoric to serve his community by pleading for just verdicts in the courts and beneficial policies in the assemblies. Citing the Tudor humanists who were instituting and teaching at the grammar schools, but also several sixteenth- and seventeenth-century English rhetoricians, poets, and prose writers, Skinner then observes how this classical theory of persuasion and its ideal of citizenship achieved “widespread currency” (p. 1) in England and served as the foundation for “the rhetorical culture of Renaissance humanism” (p. 250).It is in relation to this culture, Skinner insists in the second part of the book, that Hobbes must be understood. For although, as many have pointed out, Hobbes’s thinking was in part formed by the scientific developments of the century, “his intellectual formation was overwhelmingly indebted not to the culture of science but to the humanist literary culture” (p. 216). But this is not to say that Hobbes abides peacefully within this culture. After observing how his education, career, and publications up to 1640 are those of the “typical Renaissance humanist” (p. 217), Skinner argues that in his two major works of the early 1640s, Hobbes powerfully repudiates the entire classical theory of eloquence and its ideal of the vir civilis. For in The Elements of Law and De Cive, Hobbes claims to have made the study of moral and political theory into a scientific discipline. On the basis of this assertion, Skinner argues, Hobbes claims that reason unaided by eloquence is sufficient to persuade others of the truths of civil science, that eloquent men have not sustained but destroyed civil life, and that the most important duties of citizenship lie in the private sphere. In short, “Hobbes’s argument culminates in a view of citizenship and its obligations diametrically opposed to the image of the vir civilis” (p. 291). He does so, moreover, in prose which studiously avoids the invocation of commonplaces and authorities, the establishment of any ethos, the manipulation of definitions, the redescription of vices as virtues and virtues as vices (paradiastole), and the tropes and figures—Hobbes practices the repudiation of rhetoric he preaches.But then there is Leviathan (1651). Responding primarily out of his understanding of how Presbyterian and House of Commons demagogues incited civil war, Hobbes in his most celebrated work “reverts to the typically humanist assumption that, if we are to succeed in persuading others to accept our arguments, we shall have to supplement the findings of reason with the moving force of eloquence” (p. 426). Though he continues to understand himself transforming politics and morality into a scientific discipline, Hobbes ultimately reaffirms the premises of the rhetorical culture that produced him and that he repudiated in his first major political works. And though he continues to be critical of commonplaces, reliance on authorities, and tropes and figures, Hobbes in this work again practices what he preaches. In the final chapter of the book, Skinner meticulously documents how Hobbes uses the tropes and... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:_Russell_ journal (home office): E:CPBRRUSSJOURTYPE2402\INDEXISS.242 : 2005-05-19 13:34
ibliographies, rchival nventories, ndexes INDEX TO RUSSELL’S THE IMPACT OF SCIENCE ON SOCIETY R H Summerfields, The Glade Escrick, York  , .. @.. he edition of the richly allusioned The Impact of Science on Society Tindexed here is that of George Allen and Unwin, published in London in . The pagination of Simon and Schuster’s edition (New York, ) is (...) different and spans pages – instead of the first British edition’s –. The very first edition of the book (New York: Columbia U. P., ) contained two paragraphs comparing Catholicism and Communism that were overlooked for the British and all subsequent editions. Russell regarded them as important, and Sir Stanley Unwin wrote him that they would be incorporated in the next printing. The next printing was not until , and the paragraphs were again overlooked. They belong just before the paragraph on page  beginning “Every fanatical creed” in Chapter , “Science and Values”. These paragraphs are not indexed.—Ed. I meet many people who think that the evils of Communism can be combated by Catholicism. This seems to me a dangerous error. What are the evils of Communism as it has developed? First, adherence to a rigid and static system of doctrine, of which part is doubtful and part demonstrably false. Second, persecution as a means of enforcing orthodoxy. Third, a belief that salvation is only to be found within the Church and that the True Faith must be spread throughout the world, by force if necessary. (These are the beliefs of Communists.) Fourth, that the priesthood, which alone has the right to interpret the Scriptures, has enormous power, physical east of the Iron Curtain and spiritual over the faithful in partibus. Fifth, that this power is used to secure an undue share of wealth for the priesthood at the expense of the rest of the population. Sixth, that bigotry, and the hostility that it engenders, is a potent source of war. Every one of these evils was exhibited by the Catholic Church when it had power and would probably be exhibited again if it recovered the position it had in the Middle Ages. It is therefore irrational to suppose that much would be gained if, in the defeat of Communism, Catholicism were enthroned in its place. (Pp. –) russell: the Journal of Bertrand Russell Studies n.s.  (winter –): – The Bertrand Russell Research Centre, McMaster U.  - _Russell_ journal (home office): E:CPBRRUSSJOURTYPE2402\INDEXISS.242 : 2005-05-19 13:34    Abraham  absolute monarchy  Adler, Alfred  adventure, impulse to ,  vs. rashness  aeroplanes  Africa cotton market  North, and Romans  age, average, in West – agriculture effects of  in history of man  integration into larger economy – wasteful of natural resources – see also soil conservation air power and governments  Alexander the Great and superstition  ambassadors, independence of  America see United States anaesthetics  anarchy  Anaxagoras ,  animals, and man  anthropology  apathy  Arab-Israeli conflict – Arabian Nights slaves of lamp in  Arabs and scientific technique  Archimedes , ,  Argentina agriculture  Arians  Aristotle  and causation – movement of heavenly bodies  armed forces and civil authorities  international, as concentration of power ,  perceptions of own/other nations’  in Russia –,  artillery  arts: authors and artists independence of –, –,  ascetic mentality  Asia: population and prosperity  astrology – astronomers Greek  prospects for life on earth  astronomical events indicating disaster  Atlantic Pact  atom bomb , , ,  atomic energy –, ,  Attica, history  Attlee, Clement  Augustine, Saint scientific argument against astrology – Auschwitz  Australia aborigines ,  agriculture  federal government  Austria: war with Prussia  Authority and the Individual (BR)  authority vs. observation –,  autonomy of physical world , – Aztecs and cannibalism  and infanticide  Babylonians and eclipses  Bacon, Francis and witchcraft  bacteriological war  Baltic–White Sea canal  barbarians, and late Roman Empire ,  Barbarossa (Frederick I)  , independence of  Bede, the Venerable on comets  belief(s) on basis of authority, as unscientific – science as determinant  in superstition  uncivilized peoples  benefits of scientific technique – _Russell_ journal (home office): E:CPBRRUSSJOURTYPE2402\INDEXISS.242 : 2005-05-19 13:34 Index to Impact of Science on Society  Bentham , ,  Bergson, Henri  Bible, false statements in  see also individual books of biological conditions of stability (of society) –, – biology technique(s) from – birth control and population , , – birth rate, low ,  Black Death , – Blimps, Col., Romans as  breeding, scientific – Bright, John  Britain, happiness in  British Empire... 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It is not intended as some sort of revelation on my part that Greenberg's cultural theory was originally Marxist in its stresses and, indeed in its attitude to what constituted explanation in such matters. I point out the Marxist and historical mode of proceeding as emphatically as I do partly because it may make my own procedure later in this paper seem a little less arbitrary. For I shall fall to arguing in the end with these essay's Marxism and their (...) history, and I want it understood that I think that to do so is to take issue with their strengths and their main drift.But I have to admit there are difficulties here. The essays in question ["Avant-Garde and Kitsch" and "Towards a Newer Lacoön"] are quite brief. They are, I think, extremely well written: it was not for nothing the Partisan Review described Clement Greenberg, when he first contributed to the journal early in 1939, as "a young writer who works in the New York customs house"—fine, redolent avant-garde pedigree, that! The language of these articles is forceful and easy, always straightforward, blessedly free from Marxist conundrums. Yet the price paid for such lucidity, here as so often, is a degree of inexplicitness—certain amount of elegant skirting round the difficult issues, where one might otherwise be obliged to call out the ponderous armory of Marx's concepts and somewhat spoil the low of the prose from one firm statement to another. The Marxism, in other words, is quite largely implicit; it is stated on occasion, with brittle and pugnacious finality, as the essay's frame of reference, but it remains to the reader to determine just how it works in the history and theory presented—what that history and theory depend on, in the way of Marxist assumptions about class and capital or even abase and superstructure. That is what I intend to do in this paper: to interpret and extrapolate from the texts, even at the risk of making their Marxism declare itself more stridently than the "young writer" seems to have wished. And I should admit straight away that there are several point in what follows where I am genuinely uncertain as to whether I am diverging from Greenberg's argument or explaining it more fully. This does not worry me overmuch, as long as we are alerted to the special danger in this case, dealing with such transparent yet guarded prose, and as long as we can agree that the project in general—pressing home a Marxist reading of texts which situate themselves within the Marxist tradition—is a reasonable one.22. This carelessness distinguishes the present paper from two recent studies of Greenberg's early writings, Serge Guilbaut's "The New Adventures of the Avant-Garde in America," October 15 , and Fred Orton and Griselda Pollock's "Avant-Gardes and Partisans Reviewed," Art History 3 I am indebted to both these essays and am sure that their strictures on the superficiality—not to say the opportunism–of Greenberg's Marxism are largely right. But I am nonetheless interested in the challenge offered to most Marxist, and non-Marxist, accounts of modern history by what I take to be a justified though extreme, pessimism as t the nature of established culture since 1870. That pessimism is characteristic, I suppose, of what Marxists call an ultraleftist point of view. I believe, as I say, that a version of some such view is correct and would therefore with to treat Greenberg's theory as if it were a decently elaborated Marxism of an ultraleftist kind, on which issues in certain mistaken views but which need not so issue and which might still provide, cleansed of those errors, a good vantage for a history of our culture.T. J. Clark, professor of fine arts at Harvard University, is the author of The Absolute Bourgeois: Artists and Politics in France, 1848-1851 and Image of the People: Gustave Courbet and the 1848 Revolution. His book on impressionist painting and Paris is forthcoming. (shrink)

The Age of Enlightenment was characterized by passionate scientific discussions, which involved not only scientists, but also representatives of various social circles. Sciences such as physics and astronomy are becoming a hobby and entertainment, scientific experiments are being conducted at home, friends and acquaintances are invited to conduct them, and amateur scientific courses are being organized. The article highlights how these processes were reflected in the painting of the XVIII century. Science is considered not only as a widespread subject in (...) works of fine art, but also as a force capable of influencing artistic theory and practice. The author also studied the coexistence of scientific, religious and "mythological" thinking, since in this era all these forms remained relevant. A wide range of visual material is used, allowing us to see fascination and even admiration for science as a pan-European trend, to which Russia was also attached. The research methodology involves a combination of a sociological approach, as well as a variety of methods used in art criticism. The need to work with the original tests of the 18th century implied the use of source analysis. Researchers, especially foreign ones, have shown interest in the topic of interaction between art and science, but a full-scale study on this topic has not yet been carried out. Although this article does not pretend to be complete, it nevertheless touches on very significant and little-studied topics. The author managed to show the variety of aspects of reflecting the scientific sphere of the Enlightenment in the mirror of painting. It demonstrates how interest in science placed the painter in the context of constant searches and led to unexpected discoveries and results. For the first time, attention is drawn to the fact that many masters of that time were involved in the dialogue between art and science, much more numerous than it seems at first glance, and understanding scientific issues became a sign of the artist's integration into the European cultural environment, a symptom of his successful socialization. (shrink)

It was a novel, among other things, which originated the atomic bomb. H. G. Wells dedicated The World Set Free, published in 1913, to Frederick Soddy, a pioneer in the exploration of radioactivity. Using Soddy’s research as a base, Wells predicted the advent of artificial radioactivity in 1933, the year in which it actually took place; and he foresaw its use for what he named the “atomic bomb.” In Wells’ novel these bombs are used in a world war that (...) erupts in mid-century and is so catastrophic that a world government is formed, initiating a new age powered by the peaceful use of the atom. The physicist Leo Szilard, a long-time admirer of Wells, read this novel in 1932, the year before he first intuited the possibility of a nuclear chain reaction. The novel seems to have become part of his own mental chain reaction. One that took place at an almost unconscious level during the spring that Szilard spent at the Strand Palace Hotel in London, by his own admission doing nothing. He would only monopolize the bath from around nine to twelve in the morning, since “there is no place as good to think as a bathtub.”1 The theories that resulted from this prolonged immersion were introduced by references to Wells; and Szilard, having realized the atomic bomb, spent the rest of his life trying to realize the world government which, in the Wells novel, was its consequence.Literature, which was part of the genesis of nuclear weaponry, continues to be an inextricable aspect of its nature. For Derrida, in fact, we are facinga phenomenon whose essential feature is that of being fabulously textual, through and through. Nuclear weaponry depends, more than any weaponry in the past, it seems, upon structures of information and communication, structures of language, including non-vocalizable language, structures of codes and graphic decoding. But the phenomenon if fabulously textual also to the extent that, at the moment, a nuclear war has not taken place: one can only talk and write about it.2The linguistic nature of the arms race, of peace talks and negotiations, has been thoroughly analyzed. Likewise there is a growing number of books on the nature of nuclear war. But there is also a growing body of novels, poems, and plays making up a literature of nuclear holocaust. As the example of Wells’ novel shows, this is not altogether unprecedented; nuclear literature predates Hiroshima. But the subject of nuclear war has, up till now, mainly served the purposes of science fiction; only rarely—as in the cases of A Canticle for Leibowitz and On the Beach—have science fiction authors risen above the lowest common denominator of that genre. In the 1980s, every year sees the publication of works which demand serious attention both as literature and as fictive strategies for comprehending a subject that is commonly called “unthinkable.” Russell Hoban’s Riddley Walker, Bernard Malamud’s God’s Grace, Maggie Gee’s The Burning Book, Tim O’Brien’s Nuclear Age—these works explicitly preoccupied with nuclear holocaust may be supplemented by other works of the eighties with a persistent apocalyptic undertone, works such as Doris Lessing’s Canopus in Argos series, Umberto Eco’s Name of the Rose, and Mario Vargas Llosa’s War of the End of the World. And these are only the literary manifestations of a widespread movement in all the arts aimed at expressing the dominant condition of our time.3 1. Leo Szilard, Leo Szilard: His Version of the Facts: Selected Recollections and Correspondence, ed. Spencer R. Weart and Gertrud Weiss Szilard , p. 19.2. Jacques Derrida, “No Apocalypse, Not Now ,” Diacritics 14 , p. 23.3. Examples can be found in painting , mixed media , opera , oratorio , dance , film , television , and popular music . Peter Schwenger is associate professor of English at Mount St. Vincent University in Halifax, Nova Scotia. The author of Phallic Critiques: Masculinity and Twentieth-Century Literature, he is working on a book-length study of nuclear holocaust literature. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Aristotle’s Rhetoric: An Art of CharacterJohn T. KirbyEugene Garver. Aristotle’s Rhetoric: An Art of Character. Chicago and London: The University of Chicago Press, 1995. xii + 344 pp. Cloth, $53.95; paper, $18.95.The history of Aristotle’s Rhetoric has been one of cyclical obscurity and rediscovery. Arguably the single greatest work of rhetorical theory ever penned, in any time or culture, its popularity and influence seem to wax and wane (...) repeatedly. Why this should be is not clear, but it is undeniable that even when it has not disappeared completely, its stock (so to speak) among theorists and practitioners of discourse has fluctuated.We are in a bull market for rhetorical studies generally, and these days Aristotle’s work (despite some dissenters who demonize him as the epitome of an oppressive ideology) is pretty much blue-chip. Even so, it is not every day that one encounters a book devoted entirely to the Rhetoric, and even less frequently is that book self-consciously written “philosophically.” In fact, in this century, the only other title in English that could be said to fit this description is Father William Grimaldi’s Studies in the Philosophy of Aristotle’s Rhetoric (Wiesbaden 1972), a book concerned with very different kinds of issues, for example, the unity (or otherwise) of the treatise overall, and its methodological relationship to the rest of the Aristotelian corpus. In a sense, then, Garver is quite justified in his claim that this is the first book-length treatment of Aristotle’s Rhetoric in this century (3). Moreover, it is a philosophical treatment in the sense that it endeavors to orient the Rhetoric (as its subtitle suggests) to issues of ethics, and because it considers the treatise as a work of political theory. Garver proposes that to call Aristotle’s treatise philosophical “is to insist, first of all, that the Rhetoric be read as a piece of philosophic inquiry, and judged by philosophic standards” (3, emphasis added): it is this aspect above all that distinguishes Garver’s approach from those, say, of the teacher of composition, who will be interested most in how the Rhetoric can best be used to teach principles of effective writing; of the historian of rhetoric, who will be interested in the vicissitudes of the Aristotelian system vis-à-vis those of competing schemata (such as, e.g., stasis theory); or of the classical philologist, into whose especial bailiwick fall such problems as those of Quellenforschung and Textgeschichte. Hence Garver’s explicit inattention to historicism in this work (“It contains virtually no examination [End Page 651] of the Rhetoric’s historical context,” 7). Which is not to say that Garver is ignorant of, or uninterested in, history: on the contrary, he reminds us that “The good practical use of reason has a history. The Greek word for the power of practical thinking is phronêsis; its Latin translation was prudentia” (5). And those who are familiar with Garver’s earlier work will know that he is the author of Machiavelli and the History of Prudence (Madison 1987). It is evident, then, that the study under review here is indeed (in a larger sense) a work of historical contextualization: another page in the history of phronêsis, as Aristotle used that term.Aristotle’s Rhetoric: An Art of Character is one of the most thoughtful studies of that brilliant and difficult treatise to emerge in a long time. Garver takes Aristotle seriously, posing pungent questions and answering them in original and interesting ways. His style is clean and occasionally arresting (“To us, Aristotle might look naive. To Aristotle, we would look not sophisticated but unnatural,” 10). And, in the course of the book, there emerges a portrait of the Rhetoric that quite confirms its philosophic nature—not, however, as a work of disembodied theôria, but one “designed... to present legislators with an understanding of the civic art of rhetoric” (245). While Garver feels that the treatise ‘is not very useful to practitioners of the art’ (245), Aristotle’s project is also described as a ‘civic, practical art of rhetoric’ (18). This brief statement requires a good deal of unpacking, because, on... (shrink)

To sum up on forms and rightness. No one wants poetry to be like filling out a form, though plenty of poems look dismally like it. The forms were there to be wrestled with mightily, because they silently and emptily, till one filled them up with the thing said, stood for the recalcitrant outside and other that knows nothing of the human will. The mindless rigidity in principle of the verse patterns suggestively compounded with the sinewy nature of the speaking (...) voice that flowed in continuous energy through the marked-off graph of foot and line and strophe. Together they might be taken to stand for two powers of the mind that ought to work with and against one another to the same effect: the streamy nature of association, said Coleridge, that thinking curbs and rudders. Ezra Pound's commandment to the poet, to compose in the sequence of the musical phrase, not in the sequence of the metronome, is a good warning against monotonous cadences; but taken literally it invites the reply that Beethoven did both. For art is a place where you make choices, sometimes difficult ones that require you decide not between good and bad but between this good and that: very often it is between the beauty of a line and the sense of the whole thing. A proverb says you can't do two things at once; but it is conspicuous that in art you must always be doing two things at once, knowing that that is only the minimum requirement: And twofold Always. May God us keepFrom Single vision & Newton's sleep! Howard Nemerov, professor of English at Washington University, is the author of, among other works, Figures of Thought: Speculations on the Meaning of Poetry and Other Essays and The Collected Poems, for which he received the National Book Award and the Pulitzer Prize for poetry in 1978. See also: "Strict Form in Poetry: Would Jacob Wrestle with a Flabby Angel" by Peter Viereck in Vol. 5, No. 2. (shrink)