In this study, we propose the Ankle-Worn Sensor Sleeve to help people maintain their health. Furthermore, our approach uses this sensor sleeve to improve walking motivation by making the walking motion more sensible. In this research, we pursue the design of a wearable device that users can wear as a “shoe accessory,” with the aim of promoting people’s walking motivation. This device is ankle-worn and generates electricity using the physical flexion and extension of the ankle, detects and acquires the amount (...) of electricity generated, and uses the resulting power to produce sound and light feedback while walking. The Sleeve is designed to support health problems, such as locomotive syndrome and dementia, which are caused by physical inactivity. This article presents the results of a questionnaire survey conducted on 172 people who experienced or observed the device during exhibitions. The results reveal that this device increased people’s interest and motivation to walk, including those who did not like to walk. (shrink)

Two years ago, like many of my peers, the years of preparation to become a medical student culminated in one single act: the white coat ceremony. After awkwardly lowering myself before my dean with arms extended behind me, my ephemeral initiation into medicine passed as we both wrestled the coat on. I did not think much about the white coat after the white coat ceremony, but something began to itch my neck every time I wore my coat. It was not (...) the tag, but the words printed on it; ‘Made In Pakistan’. The tag was not bothersome because of a jingoistic need for American-made goods, but instead because of the incongruity between the Oath of Geneva’s pledge to ‘maintain the utmost respect of human life’ and the known human rights transgressions of the Pakistani garment industry. In 2012, a factory fire in Karachi claimed the lives of nearly 300 workers.1 Nearly 3 years after the fire, many families are still awaiting long-term compensation for their losses.2 Unfortunately, these poor standards are globally pervasive in the garment industry. The garment supply chain is so convoluted by subcontracting that production may …. (shrink)

A high school drop-out who served in the American army and then managed to slip into Oxford on the G.I. bill, Frank Cioffi gained a considerable public reputation in Freudian and Wittgensteinian circles. Frank Cioffi: The Philosopher in Context is an account of his conversation is written in a Boswellian spirit, capturing the sharp intelligence, boisterous sense of humour and wealth of illustration Cioffi was able to bring to bear on life's biggest problems when he was, as if were, off-duty. (...) Tackling subjects such as the unruly body, the challenge of art, dealing with failure, the lure of science, the meaning of life, our understanding of others, depression, the case for suicide, and death, David Ellis describes how a philosopher who was profoundly influenced by Wittgenstein dealt with general issues and creates a vivid impression of an unusual and gifted individual. This portrait is followed by a post-script in which Nicholas Bunnin, who worked in the philosophy department at Essex when Cioffi was a professor there, situates him in a more strictly academic context and discusses his less well-known essays on literary criticism and the behavioural sciences, arguing for Cioffi's potential to inspire those seeking a role for analytic philosophy within the broader scope of humanistic philosophy. A mixture of personal portrait and academic introduction, Frank Cioffi: The Philosopher in Context provides an elegant and enjoyable tribute to Cioffi as both man and philosopher. (shrink)

I was deeply moved and inspired by Jason Dubroff’s article1 objecting to the source of the white coat distributed to the entering medical students at his school. The article stimulated me to ponder its implications and led to some thoughtful discussions with colleagues. Here was a busy medical student who was appropriately disturbed at what he regarded as a kind of ethical failure at the very ceremony, which was meant to exemplify and emphasise the values of humanism. However, unlike many (...) of us who notice evidence of ethical insensitivity, react with a sigh or a comment, and go on with our lives without significant alteration in our normal activities, Jason initiated an investigation of the issue, researched it in his own time, and even proposed remedial actions—a remarkable, unusual and impressive course of events. His article reinforced some of my personal prejudices. To those of my colleagues who nostalgically bewail the alleged decrease in idealism in today’s entering medical students, I can point to Jason as an example of the kind of ethical sensitivity, …. (shrink)

When should you engage with difficult arguments against your cherished controversial beliefs? The primary conclusion of this book is that your obligations to engage with counterarguments are more limited than is often thought. In some standard situations, you shouldn't engage with difficult counterarguments and, if you do, you shouldn't engage with them open-mindedly. This conclusion runs counter to aspects of the Millian political tradition and political liberalism, as well as what people working in informal logic tend to say about argumentation. (...) -/- Not all misleading arguments wear their flaws on their sleeve. Each step of a misleading argument might seem compelling and you might not be able to figure out what's wrong with it. Still, even if you can't figure out what's wrong with an argument, you can know that it's misleading. One way to know that an argument is misleading is, counterintuitively, to lack expertise in the methods and evidence-types employed by the argument. When you know that a counterargument is misleading, you shouldn't engage with it open-mindedly and sometimes shouldn't engage with it at all. You shouldn't engage open-mindedly because you shouldn't be willing to reduce your confidence in response to arguments you know are misleading. And you sometimes shouldn't engage closed-mindedly, because to do so can be manipulative or ineffective. -/- In making this case, Jeremy Fantl discusses echo chambers and group polarization, the importance in academic writing of a sympathetic case for the opposition, the epistemology of disagreement, the account of open-mindedness, and invitations to problematic academic speakers. (shrink)

What is a woman? The definition of this central concept of feminism has lately become especially controversial and politically charged. “Ameliorative Inquirists” have rolled up their sleeves to reengineer our ordinary concept of womanhood, with a goal of including in the definition all and only those who identify as women, both “cis” and “trans.” This has proven to be a formidable challenge. Every proposal so far has failed to draw the boundaries of womanhood in a way acceptable to the (...) Ameliorative Inquirists, since not all those who identify as women count as women on these proposals, and some who count as women on these proposals don’t identify as women. This is the Trans Inclusion Problem. Is there any solution? Can there be? Recently, Katharine Jenkins, pointing to the work of Mari Mikkola, suggests that the Trans Inclusion Problem can be “deflated” rather than solved. We will investigate this proposal, and show that, unfortunately, Jenkins is mistaken: Mikkola’s project will not help us answer the Trans Inclusion Problem. After that, we’ll look at Robin Dembroff’s suggestion that we “imitate” the linguistic practices of trans inclusive and queer communities, and we will evaluate whether this would help us solve the Trans Inclusion Problem. Unfortunately, this strategy also fails to solve the problem. By the end, we’ll have a better appreciation of the challenges faced by Ameliorative Inquirists in their project of redefining “woman,” and clearer view of why the Trans Inclusion Problem cannot, in fact, be solved. That’s primarily because, no matter what it means to be a woman, it’s one thing to be a woman, and another thing to identify as a woman. (shrink)

Though sometimes maligned, “trolleyology” offers an effective means of opening and framing, not only classes in ethics, but indeed any introductory philosophy course taking a broadly “puzzle-based” approach. When properly sequenced, a subset of the thought experiments that are trolleyology’s stock-in-trade can generate a series of puzzles illustrating the shortcomings of our untutored moral intuitions, and which thus motivate the very enterprise of moral theorizing. Students can be engaged in the attempt to resolve said puzzles, inasmuch as they’re accessible and (...) compelling, and their resolutions generally easy to achieve. Once thus engaged, students can be directed to the fact that they had already rolled up their sleeves and begun “doing philosophy.” In this way, engagement with trolleyological puzzles can serve as a “microcosm” for philosophy more broadly, illustrating the processes of critical thinking that are likewise the stock-in-trade of philosophers across many different domains of inquiry. (shrink)

Many would say that unlike other failures of practical rationality, which can be difficult to recognize, weakness of will wears its rational defect on its sleeve. Whenever we judge that it would be best not to do x, while intentionally doing x without relinquishing this judgment, we condemn quite explicitly the intention on which we act. This observation gives rise to the attractive idea that weak-willed agents indict themselves of irrationality as they fail to comply with their own practical judgments. (...) Weakness of will is often treated as the paradigm of practical irrationality just because of the explicit and quasi-logical form of incoherence in the weak-willed or akratic agent’s attitudes. Underpinning this idea is the assumption that practical rationality can be characterized as a kind of executive capacity that produces congruence between judgment and action by ensuring that practical judgments are faithfully enacted. Some are happy to call this capacity the will, so that the label “weakness of will” is literally true. I will argue against both of these assumptions. (shrink)

In this essay I shall focus on the adoption of the Semantic Approach by structural realists, including myself, who have done so on the grounds that it wears its structuralist sympathies on its sleeve. Despite this, the SA has been identified as standing in tension with the ontological commitments of the so-called ’ontic’ form of this view and so I shall explore that tension before discussing the usefulness of the SA in framing scientific representation and concluding with a discussion of (...) the implications of the ontological status of theories and models themselves. (shrink)

People don't always speak the truth. When they don't, we do better not to trust them. Unfortunately, that's often easier said than done. People don't usually wear a ‘Not to be trusted!’ badge on their sleeves, which lights up every time they depart from the truth. Given this, what can we do to figure out whom to trust, and whom not? My aim in this paper is to offer a partial answer to this question. I propose a heuristic—the “Humility (...) Heuristic”—which is meant to help guide our search for trustworthy advisors. In slogan form, the heuristic says: people worth trusting admit to what they don't know. I give this heuristic a precise probabilistic interpretation, offer a simple argument for it, defend it against some potential worries, and demonstrate its practical worth by showing how it can help address some difficult challenges in the relationship between experts and laypeople. (shrink)

This article advances two views on the role of evaluative judgment in clinical assessments of decision-making capacity. The first is that it is rationally impossible for such assessments to exclude judgments of the values a patient uses to motivate their decision-making. Predictably, and second, attempting to exclude such judgments sometimes yields outcomes that contain intractable dilemmas that harm patients. These arguments count against the prevailing model of assessment in common law countries—the four abilities model—which is often incorrectly advertised as being (...) value-neutral in respect of patient decision-making both by its proponents and in statute. A straightforward evaluative model of capacity assessment which wears its values on its sleeves and is biased against what are called ‘serious prudential mistakes’ avoids these rational and practical problems. (shrink)

The constrained Hamiltonian formalism is recommended as a means for getting a grip on the concepts of gauge and gauge transformation. This formalism makes it clear how the gauge concept is relevant to understanding Newtonian and classical relativistic theories as well as the theories of elementary particle physics; it provides an explication of the vague notions of “local” and “global” gauge transformations; it explains how and why a fibre bundle structure emerges for theories which do not wear their bundle structure (...) on their sleeves; it illuminates the connections of the gauge concept to issues of determinism and what counts as a genuine “observable”; and it calls attention to problems which arise in attempting to quantize gauge theories. Some of the limitations and problematic aspects of the formalism are also discussed. (shrink)

Which famous twentieth-century philosopher instigated a revolution in philosophy, arguing that the philosopher’s business is not to advance general theories about reality, but rather to help release our thinking from the intellectual cramps produced by a misunderstanding of the forms of language? Wittgenstein? Wrong! according to John W. Cook. This revolution in philosophy actually had no author. Apparently, it arose through a misinterpretation of Wittgenstein’s later writings. In fact, Cook implies, Wittgenstein himself was not genuinely engaged in a struggle with (...) philosophical puzzles, but rather had an ontological theory up his sleeve: he was a conventional empiricist in the tradition of Berkeley, Ernst Mach, and Russell, though he happened to express himself so obscurely that some philosophers, believing themselves inspired by his writings, dreamed up the whole revolution by mistake, as it were. However, Cook is not arguing that the revolution should be canceled; rather he looks at Wittgenstein’s work from the standpoint of that accidental revolution, berating Wittgenstein, as it were, for not having thought to be a Wittgensteinian himself. (shrink)

Many predicates are dispositional. Some show this by a suffix like "-ible", -uble", or "-able": sugar is soluble in water, gasoline is flammable. Others have no such suffix and don't wear their dispositionality on their sleeves. Yet part of what it is to be solid is to be disposed to resist deformation, and part of what it is to be red is to appear red to normal human observers in normal lighting conditions. However, there is no agreement as to (...) whether dispositional predicates may be given a realist interpretation. For many authors, propositions containing them are made true by states of affairs (or facts) containing categorical, rather than dispositional properties. Many also claim that the states of affairs that make true attributions of dispositions to macroscopic objects are microscopic states of affairs concerning their parts. For example, what makes a vase fragile is the microscopic structure of its molecular constituents, which is what makes the vase break when it falls. Against these claims, I will argue that what makes a dispositional predicate apply to an object, whether macroscopic or microscopic, whether in common sense or science, is the object's having what I will call a powerful property. If the object is macroscopic, it is another matter whether the property is microreducible. My reasons for supposing that these powerful properties exist are those for postulating theoretical properties generally: they unify existing explanations and suggest new ones. (shrink)

The paper presents a demarcation of a “minimalistic” concept of logical form, which nevertheless largely agrees with the way the term “logical form” is commonly used in contemporary logic and philosophy of logic. We see logical forms as formulas of formal languages assigned to (compounds of) sentences of a natural language (perhaps modulo notational variance). We thus reject the views of logical forms as underlying structures of thoughts or of the material reality that surrounds us. The assignment of the forms, (...) we claim, aims at envisaging the logical (especially inferential) properties of the analyzed sentences, arguments, or other texts, as the analyzing formulas wear them, as it were, on their sleeves. Hence we suggest an “expressivist” and a pragmatic understanding of logical forms - they are used to expose (and fix) logical properties of sentences in textual contexts and the way of their employment is determined by the goals of the particular studies. (shrink)

Classical science and in fact Post-Newtonian science up till the early twentieth century were mired in a deterministic interpretation of realities. The deterministic hypothesis in science holds that everything in nature has a cause and if one could know the antecedent causes, he could predict the future with certainty. But quantum mechanics holds that sub-atomic particles, though the ultimate materials from which all the complexity of existence in the universe emerges, do not obey deterministic laws, hence, their activities are causally (...) indeterminate and could only be understood with probability. This paper argues that quantum mechanics can not totally be free from determinism, for it has subtly conceded to determinism in holding that the sub-atomic particles are the building blocks of the macro world, and that there is interconnection between entities in the universe, even at the nonmanifest level. The probabilistic interpretation of quantum mechanics only betray our human limitation of the knowledge of nature, which, I believe still have lots of tricks in our sleeves over mankind. (shrink)

Richard Rorty's discussions of "romanticism," a term by which he means a set of general philosophical themes, not merely a body of literary and philosophical work of the eighteenth and nineteenth century, are not univocal in their approach. Rorty endorses romanticism within an overall antirealistic view that he interprets as "pragmatism." In some respects, Richard Rorty's view of romanticism is diametrically opposed to Shelley's, for although Rorty invokes Shelley's appeal to poetry as "center and circumference," he has no interest in (...) providing any access to a noumenal world. With logical positivism of the twentieth century, Rorty seems to presuppose that "eliminating metaphysics," where metaphysics would be any appeal to a reality beyond appearances, is not only possible, but highly desirable from an intellectual point of view. Given Rorty's ultimate aim, it is not surprising that Rorty's romantic idol will have his metaphysics up his sleeve. (shrink)

continent. 2.1 (2012): 22–28. Jeroen Mettes burst onto the Dutch poetry scene twice. First, in 2005, when he became a strong presence on the nascent Dutch poetry blogosphere overnight as he embarked on his critical project Dichtersalfabet (Poet’s Alphabet). And again in 2011, when to great critical acclaim (and some bafflement) his complete writings were published – almost five years after his far too early death. 2005 was the year in which Dutch poetry blogging exploded. That year saw the foundation (...) of the influential, polemical, and populistically inclined weblog De Contrabas (The Double Bass), which became a strong force for internet poetry in Dutch in the years to follow. In the summer of that year, a lively debate raged in the aftermath of Bas Belleman’s article “ Doet poëzie er nu eindelijk toe ?” (“Does poetry finally matter now?”), on a blog specifically devoted to this question. Up to that point, the poetical debate in the Netherlands had largely been confined to literary reviews (which were often subsidized), having become mostly marginalized in more mainstream media, where poetry could be covered by only a small number of so-called authorities. As a result, literary debate had acquired a rather placid quality. Though a variety of camps with different aesthetics could be discerned, most poetical positions shared a general acceptance of poetry as a form of art somewhat apart from fundamental political concerns. Late modernists would pursue subtlety and density of reference. Others would insist poetry was best understood as a form of entertainment that should ideally be accessible and work well on the stage. Still others would insist that poetry is mostly a play with forms. Linguistically disruptive strategies were valued highly by some, but mostly for their aesthetic effect. Values of disinterested playfulness reigned supreme everywhere. Any idea that poetry could be a field in which one confronts politics and the world was decidedly marginal. This led to a climate in which most attempts at polemics were DOA, often based on far too superficial positioning and analysis. The greatest polemical debates were revolving around the question of whether poetry should be difficult or easy, with both camps defining their ideas of difficulty and accessibility in ways that were so utterly shallow as to make the entire point moot. Debates were performed, rather than engaged with. It was a postmodern hell of underarticulated poetics. Half-consciously, people were yearning for new forms of criticism that could put the oomph back into poetry. Weblogs provided for ways to explore debate directly outside of the clotted older channels of the reviews and the newspapers. Belleman’s essay and the resulting online activity had shown that there was a widespread eagerness to take poetry more seriously as a social art form. It was in this environment that Mettes started his remarkable project Dichtersalfabet . At that moment, Mettes was active mostly in academic circles, having become noted at Leiden University as a particularly gifted student of literary theory. Within the Netherlands, the field of literary theory has a very odd relationship to literature as it is practiced in the country. Academic theory tends to have a mostly international view and engage with international debates of cultural criticism, literary theory, and philosophy, with academics often publishing in English and attending conferences around the world. Literature itself however is much more concerned with domestic traditions. Consequently, in the Netherlands, there exists a language gap between academic theoretical practice (as it is studied in the literary theory departments) and literary practice (which, academically, gets studied in specialized departments of Dutch literature). The Dichtersalfabet can be seen as Mettes’s attempt to close this gap. It is also an attempt to bridge the divide between theory and practice, in which he could apply his theoretical knowledge in a very unorthodox and unacademic critical mode that moreover could reach far beyond the domain of conventional criticism. Mettes’s goal was to trace a diagonal through Dutch poetic culture, to “strangle” what he perceived to be its dominant oppressive traditions of agreeable irrelevance, in order to see whatever might be able to survive his critical assaults. But he could only do so by means of a very serious engagement with poetry itself. To this end, he would go systematically through the poetry bookshelf of the Verwijs bookshop (part of a mainstream chain of booksellers) in The Hague, buying one publication per blog item, starting from A and working his way through the alphabet, reading whatever he might encounter that way in the restaurant of the HEMA store (another big commercial chain in the country). He would subsequently write down his reading experiences, refraining however from trying to write a nuanced book review. Rather, he would write about anything that caught his attention and sparked his critical interest. This way of working would yield vast, at times somewhat rambling, dense, lively, and generally brilliant essays, in which he held no punches. He never hesitated to pull out his entire arsenal of concepts from the international theory traditions, while never degenerating into mere academic exercise and pointless intertextualities. The attempt was rather to live the poetry that he read, and to engage it with the full range of political, academic, cultural, and personal references that he had at his disposal—all that composed the individual named Jeroen Mettes as a reader. Often what he wrote would not be according to the standards of what we usually think of as a critical review of a book of poetry. Sometimes he would even be a little sloppy in his judgments of poets or representations of the books he read, for example by basing an entire essay on the blurb of a book rather than its poetry content. But what he did was always brilliant writing nonetheless—virtuoso riffs on poetic fragments randomly found within capitalist society, exposing an incisive and insistent poetical sensibility. Mettes read poetry for political reasons, to see whether poetry could offer him a way to deal with a political world he detested. The right-wing horrors of the Bush years, the Iraq war, and the turn of Dutch public opinion towards ever more conservative, narrow-minded, and xenophobic views alongside a complete failure of the political left to present any credible alternative, were weighing heavily on the times in which Mettes reported on his reading. Poetry was to measure this world, diagram it, to lay bare its inconsistencies and faults, to indicate where lines of flight might be found. Amid the ruins of a world wrecked by imperialist policies, corporate capitalism, and doctrinal neoliberalism it would have to show the possibility of a new community. And it was, through its rhythmical workings, to release the reading subject from his confinement to ideologically conditioned individuality and lead him into the immanent paradise of reading. The stakes were high. Much higher than anything Dutch poetry had seen for many years. Mettes’s blog was widely read from the start. His posts sparked lively debates. Some of these subsequently led to the publication of extensive essays on a few key poets in some literary journals, particularly Parmentier and the Flemish journal yang , for which Mettes would become a member of the editorial board, a few months after starting the Dichtersalfabet . This could have been the start of a brilliant career, but this was not to be. The initial manic energy that fueled the blog gradually subsided. The Alfabet was updated less and less regularly. Mettes sometimes just disappeared for many weeks, then suddenly returning with a brilliant essay. Until, on September 21, 2006, he posted his final blogpost, consisting of no text whatsoever. That night I learned from his mentor at Leiden University that he had committed suicide. Mettes and I had had some fruitful exchanges on poetry, rhythm, music, and form, mostly on the blogs, but also by email. Three weeks before his death was the last time I heard from him: a very sudden, uncharacteristically curt note saying “My old new sentence epic.” Attached to that message I found a DOC-file of a work so major that I felt intimidated. This was N30 , a text he had been working on for over five years. After his death, it took me a long time before I dared to read it in its entirety. In the meantime, the work of preparing the manuscript for publication was entrusted by his relatives to his colleagues at yang magazine. It took them a few years to brush up the text and to edit the Dichtersalfabet -blog (which, apart from the Alphabet project itself, incorporated many other fragments of political, polemical, and theoretical writing) into book form along with the essays. The result of this labor was finally published in 2011 as a two-book set, and Mettes burst onto the Dutch poetry scene for the second time. The work was widely reviewed, on blogs, in journals, magazines, and newspapers. Many critics who had not followed the blogs in 2005 showed themselves surprised, baffled even, by the intensity of Mettes’s critical writing. But for those who had read the blog, the main surprise was in the poetry. During Mettes’s lifetime, some of his poems had already been published in Parmentier . Although these were strong texts by themselves, in no way did they prepare readers for N30 . Nothing like it had been written in Dutch before. Instead, N30 explicitly follows the American tradition of Language Writing, directly referencing Ron Silliman and his concept of The New Sentence. However, it would seem that much of the poetical thinking around his use of this technique puts him closer to a writer such as Bruce Andrews. For Mettes, using non sequiturs as a unit of poetic construction was not only a way of reinventing formal textual construction, but it was another way of finding the fault lines in the social fabric. From the perspective of the Language tradition, one may put N30 somewhere between Silliman and Andrews. N30 shares an autobiographical element with Silliman’s New Sentence projects, and as in Andrews, there is a concern for mapping out social totality within text—what Mettes refers to as a “textual world civil war.” Again this shows a formal textual strategy for allowing the person “Jeroen Mettes” to be absorbed by the world, which here appears as a whirlwind of demotic and demonic chatter, full of violence, humor, intensity, beauty, disgust, sex, commerce, and strife. Influenced as it may by American precursors, Mettes’s tone and form end up quite different from his American counterparts, consistently referencing a world that is Dutch, all too Dutch, taking on the oppressive orderliness of Dutch society with its endemic penchant for consensus by introducing chaos into its daily life and laying bare its implicit aggressions. The work’s 31 chapters each have a different feel and rhythmical outline, but none of them follow a predetermined pattern. Rather, Mettes would consistently edit and reedit the text, randomly rewriting parts of it, as he explains in his poetical creed Politieke Poëzie (Political Poetry). N30 – referring to the 1999 antiglobalist protest in Seattle – was to be the first text of a trilogy. The work itself was written “in the mode of the present.” A second text was to be written in the mode of the future, and a third one, in the mode of the past, was going to be an epic poem about the Paris Commune, and to form an alternative poetic constitution for the European project. I still deeply regret that Jeroen Mettes never got to complete those projects, just as I would be very keen on knowing what he might have had to say about more recent political developments. Instead, in 2006, he remained stuck in the horrors of the present, that ended up consuming him completely. He left Dutch literature with some of its most piercing criticism and its most profoundly moving, exciting and powerful poetry. Excerpts from N30 Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "N30." In N30+ . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. Chapter 1 1999. A day is a space too. And another man, who had chained himself, had his ribs crushed, and a motor has driven over somebody’s legs. Dutch health care system spends ±145 million guilders per year on worriers. A spiderweb vibrates as I pass by. Randstad renovating. She slaps her bag against her ass: “Hurry up!” OPINION IS TRUE FRIENDSHIP Your skin. It doesn’t express anything. “But the use of the sword, that’s what I learned, and you’ll need nothing more for the moment.” Just try to interrogate a guy like that. Gullit in Sierra Leone. Codes silently lying all around. But that’s simply what belongs to “that it’s just allowed”: that sigh of “world” (a word expressing that the trees are now standing along the water like black men with white bags in their hair); that’s nothing else right? And you see how everything has to move, and first of all what cannot do so. Without Elysium and without savings, barbarians lashing out, horny for an enemy, staring across the water, staring into the air—staring to get out of it. “You’ve never showed me more than the mall,” she said. All those “dreams” in the end—and now? It was lying on the stairway, so I picked it up and took it upstairs. Chapter 3 “You know what?” Telecommunication. For love… I don’t really like that cheap cultural pessimism, but… The holy city is on pilgrimage in the earthly bodies of the faithful until the time of the heavenly kingdom has come. The end of an exhausting autumn day behind the computer, my eyes filled with tears of fatigue. KITCHEN / INSTALLATION / SPECIALIST. Network integration. In the sun, stretched out on a sheet. (…) I don’t believe what I’m reading, because I want to believe something else. An illusion? Suits me. There’s a variety of shapes and tastes… “So what?” you may think. 102 dalmatians can’t be wrong. But I want more, dear… A feel good movie. I’m smashing the burned body. So what? We continue to save the European civilization. What’s there to win? Plato with poets = Stalin without gulag? Ball against the crossbar. No wonder. She comes straight to her point. She’s standing in the kitchen eating an apple. (…) The godless Napoleon had used her as a stable and wanted to have her taken down. “Our” Rutger Hauer. Ready or not here I come. Psst… are you also wearing a string? Nobody understands our desire. Cliffs breaking the waves and shattering the sunset. I used to be a real romantic (as a poet). A typical fantasy used to be the one in which I brutally raped mother and daughter Seaver from the sitcom Growing Pains . Nevertheless you only contain bad words. Eyelashes. Automatic or manual? That your skin always in the afternoon. Integration. The air is empty. Too bad! Hand in hand on their lonely way. Alaska! Chapter 12 May 5, 2001 [10:00-10:30] A dust cloud on a hill. Globe. Indian (British) (tie) / pope. Damascus. Rape. We’re carrying the ayatollah’s portrait through the streets. At the moment the girl is mostly suede jacket with white ribbons on her sleeves. A small explosion flares up/impact. Camouflage. Close up. We’re analyzing the situation. He’s dead right? Dead dead. Dead. Everything without, these, and only with the body. Indices signal death. Dollar bills are printed in factories. Holes. Light patch. Globe in a box. Microphone. What’s the situation? Grey impact on a green hill (field?). The water is blue. He has no lips. Interns on the background with skirts that are too long. This is an example of a sonnet. An Islamic woman pushes against the door of an electronics shop. Arrows (percentages (prices)). Is this what awaits the American? Touch screen interface. The word, an island, can only be a sign in that situation. We pull up a chair, join in on the fun. On the shelves only books about computers. One glance in the distance is enough to lighten up a luna park in the distance. She’s really desperate, especially when she laughs. Click. Ah. Next. And now it’s raining, but that’s ok. Yellow stains sliding over the south. Shallow caves light: clothes, boots, electrical equipment. 45. 22:10. Nothing gives you the right to eat more than people starving to death. The Hague. Slam dunk. Traffic light. Two H’s, one L (standing for the L (little prick)). We’re happy to say something. Clouds, small suns, temperatures, cities. The truth is never an excuse. Yellow. Yellow. Green. Yellow. Yellow. Yellow. Yellow. Green. Green. Yellow. Will you email me? Skeleton: “No.” Ex-nerds in brand-new and brightly red sport cars. $$$. I love. Shihab. Hooves in the sand. Skinny senior with over-sized sunglasses; old jockey (cap, trophy) smiling in slow motion. And there I am again, flashback, crying with my head in between my hands. Sometimes I’ve got the feeling that cannibals. Eyes: blue. Cancer. Why would I wait until tomorrow? Golden beams protruding from the lifted/lit earth. May 5, 2001 [11:30-12:45] You’ll remember this for the rest of your life. Graphs, diagrams. Bu$ine$$. Blue shirt, white collar, no neck (porn star). A name lights up. I’m hysteric. Will you join us? Letters falling in their words. Fingers set up a tent and start to dance. Young entrepreneurs from poor neighborhoods (read: black) guided by Microsoft. Kinda makes me happy, that sort of kitsch. A sense of exhaustion/impotence to see anything but the present. (…) Wouldn’t you like to? Orange explosion in an industrial zone. YOU’RE DOING THIS FOR AMNESTY INTERNATIONAL. Would you. A familiar face. Clouds and blossom. Sunflowers. Supermodels. Mountainous area in a rectangle: shades of brown, from dark to beige, more green toward the south. Tents and next to them (it’s all a blur) people. Plane. Stadium. Geometrical block of people. No, I ain’t crying. I don’t speak no more. I just want. Quote + photo. (Positive:) screaming crowd. Three-piece suit, seen from the back, before entering the arena. On the back: “Daddy abused me.” Oh, bummer. State of emergency has been declared and everyone has to cooperate. She’s cut her wrists. What we do know (…) is that there’s never been a unique word, an imperative name, nor will there ever be. [Click here for work that suits you.] Barefooted children are watching it (coherent pieces revelation of what’s lying below). Who knows how she’s changed during those two years. “Everything used to be better” + sigh. And here we are. An empty field of parquet. A city lying behind it. Explosion. Blue. A rain drop falling in my coffee. May 5, 2001 [14:30-15:30] A young Arafat on video speaking with raised finger. “I’m calling from my convertible.” Names on walls, victims, numbers… Tourists. Yellow. Yellow. “Your own child! Really, what kind of human are you?” I don’t want to hear it no more. A woman jumping out of the water in a yellow bikini against a background of fireworks and the Cheops pyramid. Thy sorrow shall become good fortune, thy complaints laudation. All planets will float and wander. Wo die Welt zum Bild wird, kommt das System (…) zur Herrschaft. It is something, but is it? May 5, 2001 [18:30-19:00] Iris. Leaves. NASDAQ. Open / and white and. For the one who’s doing nothing, just waiting. (…) NO DEFEAT is made entirely up of defeat -- since / the world it opens is always a place / formerly / unsuspected. October 2002. “Jeroen, I’m leaving for the cemetery, byeeee.” The rise of the middle class. My entire oeuvre is an ode to the. My entire head is a fight against the. God always demands what you cannot sacrifice. You may take that the easy way, but… “The state hasn’t made us, but we make the state” (Hitler). A stork exits the elevator. Skeletons of. Moscow. Helsinki. Palermo. Paris. Chapter 30 Like your paradises: nothing. United Desire, as only remaining superpower. And even though the sea is now calmer and the wind is blowing pleasantly in my face… Heart! Who determines whether a tradition is “alive”? The yellow leaf or the white branch? Mars. This sentence is a typical example. Most Dutch people are happy. No consolation. When I see a girl sitting at a table with a book, a notepad, a pen, a bottle of mineral water, her hand writing in the light—then I consider that one thing. “Presents,” “poetry,” “classics.” We are what we cannot make from ourselves. “Left”: mendicant orders, missionaries. Saint-Just: “A republic is founded on the destruction of its enemies.” She crosses the street with a banana peel between her fingers. (…) We chose our own wardens, torturers, it was us who called all this insanity upon ourselves, we created this nightmare… But “no”? Girl (just like a beach ball) talking rapid Spanish (Portuguese?) in a mobile phone. Do I have a chance now that her boyfriend is getting bold? CLIO, horny bitch. What else do you want? An old woman, between the doors of the C1000, is suddenly unable to go on; her husband stretches out his hand, speaking a few encouraging words. Selection from. Der Führer schenkt den Jüden ein Stadt. How can it reach us if we haven’t been already reached somehow? It doesn’t “speak.” No problem. Each word she uses is a small miracle, as if she doesn’t belong to it, to language, but wanders around with a pocket light looking for the exit; she’s never desperate (maybe a little nervous), lighting up heavy words from the inside. But indeed, we’re free. But the predicate is not an attribute, but an event, and the subject is not a subject, but a shell. That’s why also samurai, knights, and warriors raised the blossom as emblem: they knew how to die. Locked up in a baby carriage with a McDonald’s balloon. Blue helicopter, the blue sky. Whether you want to refer? The point is. How / Motherfucker can I sing a sad song / When I remember Zion? You’ll feel so miserable and worthless that you think: “If only I were dead!,” or: “Just put an end to it!” “So you’re an economist?” Her card—two little birds building a nest, her handwriting shaking—is still on the mantelpiece. Guevara: “No, a communist.” A straw fire, such was our life: rapidly it flared up, rapidly it passed. I’m fleeing, coming from nowhere. (…) Eazy-E drinking coffee with the American president. If I’d scream, would that be an event? Drown it: the cleaner it will rise up from the depths. No! The night, so fast… As if there’s something opened up in that face. Come on, we may not curse life. He shows me his methadone: “If you drink that all at once, you’ll die instantly.” The last one dictates how we should behave to deserve happiness. One shine / above the earth. “I want to go to Bosnia,” I said bluntly. I don’t even know the name of the current mayor. Let’s despise our success! “There is no future; this is the future. Hope is a weakness that we've overcome. We have found happiness!” Sun. Sushi. Volvo. I feel like a bomb about to explode at any moment. Makes a difference for the reconstruction right? The decor moves forward. Daughter of Nereus, you nymphs of the sea, and you Thetis, you should have kept his tired head above the waves! Alas! This sentence has been written wearing a green cap. I receive my orders from the future. A frog jumps into it. Her husband has turned the Intifada, which he follows daily on CCN, into his hobby, “to forget that he doesn’t have his driver’s license yet." Suddenly the sun slides over the crosswalk. Her (his?) foot is playing with the slipper under the table. Is this how I’m writing this book now? I’m not a fellow man. I hate you and I want to hurt you. These are my people. Their screaming doesn’t rise above the constantly wailing sirens which we've learned to ignore. My whole body became warm and suddenly started to tremble. Unfortunate is he who is standing on the threshold of the most beautiful time, but awaits a better one. Arafat’s “removal” is contrary to American interests. Jeep drives into boy. What you can do alone, you should do alone. A food gift from the people of the United States of America. Two seagulls. [...]. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy and Rhetoric 35.4 (2002) 267-296 [Access article in PDF] Allegory and Democratic Public Culture in the Postmodern Era Robert Hariman The man lies on the hotel bed, clad only in his underwear, as he watches the TV screen just beyond his feet. His right hand holds the remote control, which he uses to scan through the cable channels. To his left sits Abraham Lincoln, clothed in long-sleeved white (...) shirt and black pants and reading a book. Lincoln's long, angular frame is just a bit stooped, and his brow is slightly furrowed, as if long accustomed to thinking on the edge of melancholy. Lincoln is mulling over a statement by Walter Benjamin: "Allegories are, in the realm of thoughts, what ruins are in the realm of things" (Benjamin 1977, 178). 1Seated to the man's right is a woman wearing the terry cloth bathrobe provided by the hotel. She leans slightly forward, legs crossed, as she reads the New York Times Magazine cover story about President Clinton. "Listen to this," she says with a bemused smile. "In the clutter around his desk in the Oval Office stands not a single bust of a favorite predecessor, but five: Lincoln, Teddy Roosevelt, Truman and two of F.D.R., plus a statuette of Will Rogers for good measure. If governing is choosing, this collection is a metaphor for this President's trouble with choices, and he himself allows, 'That's the story of my Presidency, that desk'" (Purdum 1996, 36).The man says nothing as he continues to watch the succession of images on the screen: a lizard flicks its tongue in the desert heat; a child in a stroller laughs as she holds a strawberry ice cream cone; a congressman in blue suit, white shirt, and red tie jabs his finger into the air as he talks earnestly; cars plastered with automotive product logos curl around a race track; Fred and Ginger swirl around the dance floor; soldiers wade ashore at Omaha Beach; the Space Shuttle lifts off; Groucho lifts his eyebrows; Regis smiles; mushrooms and peppers simmer in a pan.The succession of images could go on indefinitely. The tableau remains static. The composition is an allegory: a figural presentation that organizes multiple interpretations regarding collective experience. It also contains and comments on other forms of itself: Clinton's desk is an example [End Page 267] of the figural anecdote that has been a staple of American public address. The manifold of televisual images exemplifies the allegorical encoding that operates within postmodern art forms, including fragmentary appropriation, paratactic association, encyclopedic range, and non-linear temporality. The statement by Benjamin illuminates the nature of allegory in a specific genre and historical period, and as it is a general mode of representation, and perhaps as it is a model for all textual interpretation.The composition also evokes a set of dialectical tensions that are characteristic of both allegory in general and fundamental anxieties in the contemporary period. Past and present sit side by side, but incongruously, as if by artifice alone. So it is also with the print and visual media, which are held together by mutual competencies but otherwise in figural isolation that perhaps represents different destinies. Likewise, one might wonder about the peculiar relationship between public affairs and private life: the succession of images on the screen adhere to no hierarchy of values, no principle of loyalty or sacrifice, no basis for discerning obligations or maintaining rights, yet they are replete with the paraphernalia of these concerns, and the arrangement of figures in the room likewise is at once suggestive yet inconclusive. If this tableau contains familiar features of the mass-mediated experience that now saturates American politics, one might wonder: Is the democratic tradition in ruins?Allegories give us dynamic juxtapositions in a static frame. This principle of composition seems particularly suited to periods of cultural change. To the extent that the genre of allegory has a history, it is one of eternal recurrence at periods of loss and fragmentation produced by the expansion of a new, somewhat... (shrink)

This paper addresses the issues related to designing and estimating the strength of solid-alloy elements in the deforming broaches of significant diameter (exceeding 150 mm) for the developed process of discrete broaching. The tool limit condition was assessed based on two strength criteria: the specific potential energy of shape change and the maximum tangent stresses. Numerical modeling using the finite element method has made it possible to derive the distribution of equivalent stresses in the tool elements and the contact stresses (...) at the surface of the contact between a solid-alloy insert and the body, which enabled the analysis of tool strength under loading. The simulation was performed under a single normal load, which ensured the versatility of the calculation for any contact pressure values. We have derived formulae to calculate the acceptable contact pressure depending on unit load. The effect of the insert protrusion height over the body on the strength of tool elements has been established. We have derived engineering dependences that determine the required magnitude of insert protrusion over the body depending on the ultimate load. An example of calculating the strength of a prefabricated deforming element in the machining of a sleeve made from gray modified cast iron of hardness HB230 has been considered. Our calculations have shown that the deforming element designed for the new technological process corresponds to the conditions of strength, provided the ratio h1/h=0.15 is maintained (where h1 is the insert height above the body, h is the insert height). The results obtained could be used in engineering calculations when designing the prefabricated tool for discrete deformation, as well as to assess the strength of prefabricated tools, such as cutters, core drills, reamers, when refining external loads. (shrink)

Tom Six’s The Human Centipede (First Sequence) (2009) and The Human Centipede II (Full Sequence) (2011) are based on a disturbing premise: people are abducted and stitched together mouth-to-anus. The consequent combinations of faeces and bloodshed, torture and degradation have been roundly vilified by the critical press. Additionally, the sequel was officially banned or heavily censored in numerous countries. This article argues that these reactive forms of suppression fail to engage with the films themselves, or the concepts (such as disgust (...) and offense) on which those judgements are made. Six’s films are far more sophisticated than has been accounted for. These films wear their generic lineage on their grimy sleeves, contextualising conventional motifs such as the mad scientist archetype against contemporary cultural anxieties regarding the body, sex and violence. Furthermore, Six’s constructed persona exposes the interplay between commercial success, grotesquery and censoriousness as a cyclic system that can be abused. Thus, the series epitomises how repulsion can be strategically utilised. Six anticipates his detractors’ offense, and disarms them of their ability to critique his films without adding to their notoriety. The Human Centipede films demonstrate how controversy can be tactically generated to create meaning. (shrink)

Logical structure may explain the necessity and a priori knowability of such truths as that if A is red then A is either red or green. But this explanation cannot be extended to sentences that, while necessary and knowable a priori, do not wear the appropriate logical structure on their sleeves – sentences like ''''if A is a point and A is red, then A is not green,'''' or ''''if A is a sphere, then A is not a cube.'''' (...) The real origin of these sentences'' necessity and a priori knowability is a relationship between the meanings of their component atomic sentences – a relationship which cannot be systematically reduced to logical structure by translating those atomic sentences into any kind of ''''ideal'''' language. Moreover, this kind of relationship is one to which any atomic sentences are susceptible if they have a classifying, or comparison-implying, content. Arguably, then, all atomic sentences are capable of being related to others in ways that are necessary and knowable a priori. (shrink)

In this paper, I concentrate on the notion of default valency, drawing on some of the distinctions made and thoughts given in my Introduction. I motivate why the notion is important for particularists to have up their sleeves by outlining a recent debate between particularists and generalists. I then move to the main aim of the piece which is to discuss how anyone, particularist and generalist alike, might seek to distinguish reason-generating features into different types. My main aim is (...) not to argue for a specific way of dividing such features into types but to present various taxonomical options. Key Words: ethics • features • generalism • particularism • valency. (shrink)

Howard S. Becker is a master of his discipline. His reputation as a teacher, as well as a sociologist, is supported by his best-selling quartet of sociological guidebooks: Writing for Social Scientists, Tricks of the Trade, Telling About Society, and What About Mozart? What About Murder? It turns out that the master sociologist has yet one more trick up his sleeve—a fifth guidebook, Evidence. Becker has for seventy years been mulling over the problem of evidence. He argues that social scientists (...) don’t take questions about the usefulness of their data as evidence for their ideas seriously enough. For example, researchers have long used the occupation of a person’s father as evidence of the family’s social class, but studies have shown this to be a flawed measure—for one thing, a lot of people answer that question too vaguely to make the reasoning plausible. The book is filled with examples like this, and Becker uses them to expose a series of errors, suggesting ways to avoid them, or even to turn them into research topics in their own right. He argues strongly that because no data-gathering method produces totally reliable information, a big part of the research job consists of getting rid of error. Readers will find Becker’s newest guidebook a valuable tool, useful for social scientists of every variety. (shrink)

Most simply stated, the business of Metaphysics is to understand the world, that is to say, the given world which, as given, is one stupendous Fact. This is something more than describing the world. Description, accurate and adequate, is the business of science: understanding the world is making sense of it--a quite different matter. That there is such a task implies that the world does not wear its sense on its sleeve: it presents much that seems nonsense, much that seems (...) anti-sense or what some of our French comrades call absurdity. It is precisely this refusal to make sense that is embodied in the concept of Fact. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:James K. Mish'alani KAFKA: TEXT'S BODY, BODY'S TEXT LONG BEFORE it appears in its own life as a bio-anatomical object, the body itself is integrally lived; and after it makes its appearance, lying or standing there ready for scrutiny, dissection, examination, it yields itself thus in its objectivity only to kindred bodily probing, wherein the hands that search, press, palpate and die roving eyes, the patient, closeheld ear, are (...) not encountered, but lived as modes of access to their object. Generally, the lived body is for itself transcendence toward the world as that within which diings are to be met, and the world, disclosed in an implicit understanding of what things one can behave toward and how one can variously behave toward diem, thus stands in correspondence to the body. As limit, die world determines the specific ways in which things are to be dealt with. As access, the body on its side projects through the lived articulation of limbs and organs those paths toward, by and about things whereby die very complexion ofdie world is always revealed. The body is world-revelation. ] But as die presence of diings in the lighting of revelation is not uniform or indifferent, but variegated, so is die body differentiated, articulated, variously organed and limbed, outfitted, equipped, and geared. The window lets in the light ofday and opens out on scenes only for die seeing eyes of a creature of vistas and distances. The hammer, standing out toward nails and wood, as toward all that they may be nailed togedier for and all diat diey may be brought togedier from, does so only insofar as it is ready for die hand diat lifts it. The pair of shoes suited to the earth, gathering about it die doorsill to die country path, the windswept fields, sun, rain, grain, bread, evening, dawn, die hearth and floorboards by childbed or deadibed, does all this in its humble reliability for the tread of the peasant woman whose footedness releases her through it to the security of a simple world. Thejug mat comes to full presence asjug in the outpouring ofa gift 56 James K. Mish'alani57 in which, be it water or wine, earth and sky together dwell by a marriage of soil and rock to rain and sun in spring or vine — this jug does its manifold-simple gathering of the world's extremities for the hand that pours the outpour, toward the lips for whom a refreshing drink is given, or before the faces lifted up in thanks to the gods for whom a libation is poured.2 Thus are things in most essential ways rooted in the body; and as primal ground the body in turn remains matrix to the world, not an object found in it.3 Nor does the other's body appear in the manner of an object in my encounter with him or her, whose features, glances, gestures, and movements all point beyond themselves and thus turn me with them toward that which occupies them and in relation to which I must assume a specific stance if only to reject it or, deciding it does not concern me, pass it by. The other's body lights up the world for me no less than mine does, in a co-transcendence toward a common horizon of meaning consensually confirmed, and ever renewed, laying for us a shared ground of world engagement without which even error, disagreement, and dissension become impossible. As the equipment through which I ordinarily pass in my projects does not stand out as an object until it breaks or is lost, so the other's body and mine do not obtrude and call attention to themselves in pure anatomical objectivity unless a radical breakdown occurs occasioned by some such disruption as disease, death, or a chaos of incoordination. Otherwise and until then, the other and I continue to be co-workers at world-disclosure, passing through each other's attitudes and movements as through unobstructed space. The human shape that comes toward me from the opposite direction reveals that part ofmy path I have left behind. The open hand thrust out from that tattered sleeve... (shrink)

It is one of the ironies of our times that, as the practise of religion wanes, a theoretical interest in it on the part of many anthropologists, psychologists, sociologists and philosophers waxes. Among these, only philosophers bring to their task a long history of theological and reli gious relations. Hence their renewed interest has been hailed as a break down of isolationism, heralding, perhaps, a new era of interdisciplinary peace. To celebrate this new ecumenism, a Chicago seminary, consis tently with (...) its purpose, sponsored a colloquium to explore the future of philosophical theology. If some of its participating professional philosophers initially felt a twinge of embarrassment over their presence at an ostensibly theological meeting, they soon were at ease. No one was called upon to define the topic, or even to suggest its relationship to a philosophy of religion. Conveniently, everyone could role up his sleeves and get to work on a job he personally felt needed doing. Can we wonder that the lay observer appeared somewhat confused? Was the purpose to analyze "God talk," or to find a place for 'God' in a metaphysical scheme? Or if not these, something else? It soon became evident that the participants in the colloquium ranged from the free swinger to the severely inhibited, depending upon the role each assigned to dogma and creed. (shrink)

A man cannot search either for what he knows or for what he does not know. He cannot search for what he knows – since he knows it, there is no need to search – nor for what he does not know, for he does not know what to look for.The master always keeps a piece of learning – that is to say, a piece of the student's ignorance – up his sleeve. I understood that, says the satisfied student. You (...) think so, corrects the master. In fact, there's a difficulty here that I've been sparing you until now. We will explain it when we get to the corresponding lesson. What does this mean? asks the curious student. I could tell you, responds the master, but it would be premature: you wouldn't understand at all. … Thus does the... (shrink)

Brain–machine interfaces combining visual, auditory, and tactile feedback have been previously used to generate embodiment experiences during spinal cord injury rehabilitation. It is not known if adding temperature to these modalities can result in discomfort with embodiment experiences. Here, comfort levels with the embodiment experiences were investigated in an intervention that required a chronic pain SCI patient to generate lower limb motor imagery commands in an immersive environment combining visual, auditory, tactile, and thermal feedback. Assessments were made pre-/ post-, throughout (...) the intervention, and at 7 weeks follow up. Overall, high levels of embodiment in the adapted three-domain scale of embodiment were found throughout the sessions. No significant adverse effects of VR were reported. Although sessions induced only a modest reduction in pain levels, an overall reduction occurred in all pain scales at follow up. A high degree of comfort in the comfort scale for the thermal-tactile sleeve, in both the thermal and tactile feedback components of the sleeve was reported. This study supports the feasibility of combining multimodal stimulation involving visual, auditory, tactile, and thermal feedback to generate embodiment experiences in neurorehabilitation programs. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.1 (2003) 112-125 [Access article in PDF] You Make My Heart Sing David Rothenberg Last March I went to Pittsburgh to play music live with birds. The plan was to arrive at dawn, to catch the wary singers at their best—in the early morning chorus, when the most sound was happening. I met my friend Michael Pestel at the gates of the National Aviary, a (...) mostly forgotten federal institution in a rundown neighborhood. I had never heard of the aviary before Pestel told me what a great place it was to jam with the more-than-human world. The staff was rumored to be friendly, and they liked to let musicians in during the early hours before the public, mostly guided schoolchildren, would storm the gates.Pestel was there with his flute and various homemade stringed instruments. I had clarinets and saxophones, coaxed out of their cases, a bit tired from the long ride, but ready to hear what these birds had up their sleeves. We headed for the marsh room, a vaulted expanse with an observation deck and waterbirds from all over the world. I strained my ears to catch some pretty rocking bird beats, but they sounded familiar. Too familiar—the aviary was blaring Marvin Gaye at top volume to these birds at six o'clock in the morning. They were definitely squawkin' and squealin'."I cannot work in these conditions," muttered Pestel. "We've got to get these people to turn that racket down.""Didn't you warn them we were coming?""No," he shook his head. "You can't do that. Art always arrives without warning." [End Page 112]"You sure they'll let us do this?""No problem, man, I've come here many times before. These people know me. These birds know me."Marvin was turned down. The sprinklers were turned down (rain must start in the rainforest room every day before sunrise). How else to keep the gaudy barbets happy? Does a blue-crowned motmot (Momotus momota) or a violaceous euphonia (Euphonia violacea) really want to hear strange instrumental shrieks before breakfast? Weren't they content with "What's Going On?"Athanasius Kircher 1 knew the birds were onto something even in 1650:And then Wittgenstein had the nerve to warn us that if a lion could talk, we would not understand him. 2 When a lion roars, we do understand him (or her). If a cat purrs, we understand her, too. If the voice of an animal is not heard as message but as art, interesting things start to happen: Nature is no longer inscrutable, some alien puzzle, but instead immediately something beautiful, a source of exuberant song, a tune with some space for us to enter, at once a creative place for humanity to join in.We set up on the wooden deck, listening out over the water. Instruments out of their cases, recording equipment wired and set to go. An American crow (Corvus brachyrhynchos) was in the center of the action, sitting on a branch at the side of the room. He cocked his head, eyed us knowingly. Looking like there was something he wanted to say. [End Page 113]Pestel played a long, low sliding note, followed by a scratchy puff of air. Something strange swooped down next to my feet, shuffled its large black wings. Some kind of ungainly turkey... I read from a plaque on the railing that it was a Palawan peacock pheasant (Polyplectron emphanum). Its quizzical gaze was mute."What are you looking at?" I glared. He stepped cautiously toward the microphone cable, ready to gobble it in his hooked, formidable beak."Hey," I brushed him off. "Stop dancing. Sing!" But no, he was the prancing, silent type.All of a sudden there was a strange voice. A human voice? "Who." I heard. "Who. Who what where why. Who what where why."It was the crow. But not just any crow. He spoke."Did you hear that?" I coaxed Pestel up from the flute."Oh," he said. "That's Mickey. He's been here for years.""Does... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 44, no. 2. © 2018 by Francesca T. Royster 503 Francesca T. Royster Stories We Tell After Orlando We are in Laila’s backyard for a Sunday barbecue, a cool and windy Chicago June day that immediately followed one of the very hottest days so far this year. My partner Annie and I have brought our fouryear -old daughter Cece and her best friend Gilda to the barbecue, (...) and they’ve dressed themselves in layers, with leggings and hoodies and dresses, girlie but survivalist at the same time in their sequins and metallic purple, discowear for preschoolers. We are at the end of a daylong play date, and we’ve already survived two playgrounds and several tearful standoffs, the ups and downs that come with friends so young. So Annie and I come hungry for some time with our adult friends. The closely packed, brick, three-flat apartment buildings on either side of Laila’s yard provide us with some protection from the wind for a good part of the afternoon. But as the sun goes down and the light dims, we pile on more jackets and scarves over our T-shirts and shorts. Gusts of wind randomly fan the flames until they’re visible over the lid of the grill as Laila cooks. I look out for Laila at the grill while Annie plays catch with the little girls. But I have to do so in stealth, because Laila is as stubborn as she is glamorous. She has insisted on wearing a jacket with green flowing sleeves as she tends the fire, and while she has put her long, graying blond hair up in a chop-sticked bun, she has also pulled out long wispy strands to achieve high femme style. It flies around her face in the wind, flirting with the flames. 504 Francesca T. Royster We are all getting together because later this week Laila will be boarding a plane for the twelve-hour flight home to spend time with her aging mother and father for the summer. “Home” is Lebanon, and we have already experienced losing Laila for a several months in 2006 during a visit home when Israel and Lebanon’s tensions grew into a violent series of bombings that came very close to her Beirut apartment. At the nadir of that time, Laila sent us frantic group letters conveying her worry, sometimes her despair, and her flashbacks to her childhood experiences in wartime Beirut in the 1970s and also in the war of 1982. For a few agonizing weeks her letters stopped coming altogether. The afternoon of our barbecue was the same day as the early morning shootings in the Pulse nightclub in Orlando, Florida, where forty -nine people were killed, and at least fifty others were wounded. The victims were all killed while practicing a rite that all of us considered as sacred and necessary as going to church might be for some—dancing the night away in a gay nightclub. This morning we had woken up to this news, blinking still without our glasses, the magnitude of the news headline hard to fathom as it flashed across the screens of our phones. It’s wrong that mass shootings have become part of the fabric of our lives, and probably will be for the lives of Cece and Gilda. The story feels both shocking and sadly familiar: the apparently easy availability of weapons and a pattern of anger taken to the next outrageous step. And then there’s the gay part. Even when I first heard that the shooting took place at a gay bar, I wondered if the killer, Omar Mateen might be gay himself. “Why Orlando?” I thought. Why a mostly unknown dance club? I thought of the messy, red-hot fury of hate and desire when they get mixed up together. As Annie and I talked about the shooting in hushed voices on the playground that morning, we thought of Matthew Shepard. We thought of the recent theory that Shepard most likely knew his killers; that he hung out with them, maybe did drugs with them. Some have written that the narrative that Mateen is gay only confirms the... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Journal of the History of Philosophy 41.1 (2003) 126-127 [Access article in PDF] James Arthur Diamond. Maimonides and the Hermeneutics of Concealment: Deciphering Scripture and Midrash in The Guide of the Perplexed. Albany: State University of New York Press, 2002. Pp. viii + 235. Paper, $20.95. In his text about the nature of Maimonidean text, Diamond shows us firsthand how the great medieval Jewish thinker's use of biblical and (...) rabbinic prooftexts brings life to each page of his Guide by having meaning rely ultimately on the reader's interpretive glance. Inviting us into his study with an epigraph by Rosenzweig on the integral role of quotation in Jewish medieval writing, Diamond concludes that a prooftext within Maimonides' great philosophical text, The Guide of the Perplexed, is "not merely a prop on which to hang certain philosophical propositions regarding God and his relationship to the creation but rather melds with the text to form an organic continuum of thought" (160). By showing how Maimonides has crafted a masterful "interplay of text and prooftext" (30), Diamond presents the Guide to us as "a bridge, drawing the student out of the philosophical text into the sacred texts and back again, dissolving the divide between the two in a perpetual hermeneutical crisscross" (31).Emphasizing the centrality of the role of the reader—and in particular, the reader engaged in an intertextual hermeneutic—in any appreciation of Maimonidean text, Diamond employs Ricoeurian language, speaking, for example, of how Maimonides' text, in its use of prooftexts whose efficacy lies in the reader's interpretive response, constitutes "a network of intersignification, thanks to which the isolated texts signify something else, something more" (40; quote from Ricoeur, "The Bible and the Imagination," 71). In particular, Diamond stresses how these hermeneutically charged prooftexts are used by Maimonides to penetrate through a range of—what are for Maimonides—metaphorical discourses about the Divine within the Jewish tradition. Ranging from straightforwardly anthropomorphic claims about God sitting or standing, to more subtly anthropocentric conceptions of the role of God in Providence, there are a host of biblical and rabbinic claims about God which Maimonides sees as metaphors—statements whose meanings are in no way worn on their sleeves, as it were. Mindful, though, of the potentially devastating effects of alerting all religious folk to the falsity of certain ways of thinking about God, Maimonides crafts his text—in particular, according to Diamond, in his use of intertextually pointing prooftexts—to beckon only the philosophically prepared readers to the real truths about God and Providence. These truths are neither spelled out in the prooftext nor in the further context from which said prooftext is pulled; rather, as Diamond explains, the truths emerge in the hermeneutical unfolding of text and prooftext, in the live process of the reader's intertextual investigation. In an encounter with Maimonides' Guide, intertextually pointing prooftexts thus enable a reader to fashion "a 'surplus of meaning' out of apparent semantic nonsense" (11; reference to Ricoeur's treatment of metaphor in his Interpretation Theory: Discourse and the Surplus of Meaning).What is fresh, creative and new about Diamond's book is not that it alerts us to the presence of secret writing strategies in Maimonides' Guide which reveal unspoken truths about God. This idea in and of itself is quite well-rehearsed within Maimonidean scholarship. What is fresh, creative and new about Diamond's study is that, in its focus on the hermeneutical efficacy of prooftexts as central to that secret writing strategy, it actually walks us through the hermeneutical process in question, step by step, with a number of cases in point. And so, Diamond not only tells us that Maimonides uses prooftexts as a strategy for pointing careful readers to uncover unspoken truths about the Divine, but Diamond actually devotes a full-length study to showing how this works in a number of [End Page 126] concrete cases. Diamond actually engages in exegesis of Maimonides' Guide in this study of Maimonidean exegesis; he actually shows us how he thinks a number of prooftexts ought to be traced through. Using a number of Maimonidean prooftexts as his starting points, Diamond takes us from Maimonides' text... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:How was Haiti?Sadath Sayeed"She smelled of milk and urine. Chacko marveled at how someone so small and undefined, so vague in her resemblances, could so completely command the attention, the love, the sanity of a grown man."—Arundhati Roy from The God of Small ThingsFather and SonTwenty minutes before I was to be taxied to the airport in Port-au-Prince, the baby boy handed to me did not breathe continuously. He (...) didn't breathe at all. Born a few hours earlier at home—probably in one of the hundreds of make-shift tent cities. I did ask if the baby cried after he came out of mom. Yes. He didn't suckle well and stopped crying. Dad decided to get help. Climbed onto a moped with his baby wrapped in a blanket. Must have tucked him under one arm and rode between piles of rubble to the closest health care facility.People at this other place tried to help his baby boy breathe. They pushed air into his mouth like you are doing. After a few minutes, they said that they couldn't help anymore."Go to the University hospital."From a shirt sleeve pocket, he pulled a crumpled white piece of paper with some writing scribbled on it. I gathered it documented this last visit. They took the time to hand him a note before they sent him on his way.What did Dad think? Thanks for the note. Okay, now what? Swaddle my baby. Tuck him under one arm. Hop on my moped.Strained ResourcesL'Université d'État d'Haïti has been the main teaching hospital for all of the country for decades. Many, if not most, formally trained Haitian health care providers have spent some time in Port-au-Prince at this institution. As important as it is, it has suffered from neglect over many, many years. The earthquake made matters exponentially worse. [End Page 98]Dad must have been directed to the pediatric service when he arrived. There, a few Haitian pediatric residents and nurses were doing what they did every morning. Tending to an overcrowded patient population of babies, children, and parents. The pediatrics building was left uninhabitable. All inpatient and outpatient care took place on a street where the tents had been erected.In the ICU, tent twenty beds filled a space probably meant for ten military style cots. Metal cribs and full adult hospital beds were jammed next to one another to fill every possible nook. Parents slept on the adult beds with their sick children or underneath the cribs. Siblings too. Outside, hundreds of parents would line up starting at six a.m. and stand in line for hours so that they could get their children seen in a couple of smaller tents that were used to run the outpatient clinics. Moms would fan their kids under the shade of trees on the side of the road. Feed them some milk or juice while they waited. Smile at us passers-by. They seemed to possess a bottomless well of patience.Power cords with extension wires littered the street-hospital floor under the canopy.When it rained, we were only modestly concerned about electrocution. A single 1950's style metal desk with two worn out chairs greeted visitors to the entry way and was usually occupied by some of the medical staff. A single, large metal fan that had collected enough dust and soot in its circular cage to look bearded hummed a breeze toward the desk.A bottomless well of patience and resiliency. In the popular media, this last word has been thrown around a lot to describe the character of the Haitian people. It is insufficient. Their adversity is truly absurd. Sense cannot be made of the scene in the pediatrics tents months after the earthquake struck, nor elsewhere on that campus, let alone outside its walls.The local medical staff hadn't been paid a dime in many months even prior to the earthquake. They suffered unimaginable losses during the earthquake. They still came to work."We love our children. They love us too."What so many of us think of as charity... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Mensonge MélodramatiqueTriangular Desire in Sense and SensibilityMatthew Taylor (bio)The Passions are perfectly unknown to her; she rejects even a speaking acquaintance with that stormy Sisterhood; even to the Feelings she vouchsafes no more than an occasional graceful but distant recognition; too frequent converse with them would ruffle the smooth elegance of her progress. Her business is not half so much with the human heart as with the human eyes, (...) mouth, hands and feet; what sees keenly, speaks aptly, moves flexibly, it suits her to study, but what throbs fast and full, though hidden, what the blood rushes through, what is the unseen seat of Life and the sentient target of Death—this Miss Austen ignores.—Charlotte Brontë1"Oh! mama, how spiritless, how tame was Edward's manner in reading to us last night! I felt for my sister most severely. Yet she bore it with so much composure, she seemed scarcely to notice it. I could hardly keep my seat. To hear those beautiful lines which have frequently almost driven me wild, pronounced with such impenetrable calmness, such dreadful indifference!" [End Page 189]—Marianne in Sense and Sensibility2Charlotte Brontë had probably not read Sense and Sensibility (SS) before making her famous indictment of Jane Austen above, otherwise she would have found herself prophetically, and mercilessly, parodied through the character of Marianne Dashwood.3 Marianne's critique of Edward above matches Brontë's denunciation with uncanny precision. Marianne, the "stormy sister" of the novel, carries on in the same vein through most of it. What she proclaims as passionate sensibility comes off instead as, at varying times, snooty, self-indulgent, exhibitionist, and histrionic. Marianne even assumes the role of Brontë's "sentient target of Death" not long after she is cruelly jilted by Willoughby, when she wanders listlessly outdoors in the damp. It is not unlike Jane Eyre's numb wanderings when she flees Thornfield and Rochester. This "acting out" by Marianne comes close to killing her.Marianne's romantic "sensibility" contrasts with her sister Elinor's "sense." Yet, of course, readers of SS will come to know that Elinor can feel just as deeply and passionately as Marianne; she just has to conceal it. Elinor can suffer as much, too, only without the luxury of wearing it on dew-drenched sleeves. Thus, we have the thematic frame of the novel, suggested in the title. As Austen's first published novel, SS is brilliant, mature, and confident. One weakness seems to be a Brontëan one, the melodramatic coincidence in the plot that connects Colonel Brandon's secret life of compassion to Willoughby's secret sins. Otherwise, SS sits very well alongside Austen's other five masterpieces.4From the perspective of René Girard's mimetic theory, mimesis comes out with a bang in SS.5 Not only is Marianne a principal character in Austen's first canonical novel, but her romantic sensibility is thematized in the title.6 "Sensibility" for Marianne is feeling, unmediated desire expressed in unrestrained language and impulsive action. Yet Marianne's actions are anything but unmediated, and they are compulsive rather than impulsive. Even when she finally overcomes the worst symptoms under the influence of Elinor, and even though we do develop genuine sympathy for her, Marianne never comes to any deep self-knowledge. Marianne perfectly encapsulates Girard's mensonge romantique, or "romantic lie."Implying that Marianne is a liar is not a comfortable stance, and not just because we may be fond of her, but because she is open and sincere—to a fault. Yet just because Marianne is honest about her feelings, it does not follow that she is accurate about them. In fact, this is often a problem in interpreting Marianne: Her self-characterization is accepted uncritically.7 From that basis, she is framed, somewhat understandably, as representing one side of a moral debate about sensibility.8 Austen is seen as being for it, or against it, or working out some sort of accommodation. Austen is further assessed as having done [End Page 190] so well, or badly, or indifferently, as the case may be. Then Austen is seen as conforming to cultural standards, or challenging... (shrink)

Consider also what I shall call the asymmetry of openness: the obscure contrast we draw between the ‘open future’ and the ‘fixed past.’ We tend to regard the future as a multitude of alternative possibilities, a ‘garden of forking paths’ in Borges’ phrase, whereas we regard the past as a unique, settled, immutable actuality. These descriptions scarcely wear their meaning on their sleeves, yet do seem to capture some genuine and important difference between past and future. What can it (...) be? (shrink)

Frege’s puzzling remarks on the beginning of On Sense and Reference challenge us to explain how true identity sentences of the form a = a can differ in cognitive value from sentences of the form a = b when they are made true by the same object’s self-identity. Some philosophers (e.g. Almog, Glezakos and Paganini) suggest that the puzzle cannot be set up in the context of natural languages since natural sentences, unlike those of regimented formal ones, do not wear (...) their logical properties on their sleeves. In this paper we argue that, on the contrary, there exists a notion of coordination between names which is apt to track the relevant logical properties of natural sentences and therefore to set up the puzzle in natural languages. Frege’s puzzle is here to stay. (shrink)

Sketched in 1979 by graphic designer Peter Saville, the record sleeve of Joy Division's Unknown Pleasures seemingly popularized one of the most celebrated radio-astronomical images: the ‘stacked plot’ of radio signals from a pulsar. However, the sleeve's designer did not have this promotion in mind. Instead, he deliberately muddled the message it originally conveyed in a typical post-punk act of artistic sabotage. In reconstructing the historical events associated with this subversive effort, this essay explores how, after its adoption as an (...) imaging device utilized in radio astronomy, the stacked plot gave representation to the diplomacy agendas of two distinct groups. The post-punk reworking of the stacked plot exemplified the ambition of this artistic movement to attack the images associated with social conventions and norms by amplifying their ‘semantic noise’, and, in so doing, seeking to negotiate a social space for those sharing these subversive goals. Conversely, radio astronomers used the stacked plot to display the presence of interfering radio transmitters in the frequencies exclusively allocated to astronomical research, thus advocating the removal of this electronic noise in the context of international telecommunication negotiations. The article thus shows how the representation of different types of noise through similar images shaped contrasting ambitions in the separate domains of science diplomacy and everyday diplomacy. (shrink)

"Get set to roll up your sleeves, ride the Clickety-Clack tractor and lend a helping hand in this farm-tastic barnyard adventure! With an oink-oink here and a moo-moo there, it's time to sing along, plant the crops and feed the animals on the new Clubhouse Farm. But when Farmer Pete's giant windmill blows all the cows, chickens and piggies out of their pens, it's up to you - with the right Mouseketools - to help Mickey and Donald find all (...) the animals and bring them home"--Container. (shrink)

Buddhism is all about training the mind, and boot camp is an ideal training method for this generation's short attention span. The chapters in this small book can be read in any order, and are simple and easy to understand. Each story, inspirational quote, and teaching offers mindfulness-enhancing techniques that anyone can relate to. You don't need to be a Buddhist to find the Buddha's teachings motivational. As the Dalai Lama says, "Don't try to use what you learn from Buddhism (...) to be a Buddhist; use it to be a better whatever-you-already-are." So whether it's Mother Teresa's acts of charity, Gandhi's perseverance, or your aunt Betty's calm demeanor, as long as you're motivated to be better today than you were yesterday, it doesn't matter who inspires you. Regardless of religion, geographical region, race, ethnicity, color, gender, sexual orientation, age, ability, flexibility, or vulnerability, if you do good you feel good, and if you do bad you feel bad. Buddhism isn't just about meditating. It's about rolling up your sleeves to relieve some of the suffering in the world. If you are ready to be a soldier of peace in the army of love, welcome to Buddhist Boot Camp! (shrink)

I teach a workshop on mending and repair at a local haberdashery shop called RayStitch in North London, and I usually begin each session by describing how my interest started. It was because of a sweater that was all worn out and full of holes, with thin and threadbare knitting in its forearms. It had already been repaired in several places, and that repair was visible. The thick white sweater had belonged to my great-uncle Roland and had been mended over (...) the years by his sister, my great-aunt Elizabeth. My great-uncle was a painter, and in old age he used to sit with a board across the arms of his chair and lean forward drawing on paper taped to the board.Roly and Elizabeth.The sleeves on Roly's sweater... (shrink)

In this contribution, we address the issues concerning the semantic value of Wittgenstein’s subject “I”, as in “I have a toothache”, resulting from the use of predicates that involve first-person knowledge of the mental states to which they refer. As is well-known, these contexts give rise to the phenomenon of ‘immunity to error through misidentification’ : the utterer of cannot be mistaken as to whether he is the person having a toothache. We provide a series of arguments in favor of (...) a principled distinction between a de facto IEM, grounded in perceptual and proprioceptive judgments, and a de iure IEM, grounded in experience reports whereby the experience wears the experiencer on its sleeve. From this perspective, the no-referent account of subject “I” advocated by Wittgenstein/Anscombe is correct. In fact, we show how this analysis can be made compatible with a Kaplanian account of first-person indexicals, by identifying the speaker in the context of utterance with the person who has access to the reported private experience. (shrink)

Some Darwinists keep their Darwinism close to the vest. Others wear it on their sleeves. Massimo Pigliucci has it tattooed on his forehead. Indeed, his "Darwin Day" celebrations at the University of Tennessee have become an annual orgy of self-congratulation before Darwin's idol.