Among the more prominent nineteenth-century types populating Benjamin's Arcades Project—collector, flâneur, gambler, prostitute, worker, revolutionary—the figure of the flâneur is exemplary for the way he perceives the landscape of the modern city. Distracted to the point of intoxication by the spectacle of the streets, which he views for the most part en passant, he is nonetheless intimately, micrologically involved with some of the most familiar and therefore often most inconspicuous aspects of urban existence. Benjamin underlines this function of “excavating” the (...) everyday; in his presentation, flânerie is a mode of experience that in each case incorporates a certain historical remembrance.…. (shrink)

Translated by Bert Cardullo University of Michigan, Ann Arbor, Missouri, USA This essay first appeared in French in Écran Français in 1946, then was included in Volume 1 ('Ontologie et langage') of Qu'est-ce que le cinéma? (Paris: Éditions du Cerf, 1958-1962), pp. 22-30. Translated here, for the first time, with the permission of Madame Janine Bazin.

The development and deployment of artificial intelligence (AI) is and will profoundly reshape human society, the culture and the composition of civilisations which make up human kind. All technological triggers tend to drive a hype curve which over time is realised by an output which is often unexpected, taking both pessimistic and optimistic perspectives and actions of drivers, contributors and enablers on a journey where the ultimate destination may be unclear. In this paper we hypothesise that this journey is not (...) dissimilar to the personal journey described by the Kubler-Ross change curve and illustrate this by commentary on the potential of AI for drug discovery, development and healthcare and as an enabler for deep space exploration and colonisation. Recent advances in the call for regulation to ensure development of safety measures associated with machine-based learning are presented which, together with regulation of the rapidly emerging digital after-life industry, should provide a platform for realising the full potential benefit of AI for the human species. (shrink)

Augmented Reality is itself a technology in which two ways of seeing are crossed. Our field of vision is thereby superimposed with digital information and images. But before this, the real environment is already perceived by machine seeing, it is redoubled by a 3D-model, scanned, located and linked. In this brief investigation, I will face the way of seeing in AR with traditional procedures, like ‘trompe-l'œil’ and the so-called ‘velo’, to distinguish between what remains classic and what has changed. It (...) is important to examine this as layering, because it is a very thin stack of techniques, technology, materials and media, we seek to watch through. Subsequently, I shall analyze a painting of the contemporary artist Laura Owens in which both ways are crossed, the traditional one and the one concerning AR. (shrink)

Śankara did not comment on the first s ū tra in his Brahmas ū trabh āṣ ya, which was a common practice in such cases; rather, he started by defining two terms: ‘superimposition’ and ‘ignorance’, in a special introductory chapter known to a wider audience as Adhy ā sabh āṣ ya. The question arises as to why he deemed it necessary to precede his commentary to the initial s ū tra with these additional elucidations. Bh ā mat ī, Vācaspati (...) Miśra’s commentary on Mah ā s ū trabh āṣ ya, seems to shed some light on the problem. According to the doctrine of advaita, the phrase ‘desire to know Brahman’ in the first s ū tra seems prima facie to have no meaning. Thus, the introductory commentary is an explanation of an idea of Brahman which is foreign to advaita. (shrink)

Summary: An aesthetic of superimposition characterizes these experiences of spawning and passage that are reading, history, writing, life. Proust as being crossed and crossing, this is the subject of this journey that accounts for the active power of a depth that works at the heart of people and the world.

CHARLES DUPRAS | : L’épigénétique est un champ d’études qui s’intéresse aux modifications biochimiques et aux changements dans la structure tridimensionnelle de l’ADN ayant pour effet de contraindre ou de faciliter la lecture et l’expression des gènes. Au cours des dix dernières années, l’épigénétique a attiré l’attention d’un nombre croissant de chercheurs en sciences sociales, puisqu’elle semble venir confirmer, cette fois sur le plan moléculaire, le rôle déterminant de l’environnement développemental des personnes dans la configuration de leur individualité biologique et (...) dans la programmation de leur santé future. Cet article se penche sur les implications épistémologiques potentielles de l’épigénétique. Nous distinguons et décrivons trois perspectives socio-anthropologiques complémentaires, adoptées par différents auteurs, sur le rapprochement des concepts de « nature » et de « culture » par l’épigénétique : la socialisation du biologique, la biologisation du social et la superposition nature-culture. | : Epigenetics is a field of study that focuses on biochemical modifications and changes in the tridimensional structure of DNA that have the effect of constraining or facilitating the reading and expression of genes. Over the last ten years, epigenetics has captured the attention of several social scientists since it appears to confirm, this time at the molecular level, the determining role of the developing environment of people in configurating their biological individuality and programming their future health. This article discusses the potential epistemological implications of epigenetics. It distinguishes and describes three complementary socio-anthropological perspectives, taken by different authors, on the rapprochement of the concepts “nature” and “nurture” by epigenetics: the socialization of the biological, the biologization of the social, and the superimposition nature-nurture. (shrink)

Mādhyamikas argue that ultimate reality, which is without any delimitation and hence cannot be verbalized in itself, can be expressed in words on the basis of the attribution or superimposition of the basis for the application of the word. The denotation theory of ultimate reality Bhartṛhari advances in the Dravyasamuddeśa of his Vākyapadīya convincingly explains that, insofar as ultimate reality is spoken of, we must say that it is denoted by the word; ultimate reality is said to be ineffable (...) only in the sense that it is far from what is conveyed as something by the word; language is a pointer to the ultimate reality. The point that the application of a word to ultimate reality depends on the attribution of the basis for the application of the word to it naturally leads to an idea that one should not hypostatize the basis, although without resorting to it any word cannot be used to convey the ultimate reality; otherwise, it would have to be said that the ultimate reality to which the word is applied has in essence the property which serves as the basis. Such a property is precisely what the Mādhyamikas consider to be the svabhāva ‘intrinsic nature’. What they understand by the term śūnyatā is precisely that everything has no real basis for the application of the word to it. (shrink)

Like all monisms Vedanta posits a distinction between the relatively and the absolutely Real, and a theory of illusion to explain their paradoxical relationship. Sankara's resolution of the problem emerges from his discourse on the nature of maya which mediates the relationship of the world of empirical, manifold phenomena and the one Reality of Brahman. Their apparent separation is an illusory fissure deriving from ignorance and maintained by 'superimposition'. Maya, enigmatic from the relative viewpoint, is not inexplicable but only (...) not self-explanatory. Sahkara's exposition is in harmony with sapiential doctrines from other religious traditions and implies a profound spiritual therapy. (shrink)

Śaṅkara’s Advaita Vedānta is largely dismissive of ritual action, in part because the metaphysical position of non-duality erodes any independent existence of the individual as a ritual agent, and because knowledge of non-duality is thought to be independent of action. However, a close reading of Śaṅkara shows that he does accept forms of devotional practice that have remained largely marginalized in studies of Advaita Vedānta. This article compares and contrasts contemplative devotion, in the form of visualized meditations on īśvara, with (...) knowledge-like contemplation of non-duality. The challenge is that the Upaniṣads provide no clear distinctions between the two, and these upāsanas appear indistinguishable from nididhyāsana because they incorporate a conceptual identity with brahman or appear to affirm non-duality in some sense. Furthermore, the practices of both are rather obscure despite their significance in Śaṅkara’s system. Analyzing Śaṅkara’s interpretations of their underlying Upaniṣadic sentence structures in terms of grammatical apposition and reconstructing their use of visualization, superimposition, and negation, provides clues to properly delineate these practices, and to understand their epistemological functions and potential religious experiences. (shrink)

This paper considers the philosophical interpretation of the concept of svabhāva, sometimes translated as 'inherent existence' or 'own-being', in the Madyamaka school of Buddhist philosophy. It is argued that svabhāva must be understood as having two different conceptual dimensions, an ontological and a cognitive one. The ontological dimension of svabhāva shows it to play a particular part in theories investigating the most fundamental constituents of the world. Three different understandings of svabhāva are discussed under this heading: svabhāva understood as essence, (...) as substance, and as the true nature of phenomena (absolute svabhāva). The cognitive dimension shows svabhāva as playing an important rôle in our everyday conceptualization of phenomena. Svabhāva is here seen as a superimposition (samāropa) which the mind projects onto the world. (shrink)

The chapter 'Of power' of Locke's Essay Concerning Human Understanding is a very fine discussion of agency and a very complex piece of philosophy. It is the result of the superimposition of at least three layers of text (those of the first, second and fifth editions of the Essay), expressive of widely differing views of the same matters. The argument concerning agency and free will that it puts forward (as it now stands, reporting Locke's last word on the subject) (...) is thus beset with problems, and even inconsistencies. But these textual and analytical difficulties should not hide from us the relevance and, in a way, the deep coherence of Locke's philosophy of action. In what follows, I will attempt to cast some light on this complicated interpretive and conceptual matter, by a careful reading of some parts of Locke's discussion. The first section shows how accounting for the evaluation and choice of remote goods, in terms of their real value and in preference to smaller, nearer ones, is a crucial problem for Locke's philosophy of action. The second section reads Locke's move from an internalist to an externalist view of motivation as a first, conceptually complex step towards such an account; and shows how this is linked to a change in the concept of will. The third and fourth sections reconstruct Locke's account (a pattern of suspension and examination of occurrent desire); discuss the role of the motivational and normative concept of happiness; and cast some doubt on the consistency of Locke's position. (shrink)

This article examines cave art in France, arguing that the images created at many sites, but particularly Chauvet, can be analysed in terms of animation, storytelling, lighting and sound. Through superimposition and juxtaposition, and using the contours of the rock face, Palaeolithic artists invented a form of narration based on images, often then animated by the flickering light of lamps and torches. Drawing on semiological work by Philippe Sohet and his terms ‘narrative image’ and ‘iconic narration’, the article sees (...) panels of cave art as constituting scenes and actions that can be discussed in relation to both bande dessinée and cinema. Finally, evidence suggests that the spectacles produced in these spaces, whatever their elusive meaning, also depended on sound and acoustics. (shrink)

Typically, human decision making is emotionally and does not conform to classical probability (CP) theory. As quantum probability (QP) theory emphasises order, context, superimposition states, and nonlinear dynamic effects, one of its major strengths may be its power to unify formal modeling and realistic psychological theory (e.g., information uncertainty, anxiety, and indecision, as seen in the Prisoner's Dilemma).

Available from UMI in association with The British Library. Requires signed TDF. ;This thesis delineates the boundaries of theories of naming, placing particular emphasis on the demarcation of the semantic function of referring expressions from the pragmatics of referential usage. The singular reference where pragmatic phenomena are used to refute semantic theories and vice versa. ;Part One of the thesis examines various conceptions of the semantic function of names. Frege's notion of 'Sinn' is shown to be incoherent as are its (...) reincarnations by modern, neo-Fregean commentators: a more modest role for sense is suggested. Kripke's intuitions about scope-insensitivity in modal contexts are amplified and criticised. An investigation of singular though yields a discussion of Evans' views and the removal of the apparent impasse that subtitutivity failure causes for Millian theories. ;Part Two of the thesis concentrates on the mechanism of name-reference, which works by connecting a contemporary use of a name via a causal umbilicus to some supposed referent. A number of anomalies are examined, from which the notion of a name-using practice and an elucidation of the criteria in virtue of which we judge a term to be a name are developed. ;In Part Three of the thesis the artificial superimposition of logical structure onto natural language is explored. The argument hinges on a plausible generalization of Donnellan's referential-attributive distinction. From this there emerges a picture of the complex network of intentions that surround the referring process. The role of definite descriptions in grounding the use of names is explained. ;Both the semantic and pragmatic pictures of name-reference are applied to the perennial puzzles of substitutivity failure and existential statements. The results underline the fact that a great deal of work needs to be done by those who subscribe to the growing orthodoxy of Millian theories, but that this is work in pragmatic areas that are too often ignored by those studying 'pure' semantics. (shrink)

This paper presents a literary reading of the Homeric Hymn to Pan, tracing the effects of phonetic, verbal, and thematic repetitions throughout the hymn and especially surrounding the appearance of Echo in line 21. A close reading of the structures generated by these repetitions reveals a complex superimposition of structural schemata, and a psychoanalytic reader-response analysis relates our deferred expectation for closure to Pan's disappointed desire for Echo in the erotic myth. The nightingale simile, in its allusion to the (...) Odyssey, enacts another kind of echo and illustrates the self-conscious intertextuality of the archaic Greek poetics of variation. (shrink)

Preceding research in cognitive linguistics has advanced the claim that evaluative components form an integral part of image schemas (cf. Krzeszowski 1993, 1997; Cienki 1997: 3–6). This so-called “plus–minus” (or “axiological”) parameter has primarily been discussed with regard to opposing dimensions within a range of image-schematic contexts. In the paired particles in–out, up–down, and on–off, for instance, the meaning of which is based on the image-schematic notions of CONTAINMENT, VERTICALITY, and CONTACT, respectively, the second elements are assumed to carry negative (...) default evaluations. Additionally, the Axiological Invariance Principle (Krzeszowski 1997) claims that these evaluative components are generally retained in metaphorical extensions. This study applies the plus–minus hypothesis in image-schema theory to the analysis of semantically highly redundant verb-particle constructions in English. The hypotheses derived from this application are tested against the real usage of such constructions as documented in the British National Corpus and the Collins Online. Though the presentation of a full-blown alternative to the plus–minus assumption is beyond the scope of this empirical investigation, an important implication of this study is that the isolated, “primitive” (noncompound) image schemas traditionally dealt with in cognitive linguistic research should not be considered as the locus of evaluative defaults. It is suggested instead that axiological components are dimensions of richer, contextualized cognitive models, in which image schemas appear as complex superimpositions, i.e., image-schema groupings or compounds. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Two Stories in One: Literature as a Hidden Door to the History of Seventeenth-Century FranceChristian Jouhaud (bio)Translated by Cynthia J. Koepp (bio)I would like to take you into the history of seventeenth-century France through a narrow door—a door that is not only narrow but hidden. Why should we struggle to squeeze through this passage? Well, there are at least two reasons. First, it is an attempt to experience a (...) disorienting perspective on a landscape that we believe we already know completely; and second, the narrowness of the path underlines its particularity and in that way elicits a comparison with other paths elsewhere. This narrow passage is a text, perhaps an insignificant one, written by a seventeenth-century author. After making a few observations concerning its mechanics, I will use this text as a model to interpret something else, to understand it as something that stimulates thinking about historiographical hypotheses: as a convenient tool to shake up the political history of seventeenth-century France. In other words, I propose to utilize literature as a hidden door in order to enter the arena of political history, where we usually do not find any door at all.Deux histoires en une, or Two Stories in One, is a brief text by Jean-Louis Guez de Balzac, a work of uncertain status, published among dozens of other pieces in a collection known by two titles: Moral Treatises and Conversations. Guez de Balzac, who lived between 1595 and 1654, does not appear on the short list of the most celebrated writers of seventeenth-century France: Molière, Racine, Corneille, La Fontaine, Sévigné, Bossuet. At the time, however, he occupied center stage in French literary life. He was perhaps the first author recognized as a grand écrivain; he was widely admired, celebrated, criticized. At the center of protracted literary debates, Guez de Balzac exercised an immense critical authority in the world of belles lettres.Since I first began working on the question of the birth of literature as a specific social space in seventeenth-century France, I have not stopped reading and rereading Balzac’s Two Stories in One. This text resists interpretation—even comprehension. It gives the reader the feeling—to be honest, an exasperating feeling—of extraordinary richness and also of an extraordinary capacity to steal away from view. The importance of this text for the comprehension of something other than itself, however, has become clear to me. This leapt out at me, by chance, when I was reading it for the nth time—at nearly the same time that I was rereading several pages of Marcel Proust. Not that the author of À la recherche du temps perdu had any connection at all to Guez de Balzac. Rather, it was Proust’s evoking, in his way, two stories in one—or rather one story in two parts—that for me rendered suddenly palpable something of the force of Balzac’s text.At the beginning of À l’ombre des jeunes filles en fleurs, Proust meditates on the story of Swann before and after his marriage. He emphasizes our incapacity to think of two successive states in the history of our life at the same time: for example, that of a jealous lover and that of an appeased husband. If one succeeds in thinking both things at once, the two moments then cease to appear distinct to us, and are mixed up one in the other. If the [End Page 92] mind wants to distinguish them, it loses the ability to think them both at once. I would like to propose an hypothesis that the import of Balzac’s Two Stories in One, contrary to Proust, is an attempt to open up to speculation an improbable space, a space imperceptible to sensory experience. This space lies at the interstice of “both at once” and “separately.” Thus Balzac attempts to escape the dilemma of superimposition (that is to say, fusion) or of succession (that is, separation). He attempts to subvert the elementary rule of logic that states that “a” is either different from “b” or is the same as “b.”What is striking when one first reads Two Stories in... (shrink)

In 2009, the United States Air Force aired a series of science fiction-themed recruitment commercials on network television and their official YouTube channel. In these advertisements, the superimposition of science fiction imagery over depictions of Air Force operations frames these missions as near-future sci-fi adventure, ironically summarized by the tagline: “It’s not science fiction. It’s what we do every day.” Focusing on an early advertisement for the Air Force’s Reaper unmanned aerial vehicle, this essay explores how themes essential to (...) the science fiction genre play a role in influencing contemporary attitudes about autonomous and semi-autonomous robotic weapons, as well as the way in which the aesthetic and functional qualities of these advanced technologies are used to frame moral arguments about their use. As a reconfiguration of the near-future battleground in the guise of science fiction, the “Reaper” ad reveals the way in which science fiction has come to serve as a functional-aesthetic benchmark and cultural sounding board, against which “every day” technologies can be measured and claims about their value, ethos, and social appeal are made. This essay explores the ethical entanglements between science fiction film and video games, and military technology, and the complex role science fiction plays in influencing public attitudes towards military technologies. (shrink)

An analysis of the exemplary strategy of Pasquier reveals an intriguing shift in the premises, procedures, and goals of his history, arising from the superimposition of an internalized medieval task on a very different humanist, or classicist, task. Machiavelli's classicizing exempla undermine his theory, while Pasquier's medieval exempla make sense of the Machiavellian project, and can be seen to disconnect the reader from the exemplary. Pasquier retains the Machiavellian analysis of efficiency while subverting the duty of heroic imitation. The (...) priority of consensual purpose over individual action which David assigned to the medieval exemplum reinforces the priority of community over citizen in Pasquier's historical politics. Pasquier's exempla impose on the French reader the obligation of assimilating his or her own laws and history. His initiative is felicitous in comparison with modern projects as well; he reaffirms morality as essentially public, shared, and refuses the inconsistency of deriving a public morality from an infinity of personal acts. (shrink)

Multisensory Environment and Sensory Deprivation in the Treatment of Reception Defects This article deals with two types of alternative therapy and treatment methods. They are considered to be used in media education, in the treatment of reception defects, such as abuse, narcosis, neurosis, frustration, fetishism and superimposition. Purpose of this article is to summarize and discuss not only these media reality reception defects, but also to object them in two ways - multisensory environment within special pedagogic treatment, sensory deprivation (...) within alternative psychiatric therapy. Methodology in this study is to consider them as using media in the way of organic reception and therefore included in media anthropology, education and ethics. Within media reality a system reception feedback is needed, therefore the method "anything goes" for this use is explained. The aim of this article is to bind alternative media based methods with the research of reception of the media reality and the outstanding media anthropological issues: therapy, education, ethics, philosophy, etc. The scientific aim not only of this study, but also of author's whole work is to sustain the whole - media anthropological view - by using partial methods for media reality analysis and proving its relevance in disputing other theories being enclosed within media discourse. Also the ethics - code of dealing with technological extensions of human competence - the media - is a part of the organic reception. As the conclusion a need of such kind of research, education and treatment is objected and the examples of author's effort are explained. There is strongly recommended to create and use other media anthropology based equipment: Hitchhiker's Guide to Media Reality, A Chronicle of Abused media, blogs, a textbook, etc. (shrink)

Summary In this contribution, I discuss the perceptual potential of certain genres of experimental and contemporary music, commonly grouped under the label “sound-based music”. The sonic patterns typical of this music are mostly associated, during listening, with visual and tactile sensory qualities and can evoke mental representations as shapes in motion. These are the result of physical-acoustic energies organized according to a perceptual grammar whose organization follows a series of Gestalt and kinaesthetic principles. The paper explores the nature of the (...) relationship between sound patterns of sound-based music and their mental images. Based on morphodynamic theory, it is proposed the emergence of cognitive image schemas, which are at the centre of this relationship. The image schemas depict the forces and tensions of our experience of the world (e.g., figure-background, near-far, superimposition, compulsion, blockage), as being the cognitive and experiential response to the incoming sound patterns. The sense of this music activates precisely the basic structures of sensorimotor experience by which we encounter a world that we can understand and act within, leading to a rich series of high-level associations and responses. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Frames, Contexts, Community, JusticeRanjana Khanna (bio)There is a photograph of Jacques Derrida, aged about three, in a toy car at his childhood home in Algiers [fig. 1]. It is not an unusual photograph; in fact, its typicality is striking. It is the kind of photograph one might find in most family albums. Little boys are often found in toy cars, just as little girls are frequently holding a doll, (...) or dancing.1 The codes of a family album, transposed to an academic album, highlight the manner in which typicality itself tells a story of framing, of gendered gestures, of senses of belonging, of familial legend making, and of intellectual genealogy.2 And such codes provide a frame for a general contextual understanding of the photograph and therefore [End Page 11] Click for larger view View full resolutionFigure 1.Photograph of Jacques Derrida aged 3. Printed in Geoffrey Bennington and Jacques Derrida, Jacques Derrida (Paris: Seuil, 1991) 9.[End Page 12]for what Barthes calls its studium.3 But, as Barthes remarked in his Camera Lucida, a book about photography and about his dead mother, there is frequently something else in a photograph: the punctum. It wounds a viewer, and remains in the viewer's memory when he or she looks away from the photograph. It is a singular relationality, and, for the mourning Barthes, encloses the possibility of a hopeful reciprocity. For me, however, beyond the gendered coding of this photograph, it is not the promise of a reciprocity, but the demand of something unknowable that exists potentially beyond the frame of the photograph. A rectangular void that appears to be the back window of a large car opens onto an unknown. The opening itself is a wounding of the frame.The photograph includes multiple frames, in the sense that a doubling occurs with one frame in the foreground, with Derrida in his toy car, and another frame in the background, with a real car. The child in his car is enclosed in this scene through perpendicular lines, as if framing him in a safe world. The real car is separated by these lines, as if in a square on its own. And through the rear window of this car, there is another enclosure, a rectangular opening, which alerts the viewer to an infinite regression of frames, each enclosing its own image and its own universe, each thematizing the mobility that suggests it could move beyond its immediate frame. This superimposition of a toy car onto an adult scene of mobility not only alerts the viewer to the thematic exploration of infinite generational migration and immigration but also presents us with a visual doubling and echoing, itself suggesting the excess that always exceeds the frame. The frame may appear to exist on its own terms, permitting or excluding hospitality to its hostile excess, and yet what persists in this photograph is the permeability of the frame and its necessary acknowledgment of the other at its border, which both frames and unframes.A frame both determines and supplements meaning. It is both host to meaning and simultaneously hostile to its narrow condition. This rendition of the frame visualizes both its enclosed protective nature as host, and its permeability to the outside, to a potentially hostile supplement. Derrida's thinking has explored the concepts of framing and hospitality in a manner that has often called attention to, and yet not engaged with, women as a sometimes hostile supplement. The concept of hospitality, whether political, academic, domestic, or psychical, has allowed, however, for a consideration of something that supplements this thinking, and indeed this boyhood photograph of potential mobility: the various frames in which Algerian women have been situated, and their different relation to gesture, mobility, and symbolization in the modern period. This article engages with Derrida's work on framing and hospitality in order to reach its supplement, allowing for a consideration of the political stakes of doing feminist work across borders. The stakes of the philosophical apparatus that seem pertinent to the ethical work of postcolonial feminism are permeated with questions of framing and hospitality. Academic hospitality means an openness to one's subject matter, which would include... (shrink)

The “Chu shuo” 儲說 chapters of the Hanfeizi 韓非 子, attributed to Han Fei 韓非, encompass an extensive collection of anecdotes. The jing 經 sections of these chapters are traditionally understood to be a set of “canonical” teachings, to be explicated by the anecdotes in the shuo 說 sections. Eschewing this assumption, my analysis substantiates an alternative hypothesis that sees many of the jing texts as later superimpositions intended to serve as paratexts to existing anecdotal collections. By interpreting the jing (...) and shuo sections as paratexts and main texts, respectively, this study reveals how early compilers sought to organize and inventory information, as well as to guide future users’ understanding and memorization of the anecdotal materials. This approach not only facilitates the reconstruction of early frameworks of information management and knowledge acquisition, but also places the “Chu shuo” chapters in a comparative context. It also proffers new answers to several long-standing philological debates, such as the meaning and function of the label yi yue 一曰. In its conclusion, this study draws attention to potential continuities between the pre-imperial and imperial periods’ textual and bibliographical practices. (shrink)

This paper explores the deep historical contexts for imagining natural disasters. By focusing on a foundational event in the Western disaster imaginary – the eruption of Vesuvius in AD 79 – and its remediation across centuries, the paper suggests that the real-time aesthetic of the mediation of extreme nature events that now abounds in contemporary culture is profoundly embedded in processes of historical intermediality. The term remediation is used to denote a genuinely historical mechanism by which past and present are (...) simultaneously made visible. Empirically, the paper investigates the superimposition of temporal dimensions in recreations of the ancient disaster from the late 18th century to the present. Using the insights gained from this spectacular case study, the paper ends by arguing that a re-temporalization of historical analysis itself is needed for history to contribute to contemporary concerns with the present as a conjuncture of multiple and conflicting time scales. (shrink)

This article queries the notion of performance as a sustained act of commemoration, and, thus, implicitly, atonement and forgetting. Laying aside potential considerations of guilt and/or victimisation inherent in the spatio-temporal superimposition of a World War II modality of existence on an affluent, and, by comparison, peaceful part of the world, my investigation focuses on three mutually related areas of performance: the body’s hidden somaticity, the co-becoming of the self and time; and walking as a mnemonic mechanism. Aided by (...) the Japanese philosophers’ Shigenori Nagatomo’s concept of the hidden body and Kitaro Nishida’s theorisation of the relationship between the temporalised and the atemporal, the actual and the virtual, the spatial and the non-spatial as the continuity of discontinuity, I argue against the idea of performance as a cumulative, sedimentary and implicitly restorative poiesispraxis. Instead, I seek to articulate the ways in which the actional, interoceptive and psychogeographic schemes generated by eating and walking intertwine to create complex patterns of individual-collective remembering-forgetting. (shrink)

The recent scholarship on Advaita testifies that the epistemology of Advaita Vedānta is of a special sort that warrants a philosophical process of analysis and speculation in its quest for ultimate knowledge. The aim of this paper is to make a case in favour of Advaita as a philosophy than a theological enterprise and address the philosophical process required to reach the zenith of Advaita Philosophy. This would in turn give Advaita its own identity as a perennial philosophy in praxis (...) than to hide its uniqueness under the garb of a religion or philosophy by any other standards. The first part of this paper attempts to clarify the notion of philosophy and religion and their mutual interdependence in the system of Advaita. The second part of the paper discusses the significance of language, culture, and religion, and their subsequent sublation (tūlāvidyā) as a useful tool in enabling a state of mind unfettered from hallucinations and superimpositions that is essential for undertaking uninterrupted meditative reflections. The third part of the paper refutes any suggestion that Advaita is a religious enterprise by highlighting its philosophical significance through its analytic-deductive model as an essential contribution for attaining self-realisation. The fourth part of the paper refutes the suggestion that Advaita is merely an analytical philosophy and points out the importance of speculative element in the advanced state as a necessary substitute for analysis. The fifth part of this paper, as the conclusion, argues that though the initial path of enquiry in Advaita is somewhat loaded with religio-cultural connotations and symbols, in the later phase it is transcended and overwhelmingly identified with the methods of analysis and speculation. To sum up, the philosophical significance of Advaita significantly gains prominence than its religious counterpart, namely theology. (shrink)

AbstractŚaṅkara’s Brahma-advaita-vāda and Abhinavagupta’s Śiva-advaita-vāda are well-known non-dualistic systems in Indian philosophy.1In Advaitavedānta, Brahman-Ātman is the sole reality, and there is unanimity about the fact that all the Upaniṣads speak of an attribute-less non-dual reality that is consciousness, existence and bliss. In Trika, Paramaśiva is the only reality with the nature of sat, cit and ānanda.2 This non-dual reality is self-luminous (sva-prakaśa) in both the schools. Both the schools, in different ways, accept the world as an appearance. In Advaitavedānta, the (...) world-illusion is a superimposition on Brahman whereas according to Trika, the world is a spontaneous self-projection of Paramaśiva. Both the systems agree that there is total identity between individual self and the Absolute, ajñāna as the cause of bondage, and jñāna as the means to self-realization. Jīvanmukti as the state of complete freedom and realization of one’s unity with the ultimate reality have been accepted in both the schools. The focus of this paper is to dwell upon the concept of non-dualism (Advaita) from the Trika angle as enunciated by Abhinavagupta and Advaitavedānta as propounded by Śaṅkara. Abhinava has envisaged a non-dualistic dimension of consciousness with the inclusion of prakāśa and vimarśa, which means that within the format of non-dualism, Trika accepts a second in the form of Śakti without compromising the non-dualistic dimension of the school whereas Śaṅkara’s Advaitic non-dualism has no space for anything other than the self, i.e., Brahman-Ātman. (shrink)

The attempt to study religion objectively has been part of the academic scene in the West for a century. Such men as F. Max Mueller, Edward Tylor, W. Brede Kristenson, Raffaele Peettazzoni, and Joachim Wach worked to develop such a truly scientific study of religion. They held that a study of religious data could reveal what religious life means for people who participate in it if methods are used which prevent a superimposition of the investigator's personal value judgments. At (...) the same time, there has been the recognition by some scholars, including some of the above, that there is something about religious life that cannot be investigated by normal empirical methods. This sense of the uniqueness of religion is symbolised in Rudolf Otto's book The Idea of the Holy , where he maintains that in order to understand religion in its innermost core, an investigator must recognise ‘a unique “numinous” category of value and of a definitely “numinous” state of mind’. Our concern here is to examine one problem arising from the claim that religious life must be studied in terms of its own intention, or category of value; and yet studied through an inductive method which allows for the distinctive character of different historical expressions of religion. (shrink)

As interpersonal, racial, social, and international conflicts intensify in the world, it is important to safeguard the mental health of individuals affected by them. According to a Buddhist notion “if you want others to be happy, practice compassion; if you want to be happy, practice compassion,” compassion practice is an intervention to cultivate conflict-proof well-being. Here, compassion practice refers to a form of concentrated meditation wherein a practitioner attunes to friend, enemy, and someone in between, thinking, “I’m going to help (...) them.” The compassion meditation is based on Buddhist philosophy that mental suffering is rooted in conceptual thoughts that give rise to generic mental images of self and others and subsequent biases to preserve one’s egoism, blocking the ultimate nature of mind. To contextualize compassion meditation scientifically, we adopted a Bayesian active inference framework to incorporate relevant Buddhist concepts, including mind, compassion, aggregates, suffering, reification, conceptual thoughts, and superimposition. In this framework, a person is considered a Bayesian Engine that actively constructs phenomena based on the aggregates of forms, sensations, discriminations, actions, and consciousness. When the person embodies rigid beliefs about self and others’ identities and the resulting ego-preserving bias, the person’s Bayesian Engine malfunctions, failing to use prediction errors to update prior beliefs. To counter this problem, after recognizing the causes of sufferings, a practitioner of the compassion meditation aims to attune to all others equally, friends and enemies alike, suspend identity-based conceptual thoughts, and eventually let go of any identity-grasping belief and ego-preserving bias that obscure reality. We present a brain model for the Bayesian Engine of three components: Relation-Modeling, Reality-Checking, and Conflict-Alarming, which are subserved by the Default-Mode Network, Frontoparietal Network and Ventral Attention Network, and Salience Network, respectively. Upon perceiving conflicts, the strengthening or weakening of ego-preserving bias will critically depend on whether the SN up-regulates the DMN or FPN/VAN, respectively. We propose that compassion meditation can strengthen brain regions that are conducive for suspending prior beliefs and enhancing the attunements to the counterparts in conflicts. (shrink)

The notions of risk and hazard, concepts borrowed from the natural and social sciences by way of intersectionality, have found active usage in artistic practices that address creative work in its widest possible usage. This paper will philosophically reflect on the shifts in the meanings of risk when understood in the context of artistic work. Curatorial work, for instance, is conceptually rooted in a care-based ethic, while creative work can be argued to be conceptually rooted in transcendental action. This subtle (...) tension between curating and creating is the threshold on which risk resides. What does this mean for the artist and the curator? Key to understanding implications of risk in art is to contextualize meanings of risk in various kinds of human action. If artistic practice is that kind of human action that aims to create new experiences or understandings of our condition, then institutional approaches to risk must be tuned to this understanding of practice. Thus, blanket superimpositions of general ethical norms employed in non-artistic frameworks such as educational, scientific, or/and sociological institutions may not do justice to artistic practice. First, institutional intervention in this regard must conceptually understand the affordances and the commitments of artistic practice in order to do justice to the ways in which risk is defined in the arts. In this essay, I argue that institutions must engage with a contextual understanding of the nature of the threshold between caring and creating in order to explore a justified incorporation or risk-oriented vocabulary in artistic institutional practices. (shrink)

The subject of the interface -- The interface as form of relation -- Between faces and facing between -- The interface and the surface -- Toward a theory of the interface -- Janus and Jupiter -- Control and power -- The interface and the apparatus -- The interface and the game -- The interface and the machine -- Separation and augmentation -- Mimicry in the game and the interface -- The forming of the interface -- The interface as that which (...) defines the fluid -- Turbulence and control -- The exacting of turbulence -- The demons on the threshold -- Theories of the vortex -- Information and entropy -- Governance and reciprocity -- The interface and teleology -- The turbine as superimposition of fluid and machine -- The vertiginous moment of interface -- The augmentation of the interface -- A genius of augmentation -- The tacit knowing of the interface -- Singularity -- Symbiosis -- System -- Positioning. (shrink)

John Mbiti, in his attempt to disprove the charge of paganism by EuroAmerican ethnographic and anthropological scholars against African Traditional Religions argues that traditional African religions are monotheistic. He insists that these traditional religious cultures have the same conception of God as found in the Abrahamic religions. The shared characteristics, according to him are foundational to the spread of the “gospel” in Africa. Mbiti’s effort, though motivated by the desire to refute the imperial charge of inferiority against African religions ran, (...) I argue, into a conceptual and descriptive conflation of ATRs with monotheistic faiths. In this paper, I challenge the superimposition of Judeo-Christian categories upon African religions. I argue that monotheism is just a strand, out of many, that expresses belief in God, and that it differs substantially from the polytheistic pre-colonial African understanding of religion. I provide a panentheistic paradigm using traditional Igbo ontology and religion to refute Mbiti’s generalization. Keywords: Monotheism, African Traditional Religion, Igbo, Paganism, Theology. (shrink)

It is suggested that the mathematically abstract coordinate frames of reference commonly visualized to be centered at the celestial bodies have real counterparts in the shape of well-defined rigid spatial resonant singularities of infinite extension, which accommodate the matter waves from the superimposition of which the body residing at the coordinate origin results. A universally valid inertial reference frame system is proposed. Qualitative explanations are offered for the inertial and gravitational forces, their observed proportionality, and for the occurrence of (...) second-order gravitational effects in the vicinity of massive bodies. The universal redshift is assumed to result from a closure condition of the eigenspaces introduced. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Mahāyāna Reading of Chalcedon Christology:A Chinese Response to John KeenanPan-chiu LaiIntroductionThe Christological formula of Chalcedon, especially its use of the substantialist concepts such as ousia, hypostatsis, and so on, has long been a target of criticism in the history of Western Christian theology.1 Recently, Kwok Pui-lan, an Asian feminist theologian, has queried not only the language or way of thinking of traditional Western Christology, but also its anthropocentric (...) tendency. According to Kwok, "the majority of Asian people find it difficult to accept a savior in human form because of their cosmological sensibility."2 Kwok also thinks that the Chalcedonian expressions such as "fully God and fully man" or "two natures in one substance" are quite beyondthe understanding of the majority of the Asian people. The lengthy debate on the difference between homoousia and homoiousia is also irrelevant to the average Chinese, because there are no immediate Chinese equivalents to the terms such as "being" or "essence." According to Kwok, Buddhism, in contrast, characterizes the world as transient and impermanent without using the philosophical language such as "being" and "nonbeing."3 Kwok further notes that "The Buddhist tradition asserts that there is not one Buddha, but many Buddhas, and that everyone has the potential to attain Buddhahood. If we get away from the framework defined by a language of substance, we will not be fixated on a one-time incarnation."4 Kwok concludes that the anthropocentric perspective and the substantialist language of the Chalcedonian Creed represent a burden or obstacle that needs to be put aside. She even laments that "the church worldwide is still much under the yoke of the Chalcedonian captivity and Eurocentric theological formulations based on Western heritages."5 Kwok's comment seems to imply that the Buddhist way of thinking may offer a better alternative or a remedy to Chalcedonian Christology.In the contemporary Buddhist-Christian dialogue, John P. Keenan, when proposing a Mahāyāna theology, also offers a critique of Chalcedonian Christology.6 [End Page 209] Through a response to Keenan's discussion, this paper will examine these critiques and will attempt to reinterpret the Chalcedonian Christology from a Mahāyāna perspective.The Mahāyāna Theology of John KeenanIn proposing a Mahāyāna theology, Keenan assumes a Christian standpoint and tries to make use of Mahāyāna Buddhism for the service of Christianity. As Keenan himself frankly admits, his basic approach is to adopt "Mahāyāna Thought as Theologiae Ancilla, " which is the heading for the second part of his The Meaning of Christ. Keenan's strategy of arguing for a Mahāyāna theology is to identify the need of Christianity first, and then to argue in what way Mahāyāna Buddhism can help Christian theology to solve its own problems. According to Keenan's diagnosis, a fundamental problem of the Western Christian tradition is the detrimental separation of mysticism from doctrine. In his own words,It is argued here that, to date, the Christian West has been unable organically to relate its own mystic thinkers to its doctrinal, theoretical thinking. The reason for this inability was not simply, as Adolf von Harnack thought, the adoption and superimposition of Greek patterns of ontology upon the gospel. Rather it is an inability to differentiate that realm of Greek, logos-centered theory from the more primal realm of mystic awareness, an ability to understand the mind of faith in its polyvalent realms of meaning.7In the first part of the book (ch. 1-5), based on his review of the historical development of the Christian understanding of Christ, Keenan highlights the tremendous tension between the primal experience of "being in Christ" and the theoretical understanding of Christ.8 Keenan believes that the school of wisdom literature in the Old Testament has prepared the New Testament for an understanding of the meaning of Christ as God's wisdom. This wisdom comprises essentially God as Father (Abba) as well as the theology of the cross and resurrection. He further points out that early Christians, following the example of Jesus Christ, had direct experience of God as Father. Owing to the... (shrink)

The intervention of the divine in human history, more precisely the transition from fiction to incarnation that is peculiar to the origins of Christianity, marks a turning-point in our understanding of the genealogical principle. With a Son of Man who is also Son of God and his Mother's Father, there is no paternity and, more generally, no genealogy that is not reversible. To this questioning of elementary kinship structures we should add the contesting of the hitherto accepted distribution of genders (...) and sexes. The superimposition of the Holy Family and the Trinity created an uncertain sex whose effect is to uncouple sex from its functions, in particular procreation. Hence a circulation and instability of sex. It is from this viewpoint that we should see the notion of an androgynous Christ and the Church Fathers' thinking on the resurrected body. (shrink)

Reputation detection in traditional distributed systems relies heavily on the factor of interaction reputation, which can be derived from direct interactions between agents through bidirectional relationships. However, in the current information diffusion in social network systems, the characteristic of the unidirectional relationship between agents and the decay property of diffusion will result in lacking direct interactions; therefore, interaction reputations will be difficult to be obtained by agents in a distributed manner. To solve this problem, a novel distributed reputation detection model (...) following the pattern “from path to individual” is proposed, which can provide a new reputation factor as an alternative to interaction reputation in such environments. The main idea is that the positive observation of an information diffusion process increases the belief of the corresponding diffusion path, which further increases the reputation of each involved agent. Thus, the reputation of a target agent can be assessed by the superimposition of reputations of multiple paths on which this agent has participated in past information diffusion processes. Furthermore, being aware of agent’s limited capacity for reputation detection in SNS, we then propose the enhanced FPTI model, which simplifies the detection source to reduce detection costs and achieve the approximate performance as FPTI. Theoretical analyses and experimental evaluations validate the efficiency and effectiveness of our models and also show several properties of the models, for example, the robustness for dynamic environments. (shrink)

A number of contemporary philosophers think that the unqualified statement “X is unspeakable” faces the danger of self-referential absurdity: if this statement is true, it must simultaneously be false, given that X is speakable by the predicate word “unspeakable.” This predicament is in this chapter formulated as an argument that I term the “ineffability paradox.” After examining the Buddhist semantic theory of apoha (exclusion) and an apoha solution to the issue, I resort to a few Chinese Buddhist and Hindu philosophical (...) materials to rationally reconstruct a strategy for resolving the paradox. By introducing the mode of expression termed “indication,” together with the relevant notions of superimposition and of gesturing beyond the horizon, I show that expressing the ineffable does not necessarily involve irresoluble contradiction. It is also suggested that philosophers may need to acknowledge the relevance of the notion of ineffability for contemporary philosophizing. (shrink)

The score of Piece Four of Sylvano Bussotti's Five Piano Pieces for David Tudor is the most important image in A Thousand Plateaus. It serves as a prefatory image not only to the Rhizome plateau, but also to the work as a whole. It functions as the book's musical score, guiding readers in their performance of the text. Embracing John Cage's graphism and aleatory practices, Bussotti created his own ‘aserial’ new music, one that celebrated passion and Bussotti's open homosexuality. The (...) visual elements of Piece Four include a deterritorialisation of the standard piano score, a diagram of the composition's abstract machine, and a drawing that Bussotti had produced ten years before writing Five Piano Pieces for David Tudor. The drawing itself is a rhizomic artwork, with details that echo visual motifs throughout A Thousand Plateaus. The superimposition of the drawing on the deterritorialised framework of the standard piano score conjoins the visible and the audible, faciality and the refrain, in a single artefact. (shrink)

The association between New York City’s all-over structure and the play that unfolds within it relative to difference and identity is very pertinent but is not specific enough, in my opinion. On the one hand, all of Mondrian’s neoplastic works are constituted by an opposition between the variable and the invariable . On the other hand, the type of identity produced in New York City relies on repetition, a principle which, we know, explicitly governs a whole range of paintings predating (...) neoplasticism. New York City differs from the “classic” neoplastic works, as well as from the 1918-19 modular paintings with which it seems to have a good deal in common. It is, in part, because he never discusses this last point that Masheck doesn’t entirely grasp the amplitude of the reversal that Mondrian effected in his New York works.In fact, as James Johnson Sweeney realized quite early, one must go back o the 1917 works, which gave rise to modular grids for the two years that followed, in order to understand what happens not only in New York City but also in the two Boogie-Woogie paintings.3Everyone is aware of the extraordinarily rapid evolution of Mondrian’s work during the years immediately preceding the foundation of neoplasticism: under the influence of Bart van der Leck, he dopted the colored plane and the black dash on a white background as elements of his composition for the two Compositions in Color, A and B . Mondrian, who had not yet found a means of perspicuously relating these diverse elements , tied both plane and dashes together by way of an optical dynamism, based largely on their superimposition. The immediate consequence was to make the background recede optically. The next step was the five Compositions , all entitled “With Colored Planes” . Here all superimposition was eliminated, as well as all “line.” In the last two of these canvases, the background itself is divided without remainder in to planes of different shades of white. The colored rectangles are on the way to alignment. In spite of this, the rectangles fluctuate and, consequently, the background is hollowed out behind them. 3. See James Johnson Sweeney, “Mondrian, the Dutch and De Stijl,” Art News 50 : 63. Meyer Schapiro made a similar remark, at about the same time, in his courses. 4. When I refer to a number accompanied by “Seuphor,” it refers to the “catalog by group” included in Michel Seuphor’s book on the artist. See Seuphor [Ferdinand Louis Berckelaers], Piet Mondrian; sa vie, son oeuvre, 2d ed. . Yve-Alain Bois is associate professor of art history at the Johns Hopkins University. He has published a number of essays on twentieth-century art, architecture, and criticism and is currently working on Mondrian’s neoplastic years and on a history of axonometric perspective. Amy Reiter-McIntosh is a lecturer at the University of Chicago. Her previous contribution to Critical Inquiry was a translation of Ernesto Laclau’s “Psychanalyse et marxisme”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:AfterimagesSvetlana Boym’s Irrepressible CocreationsCristina Vatulescu (bio)[End Page 98]To most people Svetlana Boym was known as a writer: a prolific writer of books marked by originality, insight, and irreverence for intellectual pieties, no matter how fashionable. The media artist side of her that diacritics presents in this issue was chronologically last of her artistic personas. A whole string of these bifurcated the bio blurbs at the end of Svetlana’s monographs. (...) In the first, Death in Quotation Marks (1991), she introduced herself as a playwright and assistant professor of comparative literature at Harvard University. In the second, Common Places: Mythologies of Everyday Life in Russia (1994), she was also a writer and filmmaker. In her third, most well-known monograph, The Future of Nostalgia (2001), she was again a writer, and this time, full professor at Harvard, but also, as the back cover blurb reminds us, “a native of St. Petersburg who lives in Cambridge, Massachusetts.” “Native” was a word she would have pronounced with an accentuated accent and that she wore as a mask, as another persona. For the record, she did not just write monographs. There is also a novel, Ninochka (2003), that she rewarded herself with writing after receiving tenure at Harvard. After she became a novelist, she also collaborated on a book on Kosmos, the Russian space project and the photographs of its ruins.1 (“Jacob,” her then research assistant recalls her saying one day, “go to the library and find me all the good books on Kosmos.”)2 Her creativity was hard to contain and performative—the whole world was her stage—thus all her authorial and artistic personas. It is just at the end of Another Freedom (2010), her last monograph, that she introduced herself to readers as a media artist.Svetlana’s biographies were not accidental inconsistencies but sustained exercises in self-fashioning, and lately, she told me during our last conversation, self-editing. “There are writers with biographies and writers without biographies,” she often quoted Boris Tomashevsky’s quip as an intriguing prelude to her influential critique of “the death of the author.”3 She launched that critique as the polemic of her dissertation (overseen by Barbara Johnson and formalist scholar Jurij Striedter) in the 1980s, when “the death of the author” had congealed into critical dogma. In the ensuing book, Death in Quotation Marks, she explored the mythologies of the modern poet and critic, including his/her figurative and literal deaths, arguing that the “relationship between texts and life remains a vitally critical issue.”4 She pioneered then her signature critical genre, a writing that would “allow for the incorporation and superimposition of ethical, historical, biographical, and textual issues.”5 At the same time, the book already contains, smuggled inside academic prose, fragments that presage her much later artist’s manifestoes and practices:I wish to preserve the difference between text and life and to avoid subjugating one to the other. In order to open and explore this space of difference we have to trace the ways in which the artistic constructs can, on the one hand, form and inform ordinary experiences and, on the other hand, be deformed and defied by them. This double movement invites us to see literariness or a creative aesthetic impulse in everyday life and to liberate these aesthetic experiences from the confines of “literature” and literary institutions. At the same time, it helps us to deaestheticize literature somewhat and defamiliarize again the violence, pain, and love that it contains.6 [End Page 99]So it is fitting to consider Svetlana’s art in relation to her writing and to her biographies, her crafted fashioning and editing of herself. Far from any sort Gesamtkunstwerk—a concept she detested, these were cocreations, whose contingent coexistence inspired thoughts on difference and a heightened sensitivity to the beauty of cracks, hinges, border lines, and transit zones.Cocreation was a concept she developed and lived for many years; she theorized it at length in her last book, equating it with freedom.7 Among her cocreators were the people around her as well as thinkers, artists, and philosophers with whom she engaged passionately. For her digital art... (shrink)

Use of symbols, the key to the biosemiotics field as to many others, required bigger brains which implied a promissory note for greater energy consumption; symbols are obviously expensive. A score years before the current estimate of 18–20% for the human brain’s metabolic demand on the organism, it was known that neural tissue is metabolically dear. This paper first discusses two evolutionary responses to this demand, on both of which there is some consensus. The first, assigning care of altricial infants (...) with burgeoning brains (and in human infants the metabolic demand peaks at 65% of the total) to “allomothers” is not unique to humans. The second, using relatively small neurons as primates do, risks misfires past a certain minimal value. Moreover, in apparent paradox, there is an increasing consensus that large “Von Economo” neurons are critical for communication. This paper’s main contribution is the discussion of two further evolutionary tricks. The first is the use of self-similarity in the cortex, both in structure and process, to allow the cortex readily—and in energetic terms, parsimoniously—to shift between states in a high-dimensional space. This leads to discussion of the kind of formalism appropriate to model these shifts, a formalism which—it is tentatively suggested—may do double duty for the modeling of symbolic thought. The second trick is the superimposition on the background “white noise” of neural firing of EEG-detected waves like gamma. The paper describes a method, using the Hilbert transform, of calculating the dips in energy consumption as the brain is transitioned by gamma waves. It is hypothesized that consciousness may be a spandrel, the incidental result of a neurodynamic imperative that the brain enter a maximally sensitive (in sensory terms) “zero power” state a few times a second. If that is the case, then there are obvious benefits for health in meditation, which can be viewed as a state of consciousness extended over time by limiting afferent stimuli. (shrink)

Contrary to accepted ideas, questions of gender started to be raised around the end of the 19th century. The characters of problematic sex and sexuality who abounded in literature at that time had the function of emblems of the fears aroused by the erasure and divorce between the sexes in a civilization in disarray. The figure of the androgyne was used to name and depict those condemned to indecision. But its closeness to the invert led to the decline of the (...) myth, which in the meantime was taken over by turn-of-the-century clinical medicine. Just like homosexuality, hermaphroditism became an anomaly, and those affected by it were depicted as deviant, incomplete beings. However, it was from the explosive superimposition of those two denigrated figures – the homosexual and the androgyne – that the concept of gender emerged in its true nature, that is, as a mental construction as much as an anatomical destiny. (shrink)

This chapter highlights how the encouragement of citizens' participation may in fact masquerade their rulers' attempt to create consensus for their ‘superior’ political project. It illustrates in ethnographic detail how rulers have symbolically used the public space, along with policies of urban regeneration, to win popular consensus and, thus, legitimise their position. The analysis addresses a central problem in the dynamics of democratic government, as it shows that lack of responsibility and superimposition of a political rhetoric on good governance (...) eventually leads to people's distrust of those in power. The case of Naples significantly points to the fact that, while people may be granted formal membership of society, rulers' pedagogic approaches and self-legitimisation do in fact deny fundamental citizenship rights, such as social and economic rights. (shrink)

The intervention of the divine in human history, more precisely the transition from fiction to incarnation that is peculiar to the origins of Christianity, marks a turning-point in our understanding of the genealogical principle. With a Son of Man who is also Son of God and his Mother's Father, there is no paternity and, more generally, no genealogy that is not reversible. To this questioning of elementary kinship structures we should add the contesting of the hitherto accepted distribution of genders (...) and sexes. The superimposition of the Holy Family and the Trinity created an uncertain sex whose effect is to uncouple sex from its functions, in particular procreation. Hence a circulation and instability of sex. It is from this viewpoint that we should see the notion of an androgynous Christ and the Church Fathers' thinking on the resurrected body. (shrink)