This paper considers the claim that perceptual experience is “transparent”, in the sense that nothing other than the apparent public objects of perception are available to introspection by the subject of such experience. I revive and strengthen the objection that blurred vision constitutes an insuperable objection to the claim, and counter recent responses to the general objection. Finally the bearing of this issue on representationalist accounts of the mind is considered.

In one-shot public goods dilemmas, defection is the strictly dominant strategy. However, agents with cooperative strategies can do well if (1) agents are `translucent' (that is, if agents can fallibly recognize the strategy other agents play ex ante ) and (2) an institutional structure allows `assortation' such that cooperative agents can increase the likelihood of playing with their own kind. The model developed in this article shows that even weak levels of translucency suffice if cooperators are able to pool (...) their information to exclude defectors. Computer simulations confirm this claim. The results imply that conditional cooperation can be a successful strategy given translucency and `assortation', even if the game has a one-shot character. The article discusses implications for moral theory against the backdrop of `virtual self-regard' and the concept of moral integrity. Key Words: public good • game theory • prisoner's dilemma • translucency • assortation • group formation • group identity • integrity • altruism. (shrink)

This paper offers an analytic perspective on epistemic dependence that is grounded in theoretical discussion and field observation at the same time. When in the course of knowledge creation epistemic labor is divided, collaborating scientists come to depend upon one another epistemically. Since instances of epistemic dependence are multifarious in scientific practice, I propose to distinguish between two different forms of epistemic dependence, opaque and translucent epistemic dependence. A scientist is opaquely dependent upon a colleague if she does not possess (...) the expertise necessary to independently carry out, and to profoundly assess, the piece of scientific labor which her colleague is contributing. If the scientist does possess the necessary expertise, I argue, her dependence is translucent. However, the distinction between opaque and translucent epistemic dependence does not exhaust dependence relations in scientific practice, because many dependence relations are neither entirely opaque nor translucent. I will discuss why this is the case, and show how we can make sense of the gray zone between opaque and translucent epistemic dependence. (shrink)

Exploring intentionality from an externalist perspective, I distinguish three kinds of intentionality in the case of seeing, which I call transparent, translucent, and opaque respectively. I then extend the distinction from seeing to knowing, and then to believing. Having explicated the three-fold distinction, I then critically explore some important consequences that follow from granting that (i) there are transparent and translucent intentional states and (ii) these intentional states are mental states. These consequences include: first, that existential opacity is neither the (...) mark of intentionality nor of the mental; second, that Sellars has not shown that all intentionality is non-relational; third, that a key Quinean argument for semantic indeterminacy rests on a false premise; fourth, that perceptual experience is intentional on Alston’s Theory of Appearing; fifth, that either some mental causation is more than internal physiological causation or some mental states are epiphenomenal. (shrink)

It is a common metaphor that the text is a window onto the world that it depicts. I want to explore this metaphor and the insights it may offer us for better understanding legal interpretation. As in the opening epigraph from James Boyd White, I shall develop the metaphor of the text as window in three ways: the text may be transparent, opaque, or translucent. My goal will be to argue that the best way to understand legal interpretation is to (...) conceive of the legal text as translucent, but along the way I will compare the merits also of considering the legal text as either transparent or opaque. (shrink)

Through advances in production and treatment technologies, transparent glass has become an increasingly versatile material and a global hallmark of modern architecture. In the shape of invisible barriers, it defines spaces while simultaneously shaping their lighting, noise, and climate conditions. Despite these unique architectural qualities, little is known regarding the human experience with glass barriers. Is a material that has been described as being simultaneously there and not there from an architectural perspective, actually there and/or not there from perceptual, behavioral, (...) and social points of view? In this article, we review systematic observations and experimental studies that explore the impact of transparent barriers on human cognition and action. In doing so, the importance of empirical and multidisciplinary approaches to inform the use of glass in contemporary architecture is highlighted and key questions for future inquiry are identified. (shrink)

Through a discussion of “translucence” in Plato’s Phaidros and in Juan Jose Saer’s “On Line,” in this essay I attempt to engage the simultaneous experience of the concrete sense of language and of the appearing of beings in their materiality through language. The discussion ultimately suggests that, when taken in its full force, the philosophical logos figures the elemental translucence of beings in their intelligibility; a formulation meant to resist the separation of language and concreteness. Such an interpretation of the (...) philosophical logos also leads to the understanding of thought as an elemental, interpretative, transformative, and “marginal” experience. (shrink)

Against the background of “arms race” style competitive explanations for complex human cognition, such as the Social Intelligence Hypothesis Growing points in ethology, Cambridge University Press, pp 303–317, 1976; Jolly in Science, 10.1126/science.153.3735.501, 1966), and theories that tie complex cognition with environmental variability more broadly The evolution of intelligence, Lawrence Earlbaum and Associates, 2001), the idea that culturally inherited mechanisms for social cognition would be more capable of responding to the labile social environment is a compelling one. Whilst it is (...) tempting to think that the evolvability of culturally inherited cognitive mechanisms such as Cecilia Heyes’ cognitive gadgets would be akin to culturally inherited tools like axes or canoes, I draw on established theory in evolutionary developmental biology to show that this is a mistake. Their causal translucency, along with the degree to which they would be integrated within the organism, make cognitive gadgets far more like genetically inherited traits with respect to their evolvability. Consequently, their evolution is unlikely to be particularly fast or nimble. In making clear the constraints on the evolution of culturally inherited cognition and how they must influence our theorising the discussion also highlights the value of thinking about evolvability in this domain. (shrink)

Contemporary phenomenological psychopathology has raised questions concerning selfhood and its possible alterations in schizophrenia spectrum disorders. Although the notion of the self is central to several accounts of anomalies, it remains a question how exactly the radically minimal experiential features of selfhood can be altered. Indeed, the risk is to reduce the notion of selfhood so drastically, that it can no longer account for alterations of experience. Here we propose to give thickness to the minimal self. To do this we (...) first discuss Sartre’s phenomenological definition of coenesthesia as the translucent matter of consciousness articulating it with the notion of existential feelings. We then draw on the historical research on coenesthesia to dig deeper in this translucent materiality identified as the element of the body. We show that selfhood, even in its most minimal level, must be conceived of with a specific elemental thickness, corresponding to a phenomenological materiality of embodiment. We argue that a phenomenological reading of coenesthesia as the bodily element of ipseity can shed a new light on the anomalies of self-experience. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Martha Nussbaum FICTIONS OF THE SOUL* Gertrude says, "O Hamlet speak no more. / Thou turnst mine eyes into my very soul." He made her see her soul, then, with a speech. And many types of speeches try to do what Hamlet did here. They present us with accounts or pictures of ourselves, attempting to communicate to us some truth about what we really are — or (to use (...) what is already a certain sort of picture) to show us die insides of our human souls. These truths about ourselves are delivered in many different styles and forms: some through structured argument, some through more devious or more violent strategies. One distinguished thinker compared his discourse about the nature of the soul to dry translucent shafts of sunlight diat disperse the dark shadows of false belief. Another represents the recipient of a true account of the inside of her soul as crying out in pain: "These words like daggers enter in my ears." Clearly there ought to be connections between the way a drinker or writer conceives of the soul and the way he or she constructs a discourse to convey important trudis to such a soul — including, and especially, the truth about the nature of the soul. Whether we are to be approached with sunbeams or with daggers, whether we need light or violent motion to show us what we are: this seems to depend upon what, in fact, we are. On the answer to questions such as: Are our souls transparent? opaque? open? thick-skinned? And: is getting in touch with a human soul like shining light through a diamond? Like embracing a friend? Like drawing blood? To speak more prosaically, on die answers to questions such as: How does a soul arrive at truth? What elements does it have that promote and impede understanding? What is die subject matter or content of the most important truths about it? And in what sort of activity does knowing it consist? A story or account of die soul is, then, told. The telling, if the story is a good one, is not accidentally connected with the content of the told. And this * Editor's note: This article, as well as the contributions by Joseph Margolis, Félix MartínezBonati, and Sanford Freedman which follow it, grew out of a symposium on "Styles of Fictionality," held at Harvard University in 1981. Other papers from that symposium appeared in the April, 1983 issue of Philosophy and Literature. 145 146PHILOSOPHY AND LITERATURE ought to be so whether die teller is a literary artist, whom we suppose always to be conscious of the nature of the stylistic choices, or a philosopher, whom we often think of as avoiding or eschewing style altogether. No stylistic choice can be presumed to be neutral — not even the choice to write in a flat or neutral style. My aim in this article is to begin working on the complicated connections between a view of what a human soul is and a view about how to address that sort of soul in writing, in die communication of die view.1 I have chosen two very different views, associated with two extremely different styles. One will be an intellectualistic view of die person, expressed in a style commonly associated widi philosophical writing; the other, expressed in a literary narrative, will be severely critical of intellectualism. The philosophical view is associated with a harsh criticism ofliterary art, the literary view widi an equally harsh criticism of philosophical investigation. In each case, I want to ask how the story that is told engages, in the telling, widi the reader's soul, and how the telling and the told are matched. I have chosen two extremes not because I wish to suggest diat these positions somehow express the essence of the philosophical or the literary, but because diey speak to and criticize one another in an illuminating way. By seeing their opposing elements starkly and schematically set out, we will be in a better position, should we wish to, to imagine an alternative between them. My philosophical protagonist will be Plato — or certain aspects of Plato; the literary opponent will be Proust. I shall, in... (shrink)

According to the transparency thesis, some conscious states are transparent or “diaphanous”. This thesis is often believed to be incompatible with an inner‐awareness account of phenomenal consciousness. In this article, I reject this incompatibility. Instead, I defend a compatibilist approach to transparency. To date, most attempts to do so require a rejection of strong transparency in favor of weak transparency. In this view, transparent states can be attended to by attending (in the right way) to the presented world: that is, (...) they are merely translucent. Here, I first argue that this understanding of transparency is too weak to qualify as a compatibilist view. Drawing on insights from Franz Brentano, I then describe a middle road between strong and weak transparency. The crucial idea is that, although transparent states cannot be attended to, they can be noticed (under suitable conditions). This view, I submit, allows supporters of inner awareness to commit themselves to a more interesting understanding of transparency—moderate transparency—that preserves the initial intuition underlying the transparency metaphor. (shrink)

Prenatal screening, consisting of maternal serum screening and nuchal translucency screening, is on the verge of expansion, both by being offered to more pregnant women and by screening for more conditions. The Society of Obstetricians and Gynaecologists of Canada and the American College of Obstetricians and Gynecologists have each recently recommended that screening be extended to all pregnant women regardless of age, disease history, or risk status. This screening is commonly justified by appeal to the value of autonomy, or (...) women's choice. In this paper, I critically examine the value of autonomy in the context of prenatal screening to determine whether it justifies the routine offer of screening and the expansion of screening services. I argue that in the vast majority of cases the option of prenatal screening does not promote or protect women's autonomy. Both a narrow conception of choice as informed consent and a broad conception of choice as relational reveal difficulties in achieving adequate standards of free informed choice. While there are reasons to worry that women's autonomy is not being protected or promoted within the limited scope of current practice, we should hesitate before normalizing it as part of standard prenatal care for all. (shrink)

We see the world through language; but how should we understand this metaphor? Is language a medium that simply reproduces for the mind, or accurately records, what is out there? Or is it so dense there is no telling what the world is really like? Perhaps language is somewhere in between, a translucent material, so that the world bears the tint and focus of the particular language we speak.

I examine the self-interest based contractarian's attempt to answer the question, "Why be moral?" In order to defeat the skeptic who accepts reasons of self-interest only, contractarians must show that the best theory of practical reasons includes moral reasons. They must show that it is rational to act morally even when doing so conflicts with self-interest. ;I examine theories offered by Hobbes, Baier, and Grice, and show they fail to defeat skepticism. Hobbes' theory gives no special weight to moral reasons (...) as they can be eliminated in favor of prudential reasons; Baier's theory fails to establish that from the fact that it is rational to adopt the moral points of view, it is rational to act from it; and Grice's theory attempts to link promising, obligations, and reasons, but leaves certain crucial points in the argument undefended. ;In Morals by Agreement, Gauthier offers the best theory of its kind, and treatment of it constitutes the bulk of the thesis. Gauthier tries to refute the skeptic by showing that it is in one's interest to adopt a moral disposition, and that every action expressing the disposition is rational. The dispositional move is one the contractarian must make to avoid the problems facing the other theories examined. But Gautheir's argument for the rationality of the disposition relies on an empirically dubious assumption of translucency, and as such, fails to show that persons in ordinary circumstances are rational to be moral. Moreover, Gauthier fails to show that the rationality of the disposition carries over to the particular actions expressing it. The alternative view, called the "Independency Thesis," is more plausible than Gauthier's, but not available to him. Thus the contractarian fails to defeat skepticism. (shrink)

This paper responds to an argument from Botin which claims that Russellian physicalism is committed to the view that either (i) our phenomenal concepts do not reveal anything essential about phenomenal properties (following Goff, Botin calls this the ‘opaque’ account of phenomenal concepts), or that (ii) phenomenal concepts are capable of revealing at least some of the essence of phenomenal properties—making phenomenal concepts ‘translucent’ if some-but-not-all-revealing or ‘transparent’ if all-revealing—but this entails that phenomenal properties are fundamental, which violates physicalism. I (...) argue that Botin is wrong that Russellian physicalists are committed to the view that physical and phenomenal concepts must have similarly qualitative/phenomenal modes of presentation or contents, since Russellian physicalists assume that we do not possess concepts which specifically refer to non-phenomenal categorical properties. If we were to acquire concepts for non-phenomenal categorical properties, they would need to have categorical contents and modes of presentation, but need not have qualitative/phenomenal contents and modes of presentation. Given this, Russellian physicalists can embrace a translucent account of phenomenal concepts, and hold that our phenomenal concepts more-or-less accurately tell us about certain sorts of non-fundamental properties which are both physical and categorical. (shrink)

Artists’ books are challenging to photograph. They function as a unit of tightly conceptually-bound visual, textual and material elements in addition to a heightened self-awareness of the work's booksness. Binding, size, weight, and shape of the book, translucency, texture, thickness of paper, placement of images and/or text on the page or off the page interact with other graphic elements; they control, and direct the reader towards the expressive components of meaning which arise from pace, haptic experience, and visual or (...) structural stylistic choices. Most of such information gets sacrificed in the process of documentation. Here I discuss some of such issues of photographing artists books for this journal and my solutions to replicating each artists’ book within the physical and thematic constraints of this publication: I tried not only to visualize the books’ content but also to translate some of the experience of how that content makes itself meaningful to the reader. (shrink)

My goal is threefold. First, building on the basis of Husserl’s phenomenology of the imagination, I will argue that phantasy is a specific type of intentional experience, which intends its objects as neutralized presentifications. Second, I will turn to dreams and argue that non-lucid dreams are unconscious phantasies, which cannot be conceived in the above-mentioned way. This realization will bring us to the third task. When recognized as the most extreme form of unconscious phantasy, dreams compel us to raise anew (...) the fundamental question: what is the nature of phantasy experience? According to the perspective I will here develop, phantasy is a specific field of experience that lies between two extremes: the fully translucent mode of the as if consciousness and the thoroughly opaque mode of absorption. Most of our phantasies, both conscious and unconscious, voluntary and involuntary, are lived somewhere between these two extremes. (shrink)

I propose that the fundamental challenge Berkeley left realists is to account for experiences’ ability to present items as mind-independent, consistent with the claim that experiences always present themselves among the items of awareness. By exploring two ways of responding to this challenge, and ruling out the second, I hope to show that realists aiming to secure a role for experiences in grounding our grasp of mind-independence need to adopt a specific view of perceptual experience. They must take experiences to (...) have translucent aspects, and accord such aspects an essential role in presenting us with a mind-independent world. (shrink)

This paper offers a critique of David Gauthier’s contractarian moral theory. I point out morally counter-intuitive implications of Gauthier’s theory – for example, with respect to societies with slavery or concerning the protection of animals – as well as theoretically unattractive features, such as the overly optimistic assumption of translucent agents. However, contractarian moral theories can be improved by correcting the theoretically unattractive features. Moreover, though some morally counter-intuitive implications cannot be avoided, whether we should accept these implications ultimately depends (...) on whether an instrumentalist account of practical reason is defensible and how morality relates to practical reason. Thus, contractarian moral theories cannot be refuted as easily as one might think at first. (shrink)

ABSTRACT It is easy to think of consciousness as a medium, with two teams of philosophers disagreeing over whether the medium is transparent or translucent. G. E. Moore's “Refutation of Idealism” is still enlisted in defense of transparence, and Thomas Nagel's “What Is It Like to Be a Bat?” is still used to motivate translucency. I argue against both of these familiar interpretations of these articles and proceed to defend the very first response to Moore's article: James's insistence that (...) consciousness, construed as a transparent or translucent medium, just does not exist. Finally, and quite surprisingly, by refusing to treat consciousness as any sort of medium, James is able to account for how easy it is, and yet how difficult it is, to escape our insipid existence. (shrink)

Resumen Debido a la polisemia que la complejidad exhibe, se pretenden exponer las distintas posturas, definiciones, descripciones y debates acerca de esta, a la luz de lo descrito por Carlos Maldonado, Edgar Morin, Ilya Progogine, Murray Gell-Mann, Leonardo Rodríguez y Julio Aguirre, quienes comportan un principio dialógico y translúcido, que integraría la lógica clásica teniendo en cuenta sus límites de facto y de jure, que además llevaría en sí el principio de la Unitas Multiplex, que escapa a la unidad abstracta (...) por lo alto y por lo bajo. Luego de la presentación de las posturas de los autores mencionados se pasa a describir los encuentros y desencuentros que de estos aparecen sobre este concepto; y finalizar al proponer una definición y caracterización personal de la complejidad.Due to the polysemy of Complexity, it is intended to expose different postures, definitions, descriptions and debates about It, in the light of what was described by Carlos Maldonado, Edgar Morin, Ilya Prigogine, Murray Gell-Mann, Leonardo Rodríguez and Julio Aguirre. For them it implies a dialogical and translucent principle that would integrate classical logic considering its de facto and de jure limits, and that in addition would take in himself the principle of Unitas Multiplex that escapes to the abstract unity by the high and by the low. After the presentation of the positions of the mentioned authors the paper goes on to describe encounters and disagreements about this concept finally proposing a definition and characterization of complexity. (shrink)

Resumen Debido a la polisemia que la complejidad exhibe, se pretenden exponer las distintas posturas, definiciones, descripciones y debates acerca de esta, a la luz de lo descrito por Carlos Maldonado, Edgar Morin, Ilya Progogine, Murray Gell-Mann, Leonardo Rodríguez y Julio Aguirre, quienes comportan un principio dialógico y translúcido, que integraría la lógica clásica teniendo en cuenta sus límites de facto y de jure, que además llevaría en sí el principio de la Unitas Multiplex, que escapa a la unidad abstracta (...) por lo alto y por lo bajo. Luego de la presentación de las posturas de los autores mencionados se pasa a describir los encuentros y desencuentros que de estos aparecen sobre este concepto; y finalizar al proponer una definición y caracterización personal de la complejidad.Due to the polysemy of Complexity, it is intended to expose different postures, definitions, descriptions and debates about It, in the light of what was described by Carlos Maldonado, Edgar Morin, Ilya Prigogine, Murray Gell-Mann, Leonardo Rodríguez and Julio Aguirre. For them it implies a dialogical and translucent principle that would integrate classical logic considering its de facto and de jure limits, and that in addition would take in himself the principle of Unitas Multiplex that escapes to the abstract unity by the high and by the low. After the presentation of the positions of the mentioned authors the paper goes on to describe encounters and disagreements about this concept finally proposing a definition and characterization of complexity. (shrink)

Bad faith is commonly conceived as lying to oneself or self-deception. This folk definition is too simplistic as it undermines the rich ontological underpinnings of bad faith. While both simple self-deception and bad faith are opposed to the general phenomenon of lying (to others), for Sartre bad faith is also meant to explain both the working of consciousness and the ubiquity of pre-judicative nothingness. Together, consciousness and nothingness supply the special ontological foundation required for bad faith to operate. To enter (...) into bad faith is to escape from the anguish of the experience of insubstantiality and freedom into deterministic attitudes about the self, such as the deceiver/deceived bipolarity of Freudian psychoanalysis. Sartre rejects the thesis that there can be hidden motivations in consciousness by arguing for the reflexivity and the translucency of consciousness. Further, he would take the ubiquity of nothingness to explain the wide prevalence of bad faith as a state-of-being in the world. Bad faith cannot be equated with simple cases of self-deception as bad faith is sustained by a unique mix of ontological postulates. Sartre argues for this point cogently through his examples of bad faith in Being and Nothingness. In these examples, Sartre shows that sincerity, the purported anti-thesis of self-deception, causes one to fall even deeper into bad faith. (shrink)

Just what you need to get up and running with Sony's new flagship dSLRs The Sony a77, with its 24.3 megapixel sensor, full HD video capability, and translucent mirror system, is poised to be Sony's flagship dSLR camera. With many of the same features but at a lower price point, the a65 is the economy version. This guide will cover all the important steps for getting the most from either model. It shows how to set up the camera to get (...) great shots immediately, explains all the controls and shooting modes, shows how to review images and make basic edits, and offers valuable advice on taking super photos using manual settings. Sony's new a65 and a77 dSLRs feature a huge megapixel sensor, HD video, generous ISO range, and the translucent mirror system unique to Sony This easy-to-follow guide helps you make the most of your investment with complete coverage of all the basic and advanced settings and shooting modes Covers shooting in auto mode, shooting HD video, and taking manual control over exposure, focus, and lighting Explains how to play back images and perform basic edits as well as how to manipulate flash, focus, and color to create top-quality photos With Sony a65/a77 For Dummies, bestselling photography author Robert Correll gives new Sony dSLR users confidence and helps them get everything they paid for in these exciting new Sony camera models. (shrink)

The Western cultural archetype of Narcissus experiences a significant turning point in the 1400s, thanks to Leon Battista Alberti’s work. Indeed, the myth evolves from being a subject embodying a taboo in the Antiquity to become the glance that generates the image; in so doing this myth assumes the rank of science and philosophy. Alberti does not follow Pliny’s reading of Ovid’s Metamorphosis, but handles Philostratus’s version; with his visual description he represents in the “Eikones” the darting glance towards the (...) water. The rendering of this image anticipates the notion of centric ray, on which Alberti establishes his perspective’s theory based on the diaphanous nature of “velum”. The art of painting is compared to an “open vitreous and translucent window”. Narcissus does not see the water, so to say, but the image, as well as the painting’s observer instantly grasps the iconic value of it, rather than the material support. Because of this immediacy, the art of painting becomes the terrain of revelation: it makes clear the emerging progressive visibility of “something”, thus concurring with philosophy; better, the art of painting overtakes philosophy with the simple representation of polysemous complexities. This is the new art of painting, in which “there is nothing that is not philosophy”. Furthermore, in this synthetic role of representation in which the icon becomes all one with the spectator – in addition to the centric ray and to the orthogonality of the vision, topics already analyzed by the author in previous studies – consists an outstanding resemblance between Alberti and Cusanus. The two philosophers show their synergy in exploring a new anthropology. From this point of view can be read Alberti’s explanation, often misinterpreted, of Narcissus’ transformation into a flower: a synthesis between “imaginatio” and “executio”, or inactiveness versus activeness. Among all Narcissus’ portrayals of that time, it would be useful to consider the Pseudo Boltraffio’s version of London; this rendering applies thematically Alberti’s theory in its essential aspects, introducing it within Leonardo Da Vinci’s circle of artists. (shrink)

The contemplation of the heavenly vault suggests to any generalizing intelligence the idea of the world suspended within this concavity. During rude barbaric times such as the High Middle Ages – the records of which are precious in this respect – it was thought that this vault rested on the surface of the Earth like a glass bell. And when experience gained firstly by terrestrial travels and afterwards by circumnavigation showed that this was a delusory phenomenon and, at the same (...) time, that the Earth was an autonomous sphere floating within space, the [heavenly] vault became in turn a hollow and translucent sphere containing the concentric world, like the white of an egg surrounding the yolk. Cosmological experience then revealed that the stars were situated at different heights in the supposed vault, which compelled imagining new concentric spheres. Finally, it was discovered that there are neither such spheres nor such a vault; that the amplification and multiplicity of the latter were illusions – as was the concave aspect of the sky – and that the space enclosing the universe is an abyss. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Role of Glass in Interior Architecture:Aesthetics, Community, and PrivacyMatthew Ziff (bio)Design education seeks to infuse students with knowledge, skills, and attitudes, regarding the design of the built environment. In the areas of knowledge and attitude, sophistication and competence are developed through both practice (largely carried out in the design studio environment), and engagement with critical analysis (largely carried out in seminar classes and traditional lecture format class environments). (...) For design students the world of design is both to be known and understood, and to be created, at their own studio desk. In order to both know and create design, students often behave like nocturnal predators, seeking what is necessary in a mode that is often unobserved, and then returning to digest their catch, to produce responsive and synthetic work. One arena in which design students find rich fields of information is that of material characteristics. Materials used in the design and construction of the built environment form a significant portion of the skeleton of a designer's body of knowledge, skills, and attitudes toward design. A current hotbed of material character and application is that of the world of glass. This essay is an exploration of some of the issues that the architectural uses of glass raise from the point of view of design student exploration.Materials evoke physical and psychological responses. Human beings are complex creatures and an individual's response to specific material applications can be unpredictable. Even so, it is reasonable to expect that there are shared attitudes that form the basis for responses to the physical character of the built environment. From delight, to confusion, materials used in the architecture of things large and small, from buildings to fountain pens, contain literal meaning, or expression of method, as well as possible symbolic and cultural meaning. The contemporary use of glass, particularly in interior architecture, presents a vivid arena for emotional and intellectual stimulation and response. [End Page 10]Glass planes that are sheer, opaque, translucent, colorful, brittle, imposing in mass, irregular in surface texture, flawlessly smooth, deformed through casting or by application of pressure and heat, are being used to create spaces that convey ambiguous relationships between private experience and public display. What is an ambiguous relationship? It is one to which a reasonable response is a high degree of uncertainty regarding the course of action one might take, or in the degree of understanding of the context one can develop. To know that the stair in the train station leads to track 4 is a condition that can be created by the use of unambiguous design; a visual connection from where one has to make a choice of paths to follow to the destination, track 4, creates a clear understanding of where track 4 is to be found. If track 4 can be seen from the position at which a choice is required, then certainty, clarity, is possible, if not probable. Visual connection is exactly what clear glass allows, and provides, yet ambiguity results because of the physical, hard barrier, transparency aside. "I can see track 4, but I cannot get there". The clarity provided by being able to see through glass, or even by being able to see light coming through translucent glass, is not sufficient to offset the uncertainty, or the mixed message, of not being able to get there, to touch what we can see.Glass in interiors offers a tactile and sensory titillation; the excitement of knowing that with a single swing of a hammer, or an umbrella handle, the beautiful sheet of curved frosted lemon ice colored tempered glass can be shattered into fragments.Windows have long been the predominant interior and exterior architectural element in which glass has played a major role. The glass used in Windows on the World, the famous restaurant atop the World Trade Center, destroyed during its collapse, and the glass used in a simple double hung window in a one story ranch house each share architectural duties of providing view from inside to outside, light transmission from outside to inside, heat gain, and acoustical isolation. Human eyes are sometimes described as "windows to the soul," which suggests the ability to... (shrink)

El artículo examina dos concepciones de la imagen de la filosofía clásica, para ensayar una relectura de la aparición digital o “imagen-pixel”. De Platón se considera la idea de imagen como symploké de ser y no ser: la imagen, como una piel diáfana que acompaña a las cosas, se desprende, cual fina película, de las cosas mismas y puede ser inscrita sobre una superficie. De Aristóteles se examina el concepto de lo diáfano, una potencia común a todos los cuerpos, la (...) que opera como instancia intermediaria para la emergencia de lo visible. Ambas concepciones ayudan a comprender la radicalidad de la imagen digital, entendida como una modalidad inmanente del ‘aparecer’ que no se inscribe sobre ninguna superficie ni medio, llevándonos a pensar en la figura de un nuevo diáfano hipermedial. This article examines two conceptions around the image of classical philosophy, in order to rehearse a re-reading of the digital appearance or “image-pixel”. From Plato, we consider the idea of the image as symploke of being and not being: the image, as a translucent skin that accompanies all things, comes off, like a fine film, from those same things, and can be inscribed on a surface. From Aristotle, the concept of the diaphanous is examined, a common potency to everything, which operates as an intermediary instance for the emergence of the visible things. Both concepts help to understand the radical nature of the digital image, understood as an immanent modality of the ‘appearance’ that is not inscribed on any surface or support, leading us to think of the figure of a hyper-medial new diaphaneity. (shrink)

Tom Phillips' painting for the dustjacket of the hardback edition of Metaphysics as a Guide to Morals depicts a faintly translucent, darkly-coloured, multi-layered lattice of letters, in which each character abuts directly upon others above, below and beside it, each overwrites or is overwritten by others of varying dimensions, but none is immediately decipherable as part of a word; and at the centre of this array is a geometrically precise, illuminated circle—perhaps emanating from a light located behind or under the (...) layers of letters, perhaps from one directed at them from above. This image is open to many interpretations. It could represent the sun from Plato's myth of the cave shining through the dialogue in which he presents it ; it could also represent the light of Miss Murdoch's attention playing over the palimpsest of texts that make up the Western tradition of metaphysical thought. But for anyone encountering it upon closing the book after a first reading, it may also seem very precisely to crystallize one's initial impression of that text. (shrink)

This text practices a philosophical voice that deviates from visuo-centric theory and the muteness of its language and instead sings a complex simultaneity of things and thoughts that burn through the walls of the discipline and illuminate the activities at the margins. This philosophical voice sings a refrain of “I,” which brings us back to bring us forward, surprising us in its renewal again and again. It is a body that is, as Samuel Beckett’s Not I, at once not I (...) and I; an idiosyncratic subjectivity that carries its plural name in its mouth. In this way, it further diffracts the sonic possibility of counterfactual slices into simultaneous dimensionalities open to our gaze in the dark, when we have let go of a normative orientation and are able to see the image at its depth. Between text scores, Churten theory, Canto Cardenche, and the breath of a humpback whale, this voice tries not to theorise. It does not want to produce a philosophical message, supporting a “philosophism” which akin to “scientism” treats philosophy as a phenomenon unconnected to cultural values or location, gender or racial specificity. Instead, it aims to practice a philosophy that opens in song to its own anxiety of objectivity, its fear of a reflective centre, and performs a translucent marginality that generates the view of a plural world burning through a permeable skin. (shrink)

Replying to my earlier article `Translucency, Assortation, and Information Pooling: How Groups Solve Social Dilemmas', Robert Goodin examines the normative implications of the rule `cooperate with those whose inclusion benefits the larger scheme of cooperation', and gives several reasons for why the conversion of justice into a club good is normatively unappealing. This reply to Goodin discusses whether the rule leads to an exclusion of poor agents, whether a group should hire agents to detect free-riders, and how a group (...) should deal with naive cooperators. The rule can be defended as an enforcement mechanism in some cases, but it is normatively unappealing as a theory of justice. Key Words: club • public good • cooperation • justice • exclusion • Donald Regan. (shrink)

The soul is agile and transparent; it does not make the body weighty. It streams limitless within the patterns of regimented matter, gratifies the body until it can fill it no more, but remains as a swirling ball of energy with it. We do not see it, but can imagine it; like the wind; an energy, we do not see but can feel and there is no kerb to imagine its likeness. The soul so translucent lies beneath the scabbard of (...) the body; brings the flesh to life; a heave of energy within and out of every speck of flesh. It abides the laws of nature and so departs the body upon death to be transformed and reutilized. Cosmic energy shapes matter and so shapes life; fabricates the mind and the soul; makes the body conscious of its presence. To seek it, we need to imagine it; imagination helps us see within the stores of the cosmic energy matrix. For no matter what, the soul exists, it is no extraordinary form, no mysterious form; a sphere of energy; pure, created with the purposefulness of engaging life in forms that can support it; us; to experience the magnificence of what is and why it was created. This paper is an insight into the imaginings and imaginations of the soul that deepens the ability of the human mind to venture into the depths of the cosmic energy which crafts it. (shrink)

Should doctors have the possibility to save children from incurable suffering and end their lives?. At first glance, the standpoints in the debate around this question seem translucent and well known and the debate intelligible. I contend that this is not the case and I will illustrate this in analysing the debate between Peter Singer and Ulrich Bleidick. Whomever wants to answer the question whether it is acceptable to end the lives of suffering small children will have to do some (...) careful reading and thinking about the different and differing moral arguments in the debate. This demands emotional restraint and intellectual honesty. Trying to understand Singer and his opponents is a challenging way of charting what exactly is at stake in this debate. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 77-89 [Access article in PDF] Engaging Nature Aesthetically Joseph H. Kupfer Acting in Nature For the most part, most of us appreciate nature as spectators. Some portion of a natural scene is viewed as if it were a painting or photograph. We look for the picturesque in experiencing the real thing because our aesthetic approach toward nature has been filtered through pictures (...) — a canyon's spacious contours, a spectacular waterfall, a weeping willow swaying and billowing in the breeze. And there is certainly nothing wrong with this approach. I like a splendid sunset or majestic peak as much as the next person. However, thinking of nature solely or chiefly as an aesthetic scene to be observed is unnecessarily limiting. Regarding natural phenomena as material for detached, pictorial observation overlooks the aesthetic features revealed only through our active intercourse with nature.In what follows, I outline an active aesthetic of nature appreciation in particular, a series of physical responses to nature which yield a spectrum of aesthetic possibilities. Our active relationship toward nature is expressible by the relevant prepositions, as action can be in or into nature, against or with nature. Of course there will be overlap among these modes of dealing with nature aesthetically, but they are nevertheless fairly distinct and distinguishable. Moreover, the types of activity are arranged so that each succeeding way of addressing nature encompasses the aesthetic virtues of the preceding types of activity. As we move from acting in nature to acting with nature, therefore, our aesthetic experience becomes richer and more inclusive. 1The first active departure from the role of mere observer is found in acting in nature. When we act in or within nature, natural phenomena are the medium of our movement. Whether, hiking up the valley or swimming in the lake, we participate in the natural environment. And that participation [End Page 77] uncovers aesthetic features of nature not available to the mere spectator or observer. Walking through the valley, the prospect of wildflowers shifts from a distant, cascading carpet to a direct encounter with individual shapes, colors, fragrances, and textures. Our aesthetic experience includes appreciation of the shift in perspective itself, from long-range floral vista to more intimate perception.When we swim in the lake, it is no longer simply a thing viewed — a shifting montage of patterns of light playing on its surface. Instead, the lake is experienced as a translucent medium which alternately resists and yields to our arm, leg, and torso movement. Immersed in the water, we feel warm and cool patches, and hear sounds muffled and transmuted by the lake. The sound of our breathing is also modified by the watery medium, as well as by our physical labors.Acting in nature provides two aesthetic opportunities absent from mere spectating. First, the fact that we are active in the natural environment brings home a sense of ourselves as causal agents. Instead of change merely taking place in the natural environment, we are directly bringing about the change. Because we walk through the valley or swim in the lake, otherwise unavailable sensory experiences are enjoyed. Our movement, moreover, enables these experiences to develop from one moment to the next, at best, in an integrated sequence. In addition, there are the specific aesthetic features created for us by our physical activity — our bodily involvement beyond the more typical visual panorama. For example, tension and relaxation in our muscles, the feel and sound of our breathing and heartbeat correspond to change in our natural surroundings. Our bodies furnish us with responses to the natural environment because we are moving in it, not simply observing it.A more homey example of acting in nature is the case of standing or climbing "inside" a tree. Most of us enjoy the aesthetic experience of walking in the woods, among clusters of trees and other wildlife. But the individual tree also offers an opportunity for acting in or within nature. Enclosed within its branches and leaves, whether on the ground or alight a limb, we gain a new aesthetic perspective. The... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:The Journal of Aesthetic Education 37.1 (2003) 77-89 [Access article in PDF] Engaging Nature Aesthetically Joseph H. Kupfer Acting in Nature For the most part, most of us appreciate nature as spectators. Some portion of a natural scene is viewed as if it were a painting or photograph. We look for the picturesque in experiencing the real thing because our aesthetic approach toward nature has been filtered through pictures (...) — a canyon's spacious contours, a spectacular waterfall, a weeping willow swaying and billowing in the breeze. And there is certainly nothing wrong with this approach. I like a splendid sunset or majestic peak as much as the next person. However, thinking of nature solely or chiefly as an aesthetic scene to be observed is unnecessarily limiting. Regarding natural phenomena as material for detached, pictorial observation overlooks the aesthetic features revealed only through our active intercourse with nature.In what follows, I outline an active aesthetic of nature appreciation in particular, a series of physical responses to nature which yield a spectrum of aesthetic possibilities. Our active relationship toward nature is expressible by the relevant prepositions, as action can be in or into nature, against or with nature. Of course there will be overlap among these modes of dealing with nature aesthetically, but they are nevertheless fairly distinct and distinguishable. Moreover, the types of activity are arranged so that each succeeding way of addressing nature encompasses the aesthetic virtues of the preceding types of activity. As we move from acting in nature to acting with nature, therefore, our aesthetic experience becomes richer and more inclusive. 1The first active departure from the role of mere observer is found in acting in nature. When we act in or within nature, natural phenomena are the medium of our movement. Whether, hiking up the valley or swimming in the lake, we participate in the natural environment. And that participation [End Page 77] uncovers aesthetic features of nature not available to the mere spectator or observer. Walking through the valley, the prospect of wildflowers shifts from a distant, cascading carpet to a direct encounter with individual shapes, colors, fragrances, and textures. Our aesthetic experience includes appreciation of the shift in perspective itself, from long-range floral vista to more intimate perception.When we swim in the lake, it is no longer simply a thing viewed — a shifting montage of patterns of light playing on its surface. Instead, the lake is experienced as a translucent medium which alternately resists and yields to our arm, leg, and torso movement. Immersed in the water, we feel warm and cool patches, and hear sounds muffled and transmuted by the lake. The sound of our breathing is also modified by the watery medium, as well as by our physical labors.Acting in nature provides two aesthetic opportunities absent from mere spectating. First, the fact that we are active in the natural environment brings home a sense of ourselves as causal agents. Instead of change merely taking place in the natural environment, we are directly bringing about the change. Because we walk through the valley or swim in the lake, otherwise unavailable sensory experiences are enjoyed. Our movement, moreover, enables these experiences to develop from one moment to the next, at best, in an integrated sequence. In addition, there are the specific aesthetic features created for us by our physical activity — our bodily involvement beyond the more typical visual panorama. For example, tension and relaxation in our muscles, the feel and sound of our breathing and heartbeat correspond to change in our natural surroundings. Our bodies furnish us with responses to the natural environment because we are moving in it, not simply observing it.A more homey example of acting in nature is the case of standing or climbing "inside" a tree. Most of us enjoy the aesthetic experience of walking in the woods, among clusters of trees and other wildlife. But the individual tree also offers an opportunity for acting in or within nature. Enclosed within its branches and leaves, whether on the ground or alight a limb, we gain a new aesthetic perspective. The... (shrink)

continent. 2.1 (2012): 29–35. Translated by Vincent W.J. van Gerven Oei from Jeroen Mettes. "Politieke Poëzie: Enige aantekeningen, Poëtica bij N30 (versie 2006)." In Weerstandbeleid: Nieuwe kritiek . Amsterdam: De wereldbibliotheek, 2011. Published with permission of Uitgeverij Wereldbibliotheek, Amsterdam. L’égalité veut d’autres lois . —Eugène Pottier The modern poem does not have form but consistency (that is sensed), no content but a problem (that is developed). Consistency + problem = composition. The problem of modern poetry is capitalism. Capitalism—which has no (...) image: the unrepresentable Idea of “everything.” The problem is that a poem cannot be justified. There is no excuse for it. Political poetry— pure poetry—has to be problematic, though not in a mannerist way. Yes, its problem is first its own problem—poetry’s existence in the same world as the newspaper—but therefore also always everybody’s problem (the problem of any world at all). The cult of the sublime points at a suspect desire for transcendence, nostalgia for paradise lost (the womb?). Melancholia of the post-. But a problem neither sorrows nor mourns, it is alive, and the fact that it is alive is the problem—the problem for death (rigidity, the status quo). Our symbols and ideologies do not hide any god: symbolic = state; imaginary = human; real = money. Problem: the possibility of communal speech (poetry) in the absence of a “we.” Or: what is a “we” that is not a collective subject (or in any case is not a volonté générale )? What is a universal history that is not a History? This work was started in the shade of the anti-globalization protests at the end of November 1999. I considered N30 to be the closure of the nineties, of my adolescence, and of the a seemingly total extinction of social desire. From the beginning I was skeptical about the alterglobalization movement as the avant-garde of a new politics, but something was happening . Maybe this event did not show that, as the slogan would have it, “another world” is possible, but for me it indicated that such possibility was at least still possible. That naked possibility is carrying forward. And if the fundamental tone of this work sounds more desperate than utopian, this is not caused by the catastrophic sequence that since 1999 has plunged us ever deeper into the right-wing nightmare—a nightmare that this work also gives an account for—but because my hope as yet remains empty. Composition . Composition is no design, but the production of an autonomous block of affects (i.e. a POEM), rhythmically subtracted from the language of a community. A poem does something. Is something. New Sentence . Choosing the non sequitur as compositional unit has the advantage that an abstract composition is subjected to the stress of concrete, social references. Where there is a sentence, there is always a world. (This does not hold necessarily for words on their own.) And where sentences collide, something akin to a textual civil war takes place. It is not about “undermining” whatever, or de-scribing the raging global civil war, but about writing social (or even: ontological) antagonism -- including all its catastrophic and utopian possibilities. Minor resistance. Why would poetry be the no protest zone par excellence? It is nothing but protest, not simply qua “content,” but in its most fundamental essence: rhythm. Rhythm is resistance against language, time, and space, and the basis of (what we will continue to call) autonomy. Rhythm starts with the anti-rhythmic caesura as Hölderlin remarked about Sophocles, a disruption of the quotidian drone. The destruction of everything that is dead inside of us. The noise of the avant-garde has never been the representation of the noise of (post)modernity (from the television or shopping mall), but the sober noise of the systematic exchange of an unbearable worldview. The poet does not describe, but looks for a way out: There is a Grain of Sand in Lambeth that Satan cannot find Nor can his Watch Fiends find it, tis translucent & has many Angles But he who finds it will find Oothoons palace, for within Opening into Beulah every angle is a lovely heaven William Blake was not mad. And there has always been only one poetry: the poetry of paradise. The principle is that there is something in art (the essentially creative element) that is disgusted by that which, unlike art, does not aim for the supreme. Wonder is not supreme, tranquility is not supreme, beauty is not supreme. Even amusement is not supreme! The supreme is supremely open, “das Einfache,/ Das Schwer zu machen ist” 1 : paradise. That is abstract. Literally. For me it is not about a concrete imagination, an idyll or utopia. There is no doubt a need for that, but it is not so much the supposed lack of imagination or ideals (human rights are ideals), but a fundamental lack of desire (human rights are no desires) that we suffer from, and from which we do not need to remove Nietzsche’s label of “nihilism.” “We.” George Oppen: “ Of Being Numerous asks the question whether or not we can deal with humanity as something which actually exists.” What is less actual than humanity? Nowadays it appears as a lifeless ideology of cynical power politics. Or as what makes one think. It is a shame to be human. The event is the caesura that defines rhythm. Writing toward the event is not the description of the event, but marking an abstract and intense space in which the event may unfold and keep itself. It is a task. “Remember that thou blesseth the day on which I seized thee, because such is thy obligation.” The event is a contraction (or a series of contractions) with its own rhythm and unique qualities. It is more than an explosion or demonstration. But at the same time less. The endless repetition of images and stories in the media points to a fear for the indeterminate and indeterminable void of the event. In the end there is nothing to see. We do not live in disaster’s shade or miracle’s light, but rather in the rhythm, which is contracted time, having little to do with omnipresent representations. For this book I did not intend a rhythm of evental representations (a narrative rhythm), but a rhythm which would be an event itself , because it draws the border between artwork and history. My desire for a direct engagement with the “extra-textual reality” has nothing to do with the representation of “rumor in the streets.” (What has less street cred than representation?) Naturally, a poem is no historical event and does not change anything. But a poem is a part of history that wants to be repeated forever, constructed in such a way that it is worthy of repetition. It is a part of desire (composition) made consistent (durable). The “historical event” flares up and burns down, and has to burn down to be effective. The leftovers are images and stories (representations), History—no event. The artwork—that is the ambition— remains event (though monumental and inefficient/inoperable). (No wonder that a historical singularity, a revolution, reminds us of a work of art; the resurrection yearns for a judgment, an affirmation; everything depends on it.) Hence the title does not summarize the book, let alone contract its “content” into a quasi-transcendental signifier. The title is juxtaposed to the book, like everything else inside the book, and in that relation it precisely forms a part of it. The ideal work is an open whole, lacking nothing but to which everything may be added. I have been interested in this “everything,” the world, or as I said above: capitalism. “Everything” is not the space for “wonder”—a code word, a shibboleth for petty bourgeois imagination (I recognize myself in the strangest things, a speaking dog, a canal, a pond standing straight—oh my god). No. The world is a social world, not YOUR world, poet. Power is number one. I will call “Dutch,” or “shitty,” whatever denies this power. That hurts, but this pain is an expression of the desire in the world to write another world, or as Blanchot says, “the other of all worlds” 2 : the world. Not as what “is there,” but rather as that which urges for an escape from what “is.” This is a testament of how radical reality has become, for me—or rather, a writing body—in a having-been-written. I am not interested in the problem of “meaning” as misunderstood by literary scholarsi: “order” in “chaos,” “symbolization.” Bullshit. What is there, hop, hope, now: the meaning of the taste in my mouth. Bullshit. I am not interested in the frustration of interpretation; I am writing for readers who do not want to interpret. I do not know how many “professional readers” will hear the music of a paragraph like: Sun. Sushi. Volvo. I hope more than I would think. There is a suggestion (or rather, an actual production) of speed and infinitive owing to the absence of plosives, i.e. articulations such as /k/, /t/, or /p/. Can you hear the slick suaveness? Driving car dark, vocal chiaroscuro of the word “sushi.” The unstressed /i/ stands in the middle of dark vowels and thus acquires its own special out of focus , like a momentary flash or brilliance—an obscure light. It is not about recognizing a story, but about avoiding any story whatsoever: the car disappears in the glow, cars and raw fish have nothing in common except their articulation in a language that brings them together, blurring them. A world appears in its disappearance. For a moment, light is a metaphor for language, though it cannot be reduced to tenor. It is not necessary to be a linguist or philosopher to hear this—a “difficult” poem all too often becomes an allegory of its own impenetrable being-language. The only demand: leave your hermeneutical fetish at home. This was no interpretation. Most shit has been stolen etcetera. That is no longer interesting. You cannot shoot the body with information and let your lawyers reclaim the bullets. So every sentence has been stolen. Also the ones “out” “of” “my” “head.” Why would I be allowed to steal from myself and not from others? Man takes what he needs to move forward. Whatever he encounters, finds in front of him, “occurs” to him. The writer as text editor, or singing pirate. Nothing new here. Important difference with for example Sybren Polet’s 4 montage technique: anti-thematicism. Most of the time ferocious citation from whatever I was reading, listening to, ended up in, and so on. I wrote chapter 12 on my laptop while watching CNN. On the air instead of en plein air . I often employed search engines to generate material. Chapter 20 offers the purest example of this. Often I stop recognizing a particular citation after some time. It is not uncommon for a stolen sentence to conform itself to the paragraph in which it finds itself. Sometimes I nearly arbitrarily replace words. Arbitrariness as a guarantee for absolute democracy. It is a poetics of the non sequitur : a conclusion that does not follow from the premises, the strange element in the discourse. A discourse of strangers. No logical, narrative, thematic unity. There is unity in speed/flight. It has to be read linearly, but not necessarily (not preferably) from beginning to end. The shortest distance between two points is a straight line, but this line precedes every point. The middle, the acceleration, comes first. A point occurs where two lines cross. It has been written from up close, at the level of the tension between sentences. Nothing to be seen from a distance: no form except the exchange of form, no geometrical or mythical meaning. You have to get in, “groping toward a continuous present, a using everything a beginning again and again” (Stein). 5 In Dutch, experimental poetry has been mainly dense: a small rectangular form filled with a maximum amount of poetic possibility. But at the moment the poem starts to relax, the anecdotical content seems to increase. This is what is called “epic”: long, narrative. I believe that an epic is more than that, in fact something completely different. An epic is “a poem including history,” 6 a long poem tied up with the life of community, that as a whole does not need to be narrative. The American poets of the twentieth century (Pound, Williams, Zukofsky, Oppen, Olson, Silliman) have put the epic back on the map by interpreting the poem itself as a map, and writing it as navigation. They have invented the experimental epic, a genre that has generated little original following in “our” poetry. N30 is the middle part—“always start in the middle”—of a trilogy, the contours of which remain as of yet unclear, although each episode investigates one of the three “ecstasies of time”—past, present, future—concerning society X. N30 concerns itself with the PRESENT: not with the description of actual facts but of the rhythm and the intense depth in which facts appear to us. Where are we? We are camping in the desert. Sometimes we are looking at the stars. As opposed to maximum density and minimal tension (a characteristic of most (post-)experimental lyricism), I have sought a minimal density and maximum tension in this book, considered as a long non-narrative prose poem. On the one hand, the minimal density is obtained by the inherent formlessness of prose, on the other hand by the conscious refusal of any active (formal, non-rhythmic) synthesis: the poem tells nothing, shows nothing, has no theme. I did not seek maximum tension either by loading the quotidian with epiphanic radioactivity (“wonder,” confirmation from above), or by means of the intensity of the linguistic structure. I want an abstract tension, but social in its abstraction, in other words, not neutralized by and subjected to Form. Instead of form (transcendent): composition (immanent). The concept is series. Ideal: every unit is necessary for the efficacy of the others and the whole, their relation is purely linear, i.e. non-hierarchic, non-syllogistic, non-discursive, non-narrative. Sentence related to sentence like paragraph to paragraph and chapter to chapter; the whole means nothing and represents nothing. Inside the sentence: syntax (Chomsky’s tree, a type of parallel circuit), outside: parataxis (coordination, an asyntactic line through language and world). I consider duration—the energy of duration (rhythm)—to be the fundament of a poem, the temporal inclination to delimit a “space.” Being as consistency, its consistency. A spatial part of time is not merely a metaphor for an inevitable trajectory, an inescapable time, something like “our time.” Not merely—because rhythm comes from language and is not projected onto it; the poem derives from the world like a scent and a color and a life from a flower. A series, a sequence: nothing potential, but truly infinite—the movement of an infinitude. The infinite series = everything minus totality. That means that there is no container—no Form, no Self, no Image, no Structure, not even a Fragment—just “the prose of the world.” No representation, but also no staging of the impossibility of representation (the postmodern sublime). These are no fragments, no image of a fragmented world or personality, no cautious incantations around the Void. It does not exist. It is a movement. Buying bread, a flock of birds, a bomb falling—they do not depict or represent anything, not literally, not metaphorically. There is an Idea, which is however nothing more than a rhythm, in the same way that capitalism is nothing more than a pure function. Parataxis: the white space between two sentences stresses, which is nevertheless always there, also between words, even between letters: the out of focus of idle talk, the gutter, the irreducible Mallarméan mist which renders even the seemingly most transparent text legible. The white space suggests a neutral medium for free signification, a substance of language. A non sequitur is an element from a foreign discourse, which stresses the white space as space, and problematizes freedom for supra-sentential signification. I start by withdrawing material, leaving the initiative to the sentences. In general a word presupposes less often a discourse than a sentence. What discourse is presupposed by “dog”? We could think of several, but why would we? It is more probable that, when faced with the naked word, we think of its naked (dictionary) meaning, of its denotative signified. By means of two simple interventions we may also write the word as sentence: Dog. In no way this suggests the discourse from which this sentence originates, but in any case we’re presupposing one. This is shown by questions like: “Whose dog? Who’s a dog? What kind of dog?” Etc. (Sentences are question marks.) A sentence implies/is a microcosm—a subject, a verb, an object, and so on. Even an incomplete or ungrammatical sentence does so. My main fascination while writing this book is the worldly and social aspect of language, an aspect that often becomes invisible, or rather, transparent in narrativity—the stretching of sentences into stories. Narrativity organizes a new discourse and a new world, and places a sometimes all too dispersing relation of transparence in between. The conventional novel is the brothel of being. I do not intend to prohibit brothels, and I have certainly not intended to write an anti-novel (THIS IS A POEM), but I do consider narrativity (in general, in poetry, in the news, in daily life) to be ontologically secondary with regard to an immediate being in the world through sentences, also if the latter have been withdrawn from a narrative or otherwise externally structured discourse (which in that case would therefore be chronologically primary ). Naturally, two or more sentences are always in danger of telling stories or arguing, just like the world is always in danger of becoming an objective representation, facing us, strangers. That is why need to wage war—against representation and against the interface, against interaction. AGAINST THE “READER.” To the extent that a sentence is worldly, writing is a condensed global war, and in so far as there is ultimately only one world and one open continuum of languages, it is a global civil war. Nice subject for an epic. The elaboration of a singular problem—prose as the outside of poetry, the form of the novel as purely prosodic composition scheme—“expresses” the universal problem: capitalism as Idea of the world vs. poetry as language of an (im)possible community. The paragraphs are blocks of rhythmically contracted social material. By choosing the sentence as the basic compositional component, an abstract whole may contain social sounds, without telling a story or showing an image. Composition is subrepresentative —a rhythmic, passive synthesis, or rather: a synthesis of syntheses. I never write large blocks of prose in one sitting, because there is no obvious organizational vector —plot, theme, conscience—outside the inherent qualities of the material itself. Usually I write down one sentence, sometimes two, but rarely more than three. Those sentences are usually placed in the text which I am editing at the time. In fact, there is no original composition, new chapters split off from chapters which became too long during the editing process. (Revision mainly consists of adding and inserting, displacing and dividing; only during the last phase, when the text has gained enough consistency, there may be subtraction to tighten the composition; each chapter requires a season of daily revision). This constant revision, accompanied by a continuous influx of collective background noise (to speak with Van Bastelaere), 7 makes every chapter a block condensed (“historical” and “personal”) time. The block itself is a-personal and a-historic; it is ontologically autonomous. If there is such a thing as a spirit of the times, I do not try to offer an image of it, but rather to cancel something of it by erecting a monument of its own excrement within its own boundaries. Tuning and dis-tuning , “in de taal der neerslachtigen een eigen geluid doen klinken,” 8 in other words, desiring in an Elysian way. In this sense I have intended to be able to write a political poetry. The ultimate political poem is the epic, “the tale of the tribe.” I consider N30 to be a prolegomenon to a future epic (of which it in the end will form a part a structural moment, as introduction-in-the-middle), an extended pile on top of an epic as narrative, a question of the tribe and question of its history. I was burdened by too much satire, too much bullshit. But: satire willy-nilly = the only justifiable satire. Against the abstract universalism of the market (“globalism”): concrete disgust, a positive way of saying “No.” Moreover, disgust is a specifically total attitude, which ultimately concerns the world as a whole. I hate this or that, but I am disgusted by EVERYTHING (when I am disgusted), and so it appears that satire is in fact related to the epic, in so far as it concerns society, the cosmos, history. Maybe it is no coincidence that the Dutch literary canon knows no great poet of disgust; what could be more fearful to us than society, the cosmos, and history? The T-tendency (T from Tollens 9 ) clearly points into the direction of the small, friendly, ironic, melancholic, acquiescent, wondrous, and so on. The anti-political, anti-cosmic, anti-historical. (Why am I so philosophical? To scare away the Dutchies.) And most of all: the “poetical” (the pseudo-mysticism from the backyard). Yes, the N in N30 also stands for the Netherlands (just like 30 indicates the number of chapters). I was not in Seattle, I do not live in Iraq. But is not the whole world bleeding to death on Dutch paving stones? Let’s hope that we mowed away something with this total satire, also “in myself.” The arrogant stupidity that definitely thinks to know the essence of freedom (the free development of esthetic needs inside the void), that cannot take anything serious, only believes in the disciplined bestiality of the individual (“norms and values”) and the mere functioning of a social factory which finds no justification whatsoever outside its functioning (“get to work”)… Who knows. A certain aimed destruction leaves grooves and craters, mapping out a next adventure. Pound’s periplum : sailing while mapping the coasts. Immanent orientation. The terrain changes with the map, history changes with the poem. Maps never merely organize the chaos, transcendent schemes imposed on a formless Ding-an-sich . They organize from within, surfing. But they are most of all routes back into the chaos or forward to paradise (final identity of chaos and paradise; Schlegel: “ Nur diejenige Verworrenheit ist ein Chaos aus der eine Welt entspringen kann ”10). A poem is not only a piece of history, it is also a flight from history. Maps give chaos to the form of reality , open escape routes, break through representations, make us shivery and dazed. Paradise is immanent to a fleeting desire. History is the history of labor—this is Adam’s curse—and the poet works too: For to articulate sweet sounds together Is to work harder than all these, and yet Be thought an idler by the noisy set Of bankers, school masters, and clergymen The martyrs call the world 11 But: the poet works in paradise. The paradox of the artwork, the work that is no work, the piece of history that cannot be reduced to History—this is explained by The Space of Literature , a virtual space, an autonomous rhythm, not outside, but in the midst of the noise, a piece of paradise in hell, a postcard from the vale of tears addressed to paradise, to X. Political poetry means: a poetry that dares to think about itself, about its language and about its world and about the problematic relation between both, which is this relation as problem. A poetry that thinks at all, articulates its problem. It has nothing to do with journalism or morality or debate, let alone the law or the state. It has nothing to do with “criticism” if this means the replacement of incorrect representations by other, more correct representations. It has something to do with ethics in the sense of learning to live. It has something to do with the community and the language of the community (whichever that may be) and the role of the poet regarding the community. It concerns justice without judgement or measure. In the end the just word is just a word , to paraphrase Godard: it is from a future that is unimaginable. It Is no rational engagement, but an aversion against everything that obstructs life, and love for everything what is worthy of having been loved. The world is engaged with me, not the other way round. First Exodus, then Sinai. A desire does not start with an agenda. To answer the question whether I am really so naive as to want to change the world: “We only want the world.” Justice is the world appealing to us to liberate it from all possible chains, from each organization and inequality, to be it, smooth, equal, under a clear sky—a desert and a people in a desert. That moment between Egypt and the Law. It is not a revolution, but the sky above the revolution. Poetry = the science of escape. There is no art that we already know. The weakness of modernistic epic poetry seems to me to be the unwillingness to completely abandon narrative as a structural principle, in favor of a composition “around” or from an event. The China Cantos and Adams Cantos are the low point, and the Pisan Cantos the high point of Pound’s poetry. Two types of research: archival representation of the past vs. ontology of the present (which virtually presupposes the entire history). Presupposing an event means that it is impossible for the poet to stage his own absence, but in no way makes the work personal. An event is the unknown, the new invading into the business as usual, so also the personal. The question heading this research is not: “Who am I?” but “What is happening?” The book is as little illegible as Mondrian’s work is invisible. Form is of interest only to the extent that it empowers liberation. Ron Silliman So no formalism, but what it means to live in this world and to have a future in it. I want something that holds together that’s not smooth. Bruce Andrews The past above, the future below and the present pouring down: the roar, the roar of the present, a speech— William Carlos Williams If my confreres wanted to write a work with all history in its maw, I wished, from the beginning to start all over again, attempting to know nothing but a will to create, and matter at hand. Ronald Johnson NOTES 1) “The easy thing/ that is difficult to make.” Bertold Brecht, Lob des Kommunismus . (All footnotes are the translator’s) 2) Maurice Blanchot, The Space of Literature , trans. Ann Smock. Lincoln/London: University of Nebraska Press (1989), 75. 3) Mettes uses the word “Neerlandicus,” which refers to scholars of Dutch language and literature. 4) Dutch poet. 5) Gertrude Stein. “Composition as Explanation.” A Stein Reader . Ed. Ulla E. Dydo. Evanston, IL: Northwestern University Press (1993), 495-503. 6) Ezra Pound. 7) Flemish poet. 8) “Resounding an original sound in the language of the despondent.” A. Roland Holst, De afspraak . 9) Dutch poet. 10) “Only such a confusion is a chaos which can give rise to a world.” 11) W.B. Yeats, “Adam’s Curse.&rdquo. (shrink)