The concept of ‘living metaphor’ receives a number of articulations within metaphor theory. A review of four key theories – Nietzsche, Ricoeur, Lakoff and Johnson, and Derrida – reveals a distinction between theories which identify a prior, speculative nature working on or with metaphor, and theories wherein metaphor is shown to be performatively always, already active in thought. The two cannot be left as alternatives because they exhibit opposing theses with regard to the ontology of metaphor, but neither can an (...) impartial philosophical appraisal of the most cogent or defensible theory be made, since the status and conduct of philosophy are part of the problem. Two responses to the predicament from within ‘living metaphor’ theory are considered: (1) Lakoff and Johnson’s ecological spirituality thesis which promises to make the contest redundant on the grounds that the origin of human concepts in our shared, embodied condition in the world removes all obstructions; (2) taking the lead from Nietzsche and Ricoeur, an approach based on the intersection of discourses, not as a resolution but as a gesture which allows the conflict to speak about ‘living metaphor’. (1) is shown to be unsuccessful, but (2) results in ‘living metaphor’ emerging as an attentiveness to questions of what does and does not belong, inspired by tensions between ‘is’ and ‘is not’, ‘from this perspective’ and ‘from that perspective’, and ‘is spoken about’ and ‘is spoken with’. (shrink)

Can an understanding be formed of how sensory experience might be presented or manipulated in visual art in order to promote a relational concept of the senses, in opposition to the customary, capitalist notion of sensation as a private possession, as a sensory impression that is mine? I ask the question in the light of recent visual art theory and practice which pursue relational, ecological ambitions. As Arnold Berleant, Nicolas Bourriaud, and Grant Kester see it, ecological ambition and artistic form (...) should correspond, but they fail to recognize sensation as a site where the ecological cause can be fought. Jacques Rancière argues for the political force of the senses, but his distribution of the sensible does not address the particularity of sensory experience. I identify the difference between these approaches within recent relational or ecological aesthetics and my position on sensibility, and indicate some of the problems involved in referring to the senses. I set out the concepts that are central to the cultivation of relational sensibility: style, autofiguration, and the mobility of sensory meaning, extrapolated from Maurice Merleau-Ponty’s discussion of Paul Cézanne. They amount to positioning the senses ontologically as movements along lines of conceptual-sensory connection and implication, based on the transfer of meanings created artistically through style and autofiguration. (shrink)

The practice of science appears to involve “model-talk”. Scientists, one thinks, are in the business of giving accounts of reality. Scientists, in the process of furnishing such accounts, talk about what they call “models”. Philosophers of science have inspected what this talk of models suggests about how scientific theories manage to represent reality. There are, it seems, at least three distinct philosophical views on the role of scientific models in science’s portrayal of reality: the abstractionist view, the indirect fictionalist view, (...) and the direct fictionalist view. In this essay, I try to articulate a question about what makes a scientific model more or less appropriate for a specific domain of reality. More precisely, I ask, “What accounts for the fact that given a determinate target domain, some scientific models, but not others, are thought to be “appropriate” for that domain?” I then consider whether and the degree to which each of the mentioned views on scientific models institutes a satisfactory response to this question. I conclude that, amongst those views, the direct fictionalist view seems to have the most promising response. I then utilize this argument to develop a more precise account of the problem of differential importability, and ultimately offer a more general and less presumptive argument that the problem seems to be optimally solved by justifying comparative evaluation of model-importabilities solely in terms of comparative evaluations of what I characterize as models’ “holistic” predictive success. (shrink)

Let us denote by ‘methodological normativism’ the thesis that part of the business of philosophical methodology consists in examining or influencing norms understood to determine, at any given time, methods actually used in philosophy. For the value of methodological normativism to be adequately recognized, there should exist a relatively standard “system” in which one evaluates competing views on how, and why, philosophical methods may be reformed. No such system appears to be standardly recognized, and the consequence is an unpalatable prolongation (...) of debates on norms philosophers, as a matter of fact, follow in implementing philosophical methods. I will seek to develop, in what follows, a contextualist principle of arbitrating competing methodological proposals in meta-philosophy using insights well-entrenched in meta-metaphysics. In other words, I seek to discuss a possible way, af f orded by meta-metaphysics, of systematizing methodological normativism. (shrink)

This paper considers the relevance of the Duhem-Quine thesis in economics. In the introductory discussion which follows, the meaning of the thesis and a brief history of its development are detailed. The purpose of the paper is to discuss the effects of the thesis in four specific and diverse theories in economics, and to illustrate the dependence of testing the theories on a set of auxiliary hypotheses. A general taxonomy of auxiliary hypotheses is provided to demonstrate the confounding of auxiliary (...) hypotheses with the testing of economic theory. (shrink)

Modern life sciences research is increasingly relying on artificial intelligence (AI) approaches to model biological systems, primarily centered around the use of machine learning (ML) models. Although ML is undeniably useful for identifying patterns in large, complex data sets, its widespread application in biological sciences represents a significant deviation from traditional methods of scientific inquiry. As such, the interplay between these models and scientific understanding in biology is a topic with important implications for the future of scientific research, yet it (...) is a subject that has received little attention. Here, we draw from an epistemological toolkit to contextualize recent applications of ML in biological sciences under modern philosophical theories of understanding, identifying general principles that can guide the design and application of ML systems to model biological phenomena and advance scientific knowledge. We propose that conceptions of scientific understanding as information compression, qualitative intelligibility, and dependency relation modelling provide a useful framework for interpreting ML-mediated understanding of biological systems. Through a detailed analysis of two key application areas of ML in modern biological research – protein structure prediction and single cell RNA-sequencing – we explore how these features have thus far enabled ML systems to advance scientific understanding of their target phenomena, how they may guide the development of future ML models, and the key obstacles that remain in preventing ML from achieving its potential as a tool for biological discovery. Consideration of the epistemological features of ML applications in biology will improve the prospects of these methods to solve important problems and advance scientific understanding of living systems. (shrink)

Clive Walter Ingram Pearson was an Australian Existentialist and Religious Studies philosopher who spent his entire profesional career in the University of Auckland Philosophy Department. He was an idiosyncratic teacher and thinker who had a major influence on several contemporary ANZAC philosophers, as well as many hundreds of his students. This article is a tribute to him.

Clive Bell was not an ethicist. He was an aesthetician, known for his very strong formalist views, according to which art has nothing to do with ethics and politics. At least that is the textbook description of his general stance. ‘Art and war’ is a relatively unknown piece by him that has been ignored within art history partly because the relation between art on the one hand and ethics and politics on the other is much more complex here.

This paper argues that the Islamic metaphysical vision finds its Western philosophical counterpart in Anna-Teresa Tymienecka's Phenomenology of Life. Comparative analysis of the main categories and strategies of knowledge in Islamic metaphysics and the Phenomenology of Life demonstrates obvious similarities, but also significant distinctions whereby the systems can be viewed as complementary. Tymieniecka’s philosophy begins with epoché on preceding philosophical knowledge, while Islamic philosophy begins with revelation. Tymieniecka uses presuppositionless phenomenological direct intuition combined with reflective analysis, while Sufi metaphysics combines (...) logic, intuitio,n and reliance on the experience attained in states of mystical perception. Unification of Reality and realization of truth in the Phenomenology of Life is attained via phenomenological intuition of life in all forms of experience, and in Islam, via certainty attained in religious experiences of unveiling. Due to its refocusing on the dynamic moments of the ontopoiesis of life, Tymieniecka’s ontology serves as a possible solution to the problems incurred by the more static metaphysical vision of Reality in Sufism. (shrink)

Concrete is one of the most intelligent and widely utilized man-made materials in the construction industry. Despite this, even high-quality concrete is susceptible to porosity, which reduces its serviceability period. Furthermore, there is an increasing need to increase longevity due to environmental exposure such as soil moisture, corrosive outside elements, or structural defects forming in the surface of concrete. The use of crystalline admixtures in concrete is one of the many approaches to reducing these risks. When crystalline admixtures come into (...) contact with water, they form thin crystals that fill pores, capillaries, and micro fractures, as a result making concrete a self-sealing material. When the concrete has dried, the crystalline particles remain dormant until they come into contact with additional water, which causes them to crystallize once more. This research aims to analyze and compare the material properties of commonly used concrete and concrete where crystalline waterproofing is present. Furthermore, experiments are conducted to evaluate each of the concrete samples: compressive strength, water permeability, and flexure strength. As a result, demonstrating the benefits or negative aspects of the use of crystalline admixture in the early stages of concrete is important. It is not yet defined, whether this is the future of cutting-edge concrete and the impact that it will have in the Albanian building market. (shrink)

One Stoic response to the skeptical indistinguishability argument is that it fails to account for expertise: the Stoics allow that while two similar objects create indistinguishable appearances in the amateur, this is not true of the expert, whose appearances succeed in discriminating the pair. This paper re-examines the motivations for this Stoic response, and argues that it reveals the Stoic claim that, in generating a kataleptic appearance, the perceiver’s mind is active, insofar as it applies concepts matching the perceptual stimulus. (...) I argue that this claim is reflected in the Stoic definition of the kataleptic appearance, and that it respects their more general account of mental representation. I further suggest that, in attributing some activity to the mind in creating each kataleptic appearance, and in claiming that the expert’s mind allows her to form more kataleptic appearances than the amateur, the Stoics draw inspiration from the wax tablet model in Plato’s Theaetetus (190e–196d), where Socrates distinguishes the wise from the ignorant on the basis of how well they match sensory input with its appropriate mental ‘seal’ (σφραγίς). (shrink)

Madness can be understood as something sealed off from the intelligible human world, a way of being that has been detached and isolated from the essential elements of normative society. It can represent all that is contrary to what is rational, what is normal and even, what is human. By following this line of thinking, madness cannot be penetrated by the outside nor does it have an established internal structure, and yet it can be used to construct and form its (...) opposite—the rational, normal human. Human rationality then becomes something that can be fully deduced, explained, and understood, and anything that contains mystery or ambiguity can be relegated to the realm of madness.These are the common definitions of... (shrink)

‘How, then, she had asked herself, did one know one thing or another thing about people, sealed as they were?’ So asks Lily Briscoe in To the Lighthouse. It is this question, rather than any concern about pretence or deception, which forms the basis for the philosophical problem of other minds. Responses to this problem have tended to cluster around two solutions: either we know others’ minds through perception; or we know others’ minds through a form of inference. In the (...) first part of this paper I argue that this debate is best understood as concerning the question of whether our knowledge of others’ minds is based on perception or based on evidence. In the second part of the paper I suggest that our ordinary ways of thinking take our knowledge of others’ minds to be both non- evidential and non-perceptual. A satisfactory resolution to the philosophical problem of other minds thus requires us to take seriously the idea that we have a way of knowing about others’ minds which is both non-evidential and non-perceptual. I suggest that our knowledge of others’ minds which is based on their expressions – our expressive knowledge - may fit this bill. (shrink)

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

We explore how one might respond emotionally to the eternal recurrence. Zarathustra himself serves as our central case study. First we clarify the idea of eternal recurrence and its role in Nietzsche’s philosophy, explaining why the eternal recurrence has the emotional consequences Nietzsche describes when he first introduces the idea in The Gay Science. Then we describe Zarathustra’s emotional journey from horror at the eternal recurrence to loving it, in the sections from “On Great Events” to “The Seven Seals, or: (...) The Yes and Amen Song.”. (shrink)

This chapter discusses a form of pedagogy of reflection suggested to be defined as the dialogical-reflective professional-development school (DRPDS)
a framework that develops and empowers students by engaging them in a process of continual improvement, responding to diverse situations, providing stimuli for learning, and giving anchors for mediation. The pedagogy of reflection relates to dialogue not only from a theoretical historical context but also by way of example
that is, it offers empowering dialogues within the traditional teacher-training framework. (...) This chapter outlines the importance of the pedagogy of reflection in the multicultural educational space of the preservice education field in Israel, analyzing the first university PDS model. The pedagogy of reflection in the context of the educational dialogue of educators is outlined as a tool for student empowerment, achieved through a community of learners who dedicate space to the development of their whole personality within the profession, taking a moral stance toward the educational discourse, minimizing judgmentalism and prejudice, creating national/gender equality with the goal of examining the fundamental question of educational performance, and reinforcing their sense of organizational belonging within the system. In these contexts, the chapter is based on the elements of dialogical philosophy exemplified in the thought of Burbules, Nelson, Isaacs, Bohm, and Heckmann and the reflective basis of educational and organizational performance exemplified in the writings of van Manen. The chapter also presents two examples from a project in which teaching units based on dialogue and reflection were developed within a dialogic community that represents in its very being collective empowerment, the possibility of coping with problems that are too large for an individual to solve on his/her own, and an alternative to sealed and alienated organizations. (shrink)

The piece of wax takes on the form of the seal; but this occurs in a way that is largely indifferent to the particular constitution of the seal. Similarly, Aristotle says, ‘the sense is affected by what is coloured or flavoured or sounding, but it is indifferent as to what in each case the substance is’. We show that Brentano takes this Aristotelian account of the relation between sense and its objects as the basis for his theory of mind in (...) the Psychology from an Empirical Standpoint. (shrink)

This chapter argues that ZHU Xi was influenced by Daoism. His philosophy begins with the Diagram of the Great Polarity or Taijitu 太極圖 which has Daoist origins. Later in life he studied two Daoist texts, namely, The Seal of the Unity of the Three in the Zhou Book of Changes or the Zhouyi Cantongqi 周易參同契, and The Yellow Emperor’s Classic of the Secret Talisman or the Huangdi Yinfujing 黃帝陰符經. The chapter begins with a discussion about the nature of Daoism and (...) inner meditative alchemy. Then I discuss the Diagram of the Great Polarity. Finally, ZHU Xi’s study of the above two texts is analyzed. (shrink)

The paper begins with a description of a grey seal performing conspecific infanticide. The paper then gives an account of “nobleness” and “brutishness.” Roughly, a behavioural-disposition is noble/brutish if it is one that would be a moral virtue/vice if the possessor of the behavioural-disposition were a moral agent. The paper then advances two pairs of axiological claims. The first pair of claims is that nobleness is good and that brutishness is bad. The second pair of claims is about an axiological (...) interaction between nobleness/brutishness and well-being. That any non-human animal lacks well-being is bad. Yet, it is worse that a noble non-human animal lacks well-being, and not so bad that a brutish non-human animal lacks well-being. Lastly, the paper discusses some potential moral implications of these axiological claims, for instance that factory farming is especially wrong because it causes noble non-human animals to lack well-being. (shrink)

Francis Bacon was the youngest son of Nicholas Bacon, lord keeper of the great seal under Elizabeth I. He left Cambridge in 1575, studied law, and entered Parliament in 1581. Though roughly contemporary with Kepler, Galileo, and Harvey, Bacon’s grand schemes for the advancement of knowledge were not driven by their discoveries: he resisted the Copernican hypothesis, and did not give mathematics a central place in his vision of natural philosophy. His active public life, under both Elizabeth and James I, (...) was taken up with political business and legal reform. Bacon achieved high office as Lord Chancellor in 1618, until disgraced by corruption charges. His final years saw a furious spate of writing on natural philosophy, politics, and history. (shrink)

Deontic logic is standardly conceived as the logic of true statements about the existence of obligations and permissions. In his last writings on the subject, G. H. von Wright criticized this view of deontic logic, stressing the rationality of norm imposition as the proper foundation of deontic logic. The present paper is an attempt to advance such an account of deontic logic using the formal apparatus of update semantics and dynamic logic. That is, we first define norm systems and a (...) semantics of norm performatives as transformations of the norm system. Then a static modal logic for norm propositions is defined on that basis. In the course of this exposition we stress the performative nature of (i) free choice permission, (ii) the sealing legal principle and (iii) the social nature of permission. That is, (i) granting a disjunctive permission means granting permission for both disjuncts; (ii) non-prohibition does not entail permission, but the authority can declare that whatever he does not forbid is thereby permitted; and (iii) granting permission to one person means that all others are committed to not prevent the invocation of that permission. (shrink)

The political posture often encouraged in liberatory movements is that of urgency. Urgency is based on the idea that if oppressed peoples do not act “now,” then their fate is forever sealed as subordinates within social and political power hierarchies. This paper focuses on a contrasting political posture, termed presence of mind, motivated by the current political atmosphere of distrust and disenfranchisement in which some Muslim-Americans find themselves. Presence of mind is defined as the ability to critically unpack visceral affective (...) responses to injustice—giving special consideration to power structures, one’s social location, and relationships—and then to asses an appropriate response in virtue of that consideration that best upholds our commitments. This paper argues that cultivating presence of mind acknowledges the complexities of the Muslim-Americans’ identity while providing a posture that allows the resistor to best represent their political commitments. (shrink)

To support my Phd theses and results of my grant research in 1999, I asked 1) prominent chemist Antonín Holý, author of substances to treat hepatitis and HIV, about the indivisibility of the art and science (published in Slovak Narodna Obroda and Czech blisty,cz), 2) the distinguished economist William Baumol about the alternative activities (published in Slovak Nove Slovo, Czech Respekt and blisty.cz), 3) Nobel Laureate Clive Granger about the significance of the economics (published in 2004 in Czech weekly (...) Tyden). The interviews were exhibited in Holland Park, W8 6LU, The Ice House between 18. Oct - 3. Nov. 2013. (shrink)

The main claim of this article is that the plasticity of the human formation process does not consist in receiving passively an already-given shape, like hot wax stamped by a seal. Rather, it creates ever new shapes and makes a person overcome her own self-referential horizon. Furthermore, I argue that this formation process is directed by desire, meant as “hunger for being born completely” (Zambrano). The human being comes into the world without being born completely, and it is precisely such (...) hunger that directs human positioning into the world. (shrink)

© Cambridge University Press 2016.Richerson et al. propose cultural group selection as the basis for understanding the evolution of cultural systems. Their proposal does not take into account the nature of cultural idea systems as being constituted at an organizational rather than an individual level. The sealing partners of the Netsilik Inuit exemplify the problem with their account.

Table of Contents: 1. The introduction of infinities 2. Gay Science 341, “The greatest weight”, considers infinite value 3. The argument of KSA 11:11:38[12] anticipates Poincaré’s theorem 4. “The Soothsayer” envisions the dark side of eternal recurrence 5. “On Redemption” tells of the will’s struggle with the past 6. “The Stillest Hour” struggles to speak of infinite negative value 7. “On The Vision and the Riddle” envisions the cosmology 8. “The Convalescent” has animals proclaiming recurrence 9. “The Other Dancing Song” (...) expresses love of life 10. “Once More” and “The Drunken Song” sing of infinities 11. “The Seven Seals” proposes marriage to Eternity 12. Part IV pits Zarathustra against the soothsayer 13. “The Ass Festival” celebrates worldly value. (shrink)

I compare Rosamond’s relationship with her husband in Middlemarch with Rosamond’s marital relationship in L.A.G. Strong’s short story “The Seal.” I interpret the latter fiction as addressing the unpleasant question: what sort of decent man can suppress Rosamond?

This paper examines why business people in Ghana prefer using images of white people on their billboard outdoor advertisements. To attain the study’s objective, a cross-sectional survey was used. Data was collected from only a section of retail and wholesale businesses within the Ejisu and Juaben districts in the Ashanti Region of Ghana which use images of white people on their billboard outdoor advertisement. The survey findings show that retail and wholesale businesses use images of white people on their outdoor (...) billboard advertisements because they are more attractive than images of black people. Also, the use of images of white people indicates a seal of professionalism, desirability, and quality services. The survey’s discovery reveals the racial perceptions of the white race in comparison with the black race by most African business people. The usage of the images of white people as the symbolic representation of ideal beauty, attractions, quality products and services, and model of authentic marketization has unfolded some of the factors that stymie the utilization of the images of the black people on an outdoor billboard advertisement. This paper contends that there is a necessity for a balanced moral reasoning and constructive racial perception of images of black people and self-identification. (shrink)

Este capítulo presenta una mirada hacia la historia del renacimiento afroperuano en paralelo con la historia del contrapunto de zapateo criollo, una de las prácticas que más destacó el renacimiento. Enfatizando en las nociones de ruptura y acontecimiento del filósofo francés Alain Badiou, se examinan ambos como rupturas que constituyen una nueva historia. En el caso específico del contrapunto esta ruptura está dada por la transición de ser un concurso a ser una práctica escénica. Este documento es el primero en (...) enumerar, hasta donde tengo conocimiento, los cambios fundamentales que esta transición implica: ya no hay un juez, el público cobra un rol fundamental, intervienen más de dos zapateadores, se cierra con una coreografía común. El hecho de que no haya un juez que determine un ganador sella el carácter dialéctico del contrapunto de zapateo escénico. Estas páginas buscan rescatar ese interacción dialéctica de zapateador con zapateador como algo que podemos aplicar a nuestra vida, en la relación que guardamos con los demás. Una relación simultáneamente de admiración, afecto y desafío para crecer. -/- ENGLISH: This chapter presents a parallel of this history of the Afro-Peruvian revival or "renacimiento", as I would rather call it, and the history of the "contrapunto de zapateo", a step dance that unfolds as a "battle" or relationship of challenge. Emphasizing the concepts of Rupture and Event propposed by French philosopher Alain Badiou, I examine both as ruptures that constitute new histories. In the specific case of the Contrapunto, this rupture is given by the transition from being a contest to being a scenic practice. This document, to the best of my knowledge, is the first one to enumerate the fundamental changes that characterize this transition: there is no longer a judge, the audience thus plays a fundamental role, more than two dancers can partake, and the contrapunto closes with a common choreography. The fact that there is no longer a judge that rules for a winner, seals the dialectic nature of the stated contrapunto. Finally, these pages conclude revaluing the dialectic interaction between dancer and dancer as something that we can also apply to life in the relation that we uphold with others; a relationship that simultaneously involves admiration, affect and challenge in order to grow together. -/- CITE: Miranda Medina, Juan Felipe. El renacimiento afroperuano y el renacer del contrapunto [The Afro-Peruvian "renacimiento" and the "renacimiento" of the contrapunto]. In "Cultura Afroperuana. Encuentro de Investigadores 2019", Ministerio de Cultura. pp. 155-170. -/- ISBN: 978-612-4391-32-3. (shrink)

A review of Clive Scott's Translating the Perception of the Text: Literary Translation and Phenomenology (Oxford: Legenda, 2012).

This paper presents The Unity of Science by answering four fundamental concerns about nature: 1) The ultimate property of everything— the intrinsicality of nature is not only logicality, but also logicality’s non-absoluteness; 2) The ultimate impact of everything— the “General Impact of Nature” (GIN) is what can explain mental processes physically; 3) The proto-structure of everything— the “architect of everything” is with two three-point group concepts; 4) One architecture to host everything— the “general model of nature” provided a whole picture (...) of nature by particularly describing what consciousness is. With this unity, we have developed seven points to complete the unification of all knowledge. But all these are structured on reductionism and neutral monism. (shrink)