The UK Government's Higher Education (Freedom of Speech) Bill is currently progressing through Parliament. The bill is designed to strengthen free speech and academic freedom in higher education, in response to what former Education Secretary Gavin Williamson describes as ‘the rise of intolerance and cancel culture upon our campuses’. But is there really a crisis of academic freedom in British universities?To see that there is, say Judith Suissa and Alice Sullivan, we need only look at the contemporary reality (...) of suppression of debate on sex and gender. The evidence they catalogue of suppression of research, of blacklisting, harassment and smear campaigns, of no-platforming, disinvitations and shutting down of events, is incontrovertible. The recent experience of scholars and students wishing to discuss the material reality and political salience of sex makes complacency about academic freedom a luxury we cannot afford.Suissa and Sullivan set out a powerful argument for the role of academic freedom in pursuing truth within the academy and developing democracy beyond it. They effectively counter attempts to narrow the scope of academic freedom so as to render it compatible with no-platforming. And they lay out a series of practical steps administrators can take to ensure that universities are places where an expansive and pluralistic intellectual climate prevails.This is a timely and compelling intervention in a vexed but urgent public debate. For their clear-sighted diagnosis of where and how academic freedom has been eroded in our universities, and for their judicious account of what must be done to rebuild it, Suissa and Sullivan deserve a wide and attentive hearing. (shrink)

Traditionally, the field of medicine has been devoted to safeguarding and enhancing human health. According to conventional wisdom, "Medicine is the science and practice of caring for a patient..."[1]. However, ground-breaking research now suggests a novel perspective: medicine can serve as a gateway to unravel the intricacies of a chaotic society and, unexpectedly, emerge as an avenue to address the most fundamental and intriguing issue of all – a Theory of Everything.

In 'On the nature of truth and falsehood' Russell offers both a multiple relation theory of judgment and a correspondence theory of truth. It has been a prevailing understanding of the Tractatus that Wittgenstein rejects Russell’s multiple relation idea but endorses the correspondence theory. Ramsey took the opposite view. In his 'Facts and Propositions', Ramsey endorses Russell’s multiple relation idea, rejects the correspondence theory, and then asserts that these moves are both due to Wittgenstein. This chapter will argue that Ramsey’s (...) ascriptions are both correct. The extent of the agreement between Ramsey and Wittgenstein will be argued, moreover, to count definitively against standard understandings of Ramsey as a redundancy theorist of truth. Wittgenstein is no correspondence theorist and Ramsey is no redundancy theorist; rather, both philosophers offer identity theories of truth. (shrink)

Recent studies have explored the effectiveness of open-label placebos for a variety of conditions, including chronic pain, cancer-related fatigue and irritable bowel syndrome. OLPs are thought to sidestep traditional ethical worries about placebos because they do not involve deception: with an OLP, patients or subjects are told outright that they are not given an active substance. As deception is framed as the primary hurdle to ethical placebo use, the door is ostensibly opened to ethical studies of OLPs. In this article, (...) I suggest that even though OLPs seemingly do not involve deception, there are other ethical considerations in their clinical investigation and subsequent use. Research ethics often focusses on informed consent—of which, deception and honesty are a piece—as a means to justify research practices with human subjects. Yet, it is but one of the ethical considerations that should be taken into account. With research into placebo effects in particular, I argue that the history of clinical placebo use grounds special considerations for OLP research that go beyond respect for the autonomy of individual patients through informed consent and encompass structural concerns about the type of patient for whom a placebo has historically been thought appropriate. (shrink)

This paper argues that the concept of paternalism is currently overextended to include a variety of actions that, while resembling paternalistic actions, are importantly different. I use the example of Japanese physicians’ non-disclosures of cancer diagnoses directly to patients, arguing that the concept of maternalism better captures these actions. To act paternalistically is to substitute one's own judgement for that of another person and decide in place of that person for his/her best interest. By contrast, to act maternalistically is to (...) decide for another person based on a reasonable understanding of that person's own preferences. The concept of maternalism allows for a more thorough assessment of the moral justification of these types of actions. I conclude that it is possible, at least in principle, to justify Japanese physicians’ non-disclosures, and that this justification must be based on an understanding of these actions as maternalistic. (shrink)

In this chapter, I argue that scientific practice in the neurosciences of cognition is not conducive to the discovery of natural kinds of cognitive capacities. The “neurosciences of cognition” include cognitive neuroscience and cognitive neurobiology, two research areas that aim to understand how the brain gives rise to cognition and behavior. Some philosophers of neuroscience have claimed that explanatory progress in these research areas ultimately will result in the discovery of the underlying mechanisms of cognitive capacities. Once such mechanistic understanding (...) is achieved, cognitive capacities purportedly will be relegated into natural kind categories that correspond to real divisions in the causal structure of the world. I provide reasons here, however, in support of the claim that the neurosciences of cognition currently are not on a trajectory for discovering natural kinds. As I explain, this has to do with how mechanistic explanations of cognitive capacities are developed. Mechanistic explanations and the kinds they explain are abstract representational byproducts of the conceptual, experimental and integrative practices of neuroscientists. If these practices are not coordinated towards developing mechanistic explanations that mirror the causal structure of the world, then natural kinds of cognitive capacities will not be discovered. I provide reasons to think that such coordination is currently lacking in the neurosciences of cognition and indicate where changes in these practices appropriate to the natural kinds ideal would be required if achieving this ideal is indeed the goal. However, I suggest that an evaluation of current practices in these research areas is suggestive that discovering natural kinds of cognitive capacities is not the goal. (shrink)

I characterize Nishida Kitarō’s metaethical perspective throughout his work but focus especially on his later papers, most notably his writings on kōiteki chokkan, or active intuition. These include Kōiteki Chokkan no Tachiba (published in 1935), Kōiteki Chokkan (published in 1937), as well as Nothingness and the Religious Worldview (Bashoteki Ronri to Shūkyōteki Sekaikan, published in 1945, and widely available in translation). I explore affinities between Nishida’s approach to ethics and metaethical intuitionism and sensibility theory. I then use this analysis to (...) identify a lesson that Nishida offers to contemporary metaethicists. (shrink)

The quest for a unified “Theory of Everything” that explains the fundamental nature of the universe has long been a holy grail for scientists and philosophers, dating back to the ancient Greeks’ search for Arche. The mainstream of this research primarily focuses on the lifeless phenomena and laws of physics while ignores the realm of biology. However, a fundamentally different approach to the ToE has been put forward, presenting a viable alternative to address the challenge of a Theory of Everything. (...) This approach does not seek the ultimate “building block” but rather aims to uncover the intangible rules that fundamentally govern everything in the universe, seeking their universality across the vast spectrum, from the minute subatomic world to the mega mass cosmic world and the magical biological world. This article explores how the Fundamental Interrelationships Model unifies our understanding of the evolution of the universe, encompassing the evolution of multicellularity, development of multicellular organisms, societal evolution, and the four fundamental forces, all within the context of the fundamental interrelationships. Thus, unlike most existing candidates, the Fundamental Interrelationships Model offers a comprehensive framework, encompassing both non-biological and living phenomena. As a truly all-inclusive theory, ToE shouldn’t only encompass non-biological processes and the laws of physics but extend to all facets of life, including evolution of life, evolution of society (civilization), humour, and justice, because life is an integral part of the dynamic cosmic system - the universe. Therefore, any hypothesis failing to integrate biology and sociology shouldn’t be considered a comprehensive Theory of Everything . (shrink)

In this volume, leading philosophers of psychiatry examine psychiatric classification systems, including the Diagnostic and Statistical Manual of Mental Disorders, asking whether current systems are sufficient for effective diagnosis, treatment, and research. Doing so, they take up the question of whether mental disorders are natural kinds, grounded in something in the outside world. Psychiatric categories based on natural kinds should group phenomena in such a way that they are subject to the same type of causal explanations and respond similarly to (...) the same type of causal interventions. When these categories do not evince such groupings, there is reason to revise existing classifications. The contributors all question current psychiatric classifications systems and the assumptions on which they are based. They differ, however, as to why and to what extent the categories are inadequate and how to address the problem. Topics discussed include taxometric methods for identifying natural kinds, the error and bias inherent in DSM categories, and the complexities involved in classifying such specific mental disorders as "oppositional defiance disorder" and pathological gambling. -/- Contributors George Graham, Nick Haslam, Allan Horwitz, Harold Kincaid, Dominic Murphy, Jeffrey Poland, Nancy Nyquist Potter, Don Ross, Dan Stein, Jacqueline Sullivan, Serife Tekin, Peter Zachar. (shrink)

A summary of issues related to symbolic capital, authorial presences, and intellectual property rights, and the necessity of finding a way out of 500-600 years of capitalist exploitation of the knowledge commons.

Landscape Agency New York was founded by Gavin Keeney, c.1997, and encompassed a wide array of activities and effects – e.g., research, writing, design, consulting, and teaching. /S/OMA (Syntactical Operations Metaphorical Affects) was the mobile, and sometimes global design and teaching module within LANY, focusing primarily on entirely hypothetical and/or irreal projects, many becoming the foundation for lectures and courses delivered at institutions in the US, Canada, Australia, and Europe, from 2003 to 2007. Lastly, the LANY Archive-Grotto was established (...) following publication of On the Nature of Things: Contemporary American Landscape Architecture (Birkhauser, 2001), primarily as a means of escaping the then-formulaic production of texts common to Landscape Architecture and Architecture. (shrink)

The quest for a unified “Theory of Everything” that explains the fundamental nature of the universe has long been a holy grail for scientists and philosophers, dating back to the ancient Greeks’ search for Arche. The mainstream of this research primarily focuses on the lifeless phenomena and laws of physics while ignores the realm of biology. However, a fundamentally different approach to the ToE has been put forward, presenting a viable alternative to address the challenge of a Theory of Everything. (...) This approach does not seek the ultimate “building block” but rather aims to uncover the intangible rules that fundamentally govern everything in the universe, seeking their universality across the vast spectrum, from the minute subatomic world to the mega mass cosmic world and the magical biological world. To address this challenge, a set of fundamental interrelationships is introduced and represented by a model, the Fundamental Interrelationships Model. This model serves as a foundation for representing and unifying a collection of the well-established laws of physics and theories, including the Big Bang theory and evolutionary theory. Thus, unlike most existing candidates, the Fundamental Interrelationships Model offers a comprehensive framework, encompassing both non-biological and living phenomena. As a truly all-inclusive theory, ToE shouldn’t only encompass non-biological processes and the laws of physics but extend to all facets of life, including evolution of life, evolution of society (civilization), humour, and justice, because life is an integral part of the dynamic cosmic system - the universe. Therefore, any hypothesis failing to integrate biology and sociology shouldn’t be considered a comprehensive Theory of Everything . (shrink)

David Benatar argues that coming into existence is always a harm, and that – for all of us unfortunate enough to have come into existence – it would be better had we never come to be. We contend that if one accepts Benatar’s arguments for the asymmetry between the presence and absence of pleasure and pain, and the poor quality of life, one must also accept that suicide is preferable to continued existence, and that his view therefore implies both anti-natalism (...) and pro-mortalism . This conclusion has been argued for before by Elizabeth Harman – she takes it that because Benatar claims that our lives are ‘awful’, it follows that ‘we would be better off to kill ourselves’ (Harman 2009: 784). Though we agree with Harman’s conclusion, we think that her argument is too quick, and that Benatar’s arguments for non-pro-mortalism deserve more serious consideration than she gives them. We make our case using a tripartite structure. We start by examining the prima facie case for the claim that pro-mortalism follows from Benatar’s position, presenting his response to the contrary, and furthering the dialectic by showing that Benatar’s position is not just that coming into existence is a harm, but that existence itself is a harm. We then look to Benatar’s treatment of the Epicurean line, which is important for him as it undermines his anti-death argument for non-pro-mortalism. We demonstrate that he fails to address the concern that the Epicurean line raises, and that he cannot therefore use the harm of death as an argument for non-pro-mortalism. Finally, we turn to Benatar’s pro-life argument for non-pro-mortalism, built upon his notion of interests, and argue that while the interest in continued existence may indeed have moral relevance, it is almost always irrational. Given that neither Benatar’s anti-death nor pro-life arguments for non-pro-mortalism work, we conclude that pro-mortalism follows from his anti-natalism, As such, if it is better never to have been, then it is better no longer to be. -/- . (shrink)

Scientists represent their world, grouping and organizing phenomena into classes by means of concepts. Philosophers of science have historically been interested in the nature of these concepts, the criteria that inform their application and the nature of the kinds that the concepts individuate. They also have sought to understand whether and how different systems of classification are related and more recently, how investigative practices shape conceptual development and change. Our aim in this paper is to provide a critical overview of (...) some of the key developments in this philosophical literature and identify some interesting issues it raises about the prospects of the so-called “special sciences”, including psychiatry, psychology, and the mind-brain sciences more generally, to discover natural kinds. (shrink)

A discussion of what operates from "within" formal agency as irreal surplus to artworks and how otherwise discursive systems become abstracted by the artwork. Text by Gavin Keeney. Images by Parsa Khalili.

In the last decade alone, a growing body of preliminary evidence suggests that classic psychedelics (CPs) can rapidly and durably ameliorate symptoms and cognitive deficits associated with depression. However, the mechanisms by which CPs work in the brain are not well understood. Rodent translational research, in which experimental findings from rodents are translated to humans, is fundamental in achieving this goal. This chapter focuses on a representative subset of human and rodent studies investigating CPs for depression, including the various lines (...) of research that have been initiated to understand how they work. Our aim is to show that in addition to epistemic challenges that scientists face in translating findings from rodents to humans, there is also mismatch between experimental approaches used to investigate CPs in humans and rodents. We thus show current experimental practices are not conducive to mechanistic discovery. We end with a set of positive proposals to expedite the drive to translate CPs into effective treatments for depression. -/- Keywords: classic psychedelics, psychiatry, clinical trials, collaboration, extrapolation, major depressive disorder, open science, philosophy of science, rodent models, scientific practice, translation, validity . (shrink)

An essay on non-discursive forms of knowledge that inhabit art photography. A version of this essay appeared in Gavin Keeney, "Else-where": Essays in Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 209-26.

Essay on the modern artistic ego as sponsored by the exhibition, "Gustav Courbet," February 27-May 18, 2008, Metropolitan Museum of Art, New York, New York, USA. A version of this essay appeared in Gavin Keeney, "Else-where": Essays on Art, Architecture, and Cultural Production 2002-2011 (CSP, 2011), pp. 191-98.

In this chapter, we address the roles that exemplars might play in a comprehensive response to epistemic injustice. Fricker defines epistemic injustices as harms people suffer specifically in their capacity as (potential) knowers. We focus on testimonial epistemic injustice, which occurs when someone’s assertoric speech acts are systematically met with either too little or too much credence by a biased audience. Fricker recommends a virtue­theoretic response: people who do not suffer from biases should try to maintain their disposition towards naive (...) testimonial justice, and those who find themselves already biased should cultivate corrective testimonial justice by systematically adjusting their credence in testimony up or down depending on whether they are hearing from someone whom they may be biased against or in favor of. We doubt that the prominent admiration­emulation model of exemplarism will be much use in this connection, so we propose two ways of learning from negative exemplars to better conduct one’s epistemic affairs. In the admiration­emulation model, both the identification of what a virtue is and the cultivation of virtues identified thusly proceed through the admiration of virtuous exemplars. We show that this model has serious flaws and argue for two alternatives: the envy­agonism model and the ambivalence­avoidance model. (shrink)

Review of “Gaiety is the Most Outstanding Feature of the Soviet Union: New Art from Russia,” Saatchi Gallery, London, England, and “Calder After the War,” Pace Gallery, London, England, April 2013. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 157-60.

Review of “The Mad Square: Modernity in German Art 1910-37”, National Gallery of Victoria, Melbourne, Australia, November 25, 2011-March 4, 2012. A version of this essay appeared in the Appendices of Gavin Keeney, Not-I/Thou: The Other Subject of Art and Architecture (CSP, 2014), pp. 153-57.

Issues of reliability are claiming center-stage in the epistemology of machine learning. This paper unifies different branches in the literature and points to promising research directions, whilst also providing an accessible introduction to key concepts in statistics and machine learning – as far as they are concerned with reliability.

Darwin’s evolution theory revolutionises our understanding of the biological world. In parallel, this book is a critical breakthrough in scientific philosophy. It revolutionises our understanding of nature, particularly on civilisation, through discovering a fundamental mechanism which not only governs lifeless objects but intelligence-driven civilisation as well. This discovery provides an alternative to challenge the most fundamental issue – “the Theory of Everything”. As this mechanism is the most fundamental level, it is the foundation of similarity, including the amazing similarities between (...) a human body and a society. Upon this theoretical basis, following the rules of this mechanism and using a human body as a model, civilisation is systematically investigated. As such, technological development and its consequential social development are understood from the most fundamental level. As a result, the human future have been successfully predicted and many historical puzzles have been unequivocally solved, such as: why could the ancient Greeks create a brilliant civilisation; why were there so many great thinkers; why did Scientific Revolution and the model of university education originate from Europe rather than from other places; why did the Chinese civilisation remain stagnant when the West was rapidly rising after Scientific Revolution. Finally, one of the long-lasting enigmatic question, “what is beauty”, is unequivocally answered once and for all. It is the expression of one of the fundamental laws of physics but it is not symmetry. (shrink)

Recent work by Kahan et al. (2017) on the psychology of motivated numeracy in the context of intracultural disagreement suggests that people are less likely to employ their capabilities when the evidence runs contrary to their political ideology. This research has so far been carried out primarily in the USA regarding the liberal–conservative divide over gun control regulation. In this paper, we present the results of a modified replication that included an active reasoning intervention with Western European participants regarding both (...) the hierarchy–egalitarianism and individualism–collectivism divides over immigration policy (n = 746; considerably less than the preregistration sample size). We reproduce the motivated numeracy effect, though we do not find evidence of increased polarization of high-numeracy participants. (shrink)

What do humility, intellectual humility, and open-mindedness mean in the context of inter-group conflict? We spend most of our time with ingroup members, such as family, friends, and colleagues. Yet our biggest disagreements —— about practical, moral, and epistemic matters —— are likely to be with those who do not belong to our ingroup. An attitude of humility towards the former might be difficult to integrate with a corresponding attitude of humility towards the latter, leading to smug tribalism that masquerades (...) as genuine virtue. These potentially conflicting priorities have recently come to the fore because “tribal epistemology” has so thoroughly infected political and social discourse. Most research on these dispositions focuses on individual traits and dyadic peer-disagreement, with little attention to group membership or inter-group conflict. In this chapter, we dilate the social scale to address this pressing philosophical and social problem. (shrink)

Under what conditions does machine learning (ML) model opacity inhibit the possibility of explaining and understanding phenomena? In this article, I argue that nonepistemic values give shape to the ML opacity problem even if we keep researcher interests fixed. Treating ML models as an instance of doing model-based science to explain and understand phenomena reveals that there is (i) an external opacity problem, where the presence of inductive risk imposes higher standards on externally validating models, and (ii) an internal opacity (...) problem, where greater inductive risk demands a higher level of transparency regarding the inferences the model makes. (shrink)

Movies have a striking aesthetic power: they can draw us in and induce a peculiar mode of involvement in their images – they absorb us. While absorbed in a movie, we lose track both of the passage of time and of the fact that we are sitting in a dark room with other people watching the play of light upon a screen. What is the source of the power of movies? Noël Carroll, who cites Maurice Merleau-Ponty as an influence on (...) his account of the power of movies, agrees with Merleau-Ponty that our perceptual experience of movies draws on many of the capacities at work in our perceptual experience of everyday situations. Yet Merleau-Ponty’s account of perception shows that Carroll’s emphasis on intellectual inference and the entertaining of unasserted thoughts is a distortion of the phenomenology of cinematic absorption. According to Merleau-Ponty, such intellectual operations come into play in cases of breakdown but should not be read back into the primary absorbed experience as being implicitly operative all along. After presenting and criticizing Carroll’s view, I interpret and expand upon Merleau-Ponty’s position, showing that his version of the analogy between cinematic perception and everyday perception is more convincing than Carroll’s. (shrink)

This study aimed to understand the preserved elements of self-identity in persons with moderate to severe dementia attributable to Alzheimer’s disease. A semi-structured interview was developed to explore the narrative self among residents with dementia in a residential care facility and residents without dementia in an independent living setting. The interviews were transcribed verbatim from audio recordings and analyzed for common themes, while being sensitive to possible differences between the groups. The participants with dementia showed evidence of self-reference even though (...) losses in explicit memory were evident. The most noticeable difference between the two groups was time frame reference. Nonetheless, all participants showed understanding of their role in relationships and exhibited concrete preferences. Our findings suggest that memory loss and other cognitive deficits associated with moderate to severe dementia do not necessarily lead to a loss of “self.”. (shrink)

Diaristic, mixed notes on: John Ruskin's The Poetry of Architecture (1837) and Modern Painters (1885); Caravaggio, Victorian Aesthetes, G.K. Chesterton, and Tacita Dean; Jay Fellows' Ruskin’s Maze: Mastery and Madness in His Art (1981); Slavoj Žižek at Jack Tilton Gallery, New York, New York, USA, April 23, 2009, “Architectural Parallax: Spandrels and Other Phenomena of Class Struggle”; “Titian, Tintoretto, Veronese: Rivals in Renaissance Venice”, Museum of Fine Arts, Boston, Massachusetts, USA, March 15-August 16, 2009; Janet Harbord, Chris Marker: La Jetée (...) (2009); The Politics of the Envelope, Princeton Envelope Group (PEG), ARC504, Princeton School of Architecture, Princeton, New Jersey, USA, Friday, May 8, 2009; Rhode Island School of Design, Degree Project Reviews, Division of Architecture & Design, Providence, Rhode Island, USA, May 16, 2009; etc. (shrink)

Brief essay on Giorgio Agamben's concept of "bare life" from Homo Sacer: Sovereign Power and Bare Life (1998), with reference to The Time that Remains: A Commentary on the Letter to the Romans (2005).

Final Circular for the multimedia exhibition, "'Shadow-lands': The Suffering Image" (April 18-May 18, 2012), in association with the PhD project, "Visual Agency in Art & Architecture," Deakin University, 2011-2014.

Chris Marker’s portrait of Alexandre Medvedkine in the 1993 film Le tombeau d’Alexandre/The Last Bolshevik is highly instructive of his own relationship to Soviet cinema. Most especially, this difficult or troubled rapport with the antecedents to cinéma vérité in the West (and its protean formal properties, in terms of structure and often satirical-critical commentary) comes forth in the figures he assembles to comment upon Medvedkine’s life work. When Medvedkine’s Scast’e (Le Bonheur/Happiness) (1934) leaked to the West (c.1967), sent like an (...) “SOS” in multiple bottles to various film archives (one by one from deep within the Soviet film world), Marker and SLON received a copy by way of Jacques Ledoux (curator of the Cinémathèque Royale de Belgique, in Belgium). The film opened the floodgates of a retrospective survey of Soviet filmmaking repressed and forgotten other than by remote and distant figures (partisans) who somehow survived the Stalinist purges of the 1930s. (shrink)

This two-part, semi-gothic literary essay seeks a provisional definition of “benevolent capital” and a working description of types of artistic and scholarly work that have no value for Capital as such. The paradox observed is that such works may actually appeal to a certain aspect of Capital, insofar as present-day capitalism has within it forms of pre-modern political economy that may actually save Capital from its mad rush toward self-immolation.

The past decade has witnessed a growing awareness of conceptual and methodological hurdles within psychology and neuroscience that must be addressed for taxonomic and explanatory progress in understanding psychological functions to be possible. In this paper, I evaluate several recent knowledge-building initiatives aimed at overcoming these obstacles. I argue that while each initiative offers important insights about how to facilitate taxonomic and explanatory progress in psychology and neuroscience, only a “coordinated pluralism” that incorporates positive aspects of each initiative will have (...) the potential for success. (shrink)

A draft White Paper associated with Fulbright Specialist Program lectures at the University of Ljubljana, Ljubljana, Slovenia, in March-April 2015, concerning neo-liberal capitalist exploitation of academic research and publications.

This essay addresses arguments regarding the “place” or “non-place” in which ideas originate and whether they are wholly transcendental, wholly contingent, or a combination of transcendental and contingent. Far from a resuscitation or recitation of Medieval scholastic disputations, the essay seeks to situate these untimely concerns in the context of spent discursive and ideological systems that support capitalist exploitation of the knowledge commons, exploitation only made possible because of a decisive and historically determined reduction of knowledge to fully contingent status (...) as spectral commodity. (shrink)

Photo-essay/travelogue from 2004 regarding the gentrification of San Francisco.

This two-part, semi-gothic literary essay seeks a provisional definition of “benevolent capital” and a working description of types of artistic and scholarly work that have no value for Capital as such. The paradox observed is that such works may actually appeal to a certain aspect of Capital, insofar as present-day capitalism has within it forms of pre-modern political economy that may actually save Capital from its mad rush toward self-immolation.

The 11 experimental, pseudo-avantgarde visual poems (wordless, other than title and date) are an indirect homage to the late-great filmmaker and photographer, Chris Marker (1921-2012), foremost to his penchant for utilizing disintegrating imagery in his film-essays and multimedia installations. All images were captured using a Research in Motion, BlackBerry 8520 cellphone, and subsequently 100-percent de-saturated, and 100-percent contrast-adjusted, using Microsoft Office Picture Manager. The images, as a result, resemble the primitive production values given to the pinhole camera, and the “dogmatic” (...) (uniform) adjustments (as above), applied to the original BB images, reference the early strictures applied to filmmaking by Lars von Trier. The above-mentioned, black-and-white adjustments notwithstanding, all images are used “as captured,” without cropping. The series begins and ends in Botwnnog, Northwest Wales, in May and August of 2013, respectively, with interregnums and brief idylls in Rijeka, Croatia, Trieste and Ancona, Italy, and Igoumenitsa, Ioannina, and Athens, Greece. Tracking the peregrinations of the author of the poems across Europe, and intimately associated with the then-nascent research and exhibition project, “Not-I/Thou: The Other Subject of Art & Architecture,”* the poems are also a compressed form of scholarship, albeit operating in the shadow-lands of knowledge per se, and evoking the non-discursive side of literary-artistic production, a penumbral zone within cultural production that nonetheless references the discursive arts (essay and/or full-blown treatise), but favors the paradox and/or tautology – privileging, then, the much-desired destruction of dialectics. (shrink)

Co-authored research paper written with José Vela Castillo on the subject of Pablo Román's wall of 1,000 images, Vienna, 2013. -/- “Vienna” or “The Wall” is an ongoing project by architect/artist Pablo Román that, upon its completion, will consist of the round number of 1,000 images taped onto an off-white wall. One of the many walls he has designed/produced in the past months (architectural or otherwise), its elementary condition is at the same time enhanced and diminished by its very presence (...) as wall-cum-images, or as images-out-of-a-wall, eroding its foundational condition to a flickering-tele-techno-pixelated spectral apparatus. Its radically modern and outdated presence reconfigures contemporary reflections on what architecture and what the modern is, indirectly referencing “Fundamentals,” the 2014 Venice Architecture Biennale curated by Rem Koolhaas. (shrink)

Not-I/Thou: The Other Subject of Art & Architecture is to be a highly focused exhibition/folio of works by perhaps 12 artists (preferably little-known or obscure), with precise commentaries denoting the discord between the autonomous object (the artwork or architectural object per se) and the larger field of reference (worlds); inference (associative magic), and insurrection (against power and privilege) – or, the Immemorial. Engaging the age-old “theological apparatuses” of the artwork, the folio is intended to upend the current fascination with personality, (...) celebrity, and fashion to reach the timeless horizon of the subject of Art and Architecture as the subject other than the subject of Art and Architecture proper. Word as image, and image as word, is the central paradox given to this discord – an elective, yet universal condition that also makes certain art and architectural works heedlessly existential-metaphysical (and, therefore, “theological”). This paper, as part of the essay “White Paper: Gray Areas and Black Zones,” is a preliminary investigation of the conceptual architecture for the overall, ongoing exhibition/book project. (shrink)

The development of personal technologies has recently shifted from devices that seek to capture user attention to those that aim to improve user well-being. Digital wellness technologies use the same attractive qualities of other persuasive apps to motivate users towards behaviors that are personally and socially valuable, such as exercise, wealth-management, and meaningful communication. While these aims are certainly an improvement over the market-driven motivations of earlier technologies, they retain their predecessors’ focus on influencing user behavior as a primary metric (...) of success. Digital wellness technologies are still persuasive technologies, and they do not evade concerns over whether their influence on users is ethically justified. In this paper, we describe several ethical frameworks with which to assess the justification of digital wellness technologies’ influence on users. We propose that while some technologies help users to complete tasks and satisfy immediate preferences, other technologies encourage users to reflect on the values underlying their habits and teach them to evaluate their lives’ competing demands. While the former approach to digital wellness technology is not unethical, we propose that the latter approach is more likely to lead to skillful user engagement with technology. (shrink)

Photo-essay on six cities: New York, Melbourne, Hong Kong, London, Paris, and Ljubljana.

This paper offers a critique of an account of explanatory integration that claims that explanations of cognitive capacities by functional analyses and mechanistic explanations can be seamlessly integrated. It is shown that achieving such explanatory integration requires that the terms designating cognitive capacities in the two forms of explanation are stable but that experimental practice in the mind-brain sciences currently is not directed at achieving such stability. A positive proposal for changing experimental practice so as to promote such stability is (...) put forward and its implications for explanatory integration are briefly considered. (shrink)

Written over the course of two months in early 2008, Art as "Night" is a series of essays in part inspired by a January 2007 visit to the Velázquez exhibition at the National Gallery of Art, London, with subsequent forays into related themes and art-historical judgments for and against theories of meta-painting. Art as "Night" proposes a type of a-historical dark knowledge crossing painting since Velázquez, but reaching back to the Renaissance, especially Titian and Caravaggio. As a form of formalism, (...) this "night" is also closely allied with forms of intellection that come to reside in art as pure visual agency or material knowledge while invoking moral agency, a function of art more or less bracketed in modern art for ethical and/or political agency. Not a theory of meta-painting, Art as "Night" restores coordinates arguably lost in painting since the separation of natural and moral philosophy in the Baroque era. It is with Velázquez that we see a turning point, an emphasis on the specific resources of painting as a form of speculative intellect, while it is with contemporary works by Gerhard Richter and Anselm Kiefer that we see the return of the same after the collapse of modernism, and after subsequent postmodern maneuvers to make art discursive yet without the austerities of the formal means present in Art as Art. Art as "Night" argues for a nondiscursive form of intellection fully embodied in the work of art – and, foremost, painting. A synoptic and intentionally elusive and allusive survey of painting, through the collapse of the art market in late 2007, Art as "Night" suggests by way of this critique of an elective "night" crossing painting that the art world is an endlessly deferred version of pleroma , a fully synthetic world given to an exploration and appropriation of the given through classical mimesis and epistemology and its complete incorporation and transfiguration in a theory of knowledge and art as pure speculative agency. In effect, Art as "Night" is an incarnational theory of art as absolute knowledge. (shrink)

Essays from the political website CounterPunch. - Requiem: Dies Non, Not Dies Irae (September 18, 2001) - Mouth Wide Shut (April 8, 2002) - So Long Frank O. Gehry? (April 28, 2002) - Bête Noire (May 22, 2002) - “All politics is local?”: The Unbearable Lightness of NGOs (May 24, 2002) - Bush and Mies van der Rohe: Architecture and Ideology (June 1, 2002) - The Adventures of Mademoiselle M.: Or Getting Screwed in Paris (June 8-9, 2002) - Loose Lips: (...) Liberty, Democracy and Bush (July 6, 2002) - Go Tell Karl Rove!: The Anti-Republican Party (July 13, 2002) - Be Still My Beating Heart (July 15, 2002) - Grave New Urbanism: The World Trade Center Burlesque (July 20, 2002) - Roamin’ in the Gloamin’: Van Morrison: In September (July 25, 2002) - Sublime Žižek: Guarding Lenin’s Tomb (July 27, 2002) - Vox Populi: Everyone’s a Critic (August 3, 2002) - Auteur-Driven Vehicles: The New New Laocoon (August 19, 2002) - Beaux Rêves, Citoyens!!! (September 5, 2002) - Immortality: The Quest for Fire (August 31, 2002) Parting Shots: A Refracted History (Summary) Of The Twentieth Century (November 2, 2002) - New Books Christmas 2002: Livres Deluxe (December 23, 2002) - The Drunken Flower (July 26, 2003) - The Infernal Machine: “Architectures” in Service to Nothing (August 23, 2003). (shrink)

This study firstly addresses three threads in Chris Marker’s work – theology, Marxism, and Surrealism – through a mapping of the work of both Giorgio Agamben and Jacques Derrida onto the varied production of his film and photographic work. Notably, it is late Agamben and late Derrida that is utilized, as both began to exit so-called post-structuralism proper with the theological turn in the late 1980s and early 1990s. It addresses these threads through the means to ends employed and as (...) ends proper (as production of semi-autonomous works that also, paradoxically, index a much larger field of inquiry and theoretical praxis). It is perhaps French “schizophrenia” regarding theological versus political agency that best accounts for the sardonic deployment of irony and humor in Marker’s work in the face of Big History. Such means to ends (plus a subtle anti-intellectualism vis-à-vis fashionable academic trends) tend to underscore the severity and ultimate sincerity of Marker’s overall cultural-political project. -/- Dossier Chris Marker is also a study of a late-modern chiasmus, impersonal-personal agency, as it comes to expression in the works of Marker, as the dynamic interplay of political and subjective agency. As chiasmus, the complementary halves of this often-apocalyptic dynamis (a semi-catastrophic, temporal or historical force-field) also – arguably – secretly agree to meet, through the work of art, in the futural (problematized in contemporary French post-phenomenological and post-post-structuralist theory as “the event).” Consistent with the classical figure of concordia discors, Marker resolves these irreducible warring aspects of life experience in an atemporal and ahistorical moment that inhabits the work of art from its inception. This redemptive aspect in art is also the ultimate gesture of the artwork as autonomous subject and “mask” (or “screen”) for forces that reside beyond the frame of the image or work, as its proverbial Other, or within the frame, as other to that Other. -/- Despite the complications of the as-yet unresolved post-modern condition (its nihilist-relativist bias), and its similar, mostly circular concerns with the image and/or media, Marker’s work is clearly not post-modern. In fact, when tested against immemorial cultural epiphenomena, that work withstands all attempts at categorization and/or art-historical analysis proper. It remains unassimilable to the post-modern cause ... What emerges, upon closer examination, and through rigorous re-contextualization, is the prescient force of Marker’s works toward that futural state buried in art that is also “theological,” versus atheological, and heedlessly anterior to cultural politics per se. -/- In the case of Marker, this age-old or immemorial “thing-in-itself” (the artwork as image of world-chiasmus) finds its foremost or penultimate formation in his very-still photography – the singular images that are also the building blocks for his renowned ciné-essays. Not without irony, this same austere, reductive force of the still image (as form of proscription) also inhabits the more complex, synthetic works (or montages) that he has formulated and presented “dramatically,” here and there, through the often-sketchy apparatuses of his new-media experiments, as of the late 1980s. Ultimately, this world-image as chiasmus was always present within his earliest literary projects, from the 1940s forward – most especially in books and essays, with or without actual images. -/- Marker’s “return” to photography (to exhibiting still photography in galleries), in the late 2000s, is in many ways a return to the singular object of the artist-critic’s desire; the image in/for itself, while that image – endlessly troubled or interrogated for decades – continues to speak “in tongues” anyway, often against, or oblivious to, the voice of the author/artist/narrator. -/- Marker is a High Romantic Christian Marxist. The “Christic” aspect is rightly well-hidden, but emerges when the eschatological versus historical center of his work is exposed (the existential-metaphysical fuse such as also inhabits the works of Caravaggio), and when his early years are examined in light of his later and/or final years. Marker’s semi-personal/semi-impersonal apocalyptic vision is writ large in diverse works that cross decades, figuring a redemptive, world-shattering formation of art as pleroma. (shrink)

Essays and documents in support of the works of Gaialight - DOCUMENTS: The Passion of Jeanne d’Art (2007) - Letter to Gaia (2007) - “Art as Such”: This is Not Pop ... (2008) - Writing Toward Darkness (2009) - Scarlett Words: Light America (2009) - The Darklight Elaboration (2010) - The Darklight Elaboration: Zeitgeist or Episteme? (2010) - Cam Girls (2011) - Brooklyn Buzz (2011) - Brooklyn Buzz: The Semi-divine Metropolis (2011) - Reconnaissance: Light War, Mass Surveillance, Video Games (2011) (...) - First Cause (2011) - Met Ladies (2011) - When Cam Girls Met Ladies (2011) / OUTTAKES (2007): 15 Questions About Editioned Art Photography (2007) - A Few Awkward Questions for Francesca Woodman (2007) - October Revolution (2007) . (shrink)

Sublime Žižek: Guarding Lenin’s Tomb (July 2002) - Žižek & Badiou: The Neo-Marxist Magicians (November 2003) - The Ruins of Thought: Five Scenarios Toward a Short Film (November 2005) - Slavoj Žižek at Jack Tilton Gallery, New York, New York, April 2009 (April 2009) - Questions for Žižek (April 2009).