The Fundamental Interrelationships Model – An Alternative Approach to the Theory of Everything, Part 4 Subtitle: The Nature of Beauty and Fundamental Interrelationships -/- Abstract: This article is Chapter 21, titled The Nature of Beauty and the Fundamental Interrelationships, from the book Behind Civilization. It posits that the nature of beauty is rooted in one of the fundamental interrelationships: order. Beauty is perceived as a response in the human brain to this fundamental interrelationship. This article provides evidence that the order (...) theory uniquely explains all forms of beauty and reaffirms the IRM's ability to offer a comprehensive framework for the Theory of Everything. (shrink)

Author's response to: Raphael Sassower, 'Heidegger and the Sociologists: A Forced Marriage?,' Social Epistemology Review and Reply Collective 7, no. 5 (2018): 30-32. -- Part of a book-review symposium on: Jeff Kochan (2017), Science as Social Existence: Heidegger and the Sociology of Scientific Knowledge (Cambridge UK: Open Book Publishers).

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.

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.

Final instalment of a book-review symposium on: Jeff Kochan (2017), Science as Social Existence: Heidegger and the Sociology of Scientific Knowledge (Cambridge UK: Open Book Publishers). -- Author's response to: Paolo Palladino (2018), 'Heidegger Today: On Jeff Kochan’s Science and Social Existence,' Social Epistemology Review and Reply Collective 7(8): 41-46; and Adam Riggio (2018), 'The Very Being of a Conceptual Scheme: Disciplinary and Conceptual Critiques,' Social Epistemology Review and Reply Collective 7(11): 53-59.

This chapter is devoted to criticisms of the views of propositions defended by my co-authors, Jeff King and Scott Soames. The focus is on criticism of their attempts to explain the representational properties of propositions. The criticisms are varied, but one theme is a tension between their view that our actions can explain the representational properties of propositions and their commitment to the idea that propositions have their representational properties essentially.

Historians have claimed that the two closely related concepts of animism and natural teleology were both decisively rejected in the Scientific Revolution. They tout Robert Boyle as an early modern warden against pre-modern animism. Discussing Avicenna, Aquinas, and Buridan, as well as Renaissance psychology, I instead suggest that teleology went through a slow and uneven process of rationalization. As Neoplatonic theology gained influence over Aristotelian natural philosophy, the meaning of animism likewise grew obscure. Boyle, as some historians have shown, exemplifies (...) this uneven process. There is an unresolved tension between his religious convictions and the implicit animism of his empirical practice. (shrink)

REVIEW (1): "Jeff Kochan’s book offers both an original reading of Martin Heidegger’s early writings on science and a powerful defense of the sociology of scientific knowledge (SSK) research program. Science as Social Existence weaves together a compelling argument for the thesis that SSK and Heidegger’s existential phenomenology should be thought of as mutually supporting research programs." (Julian Kiverstein, in Isis) ---- REVIEW (2): "I cannot in the space of this review do justice to the richness and range of (...) Kochan's discussion [...]. There is a great deal in this foundational portion of Kochan's discussion that I find tremendously interesting and engaging [...]." (David R. Cerbone, in Studies in History and Philosophy of Science) ---- REVIEW (3): "Science as Social Existence will be of interest not only to Heidegger scholars but to anyone engaged in science and technology studies. [...] This is an informative and original book. Kochan should be praised for his clear, pleasant-to-read prose." (Michael Butler, in CHOICE). (shrink)

This paper briefly highlights a small part of the work being done by Indigenous groups in Canada to integrate science into their ways of knowing and living with nature. Special attention is given to a recent attempt by Mi'kmaw educators in Unama'ki (Cape Breton, Nova Scotia) to overcome suspicion of science among their youth by establishing an 'Integrative Science' (Toqwa'tu'kl Kjijitaqnn, or 'bringing our knowledges together') degree programme at Cape Breton University. The goal was to combine Indigenous and scientific knowledges (...) in a way that protects and empowers Mi'kmaw rights and lifeways. (shrink)

I discuss and defend two arguments against semantic theories which wish to avoid commitment to propositions. The first holds that on the most plausible semantics of a class of natural language sentences, the truth of sentences in that class requires the existence of propositions; and some sentences in that class are true. The second holds that, on the best understanding of the form of a semantic theory, the truth of a semantic theory itself entails the existence of propositions. Much of (...) the discussion engages Davidsonian alternatives to a propositionalist semantic theory. (shrink)

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)

An argument for the abolition of Intellectual Property Rights (IPR) and a step into the wild blue yonder – i.e., beyond Open Access (OA) and Creative Commons (CC) protocols. The “Introduction,” prior to “Paralogisms for Artist-scholars” utilizes an almost Pater-esque aesthetic deployment of time-senses and verb tenses that also resembles the doubled subjective states of Derridean exposition, but actually opens on to theologically inflected re-considerations of the generative nature of gramma.

Tim Ingold draws a sharp line between animism and hylomorphism, that is, between his relational ontology and a rival genealogical ontology. He argues that genealogical hylomorphism collapses under a fallacy of circularity, while his relationism does not. Yet Ingold fails to distinguish between vicious or fallacious circles, on the one hand, and virtuous or hermeneutic circles, on the other. I demonstrate that hylomorphism and Ingold’s relational animism are both virtuously circular. Hence, there is no difference between them on this count. (...) A path thus opens for what I call hylomorphic animism. While Ingold’s relational animism leads into obscurity, hylomorphic animism is able to explain the differences in power between material things. (shrink)

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)

This paper defends “moral individualism” against various arguments that have been intended to show that membership in the human species or participation in our distinctively human form of life is a sufficient basis for a moral status higher than that of any animal. Among the arguments criticized are the “nature-of-the-kind argument,” which claims that it is the nature of all human beings to have certain higher psychological capacities, even if, contingently, some human beings lack them, and various versions of the (...) idea that there is a special form of life that all human beings share but of which no animal can be a full participant. The paper concludes that none of these arguments succeeds in demonstrating that there are moral reasons to permit animals to be treated less well than members of our own species whose psychological capacities and potential are no higher than those of the animals. (shrink)

Presented at Philosophy Across Disciplines Conference 2021, Newcastle University. -/- As noted by philosopher Robert Pasnau, “our standard view of sound is incoherent” at best. A quick perusal of how we discuss and represent sound in our day-to-day language readily highlights a number of inconsistencies. Sound might be described roughly as emanating from the location of its material source (the ‘crack of the snare drum over there’ distal theory), as a disruption somewhere in the space in-between the sounding object and (...) the listener (the ‘longitudinal compression waves in the air’ medial theory), located with the hearer (the ‘inner sensations’ proximal theory), or perhaps as devoid of spatial characteristics at all (aspatial theory). Beyond these topographic ruminations on the location of sounds, even deeper disagreements arise around just what sorts of things sounds are. A broad array of theories treat sounds as events, as object-like particulars that travel through space, as properties of their sounding objects, etc.—with many subtle ontological variations springing up along the way. The philosophical plot further thickens as we expand from defining the ontology and spatial position of simple primary sounds through to the phenomenon of echoes, with certain theories arguably faring better than others. We’ll focus here on Casey O’Callaghan’s formulation of sounds as disturbance events which bind primary sounds and their echoes together as one. In short, the claim that echoes are identical to their associated primary sound and are not distinct sounds in their own right. Described as the ‘Primary Sound Account of Echoes’ (‘PSAE’) in Gregory Fowler’s “Against the Primary Sound Account of Echoes,” the intricacies of this particular aspect of O’Callaghan’s theory of a primary sound’s connection to its echo bears greatly upon the workability of distal theories of sound in general. What I seek to achieve in this presentation is to illustrate how O’Callaghan’s PSAE fails when subjected to increased scrutiny across a broader range of echo scenarios, which in turn presents a significant issue for proponents of distal theories of sound. (shrink)

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

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)

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)

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.

Not-I/Thou: The Other Subject of Art and Architecture is a series of essays delineating the gray areas and black zones in present-day cultural production. Part One is an implicit critique of neo-liberal capitalism and its assault on the humanities through the pseudo-scientific and pseudo-empirical biases of academic and professional disciplines, while Part Two returns to apparent lost causes in the historical development of modernity and post-modernity, particularly the recourse to artistic production as both a form of mnemonics and periodic (and (...) renascent) avant-garde agitation. In-between these twin systems of taking the measure of things, Art and Architecture, as forms of speculative intellectual capital, emerge from the shadow-lands of half-conscious and half-unconscious forces to become gestures toward a type of knowledge that has no utilitarian or generic agency. Defying the tendencies of such discourses to fall prey to instrumental orders that effectively neuter the inherent radical agenda of both, Art and Architecture are represented in this series of essays as noetic apparatuses, operating at the edge of authorized systems of knowledge, quietly and secretly validating and valorizing the shadowy and recondite, collective and personal operations of intellect in service to no particular end. (shrink)

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.

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.

Consider the proposition that: A: "while it is impermissible, epistemically or morally, to believe the propositions of theism as they lack sufficient evidence, it is permissible, epistemically or morally, to hope that those propositions are true and thereby to act as if they are true." I examine a problem facing anyone who endorses (A), and advocates erecting the superstructure of theistic commitment on a base of theistic hope. Concisely put, those who endorse (A) will very likely violate the evidentialist standards (...) which drove them toward (A) in the first place. This problem is in many respects a simple one, but even so, an intractable problem rendering conformity to (A) problematic. (shrink)

La recherche empirique et philosophique récente remet en question l’idée selon laquelle raison et émotion sont nécessairement en conflit l’une avec l’autre. Pourtant, les philosophes des sciences ont été lents à réagir à cette recherche. Je soutiens qu’ils continuent à exclure l’émotion de leurs modèles du raisonnement scientifique, parce qu’ils considèrent qu’elle appartient typiquement au contexte de découverte plutôt qu’au contexte de justification. Je suggère toutefois, en prenant pour exemple le fiabilisme, que des travaux récents en épistémologie remettent en cause (...) l’autorité généralement accordée à la distinction entre ces contextes. On peut considérer que l’émotion joue un rôle fiable dans la formation des croyances scientifiques, ce qui pour le fiabiliste signifie également leur justification. (shrink)

Hermeneutic studies of science locate a circle at the heart of scientific practice: scientists only gain knowledge of what they, in some sense, already know. This may seem to threaten the rational validity of science, but one can argue that this circle is a virtuous rather than a vicious one. A virtuous circle is one in which research conclusions are already present in the premises, but only in an indeterminate and underdeveloped way. In order to defend the validity of science, (...) the hermeneuticist must describe a method by which a vague and confused initial knowledge of nature gets transformed into a clear and determinate knowledge of nature. I consider three such methods. The first is regressus demonstrativa, favoured by the physicians of Padua during the fifteenth and sixteenth centuries. The second is mathēsis, introduced by Martin Heidegger in his discussion of seventeenth-century science. The third is Denkstil, a key concept in Ludwik Fleck’s history of syphilology. I conclude by listing three desiderata for a hermeneutic science studies: that it be anti-metaphysical, historical, and sociological. --- Reprinted in: Erich Otto Graf, Martin Schmid & Johannes Fehr (eds.), Fleck and the Hermeneutics of Science (Collegium Helveticum Heft 14) (Zürich, 2016), pp. 85-93. (shrink)

I reply to criticisms from King and Soames and critically examine two aspects of current orthodoxy about propositions: that they are representational and that they are structured. I argue that (especially once one gives up on intrinsically representational propositions) there is no good reason to think that propositions have representational properties, and distinguish a few different senses in which propositions might be structured, expressing some skepticism about the more ambitious ones.

Social studies of science have often treated natural field sites as extensions of the laboratory. But this overlooks the unique specificities of field sites. While lab sites are usually private spaces with carefully controlled borders, field sites are more typically public spaces with fluid boundaries and diverse inhabitants. Field scientists must therefore often adapt their work to the demands and interests of local agents. I propose to address the difference between lab and field in sociological terms, as a difference in (...) style. A field style treats epistemic alterity as a resource rather than an obstacle for objective knowledge production. A sociological stylistics of the field should thus explain how objective science can co-exist with radical conceptual difference. I discuss examples from the Canadian North, focussing on collaborations between state wildlife biologists and managers, on the one hand, and local Aboriginal Elders and hunters, on the other. I argue that a sociological stylistics of the field can help us to better understand how radically diverse agents may collaborate across cultures in the successful production of reliable natural knowledge. (shrink)

In our paper, we argue for three necessary conditions for morally permissible animal research: (1) an assertion (or expectation) of sufficient net benefit, (2) a worthwhile-life condition, and (3) a no-unnecessary-harm/qualified-basic-needs condition. We argue that these conditions are necessary, without taking a position on whether they are jointly sufficient. In their excellent commentary on our paper, Matthias Eggel, Carolyn Neuhaus, and Herwig Grimm (hereafter, the authors) argue for a friendly amendment to one of our three conditions. In particular, they argue (...) for replacing the first condition—expectation of sufficient net benefit (ESNB)—with an expectation of knowledge production (EKP). In this reply, we will explain why we are open to this proposed amendment, but not yet convinced. (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.

Bruno Latour claims to have shown that a Kantian model of knowledge, which he describes as seeking to unite a disembodied transcendental subject with an inaccessible thing-in-itself, is dramatically falsified by empirical studies of science in action. Instead, Latour puts central emphasis on scientific practice, and replaces this Kantian model with a model of “circulating reference.” Unfortunately, Latour's alternative schematic leaves out the scientific subject. I repair this oversight through a simple mechanical procedure. By putting a slight spin on Latour's (...) diagrammatic representation of his theory, I discover a new space for a post-Kantian scientific subject, a subject brilliantly described by Ludwik Fleck. The neglected subjectivities and ceaseless practices of science are thus re-united. (shrink)

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)

Author's response to: Pablo Schyfter, 'Inaccurate Ambitions and Missing Methodologies: Thoughts on Jeff Kochan and the Sociology of Scientific Knowledge,' Social Epistemology Review and Reply Collective 7, no. 8 (2018): 8-14. -- Part of a book-review symposium on: Jeff Kochan (2017), Science as Social Existence: Heidegger and the Sociology of Scientific Knowledge (Cambridge UK: Open Book Publishers).

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.

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 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.

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)

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

This paper argues that many philosophical theories of meaning idealize our actual language communities and thereby contribute to perpetuating group-based oppression. I focus on externalist theories of language that posit a division of linguistic labor (DoLL), and I argue that the DoLLs they imagine are free of oppression and untouched by its effects. This distorts both basic theoretical assumptions and our ideas about which meanings are to be found in some language community. By thus obscuring oppression and its effects, we (...) prevent ourselves from adequately addressing oppression's effects on the meanings we use to understand and communicate about the world. (shrink)

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)

This paper explores the central question of why soldiers in democratic societies might decide to fight in wars that they may have reason to believe are objectively or questionably unjust. First, I provide a framework for understanding the dilemma caused by an unjust war and a soldier's competing moral obligations; namely, the obligations to self and state. Next, I address a few traditional key thoughts concerning soldiers and jus ad bellum. This is followed by an exploration of the unique and (...) contradicting moral problems that confront modern soldiers and their officers. I argue that although traditional positions such as invincible ignorance provide a rather dangerous ‘head-in-the-sand’ mentality, soldiers serving a democratic government are nonetheless very limited in their legal and moral ability to interpret what is a justifiable war. However, a very few select senior officers are in positions to make such legal and moral decisions concerning jus ad bellum. (shrink)

I introduce the implantation argument, a new argument for the existence of God. Spatiotemporal extensions believed to exist outside of the mind, composing an external physical reality, cannot be composed of either atomlessness, or of Democritean atoms, and therefore the inner experience of an external reality containing spatiotemporal extensions believed to exist outside of the mind does not represent the external reality, the mind is a mere cinematic-like mindscreen, implanted into the mind by a creator-God. It will be shown that (...) only a creator-God can be the implanting creator of the mindscreen simulation, and other simulation theories, such as Bostrom’s famous account, that do not involve a creator-God as the mindscreen simulation creator, involve a reification fallacy. (shrink)

Many of the following literary-critical texts (not all quite conventional “long-form” essays) originally appeared on the Landscape Agency New York website, LANY Archive-Grotto, on the web portal Geocities, between the years 1997 and 2008 – i.e., over a period of roughly ten years. Versions of some were published in various journals, academic or otherwise. In re-presenting them here, the intention is to trace a proverbial “red thread” that crosses the entirety of the work, arguably what might be denoted the works-based (...) agency of works, and, arguably, the telltale trace of what is otherwise known as the “life-work,” yet for works versus for authors. -/- The entire, retrospective apparatus of The Editioning of Gardens is also, decidedly, an homage to New York, New York, either where or from where much of the research was undertaken and “lived.” Manhattan, indeed, haunts these pages, directly and indirectly – that is to say, the unparalleled access to libraries, bookstores, universities, galleries, cafés, pubs, restaurants, cinemas, parks, and the streets is quite simply the source for the often-intense, yet suitably critical exegetical works. -/- This book is meant to both recapitulate themes crossing the “life-work” of the works collected, but to also illustrate the transitional gestalt of the 1990s and 2000s, something we collectively have not yet quite exited, and something that still haunts and gives pause to architects and landscape architects today. In naming this collection “The Editioning of Gardens,” the intention is to draw attention to the fact that it is landscape that underwrites almost all architectural interventions, whether acknowledged or denied, and that it is “landscape” – in the widest sense of the word – that we inherently and collectively inhabit. -/- NOTA BENE: -/- While many of the essays and texts presented here have been previously published as “working papers” or “reviews” on the LANY Archive-Grotto website, or in journals and P2P dossiers (i.e., in open-access collections posted to research repositories, here denoted Things Czech and Dossier LANY), their presentation in book form makes them more readily accessible and effectively new works as totality. Most have also been re-edited and re-formatted for inclusion in The Editioning of Gardens. -/- All texts are also dated so as to situate them in the timeframe in which they appeared (or were written), as snapshots or surveys of passing times. While re-edited and re-formatted for presentation here, they have not been re-written as such due to their implied “historic” and “time-based” nature. As collection, however, they function as an (un)timely reminder of critical exegesis as rite of passage – underscoring the significance of the title of the collection. This latter trait is what, ironically, makes the collection contemporary and post-contemporary – timely and untimely at once. (shrink)

Press Release for Works for Works, Book 1: Useless Beauty (Punctum Books, 2022).

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. -/- So far, the mainstream of research on A Theory of Everything 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 the challenge, a set of the fundamental interrelationships is introduced and represented by a model, the Fundamental Interrelationships Model. This model cohesively represents these fundamental interrelationships, including serial-parallel relationships, transition of state, critical point, continuation-discontinuation, convergence-divergence, contraction-expansion, singularity-plurality, commonality-difference, similarity, symmetry-asymmetry, periodicity, dynamics-stability, order-disorder, limitation-without limitation, hierarchical structure, and cohesive interconnectedness. These interrelationships, found in nature, can be interpreted as the fundamental laws of physics. -/- Built on the foundation of the Fundamental Interrelationships Model, a collection of the well-established laws of physics and theories are represented and unified, including Newton’s three laws of motion, the four laws of thermodynamics, Einstein’s space-time relationship, Heisenberg’s uncertainty principle, Noether’s theorem, Schrodinger’s wave function collapse, chaos theory and complexity theory. The list continues to grow… Based on this model, a groundbreaking research has, for the first time, put forward a new hypothesis that unifies the Big Bang theory with the evolutionary theory, published in a book in 2022. This research unequivocally demonstrates that the evolution of life also follows the fundamental laws of physics, marking a significant stride toward addressing the longstanding challenge of a comprehensive Theory of Everything. -/- Subsequent studies reveal that the evolution of life (including the evolution of multicellularity), embryonic development, evolution of society (civilisation), and the evolution of the universe all adhere to these fundamental interrelationships. These events are specific expressions of the underlying principles of the Fundamental Interrelationships Model. -/- Ultimately, as a truly all-encompassing theory, the Theory of Everything should not only incorporate non-biological events and the laws of physics but also extend to all facets of life. Thus, unlike most existing candidates, the Fundamental Interrelationships Model offers a comprehensive framework, encompassing both non-biological and living phenomena. Therefore, any hypothesis failing to integrate biology and sociology shouldn’t be considered a comprehensive Theory of Everything -/- This article and the subsequent ones are the abstracts derived from the book, Behind Civilisation/civilization (multiple editions), which represents the culmination of decades of research. The book offers a more comprehensive exploration of how fundamental interrelationships govern all aspect of the universe. -/- . (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)