(I read this text last Thursday night at a reading for "Open Sessions 3" at the Drawing Center, New York, on the invitation of Jina Valentine.)
In this article I propose what I call the inverse spaceship paradox.
According to what I call the Negative View, Nietzsche thinks science should be reconceived (or superseded) by another discourse -- such as art -- because it is nihilistic.
I give primary attention in this paper to what I call “personal space.”
I defend what I call the “continuity thesis” according to which at least part of the rationale for doing corrective justice is to mitigate one's wrongs, including one's torts.
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Supervision in America has been shaped by two main discourses: boy-ology, comprising descriptive and prescriptive writing on boyhood across a variety of genres, and what I call the “feral tale,” a narrative form derived from mythology and folklore that dramatizes, but also manages, the “wildness” of boys.
While there has been a limited amount of work on problems concerning what I call "sub-environments," there appears to be no earlier work on problems of what I call the "whole environment."
As a result, I have become thoroughly familiar with what I call the “good jobbing” of American youth today, and (in fact) am one of the main practitioners of this dubious coaching technique.
A common proposal is what I call the neutralization view: that people's social circumstances should not differentially affect their life chances in any serious way.
The central claim is that ideological conformity with the party’s ideological reputation -- what I call party fit -- influences the decision to run for office.
I conclude by suggesting, in the light of this explication, that Badiou's reading of Beckett needs to be inflected according to what I call a “tragic ethics.”
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Rather than reading Avatar as a wishful return to a state of nature, this article takes the computer-generated world of Pandora as a self-reflective anthropological, psychological, and ontological mirror of a network society, haunted by the specter of what I call “hyper-mimetic” simulations.
In short, Global Solidarity should be based on what I call the "righteousness of life.”
There are (what I call) “triggering causes,” the events or conditions that come before the effect and are followed regularly by the effect, and (what I call) “structuring causes,” events that cause a “triggering cause” to produce its effect.
Such a realist position is what I call phenomenological realism.
I conclude by arguing that even the reproduction of natal background is a reflexive activity today, and that the mode most favorable to producing it -- what I call "communicative reflexivity" -- is becoming harder to sustain.
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Since beginning this project, I have experienced a bit of what I call the Ford Tempo effect.
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Current neuroscience shows that a nervous system is what I call a vector function system.
I state the generality problem, and suggest a distinction between criteria of relevance and what I call a “theory of determination.”
The analysis distinguishes between traditional public goods such as national defense, and what I call transfer public goods, where members of society care about the consumption of a particular group in society (such as the poor).
Particular attention is given to describing (and interpreting) what I call “the transcendent.”
At stake is what I call "feminist aging.”
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What I call materialistic interpretation, Partridge calls physicalism.
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This subset of the global surfing community should be understood as a new religious movement -- a globalizing, hybridized, and increasingly influential example of what I call “aquatic nature” religion.
I critically address this lacuna and offer a defense of a particular form of humility, what I call democratic humility.
Treating the latter like a problem for decision theory is what I call the Robinson Crusoe fallacy.
It’s what I call “fusion confusion.”
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I pursue these issues in terms of an ambiguity in the notion of "grounding" in Being and Time and in the works of what I call Heidegger's "metaphysical decade" (1927-1937).
This sort of fetishistic thinking leads us nowhere and often results in what I call “variations without a theme.”
They are what I call “poly-lithic.”
Thus, we should take this opportunity to imagine the widest possible range of alternatives to our current marriage regime -- what I call countermarriage regimes.
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In this book, I have described what I call the horizontal society.
I advocate, in the strongest terms, what I call a double reading of novels.
A particular kind of verse, what I call the “philosophical tour of the universe poem,” was exceedingly popular in England during the first half of the eighteenth century.
It is the “chosen discursive register” that largely accounts for the working of what I call the Brontë effect on a given adaptation of Jane Eyre as Bluebeard Gothic.
The quoted writer, and possibly his cat, enjoy what I call “freedom of action”: Acts are free when agents simply do what they want to do.
I develop two main arguments, what I call the "inheritance argument" and the "counterfactual argument" -- both of which have been thought to fail.
I work toward a better understanding of the extent to which some Canadian poets were widely recognized around the years 1955 to 1980, which span what I call “the era of celebrity” in Canadian poetry.
It is those realms, so terrifying and tantalizing, that create what I call the clandestine.
I end by beginning to formulate what I call an ethics of failure: that is, an ethics that emerges out of, or along with, an experience of failure, be it of the body, of (conventional and alternative) medicine, or of language.
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Finally, I end with a caveat: this advice should not be misunderstood and degenerate into an exhortation of what I call "linguistic laziness."
While it is widely thought to mark a decisive break with what I call "the alphabetic conception of speech," I argue that it instead marks the entrenchment of this conception of speech.
Embracing the implausible conclusion, is what I call "the Wishful Thinking Puzzle.”
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The result of this process...is what I call personhood.
(for Ben Kafka)