Infinity

Prose by Eric Baugh. Finalist in the 2018 Manuscripts Prose Contest

Polarization correlations in the two--photon decay of hydrogen--like ions

Polarization properties of the photons emitted in the two-photon decay of hydrogen-like ions are studied within the framework of the density matrix and second-order perturbation theory. In particular, we derive the polarization correlation function that gives the probability of the (two-photon) coincidence measurement performed by polarization-sensitive detectors. Detailed calculations of this function are performed for the $2s_{1/2} \to 1s_{1/2}$ transition in neutral hydrogen as well as Xe$^{53+}$ and U$^{91+}$ ions. The obtained results allow us to understand the influence of relativistic and non-dipole effects on the polarization correlations in the bound-bound two-photon transitions in heavy ions

Hegel and global politics: communitarianism or cosmopolitanism?

This article discusses Hegel’s views on global politics by relating them to the ‘communitarianism versus cosmopolitanism’ debate. I distinguish between three different theoretical positions and three different readings of Hegel, which I associate with the notions of ‘communitarianism,’ ‘strong cosmopolitanism’ and ‘weak cosmopolitanism’ respectively. Contrary to a commonly held view that Hegel is not a cosmopolitan thinker at all, in any sense of the term, I argue that he is best thought of as a weak cosmopolitan thinker rather than a communitarian or a strong cosmopolitan advocate of the idea of a world-state. In passing, the article refers to the relationship which exists between Hegel’s ideas and those of three Twentieth Century theorists who might be associated with these theoretical positions and these different readings of Hegel, namely, Carl Schmitt, Alexandre Kojève and Jurgen Habermas. The article also refers to the methodological problems which are confronted by readers of Hegel’s writings who wish to apply his ideas to the problems of global politics today. Here I refer to a distinction which I have made elsewhere between different kinds of reading, namely the interpretation, appropriation and the reconstruction of texts, which is especially relevant for readers of the works of Hegel

Interpretation and Social Explanation

In this article I focus on those aspects of Keith Dowding’s book that are most concerned with interpretive approaches to the study of politics. I argue that, in ways not adequately captured by Dowding’s descriptions, the historical study of political concepts tells us something about their historical political effects and for this reason has a distinct value for how we think about and study politics. Furthermore, I argue, concepts of and about politics, including the concepts of political science, cannot be fully separated from the political contexts of which they are a part. Concepts which function as generalisable explanations at one point in time can shape the thinking and behaviour of political actors and thus be very particular causes. A philosophy or method of political science unaware of or inattentive to this dimension of politics and political science is incomplete

Getting nowhere fast: a teleological conception of socio-technical acceleration

It has been frequently recognized that the perceived acceleration of life that has been experienced from the Industrial Revolution onward is engendered, at least in part, by an understanding of speed as an end in itself. There is no equilibrium to be reached – no perfect speed – and as such, social processes are increasingly driven not by rational ends, but by an indeterminate demand for acceleration that both defines and restricts the decisional possibilities of actors. In Aristotelian terms, this is a final cause – i.e. a teleology – of speed: it is not a defined end-point, but rather, a purposive aim that predicates the emergence of possibilities. By tracing this notion of telos from its beginnings in ancient Greece, through the ur-empiricism of Francis Bacon, and then to our present epoch, this paper seeks to tentatively examine the way in which such a teleology can be theoretically divorced from the idea of historical progress, arguing that the former is premised upon an untenable ontological privileging of becoming

Individual Rights, Economic Transactions, and Recognition: A Legal Approach to Social Economics

Modernity brought the idea of individual property rights as a com- plex phenomenon. However, economics adopted a simplistic view of property as a fundamental institution, understating the complex interaction of different rights and obligations that frame the legal environment of economic processes with an insufficiently elaborated tool. Here, a more elaborate view of legal elements will be propose

Organ Donation: The Gift, the Weight and the Tyranny of Good Acts

Peer Reviewedhttp://deepblue.lib.umich.edu/bitstream/2027.42/72413/1/j.1600-6143.2006.01731.x.pd

Digital Art as ‘Monetised Graphics:’ Enforcing Intellectual Property on the Blockchain

In a global economic landscape of hyper-commodification and financialisation, efforts to assimilate digital art into the high-stakes commercial art market have so far been rather unsuccessful, presumably because digital art works cannot easily assume the status of precious object worthy of collection. This essay explores the use of blockchain technologies in attempts to create proprietary digital art markets in which uncommodifiable digital art works are financialised as artificially scarce commodities. Using the decentralisation techniques and distributed database protocols underlying current cryptocurrency technologies, such efforts, exemplified here by the platform Monegraph, tend to be presented as concerns with the interest of digital artists and with shifting ontologies of the contemporary work of art. I challenge this characterisation, and argue, in a discussion that combines aesthetic theory, legal and philosophical theories of intellectual property, rhetorical analysis, and research in the political economy of new media, that the formation of proprietary digital art markets by emerging commercial platforms such as Monegraph constitutes a worrisome amplification of long-established, on-going efforts to fence in creative expression as private property. As I argue, the combination of blockchain-based protocols with established ambitions of intellectual property policy yields hybrid conceptual-computational financial technologies (such as self-enforcing smart contracts attached to digital artefacts) that are unlikely to empower artists, but which serve to financialise digital creative practices as a whole, curtailing the critical potential of the digital as an inherently dynamic and potentially uncommodifiable mode of production and artistic expression