`Iconoclastic', Categorical Quantum Gravity

This is a two-part, `2-in-1' paper. In Part I, the introductory talk at `Glafka--2004: Iconoclastic Approaches to Quantum Gravity' international theoretical physics conference is presented in paper form (without references). In Part II, the more technical talk, originally titled ``Abstract Differential Geometric Excursion to Classical and Quantum Gravity'', is presented in paper form (with citations). The two parts are closely entwined, as Part I makes general motivating remarks for Part II.Comment: 34 pages, in paper form 2 talks given at ``Glafka--2004: Iconoclastic Approaches to Quantum Gravity'' international theoretical physics conference, Athens, Greece (summer 2004

A Dodecalogue of Basic Didactics from Applications of Abstract Differential Geometry to Quantum Gravity

We summarize the twelve most important in our view novel concepts that have arisen, based on results that have been obtained, from various applications of Abstract Differential Geometry (ADG) to Quantum Gravity (QG). The present document may be used as a concise, yet informal, discursive and peripatetic conceptual guide-cum-terminological glossary to the voluminous technical research literature on the subject. In a bonus section at the end, we dwell on the significance of introducing new conceptual terminology in future QG research by means of `poetic language'Comment: 16 pages, preliminary versio

Project management between will and representation

This article challenges some deep-rooted assumptions of project management. Inspired by the work of the German philosopher, Arthur Schopenhauer, it calls for looking at projects through two complementary lenses: one that accounts for cognitive and representational aspects and one that accounts for material and volitional aspects. Understanding the many ways in which these aspects transpire and interact in projects sheds new light on project organizations, as imperfect and fragile representations that chase a shifting nexus of intractable human, social, technical, and material processes. This, in turn, can bring about a new grasp of notions such as value,\ud knowledge, complexity, and risk

Play and games:An opinionated introduction

Philosophy has a schizophrenic relationship with games. On the one hand, philosophers love using games as model, arguing that phenomena as diverse as linguistic meaning, meta‐ethics, normative ethics, applied ethics, law, and aesthetics can be illuminated via an analogy with games. On the other hand, there is scant focused discussion of the concept of a game as such. This is problematic; the appeal to games as a model to clarify philosophically puzzling questions has limited utility if games themselves (and the concept of a game) are poorly understood. Moreover, playing games plausibly is an important element in a good life; anyone interested in the theory of welfare, a traditional philosophical topic, should be interested in games. We play games, but if anything, play itself has been more neglected by philosophers than games. This neglect is unwarranted. Historically, philosophy has investigated foundational questions about human nature, and a disposition to play plausibly is a deep part of human nature. Moreover, play is an important concept in evolutionary biology and psychology, yet those working in those fields struggle to define the concept to their own satisfaction. E.O. Wilson went so far as to remark that “no behavioural concept has proved more ill‐defined, elusive, controversial, and even unfashionable than play.” One might have hoped philosophers could help here. In this paper, I provide an opinionated introduction to the philosophy of play and games.Some time ago, an innocent bystander, after glancing through a copy of Mind, asked me, ‘Why do philosophers talk so much about games? Do they play them a lot or something?’ (Midgley, 1974: 321

You had to be there: Anachronism and the limits of laughing at the Middle Ages

Comic medievalism is one of the most widespread but least examined forms of postmedieval response. Its combination of comic modality, modern sensibility and historical vision captures what postmedieval audiences have deemed amusing about medieval society. But some instances have been less successful. ‘You had to be there,’ the phrase marking the failure of a comic attempt, and the relationship of that failure to the loss of immediacy, is realized in comic medievalism through the temporal fragility of laughter, historical mediation and temporal paradox. This essay explores some limitpoints to the comic reception of the Middle Ages, focusing especially on its use of anachronism

Verwirklichung einer vollkommenen Glücksmöglichkeit/A perfect bliss-potential realized: “Wunsch, Indianer zu werden” im Lichte des Dao Kafkas übersetzend gelesen/Transreading “Wish, to Become Indian” in light of Kafka’s Dao

Walking an unexplored path, Huiwen Helen Zhang contextualizes Kafka's pithy and cryptic parable, “Wish, to Become Indian” in his transplantation of Daoist philosophy—an astonishing cross-cultural enigma that Zhang terms “Kafka's Dao”—and parses it through a micro-level approach that Zhang terms “transreading.” Contextualizing “Wish, to Become Indian” in Kafka's dialogue with ancient Chinese philosophers such as Laozi, Liezi, and Zhuangzi enables the reader to comprehend a series of otherwise incomprehensible puzzles. Zhang's scrutiny of Kafka's Dao shows how, through creative writing, Kafka not only penetrates esoteric Daoist classics, but also furthers their spirit in a way that transcends Richard Wilhelm, the pioneer European Sinologist. Transreading “Wish, to Become Indian” illuminates nuances that otherwise might have been overlooked. Wordplay, punctuational oddity, syntactic complexity, lyric density, and the curiously interlaced tenses and cases are all part of the idiosyncratic delivery of Kafka's message. Integrating the four activities of transreading—lento reading demanded and enhanced by cultural hermeneutics, creative writing required and inspired by poetic translation—unravels Kafka's riddle as a historical-cultural phenomenon.publishedVersio