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Tag: philosophy (page 11 of 27)

Jacques Derrida on Husserl: Speech and Phenomena

This passage comes from one of Derrida’s earlier works, a short treatise dismissing Husserl’s phenomenology as hopeless due to the nature of language. Ultimately I don’t think it has much to do with Husserl; Derrida is just looking for a place on which to hang his theory of différance, deferrals of meaning, and traces. This is not to say that language doesn’t pose a problem for Husserl, but Derrida’s argument is far more tenuous than it needs to be if you are actually interested in how Husserl’s phenomenology relates to language.

The ideal form of a written signifier, for example, is not in the world, and the distinction between the grapheme and the empirical body of the corresponding graphic sign separates an inside from an outside, phenomenological consciousness from the world. And this is true for every visual or spatial signifier. And yet every non-phonic signifier involves a spatial reference in its very “phenomenon,” in the phenomenological (nonworldly) sphere of experience in which it is given. The sense of being “outside,” “in the world,” is an essential component of its phenomenon. Apparently there is nothing like this in the phenomenon of speech. In phenomenological interiority, hearing oneself and seeing oneself are two radically different orders of self-relation. Even before a description of this difference is sketched out, we can understand why the hypothesis of the “monologue” could have sanctioned the distinction between indication and expression only by presupposing an essential tie between expression and phone. Between the phonic element (in the phenomenological sense and not that of a real sound) and expression, taken as the logical character of a signifier that is animatedin view of the ideal presence of a Bedeutung (itself related to an object), there must be a necessary bond. Husserl is unable to bracket what in glossamatics is called the “substance of expression” without menacing his whole enterprise. The appeal to this substance thus plays a major philosophical role.

Speech and Phenomena VI, “The Voice that Keeps Silence”

Derrida is talking about two aspects of language that Husserl identifies: expression (Ausdruck) and indication (Anzeichen). Expression denotes the aspect of meaning that we give to a linguistic sign. Indication denotes the way in which it empirically points to something else, as well as any contextual and conventional role it may have. When I speak to others, words serve as an indication of my meaning. Husserl believes that within the realm of thought and phenomenology, indication does not have a role to play, and so phenomenology only needs to deal with expression. For me, the meaning is prior to the words, and so I don’t need to worry about what my words indicate. This approach renders language “transparent,” and indeed, Husserl doesn’t talk much about language.

Derrida starts by discussing how, since the mind uses signs that have an indicative role, indication and expression cannot be separated. This is not a new point (Wittgenstein, amongst others, had spent much time here). But he then says, in passages such as the above, that in fact, expression is dependent on indication and in fact expression is nothing more than indication. (The arguments here are fairly arcane and I will not go into them because I’m prepared to grant this point for the sake of my greater argument.) We now have a problem, because indication is incomplete: a sign points to something else, rather than containing any sort of meaning in itself. In other words, all mental relations must also be ones of indication and not of any other type. And since indication can only point to something else rather than contain innate meaning, that meaning is endlessly deferred. Cue Derrida’s larger project and the attack on what Derrida terms “presence,” which seems to be whatever may lie underneath the endless map of signs pointing to one another. And of course Husserl’s project is invalid because the sort of phenomenological bracketing of meaning that Husserl wants is impossible.

But Derrida has cheated. He’s gone from an atomic relation of sign to sign and assumed that because a single signification is bereft of meaning, the entire system must be. This is a negative claim–that no meaning is possible–and he’s achieved it by narrowing the gap on both sides. First, he’s abandoned consideration of the holistic view in which a system of significations could have a meaning which is not contained in isolation in any single signification. (This is basically Quine’s argument in “Two Dogmas of Empiricism“: “The unit of empirical significance is the whole of science.”) Second, he’s insisted that a particular type of meaning, Husserl’s, is the only one possible, so any problem with Husserl’s admittedly naive theory extends to language in general.

So Derrida silently assumes logical atomism and a naive theory of reference, then posits that position as one side of a dichotomy and his endless deferral of meaning as the other, with no middle ground. That tons of philosophers had already discussed exactly that middle ground seems to be of little concern to him. He has used Husserl as a straw man, he has ignored stronger arguments against his position, and he has employed false dichotomies so as to prove himself correct by contradiction. Anything other than pure indication is suddenly “presence” and is automatically invalid. This is pretty lame, especially when it later becomes a trapdoor to transcendence in which you can only get past the endless deferral through “radical” means of some form or another.

There are other problems in his thinking here, but these particular flaws stand out because they seem so representative of Derrida’s entire project and its tactics. He is not the first and will not be the last to commit these fallacies, but as houses of sand go, his is particularly egregious.

(For a more thorough examination of these issues, see Kevin Mulligan’s “How Not to Read.”)

Postscript: I read Martin Hagglund’s chapter on Derrida and Husserl in Radical Atheism, which is indeed a reasonably-written book. He says: “The decisive question for Derrida, however, is whether the structure of re-presentation is a condition for consciousness as such.” Hagglund ignores, however, the question of whether, even if it is a condition, it has the implications for meaning that Derrida claims it does. All this stuff about fundamental presence and ideality remains a strawman.

Update: In addition to NN’s helpful comment below examining a section of “Signature Event Context,” I just found that Jon Cogburn made a similar point in passing last year in the context of a much larger discussion of Derrida, Levinas, and Critchley:

[Derrida’s arguments] seem to constitutively involve the fallacy of false dichotomy at every stage of his career, starting with the ur-false dichotomy between some kind of radical holism and an Augustinian philosophy of language/mind, a false dichotomy no reader of Wittgenstein would make.

That about sums it up. Cogburn also cites the Kevin Mulligan article above while discussing Derrida’s responses to the sort of critique I give here:

A number of years Man and World (now Continental Philosophy Review) published an article where the author criticized Derrida’s interpretation of Husserl (note that every serious Husserl scholar I know agrees that Derrida is a terrible reader of Husserl, e.g. http://www.unige.ch/lettres/philo/enseignants/km/doc/HowNotRead1.pdf ). They invited a response from Derrida, but he just wrote a short note saying he disapproved of the spirit in which the author wrote the critique of Derrida. And this is a maneuver Derrida did again and again. Attacking the motives and personality of people much less powerful than him who had the audacity to suggest that he might be mistaken. And this is what bothers me the most.

Michael Rosen on Derrida

From Leiter’s blog, Michael Rosen (who wrote the excellent On Voluntary Servitude, a book I would write about if it weren’t so dense that it’d require a huge amount of time to treat it) talks about academic strategies:

Ephraim Kishon has a story called “Jewish Poker”. Jewish poker is played without cards so all you can do is bluff – and you have to bluff high. I think that this is the secret of Derridean post-modernism as currently practised in U.S. humanities departments: in the end, it’s all competitive hyperbole – who can be more radical?

Someone starts off with a huge unsupported generalization. For example, they write a book saying that the whole of Western thought is under the hegemony (good word) of (say) “logocentrism”, that its genealogy has to be exposed and deconstructed to reveal the Other that it “covers over and disavows”.

That’s a high bid, but you can top that. Why not write a review saying that this is to give “the Other” a “hegemonic status”, that this too needs to be deconstructed and given a genealogy? Say that the re-valuation of values hasn’t been radical enough, that “the Nietzschean trans-valuation is far from being complete: in its second stage, at the threshold of which we find ourselves today, it will necessitate a de-hierarchization of the already inverted values, so that alterity, too, would lose its newly acquired transcendental status, just as sameness and identity did in twentieth-century thought.”

Of course, tone and style matter. Although you’ve left banalities like “sameness and identity” (and hence, presumably, essence, cause and logical inference) far behind, don’t hesitate to use terms like “necessitate” for the ideas you are advocating, or (although you don’t believe in such fetishes as truth in interpretation) to describe others’ interpretations as “deeply flawed”. To think that once you’ve toppled the idols of objectivity you can’t write as if they were still standing is a sign of hopeless logocentrism.

It’s good too to write as if your native language isn’t English, or that, at least, your English has been saturated by what you’ve absorbed in your many years on the *rive gauche*. A nice Derridean-Althusserian touch here (see Judith Butler, *passim*) is the spurious use of the term “precisely” when you make an especially vague assertion (“The promise of deconstruction lies, precisely, in its ability to inspire this post-metaphysical thrust ‘beyond the same and the other.’”) Introducing your sentences with pompous phrases like “Let us note that …” may not add anything of substance to them but it does convey the impression that you are addressing your audience from a position of authority (a podium at the École Normale?). Above all, the secret is to convince people that you are further up the mountain than everyone else and looking down on them. Writing in this condescending way won’t make you popular, no doubt, but what the hell – oderint dum metuant!

Where will it all end? Presumably, this too can be out-bid – perhaps someone else will come along and offer a genealogy of deconstruction or a deconstruction of genealogy. There doesn’t seem to be any limit to how many iterations the transvaluation of valuations can go through. Yet there must – surely – come a point where the whole thing vanishes up its own …

But what to do until that happy day? Certainly, it is heart-breaking for those of us who would like Continental philosophy to be taken more seriously, but how do you argue with people for whom “reason” and “argument” (like “sameness” and “identity”) are simply terms in a “hegemonic discourse” they have left behind? And, if they can shrug off the Sokal hoax and take Alain Badiou seriously, they are obviously past being laughed back into sanity by a sense of the absurd. So I think that all the rest of us can do is to keep out of their way and leave them to patronize one another to their hearts’ content.

Michael Rosen

Rosen and Leiter edited the Oxford Handbook of Continental Philosophy, and seem to be part of a vague movement afoot among Anglo philosophers to write about Continental theorists in comparatively clear and methodical ways. I have a fair bit of sympathy with this movement. One of the ongoing debates, though, is which of the theorists are irredeemable. Here’s how the categories seem to be shaking out, from my perspective. (I could be wrong about any of these; this is just a general impression and not reflective of the views of any single person.)

Solid: Herder, Hegel, Marx, Peirce, Dilthey, Nietzsche, Husserl, Adorno, Merleau-Ponty, Sartre, Habermas

Sketchy: Heidegger, Gadamer, Foucault, Kuhn, Deleuze

Fraudulent: Derrida, Levinas, Althusser, Badiou, Zizek

Given this arrangement, I’m surprised there hasn’t been more attention paid to Vico, Cassirer, Ricoeur, and Apel, but perhaps in time, just as Herder seems just now to be having a renaissance.

I’ll have my own say on Derrida and phenomenology shortly….

Charles Sanders Peirce: Summary of Human Knowledge

Unrealized.

Winter–Spring 1892

Plan for a scientific dictionary, to be called Summa Scientiæ; or,Summary of Human Knowledge. To be contained in one volume of 1500 pages of 1000 words per page. The articles, though elementary, to be masterly summaries valuable even to specialists. C. S. Peirce to be editor and to write about a third of the whole. The other writers to be young men, specialists who have not yet achieved great reputations, but found out and selected by the editor as having exceptional mental power and special competence. These men to conform to certain rules as to matter, arrangement, and style;and required to rewrite until they became trained in the kind of composition required.

Economy of space to be effected by every device that ingenuity and many years’ reflection upon this problem can suggest. Facts to be tabulated as far as possible. The style of writing to be extremely compact, yet scrupulously elegant. The ideas dominant in each branch of science to be emphatically indicated, and its leading principles distinctly stated.Every page, even the tables, to be interesting in matter, stimulating and agreeable in manner. The leading works to be always named.

The arrangement to be alphabetical. The length of the articles such as best subserves economy of space. This generally forbids very short articles; yet articles of more than one page should be rare.

The copy to be completed in two years. As every word would have to be weighed and every statement verified, it would cost $10 to $15 a thousand words. The editor to receive, besides, $3000 a year. The contents to be somewhat as follows:

                          A. Mathematics.
 1.  History of mathematics                                  25   pages
 2.  Pure mathematics. A complete synopsis,                 100      "
     mostly without proofs.
 3.  Tables                                                  25      "
 4.  Rigid dynamics                                          25      "
 5.  Hydrodynamics                                           15      "
 6.  Thermodynamics                                          10      "
 7.  Kinetical theory of bodies                               5      "
 8.  Thermotics, etc.                                         5      "
 9.  Optics                                                   5      "
10.  Electricity and magnetism                               10      "
11.  Mathematical psychics                                    5      "
12.  Mathematical economics                                   5      "
13.  Probabilities                                           10      "
14.  Miscellaneous                                            5      " 

       Total mathematics                                    250   pages. 

                           B. Philosophy.
 1.  History of logic                                         5   pages
 2.  Principles of logic                                     25      "
 3.  Traditional rules of logic                              15      "
 4.  Terminology of logic                                     5      "
 5.  Outlines of the principal ontological and               50      "
     cosmological and transcendental systems
       Total philosophy                                     100   pages. 

                                     ...

                            F. Sociology.
 1.  Tables of languages                                 50   pages
 2.  Miscellaneous linguistics                           20      "
 3.  Rhetoric                                            10      "
 4.  History of literature                                5      "
 5.  Weights, measures, chronology                        5      "
 6.  Anthropological tables                              40      "
 7.  Games and sports                                    10      "
 8.  War                                                 10      "
 9.  History of religion in tables                       40      "
10.  Politics                                            25      "
11.  Ethics                                               5      "
12.  Jurisprudence and criminology                       10      "
13.  History of law                                       5      "
14.  Our law and customs                                 50      "
15.  Domestic economy                                    25   pages
16.  Education                                           25     "
17.  Miscellaneous                                       15     " 

                           G. Individual facts.
 1.  Astronomy and its history                           20   pages
 2.  Geology                                             10     "
 3.  Geography                                           80     "
 4.  Statistics                                          10     "
 5.  General history                                     80     "
 6.  Biography                                           90     "
 7.  Miscellaneous                                       10     " 

      Total individual facts                            300   pages.
      Grand total                                      1500   pages.

This distribution of the contents is subject to changes of detail; but its general character will remain.

The aim is to make the volume the most useful one ever published to persons of modern liberal education.

C. S. Peirce

Nietzsche on the Passions

In detail,  the  following must  be distinguished:

1.  the  dominating  passion,  which  even  brings  with  it  the supremest  form  of  health;  here  the  co-ordination  of  the  inner systems  and  their  operation  in  the  service  of  one  end  is  best achieved-but this  is  almost  the  definition  of health!

2.  the  antagonism  of  the  passions;  two,  three,  a  multiplicity of  “souls  in  one  breast”: very  unhealthy,  inner  ruin,  disintegration,  betraying and  increasing and  inner conflict  and  anarchism -unless one  passion  at  last  becomes master.  Return  to  health-

3.  juxtaposition  without  antagonism  or  collaboration:  often periodic,  and  then,  as  soon  as  an  order  has  been  established,  also healthy.  The  most  interesting  men,  the  chameleons,  belong  here; they  are  not  in  contradiction with  themselves,  they  are  happy  and secure,  but  they  do  not  develop—their  differing  states  lie  juxtaposed,  even  if  they  are  separated  sevenfold.  They  change,  they do  not  become.

Will To Power 778

#1 is Nietzsche’s old saw about how to be maximally awesome, and so not terribly interesting. #2 is a variation on his critique of modern mentality, phrased especially well (with a Goethe quote). But #3 is something I haven’t seen elsewhere, sort of a mercurial Rameau’s Nephew type without the psychology or self-awareness. They aren’t really chameleons though, are they? Just naturally prodigal or adaptable? (It depends on when and where the states show themselves.)

Who Cares If You Read?

I posted that excerpt from the inflammatory (for sufficiently small values of inflammatory) intro to Steven Moore’s book only as a gag, since people like Steve Donoghue have said much more about it than I wish to. (However! In a rebuke to Moore, his elevation of the Velvet Underground as too-avant-for-Ashbery has just been answered by Moe Tucker’s endorsement of the Tea Party).

But then I happened to reread Milton Babbitt’s The Composer as Specialist. (At publication, it was retitled by the editor to the far more inflammatory and interesting “Who Cares If You Listen?” Supposedly he wasn’t in on it and complains that he is “far more likely to be known as the author of ‘Who Cares if You Listen?’ than as the composer of music to which you may or may not care to listen.”)

The war between elitists and populists among the creative classes has gone on for so many centuries that I really don’t think there’s any new argument to be made in the area. Since I’m fairly likely never to command a large audience, I could throw my lot in with the elitists and share in that warm fuzzy smugness that comes with belonging to the aesthetic elite of civilization (and offer it to my readers!)…but no, it’s too silly. But because music offers a purer and less semantically-laden form of art, the elitist arguments there are more raw and less able to fall back on fallacies like “making you a better person.” And Babbitt is upfront and sincere, to his credit.

Babbitt is/was one of those hyper-serialist composers who took Schoenberg’s system to a far greater extreme than Schoenberg, Berg, or Webern ever did. Iannis Xenakis, no traditionalist himself, complained that such music became incomprehensible:

The enormous complexity prevents the audience from following the intertwining of the lines and has as its macroscopic effect an irrational and fortuitous dispersion of sounds over the whole extent of the sonic spectrum.

And Babbitt said that for most audiences, that indeed was true. Here’s a string quartet:

Well, I like the textures, but it doesn’t quite hold together for me, which tends to be my experience with his music. But music often belies composers’ intentions, so let’s look at the words. There are two criteria by which Babbitt wants to elevate the new, hyper-serialized music.

Criteria 1. Complexity

This music employs a tonal vocabulary which is more “efficient” than that of the music of the past, or its derivatives. This is not necessarily a virtue in itself, but it does make possible a greatly increased number or pitch simultaneities, successions, and relationships. his increase in efficiency necessarily reduces the “redundancy” of the language, and as a result the intelligible communication of the work demands increased accuracy from the transmitter (the performer) and activity from the receiver (the listener). Incidentally, it is this circumstance, among many others, that has created the need for purely electronic media of “performance.” More importantly for us, it makes ever heavier demands upon the training of the listener’s perceptual capacities.

So here, in place of the qualities of allusiveness, elusiveness, nonlinearity, and prolixity of difficult fiction, we have a single analogous criterion: density of information. Babbitt gives a couple other criteria, but they really aren’t so different from this one: those characteristics defining the work are as great in number as possible across the shortest possible time period. (A lossless compression of the music should compress as little as possible!) Stockhausen made a similar complaint when he listened to techno music, always bemoaning the fact that there was any sort of regularity or repetition in the music.

For all the bragging about the density of the information age, I think things are going in the opposite direction. People consume so much that there’s been an incentive to make things consumable as fast as possible. If you look at any of the would-be highbrow serials on television (with the exception of The Wire), they proceed far more slowly plotwise than your average 70s episode of The Rockford Files, which stuck a whole plot arc into a single hour. Ostensibly this is to give a richer background, but the more obvious reason is that there is that much more content to digest in general, and so no point in a greater density of information.

Xenakis’s point was simply that information would be absorbed at a more macroscopic level, which is one way of getting around the problem. Arguably Ferneyhough embraced this as well, though you can make the argument in the other direction to attack Babbitt: how many works with an information density on the order of Webern can a composer make that are going to be masterpieces? Webern only managed a few hours of music total. Babbitt has written far more, and if they’re going to be ranked, information density will not be the criterion for how they’re graded.

Is the density a prerequisite then? In the article, Babbitt simply seems to think that any piece below a certain level of information density just isn’t going to be interesting, and for him, no doubt that is true. But this reduces density to a qualifying factor. Is anything below the threshold just going to be dismissed?

Well no; Stockhausen found some interesting bits in the techno pieces too. But it places the elites in a position where they must discount their own antecedents. This is the problem of so many literary snobs today: they either have to trash Dickens, Cervantes, and Chaucer as being as unworthy of attention as the mass-marketed pablum of today (or else appeal to a dubious “people used to appreciate books more!”), or they have to say that these authors had qualities that were never appreciated by the mass of readers even then. Moore’s polemic hits the wall when he is forced into defending complexity, difficulty, and wordplay for its own sake, as though such qualities had intrinsic merit independent of the content of a work. But appealing to such objective qualities is the safest way to delineate one’s opinions from those of the hoi polloi.

Of course, in music, the complexity really is the content (there are no messy semantics here, for the most part), so Babbitt goes the first route and pretty much proclaims new music to be of a wholly different quality and merit than all previous musics; maybe not universally better, but unmistakably different. And so Beethoven is definitely not dense enough. But at this point, well, he has established a new genre of technical music and no longer has any claim to identify with “music” as it has been known throughout the history of the world, whether gamelan, raga, Gesualdo, or Telemann. And if he does not want to claim the inherited mantle of “music,” then should anyone deny him the right to proclaim worthiness in whatever undefined field of art he occupies?

The thing is, I suspect most composers and writers do want to claim the mantle of their supposed predecessors. They would rather be the next Dostoevsky than the next Robert Grenier.

Criteria 2. Expertise

Why should the layman be other than bored and puzzled by what he is unable to understand, music or anything else? It is only the translation of this boredom and puzzlement into resentment and denunciation that seems to me indefensible. After all, the public does have its own music, its ubiquitous music: music to eat by, to read by, to dance by, and to be impressed by. Why refuse to recognize the possibility that contemporary music has reached a stage long since attained by other forms of activity? The time has passed when the normally well-educated man without special preparation could understand the most advanced work in, for example, mathematics, philosophy, and physics. Advanced music, to the extent that it reflects the knowledge and originality of the informed composer, scarcely can be expected to appear more intelligible than these arts and sciences to the person whose musical education usually has been even less extensive than his background in other fields.

Ah, the old art-as-science argument. The Social Text people trotted this one out during the Sokal Hoax in the 90s, saying that of course literary theory wasn’t comprehensible to non-experts, just as quantum physics wasn’t. Babbitt trained as a mathematician and so perhaps has better purchase on these arguments than the critical theorists, but even he hedges slightly:

I do not wish to appear to obscure the obvious differences between musical composition and scholarly research, although it can be contended that these differences are no more fundamental than the differences among the various fields of study. I do question whether these differences, by their nature, justify the denial to music’s development of assistance granted these other fields. Immediate “practical” applicability (which may be said to have its musical analogue in “immediate extensibility of a compositional technique”) is certainly not a necessary condition for the support of scientific research.

But nonetheless, if the funding is there, go for it! (And certainly coming from a science background, Babbitt saw how much grant money there was being thrown at math and science at that time.)

And so, I dare suggest that the composer would do himself and his music an immediate and eventual service by total, resolute, and voluntary withdrawal from this public world to one of private performance and electronic media, with its very real possibility of complete elimination of the public and social aspects of musical composition. By so doing, the separation between the domains would be defined beyond any possibility of confusion of categories, and the composer would be free to pursue a private life of professional achievement, as opposed to a public life of unprofessional compromise and exhibitionism.

There were a couple superficial reasons why the critical theorists couldn’t use the expertise argument to outflank their detractors. First, there was a shortage of autonomous results: a book of theory, even Of Grammatology, simply does not have the aesthetic standing that a piece of music or even poetrydoes. Patrons of the arts will support philosophy in a pinch (less so these days!), but they do prefer their arts to be lively, even if they are incomprehensible.

Second, there was no theoretical method to which they could appeal, the main direction of critical theory being to dismantle method. Babbitt (and his forebears) have no such issues. They produce music that can be and occasionally is performed, and Babbitt was only one of many who produced extensive theoretical background depicting the exact mechanisms by which works were composed. Even Xenakis produced a book about stochastic music. So ironically, the scientific argument holds together better here than it does in literature.

The problem is the reverse of before. It now makes the expertise a prerequisite for enjoying the music. Or at least, there’s something very puzzling that an appeal to expertise might be needed for something that could be appreciated viscerally and without a background in close listening and musical theory. I suppose I can pick up a physics paper or the Principia and marvel at their visual elegance and the mysterious arrangement of symbols, but that’s a bit difference than enjoying the “moments” of a Stockhausen or Webern piece in a plebeian way, at least to my mind. But such enjoyment is now bastardized, if not wholly illegitimate. And this is not a criterion by which any artist, even an ardent serialist, wishes to live by.

Everything Else

So why use these two criteria of complexity and expertise? Ultimately, I think it’s just a highly developed quantitative argument attempting to marshal seemingly objective measures in the service of judging art, or at least one type of art. I have to admit to giving some grudging respect to Babbitt’s callow words here because he is more objective than every literary or art critic from Longinus onward who thought that ever-so-vague statements of aesthetic guidelines would be sufficient to help everyone decide which art was good from thereon out.

Complexity and listener expertise (comprehension, that is): if these become the metrics by which music is judged, then we really can judge what new piece of music is “interesting” and back it up with evidence. True, the connection of these metrics to enjoyment remain speculative, but hasn’t every aesthetician also insisted that there were more objective measures than a simple statement of like and dislike? At least here we have them. It bothers me far less than the territorial ramblings of aesthetic polemicists struggling to articulate why they are the first to have discovered the actual path to the soul of humanity.

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