The future harbours the potential for myriad threats to the fitness of organisms, and many species prepare accordingly based on indicators of hazards. Here, we distinguish between defensive responses on the basis of sensed cues and those based on autocues generated by mental simulations of the future in humans. Whereas sensed threat cues usually induce specific responses with reference to particular features of the environment or generalized responses to protect against diffuse threats, autocues generated by mental simulations of the future (...) enable strategic preparation for hazards that may not require an immediate response. The overlap of these mechanisms makes defence effective and versatile, yet can manifest as contemporary anxiety disorders in humans. (shrink)

Philosophical issues with respect to anxiety and its pathological variants arise at the border between everyday and clinical understanding of anxiety, between clinical and scientific approaches and between scientific concepts and the philosophical frameworks they refer to. These four ways of understanding can be seen as epistemic levels that point at different aspects and qualities of anxiety. After a brief historical introduction the three interfaces will be discussed. Philosophical questions at the interface between the first two levels (...) relate to the issue of where to draw the boundary between normal and pathological manifestations of anxiety and of how to balance the medical view with everyday understandings of anxiety. At the interface between clinical and scientific approaches, the question arises whether scientific theories and models are adequate, more particularly, which aspects of the clinical picture can be explained by scientific theories and concepts. The third interface, between scientific concepts and the philosophical frameworks they presuppose, is the origin of debates about what belongs to science and what should be regarded as meta-theoretical or paradigmatic. To what extent does a particular scientific concept stand on its own and to what extent does it borrow from pre-theoretical and/or philosophical views? (shrink)

ABSTRACTThe distinctiveness of anxiety and depression is discussed concerning their nature, definitions, uses, manifestations and determinants. The objective was to examine the difference and similarity of anxiety and depression by applying the psychosemantic approach, which is a theory and methodology based on analysing the cognitive processes applied in communicating meanings. In Study 1, there were 760 participants of both genders, 23–31 years old. They were administered the Meanings Test, which yields the respondent’s meaning profile, and one of seven (...) anxiety scales or one of three depression scales. Significant correlations between the meaning profiles and the anxiety or depression scales were summarised and compared. In Study 2, there were 78 individuals over 65 years old who were administered the Meanings Test plus an anxiety or depression scale. The findings for anxiety and depression were compared within and across age groups. The results yielded two distinct meaning profiles for anxiety and depr... (shrink)

In fear differential conditioning, stimuli that resemble the conditioned stimulus (CS+) are more likely to trigger fear responses. Excessive fear responses on stimuli not like CS + are often associated with anxiety. However, the threat judgments process and how this process manifests itself differently in subgroups with different generalisation rule applications, is unclear. This study examines whether anxiety biases the threat decision process in fear generalisation paradigm and whether subgroups characterised by different generalisation gradients was interpreted differently by (...) drift-diffusion model. We gathered behavioural data through a binary fear generalisation judgment task and clustered participants based on their responses. Reaction time distributions and individual scale scores were analyzed using the hierarchical drift-diffusion model. The model results suggested that similarity and state anxiety facilitated evidence-gathering processes that favoured “threat” judgments, but at the same time, state anxiety weakened the effect of stimulus similarity as evidence. Further cluster analyses revealed that this effect of anxiety on threat judgments only held true for specific subgroups of participants. This pioneering computational modelling effort in fear generalisation underscores the significant role of strategy preference and its complex interaction with anxiety in shaping stimulus processing. (shrink)

In the paper I am concerned with various manifestations of aesthetic fear and anxiety, that is, fear and anxiety triggered by works of art, which I am discussing from aesthetic as well as anthropological perspectives. I am analysing the link between fear and pleasure in catharsis, in Edmund Burke’s notion of the sublime, and in reference to Goya’s Black Paintings and to Paul Virilio’s thought. Both aesthetic fear and aesthetic anxiety exist alongside other emotions, such as pity (...) and sadness, and, most notably, with pleasure which is autonomous or arises from the fascination with evil. (shrink)

Callous unemotional (CU) traits (i.e., a lack of empathy/remorse and poverty of emotion) that co-occur with childhood antisocial behaviour are believed to be the developmental precursor to psychopathy in adulthood. An increasing volume of evidence supports two distinct variants of CU traits/psychopathy, known as primary and secondary. Primary variants are thought to show core deficits in emotional reactivity (e.g., attenuated autonomic activity), whereas secondary variants present with high levels of anxiety and this may be reflected in increased emotional sensitivity (...) to negative stimuli. -/- Aims: The current study is the first of its kind to examine the role of anxiety in modulating emotional processing as indexed by heart rate (HR) in incarcerated boys with CU traits. -/- Methods: HR was recorded continuously while 205 adolescents (aged 14 to 18 years) completed an emotional pictures dot-probe task. The task consisted of four blocks of 18 trials, beginning with a 500 ms central fixation cross, a 250 ms picture pair presentation (i.e., neutral, positive, negative valence), followed by a probe appearing in either the top or bottom picture location until response, and lastly a 2000 ms inter-trial interval recovery period. Four groups were formed on the basis of median-split scores on the Revised Children's Manifest Anxiety Scale and the Inventory of Callous Unemotional Traits, reflecting a primary variant (high CU/low anxiety), secondary variant (high CU/high anxiety), and two nonpsychopathic groups (low CU/high anxiety and low CU/low anxiety). -/- Results: The HR data indicated relative HR deceleration during the picture-probe period, regardless of group. Additionally, compared to all other groups, HR deceleration was greatest for the high CU/high anxiety secondary group and smallest for the high CU/low anxiety primary group during negative stimuli. Conclusions: This result is thought to reflect differences between CU/psychopathy variants in attentional orienting to distressing stimuli, consistent with theory. (shrink)

Increasing rates of psychiatric problems like depression and anxiety among Swedish youth, predominantly among females, are considered a serious public mental health concern. Multiple studies confirm that psychological as well as existential vulnerability manifest in different ways for youths in Sweden. This multi-method study aimed at assessing existential worldview function by three factors: 1) existential worldview, 2) ontological security, and 3) self-concept, attempting to identify possible protective and risk factors for mental ill-health among female youths at risk for (...) depression and anxiety. The sample comprised ten females on the waiting list at an outpatient psychotherapy clinic for teens and young adults. Results indicated that both functional and dysfunctional factors related to mental health were present, where the quality and availability of significant interpersonal relations seemed to have an important influence. Examples of both an impaired worldview function and a lack of an operating existential worldview were found. Psychotherapeutic implications are discussed. (shrink)

When originally independent pragmatic texts were included in larger early Chinese compilations, this entailed a recontextualization that potentially transformed the meaning of those texts significantly. Focusing on examples from the Analects and the Zengzi chapters in Da Dai Liji, this paper demonstrates that some didactic precepts which have come to be appreciated as general Ru moral and political philosophy are probably rooted in concrete and more modest applications. The texts discussed are in part based on a discourse accompanying the establishment (...) of meritocratic administrative structures in the early to mid Warring States period. These pragmatic discourses inspired didactic texts that reflected shi status anxiety. Members of the shi class not only composed texts for the edification of their rulers and the education of their princes. They also directed admonitions at their own peers, formulating standards by which they could manifest their claim to elevated social status. The further these texts became removed over time from their original historical context, the more they came to be read as Ru ethics in the sense of universally applicable standards. (shrink)

Would metaphors used in the context of psychotherapy by people who experience various forms of anxiety disorders differ from those used by people who experience stress? We investigated this question with the help of the Motivation & Sedimentation Model (MSM), a theory of meaning-making developed within the synthetic new discipline of cognitive semiotics. The analysis of a sample of ten transcripts of psychotherapy sessions concerning the topic of anxiety, and a comparable sample concerning stress, showed a significantly stronger (...) proportion of conventionalized metaphors in the stress sample, and a marginally significant difference in the number of innovative metaphors in the anxiety sample. These results suggest that lived experience of an anxiety disorder or another form of maladaptive anxiety affects metaphorical meaning-making, and manifests itself in spontaneous metaphor use. Furthermore, as a result of the conceptual and the empirical investigations of the topic, we propose novel theoretical and operational definitions of the notion of metaphoricity. (shrink)

A significant portion of the secondary literature on Martin Heidegger’s Being and Time has focused on interpreting his formal conceptions of death and anxiety. Unlike these previous works, this essay will serve to fill a gap in the Heideggerian portrayal of death. Although he argues that Dasein is anxious about death at a fundamental level and that it proximally and for the most part covers up such anxiety, Heidegger does not provide ontic evidence in support of his claim, (...) instead opting to uncharacteristically take it as something self-evident. I attempt to supplement Heidegger’s framework by introducing Stephen Cave’s immortality narratives and the emerging field of Terror Management Theory as the aforementioned ontic evidence that rounds out Heidegger’s notion of death, before ultimately transitioning from Heidegger’s work into the larger philosophical discourse on death and demonstrating the potential joy that can manifest when one gains a lucid understanding of the ownness of their death and the narratives to which it gives rise. (shrink)

Heidegger's primary concern in Being and Time is the question of the meaning of being—a distinctly ontological concern. Yet, with discussions of death, guilt, conscience, anxiety, uncanniness, authenticity, and inauthenticity, Heidegger seems to end up in existential territory. The ontological import of these existential excursions is difficult to discern—indeed, it has not been identified in leading interpretations. In this paper, I aim to highlight the ontological import of Heidegger's analysis of anxiety—it manifests the inadequacy of Dasein's fallen and (...) inauthentic self-understanding, which is motivated by the inadequacy of Dasein's fallen and inauthentic, average understanding of being. In making this case, I will clarify the sense in which anxiety involves an experience of world-collapse and show how it functions to reveal the possibilities of authenticity and inauthenticity. (shrink)

This essay weaves together the history of political and legal thought, contemporary democratic theory, and recent debates in legal scholarship to examine the ambivalent relationship between political parties and democracy. Celebrated as a structural necessity for the mechanics of democratic government, political parties are also handled with suspicion for their hybrid nature—neither entirely public nor completely private—and for their always-possible regression into factions. Anti-factionalism, I show, has been a powerful ideal driving constitutional imagination and practice over the centuries, from antiquity (...) (with its emphasis on parts and its horror over factions), to the age of democratic revolutions (with its signature anxieties about divisions), up through the present. However, this long historical process has not extinguished the long-lived concern with the nature and implications of party spirit, nor has it made party democracy completely safe from revamped forms of factionalism. Two manifestations of factional politics stand out in the contemporary political landscape: authoritarian regime changes and populist constitutionalism. While the former is easy to diagnose but hard to prevent, the latter exemplifies a torsion of the constitutional and democratic imagination from within. Despite their differences, both scenarios remind us that constitutions need to envision mechanisms to prevent parties from undermining the liberal democratic order they have been designed to serve. At the same time, they call for renewed attention to the study of parties in the domains of democratic theory and constitutional scholarship. (shrink)

Generalized anxiety disorder is among the world’s most prevalent psychiatric disorders and often manifests as persistent and difficult to control apprehension. Despite its prevalence, there is no integrative, formal model of how anxiety and anxiety disorders arise. Here, we offer a perspective derived from the free energy principle; one that shares similarities with established constructs such as learned helplessness. Our account is simple: anxiety can be formalized as learned uncertainty. A biological system, having had persistent uncertainty (...) in its past, will expect uncertainty in its future, irrespective of whether uncertainty truly persists. Despite our account’s intuitive simplicity—which can be illustrated with the mere flip of a coin—it is grounded within the free energy principle and hence situates the formation of anxiety within a broader explanatory framework of biological self-organization and self-evidencing. We conclude that, through conceptualizing anxiety within a framework of working generative models, our perspective might afford novel approaches in the clinical treatment of anxiety and its key symptoms. (shrink)

Adequate measurement is an essential component of the assessment of mental health disorders and symptoms such as depression and anxiety. The present study investigated sex-specific differences in the Patient Health Questionnaire-9 and Generalized Anxiety Disorder-7. This comprehensive cross-sectional design study pursued four objectives: measurement invariance of PHQ-9 and GAD-7 between male and female; depression and anxiety prevalence differences; cross-sex differences in the relationship between depression and anxiety; and a comparison of symptom heterogeneity. A sample of 1966 (...) students from South Africa completed the PHQ-9 and the GAD-7. Data analyses for measurement invariance, latent class analysis, inter-variable correlations and group comparisons were conducted in Mplus. The two-dimensional PHQ-9 achieved scalar invariance, while the GAD-7 yielded metric invariance. The somatic and non-somatic latent dimensions of depression were compared and showed no significant difference between male and female groups. The positive relationship between depression and anxiety was also not significantly different between the two groups. While the PHQ-9 symptoms formed three classes in the male group, and four classes in the female group, the GAD-7 had the same number of classes and a similar pattern between the two groups. These findings hold implications for the measurement, assessment and understanding of symptom manifestation and distribution, as well as the treatment of depression and anxiety in South Africa. (shrink)

In this paper, I develop a phenomenological account of social anxiety disorder (SAD) as a disturbance of lived time through an analysis of first-person accounts informed by Minkowski’s notion of disordered temporality. The core psychopathology of the patient, I argue, is a constricted sense of relational time. Instead of the ordinary sense of a taken-for-granted shared future, the patient experiences time as running a predetermined course toward their social death. This manifests itself in a relational life lived as if (...) it might end at any moment or has already done so. Patients describe the end of their current relationships as self-evident and struggle against it by attempting to evade its immediate occurrence and to postpone it into the less eminent future. At times, patients succumb to passivity and self-blame, revelatory of a sense of an entirely lacking relational future. This phenomenological conceptualization provides an alternative to the predominant cognitive-behavioral (CBT) account of SAD. The CBT approach conceptualizes the core disorder as a set of dysfunctional beliefs about other people’s opinion of the patient. The phenomenological account elucidates a part of the subjective background on which these beliefs come to make sense to the patient. Further, with its concept of social death, the phenomenological account captures the existential contexts, which makes the intensity of the patient’s fear of rejection comprehensible. This way of understanding the patient and their psychopathology has important implications for diagnostic and psychotherapeutic practice. (shrink)

ABSTRACTCurrent theoretical approaches suggest that mathematical anxiety manifests itself as a weakness in quantity manipulations. This study is the first to examine automatic versus intentional processing of numerical information using the numerical Stroop paradigm in participants with high MA. To manipulate anxiety levels, we combined the numerical Stroop task with an affective priming paradigm. We took a group of college students with high MA and compared their performance to a group of participants with low MA. Under low (...) class='Hi'>anxiety conditions, participants with high MA showed relatively intact number processing abilities. However, under high anxiety conditions, participants with high MA showed higher processing of the non-numerical irrelevant information, which aligns with the theoretical view regarding deficits in selective attention in anxiety and an abnormal numerical distance effect. These results demonstrate that abnormal, basic numerical process... (shrink)

Research has indicated that 13% of students in the UK experience a high degree of assessment‐related stress/anxiety, which may have debilitating health, emotional and educational effects. Recent policy initiatives have attempted to encourage a responsibility for promoting well‐being in schools; however, at present there is little known about what, if any, support is provided for students over assessment stress/anxiety. The purpose of this exploratory study was to gather data on the conceptualisation and understanding of assessment stress/anxiety in (...) key stage 4 students, and what current policy and practice are adopted to support students experiencing a high degree of assessment stress/anxiety. Data were collected from semi‐structured interviews conducted with 34 students and nine members of staff from six schools in the north of England and analysed using an abbreviated form of grounded theory according to the principles, as described by Strauss and Corbin. Teachers conceptualised assessment stress/anxiety as resulting from KS4 assessment demands requiring skills and knowledge beyond the current capabilities of students. Support was mostly structured along academic lines, theorised as reducing stress by increasing the students’ ability to cope with assessment demands. Students who experienced a strong degree of manifest anxiety during examinations were moved to alternative venues, but students were not routinely identified in all schools prior to their final GCSE examinations. Staff and students also emphasised the importance of a “good” relationship in receiving both emotional and academic forms of support. These strategies were theorised as “bolt‐on” policies. Schools had few specific strategies for dealing with assessment stress/anxiety directly but used existing policies related to behaviour management and the promotion of achievement. (shrink)

Is fear a ‘deficient mode’ of anxiety? This claim made by Martin Heidegger in ‘Being and Time’ (1927) depends on an analysis of intentionality. Emotions take objects: to love, to hate, to fear is to love, to hate, to fear someone or something. Yet anxiety, Heidegger maintains (‘Being and Time’ § 40), is about “nothing” (“nichts”) rather than “something” (“etwas”). Heidegger then turns lack of knowledge or understanding of what one’s anxiety is about into a revelation of (...) “Nothing” (“Die Angst offenbart das Nichts”; ‘Being and Time’ § 40) – a state meant to manifest freedom. Yet freedom is not increased but diminished if and when someone cannot judge the direction, extent and power of a threat. Concrete, determinate thought liberates; someone is less free in anxiety than in fear. (shrink)

Theory suggests that individuals with social anxiety manifest unique patterns of cognition with less efficient fluid cognition and unperturbed crystallized cognition; however, empirical support for these ideas remains inconclusive. The heterogeneity of past findings may reflect unreliability in cognitive assessments or the influence of confounding variables. The present study examined the relations among social anxiety and performance on the reliable, newly established NIH Toolbox Cognition Battery. Results indicate that high socially anxious adults performed as well as low (...) anxious participants on all measures of fluid cognition. However, high socially anxious adults demonstrated enhanced crystallized cognitive abilities relative to a low socially anxious comparison group. (shrink)

The transition to distance education has led to deterioration in the health of teachers and students. The purpose of the study was to identify controlled factors of the educational environment, the impact of which in an emergency situation due to a pandemic on infectious disease can be influenced by the administration of general secondary education institutions. Material and methods: 339 teachers and 828 parents of general secondary schools of Mykolaiv region (Ukraine) took part in research from May to June 2021. (...) The research tool was a self-administered survey questionnaire.The study found that social networks were the leading source of information on the COVID-19 pandemic situation for educators. The vast majority of educators indicated that they follow certain rules of conduct in order not to get sick. Most respondents admitted that they experienced weakness, mood swings, depressed thoughts, anxiety and tension due to the situation with the COVID-19 pandemic. Mostly more fatigue, hypodynamics and impaired vision were considered by teachers as manifestations of deteriorating physical condition. Manifestations of psychological deterioration, according to teachers, were greater aggression, agitation, signs of depression and emotional instability. The key factors in preventing the deterioration of teachers’ health in the event of an infectious disease pandemic, which can be influenced by the administration of general secondary education institutions, include: reducing the workload of teachers during distance education; conducting professionally oriented education of teachers in the field of health technologies; increasing the level of information competence of teachers; improving the technological base of schools for distance learning. (shrink)

This chapter examines Wittgenstein’s battles with the profound anxiety that can arise in response to a sense of the radical contingency of everything one is and everything one cares about. By giving particular attention to entries in Wittgenstein’s ‘Koder Diaries’ from the 1930s, the chapter analyses the nature of ‘the problem of life’ both as it manifested in Wittgenstein’s own life and as a universally relevant problem. It then defends the seriousness of the problem by reconstructing ways in which (...) Wittgenstein might have responded to questions about whether life really is as problematically precarious as his most angst-ridden diary entries seem to presume. (Abstract adapted from Mikel Burley’s ‘Introduction: Wittgenstein, Religion and Ethics: Seeing the Connections’, p. 7). (shrink)

Affectively uncomfortable concern, anxiety, indecisionand disputation over ‘right’ action are among the expressions of moral tension associated with ethical dilemmas. Moral tension is generated and experienced by people. While ethical principles, rules and situations must be worked through in any dilemma, each occurs against a backdrop of people who enact them and stand much to gain or lose depending on how they are applied and resolved. This paper attempts to develop a taxonomy of moral tension based on its intrapersonal (...) and interpersonal sources and expressions. The proposed ‘ethics of incongruity’ (EoI) outlines ways in which values, actions and needs can find themselves mismatched in morally relevant ways between patients and their clinicians, their own psychologies and their societies. Patient–clinician incongruities may manifest as discord, value misalignment and deception. Patient–patient (ie, intrapersonal) incongruities may manifest as incapacity, akrasia and self-deception. Patient–society incongruities may manifest as disenfranchisement, disaffiliation and disregard. Brief explanations of the incongruities in this scheme are provided, as are suggestions on working within them. Using concepts from moral philosophy when applicable, these suggestions may either ease direct resolution of problems arising from the incongruities, or make sense of the moral tension that arises from the human context of the ethical dilemma at hand. This presentation of content and resolution methods for the EOI is no doubt incomplete. Hopefully, refinement of this preliminary proposal will follow, particularly from clinicians, as the ones who, along with their patients, experience medical ethics in directly tension-inducing ways. (shrink)

Despite the promises made by molecular evolutionists since the early 1960s that phylogenies would be readily reconstructed using molecular data, the construction of molecular phylogenies has both retained many methodological problems of the past and brought up new ones of considerable epistemic relevance. The field is driven not only by changes in knowledge about the processes of molecular evolution, but also by an ever-present methodological anxiety manifested in the constant search for an increased objectivity—or in its converse, the avoidance (...) of subjectivity.This paper offers an exhaustive account of the methodological and conceptual difficulties embedded in each of the steps required to elaborate molecular phytogenies. The authors adopt a historical perspective on the field in order to follow the development of practices that seek to increase the objectivity of their methods and representations. These include the adoption and development of explicit criteria for evaluation of evidence, and of procedures associated with methods of statistical inference, quantification and automation. All these are linked to an increasing use of computers in research since the mid 1960s. We will show that the practices of objectivity described are highly dependent on the problems and tools of molecular phylogenetics. (shrink)

This paper argues that the augmented reality gaming application for smart devices, _Pokémon GO_ shows the fate of the legal subject as a neoliberal monster subjugated to the limitations imposed by hypercapitalism. The game, derived from Nintendo’s iconic Pokémon franchise, reveals the legal subject as a frenzied, diminished and impulsive being, allowed to see, move, catch and accumulate but unable to participate in more meaningful self-narration. It is not that the game is lawless, notwithstanding, anxieties in the semiosphere about users (...) trespassing or engaging in criminal behaviour. Rather the game is over structured and highly limited, both within its game-play which is repetitive and impulsive, and in its absence of narrative. Unlike the classic Nintendo Pokémon games which are within the role-playing game genre, _Pokémon GO_ abstracts the seeing, moving, catching and accumulating features of the classic games without the overarching narrative, questing and competition. In this _Pokémon GO_ manifests the transformation of the liberal legal subject of capitalism to the neoliberal subject of a digital orientated hypercapitalism where seeing, moving, catching and accumulating is immediate and impulsive, obliterating the ‘prudent’ subject participating in their own self-narration. (shrink)

In its most venal manifestation, scholarly writing betrays the anxiety of influence by claiming to offer a radically new solution to age-old conundrums. The goal is to make a clean break from a traditional path of thought that has become trapped in a cul-de-sac, to make progress by finding a new way forward. Not so with Jean Porter’s work, and particularly her most recent book. Professor Porter demonstrates that thinking through an established tradition – one that has responded to (...) numerous challenges within very different contexts over several millennia – can sometimes offer the most productive response to contemporary dilemmas. She rejects the Sirens’ lure to make a sharp break from received traditions. Instead, she chooses to engage the natural law philosophy of the early Scholastic period from our contemporary perspective and its attendant problems. This provides helpful resources to deal with these contemporary dilemmas, but it also opens new possibilities for the development of natural law thinking. The resulting book, Ministers of the Law, is erudite, artfully presented, and provocative. In this article I view Professor Porter’s successful resuscitation of a plausible account of natural law through a particular lens. My thesis is that we can productively extend her work by more strongly acknowledging the hermeneutical and rhetorical nature of law. This may seem paradoxical, if not incoherent, in light of the common understanding that contemporary hermeneutical and rhetorical philosophy participates in the postmodern critique of rationality. Although many might assume that natural law is wholly at odds with hermeneutical philosophy and rhetorical theory, I argue that the case is just the opposite. Professor Porter acknowledges that rhetorical persuasion is at the center of the practices that gird the natural law tradition, but we should strengthen this acknowledgment to the point of embracing fully the theoretical commitments of contemporary hermeneutical and rhetorical theorists. My discussion is divided into three parts. First, I survey Professor Porter’s argument and establish that she regards hermeneutical and rhetorical practices as critical features of her natural law account. Next, I adumbrate a hermeneutical-rhetorical understanding of natural law that builds on my previous work. Finally, I explore how this account expands and deepens Professor Porter’s natural law account of legal authority. I conclude that we should recognize law’s hermeneutical and rhetorical nature, but that Porter has demonstrated the necessity of taking into account the Scholastics’ natural law philosophy as part of this project. (shrink)

This phenomenological study begins by presenting trust as a characteristic form of interpersonal and communal relationship. In the second chapter, the scope is narrowed to someone's reliance on one or more trustworthy individuals. Chapters 3 to 5 explore specific aspects of trust, insofar as we confide in social structures or movements, the impersonal regularities and events of nature, or our own particular talents, motivations, and possibilities. In a world that is ravaged by the omnipresence of suffering and the most outrageous (...) manifestations of evil, no philosopher can avoid the question of what kind of trust may be profound and strong enough to overcome the ultimate anxiety or despair that threatens all human existence. In the Western tradition of belief, thinking, faith, and searching for the first and ultimate, that question is approached here through reflection upon the radical difference between trust in the universe and faith in God. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:A Response to Valerie Trollinger, “A Reconception of Performance Study in the Philosophy of Music Education”Paul LouthAs an educator who is a former professional trombonist I can certainly appreciate the issues raised in this discussion. Because I am inclined to agree with the spirit (if not always the substance) of Trollinger's remarks, I would like to respond with some thoughts on the manner in which she tends to frame (...) this debate, because I believe that this has crucial implications and may explain the cause of some of the very problems she mentions.Charlene Morton writes that a "bias for procedural knowledge... unwittingly immerses school music in the polemic arising from the false hierarchical dichotomy between 'hard' and 'soft' forms of knowledge."1 By this she means that the Cartesian mind/body split, which has led to our conception of thinking and doing as exclusive matters, is not remedied by our discovery of the importance of purely procedural knowledge, because we merely reinforce this dichotomy through acknowledging the latter term as a separate category from theoretical knowledge. Trollinger is correct in asserting that the act of performance is often overlooked and is not treated as a serious concern in music education and I believe that this may be largely due to this dichotomy, which manifests itself in the way that we divorce performance from its original holistic context.In general, if we accept this argument, then debates about performance versus listening, theorizing, and so on are inherently problematic because the discourse itself reinforces an artificial dichotomy. If we fail to address the remnants of this "Cartesian anxiety," then in our attempts to address a lack of concern over performance, we may be left with a performance model that is purely utilitarian, in the sense that the body can only justifiably occupy a central place in the curriculum if there are direct, utilitarian outcomes that we can associate with it and so long as those outcomes are supported by the free market. In North America, progressive educators have been struggling for some time against the concept of school as a locus of training for the market place. This model becomes more difficult to resist, I would argue, as long as we continue to compartmentalize performance and other aspects of musicianship. Such practices reinforce an artificial distinction between procedural and theoretical forms of knowing (and, by extension, between mental and manual forms of labor) that Apple, Giroux, and other critical pedagogues would argue atomizes student knowledge in preparation for the marketplace; yet musicianship can serve many other valuable purposes.2 [End Page 231]Trollinger, in using the word "holistic," reminds us of the connection between body and mind that exists in performance. Further, she correctly states that until relatively recently, those who taught music were musicians. I would add that in Canada (where I teach), the idea that music should be taught by musicians has often been used to justify its exclusion from schools, which is indicative of our tendency to exclude those things that we deem corporeal from the life of the mind. In my home province of Ontario, recent emphasis on "the basics" has meant that music programs have vanished in great numbers, while music study is relegated to the conservatories which, with their widespread tendency to essentialize musical experience as performance in the most limited sense of the word, have contributed further to this dichotomy.My point is that all of us, including Trollinger, may wish to reconsider the nomenclature that we carry into this debate from the outset. Because the word "performance" has become strongly associated with this particular pole (it is no accident that we use this word to describe car engines and stock returns) I suggest we can best elevate our estimation of the term by replacing it with the word "musicianship." In this way we can repair some of the damage done by the Cartesian split and the consequent de-valuing of performance that has occurred through separation from its original context. Within such an integrated model, it would become problematic to debate the relative importance of performing, listening, theorizing, or any number of activities with regard to the overall goals of musicianship... (shrink)

In lieu of an abstract, here is a brief excerpt of the content:This Birth and ThatSurrogacy and Stratified Motherhood in IndiaAmrita PandeIn 2006, i came across a short newspaper article about the emergence of a new industry in India—the industry of paid birth or commercial surrogacy. People from all over the world could now hire Indian women to give birth to babies for them, for a fraction of the cost of surrogacy elsewhere and with no government regulations. After some digging (...) around, I quickly realized that there was scarcely any objective, academic research about this new industry, and so began my ethnographic journey to the first clinic in not just India but in fact in the entire Global South to have a flourishing trade in both national and transnational surrogacy.1Academic inquiry into surrogacy arrangements is adequately interdisciplinary and has generated feminist, ethical, legal, and social debates for more than three decades (see, for example, Andrews 1987; Anderson 1990; Bailey 2011; Brennan and Noggle 1997; Hochschild 2012; Markens 2007; Oliver 1989; Ragoné 1994; Pande 2011; and Teman 2010). While defenders of surrogacy advocate it as a manifestation of women’s freedom and choice, much of the scholarship has displayed intense anxiety about this practice (Corea 1986; Dworkin 1983; Harding 1991; Neuhaus 1988; Raymond 1993; Roberts 1998b; and Rothman 1988). One view is that surrogacy reduces women to a mere breeder class, to the class of prostitutes, and another is that it is just another form of baby selling. Others consider the development of such reproductive technologies as a form of class and gender-based exploitation of women’s bodies. Two additional trends in this scholarship are worth emphasizing. First, [End Page 50] much of the debating takes place in abstraction and is rarely based on the actual experience of surrogates.2 Second,much of this work is about surrogacy in the Global North. This is not altogether surprising, since commercial surrogacy is a very recent phenomenon outside of the Global North.In this essay, I address these two gaps in the literature by analyzing the birthing narratives of surrogates in a clinic in India. As the surrogates compare their experiences of giving birth as a surrogate mother to their previous pregnancies, they underscore the paradox of an industry based on pro-natal technology in an otherwise anti-natal state. As importantly, these narratives are a clear manifestation of a global trend of “stratified motherhood”—“the hierarchical organization of reproductive fecundity and birth experiences that supports and rewards the maternity of some women while despising or outlawing the mother-work of others” (Rapp 2001, 469).Surrogacy in IndiaThe moral and ethical ambiguity surrounding surrogacy has made many countries, including China, the Czech Republic, France, Germany, Italy, Mexico, Saudi Arabia, Spain, Sweden, Switzerland, Taiwan, Turkey, and some U.S. states ban surrogacy altogether. Some countries have imposed partial bans, for instance Australia (Victoria), Brazil, Hong Kong, Hungary, Israel, South Africa, and the UK. Canada, Greece, South Africa, Israel, and the UK permit gestational surrogacy, subject to regulations. Then there are other countries with no regulations at all, such as Belgium, Finland, and India (Markens 2007; Teman 2010). Apart from the recent spurt of surrogacy in India, commercial surrogacy is most prevalent in California, USA, and Israel, where surrogacy is tightly controlled by the state and restricted to Israeli citizens. The Indian structure is closer to the liberal market model of surrogacy in California, where surrogacy births are primarily managed by private, commercial agencies that screen, match, and regulate agreements according to their own criteria (Pande 2009).India is not the only country to experience a rise in transnational surrogacy. Couples from countries such as the UK, Japan, Australia, and Kuwait, where surrogacy is either illegal or restricted, have hired surrogates in the United States to bear babies for them. However, while the total cost of such transnational packages is roughly between $100,000 and $120,000, in India the package costs one-third of that amount. Another factor that explains the popularity of India as a destination for transnational surrogacy is the informality of the market. Although commercial surrogacy is not illegal in India in 2002, currently there are no laws regulating surrogacy in clinics. Fertility clinics... (shrink)

Panic buying of toilet rolls in Australia began in early March 2020. This was related to the realisation that the novel coronavirus was spreading across the country. To the general population the impact of the virus was unknown. Gradually the federal government started closing the country’s borders. The panic buying of toilet rolls was not unique to Australia. It happened across all societies that used toilet paper rather than water to clean after defecation and urination. However, research suggests that the (...) panic buying was most extreme in Australia. This article argues that the panic buying was closely linked to everyday notions of Western civilisation. Pedestal toilets and toilet paper are key aspects of civilisation and the fear of the loss of toilet paper is connected to anxiety about social breakdown, the loss of civilisation. This is the fear manifested in the perceived threat posed by the virus. (shrink)

This article argues that contrary to its humanitarian semblance, state-controlled refugee protection is a project of substantial violence, and that the violence of refugee protection is continuously disseminated through and across a wide range of unlikely actors and institutions. Drawing on Avery Gordon and Franz Fanon, I show that the violence of refugee protection makes itself known in its haunting effects on those who come in contact with it in various capacities: those who carry through the work of refugee protection, (...) such as refugee claim decision makers, lawyers and support workers, are plagued by psychological ailments that manifest in periodical burnouts, anxiety, melancholy, alcohol abuse, and unrelenting moral and emotional dilemmas. These ailments reveal the violence of refugee protection not just in relation to refugees, who are often construed as the exclusive subjects of violence, but also towards non-refugees who come into contact with “protection” work. (shrink)

Benjamin Constant's famous lecture comparing ancient and modern liberty can be better understood if it is read alongside a set of unpublished lectures on ancient religion that he delivered one year earlier. Those lectures suggest that Constant's commitment to modern liberty was based in part on his deep anxieties about religious freedom, and that he valued religious freedom because he thought the "religious sentiment" was an important manifestation of a natural human capacity for self-development. In putting religion and self-development at (...) the heart of his vision, he tried to show that modern liberty could have a positive moral or spiritual purpose beyond merely assuring people freedom from interference in the pursuit of their interests. (shrink)

A relatively healthy forty-six-year-old woman with mild hypertension receives a prescription for an antihypertensive medication. One of the medication's adverse effects is its potential to cause severe depression. Four months later, she is diagnosed with anxiety, an early manifestation of depression. An antianxiety drug is prescribed, but her anxiety worsens. Her physician then diagnoses her as having a depressive disorder, and prescribes a new antidepressant medication. She is still on the same antihypertensive.A seventy-two-year-old man is given furosemide and (...) digoxin to control a mild case of congestive heart failure and hypertension. Because furosemide deletes potassium from the body, his physician also places him on a potassium supplement. Six months later, the physician tells the patient to stop taking the furosemide and prescribes an angiotensin converting enzyme inhibitor. An effect of ACE inhibitors is to reduce the body's excretion of potassium thereby reducing the digoxin's effectiveness. (shrink)

How does thinking affect doing? There is a widely held view that thinking about what you are doing, as you are doing it, hinders performance. Once you have acquired the ability to putt a golf ball, play an arpeggio on the piano, or parallel-park, reflecting on your actions leads to inaccuracies, blunders, and sometimes even utter paralysis--that's what is widely believed. But is it true? After exploring some of the contemporary and historical manifestations of the idea, Barbara Gail Montero develops (...) a theory of expertise which emphasizes the role of the conscious mind in expert action. She aims to dispel various myths about experts who proceed without any understanding of what guides their action, and she analyzes research in both philosophy and psychology that is taken to show that conscious control and explicit monitoring of one's movements impedes well practiced skills. Montero explores a wide range of real-life examples of optimal performance, in sports, the performing arts, healthcare, the military, and other fields, and draws from psychology, neuroscience, and literature to offer a refreshing and persuasive view of expertise, according to which expert action generally is and ought to be thoughtful, effortful, and reflective. (shrink)

The following dissertation shows how German Literature negotiates the relationship between language and the visual arts, particularly in Romantic narratives. In contrast with authors of the Enlightenment, the Romantics tend to deny specificity to visual experience and in so doing dedifferentiate visual experience from the textual. ;The initial, methodological, chapter explicates perceptual models informed by the interplay of the philosophical approaches of Kant and Wittgenstein with the psychoanalytic discourse of Freud. In Chapter Two, I turn to Lessing's Laokoon Uder uber (...) die Grenzen der Malerei und Poesie , in which he divides the arts into pictoral and linguistic signs. While the boundary between the two appears quite clear in Laokoon, his play Emilia Galotti reveals Lessing's anxiety that the difference cannot be so easily maintained. ;The subsequent chapter explores the representation of the visual arts in Tieck's Franz Sternbalds Wanderungen . After a discussion of Wackenroder's Herzensergiessungen eines kunstliebenden Klosterbruders , 1 turn to Tieck's novel about a young student of Albrecht Durer. The novel responds to the ostensible binary between language and the visual arts by transmuting the distinction into one between readable landscape paintings and phantasmatic images that guide the protagonist. ;As another example of this Romantic viewpoint, I analyze Brentano's Godwi oder das steinerne Bild der Mutter . Here I use the distinction between symbol and allegory to point out the ways in which the text turns the difference between the arts into one between rhetorical figures. A similar manifestation of the problem occurs in Eichendorff's Das Marmorbild , discussed in Chapter Five. The novella follows the same lines as Lessing's Laokoon, thematizing the materiality of its eponymous marble statue. My final chapter concerns Kleist's model of visual perception, which is closely bound to his theology in his tales "Die heilige Cacilie" and "Der Findling" . ;Writing Images interprets the role of visuality in German Romantic literature in order to understand an unresolved problematic of late eighteenth and early nineteenth-century thought for those who would too quickly either differentiate between or conflate the visual and the written. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)