“Looking for Asian America shows real people engaged in the full range of human activity. This is no small accomplishment for the photographer or his subjects. For Asian Americans it is extraordinary to be merely ordinary. To others, even if not to themselves, Asian Americans appear to be contradictions of identity—a Chinese-Yankee is a knockoff.” —Frank H. Wu, from the Foreword In search of contemporary Asian America, celebrated photographer Wing Young Huie—the only member of his family not born in China—traveled (...) with his wife Tara through nearly forty states to explore and document the funny, touching, and sometimes strange intersection of Asian American and American cultures. Looking for Asian America illustrates their rich and surprising journey across the United States. Through Huie’s eyes, keenly aware of his own Midwestern roots and perspective, we witness such images as a Vietnamese Elvis, Miss Congeniality on her cell phone in San Francisco’s Chinatown, a Hmong street sign in rural North Carolina, a meditating Falun Gong protestor in Washington, D.C., a bubble tea Valley Girl, and a Chinese theme park in Orlando. Huie’s camera captures ABCs, FOAs, and a self-described “redneck” Chinese restaurant owner near the Okefenokee Swamp. Taken together the photographs reveal a complex portrait of the U.S. cultural landscape, and their dignified elegance invites a closer, deeper look. Accompanied by the personal reflections of both Wing and Tara Huie, the nearly one hundred spectacular photos tell a story that both mirrors and contradicts stereotypes of Asian Americans, ultimately questioning what it means to be ethnic and American in the twenty-first century. Wing Young Huie has received widespread acclaim for his works, including Lake Street USA, documenting the cultural landscape of his native Minnesota. He is a recipient of a Bush Artist Fellowship and two-time recipient of the McKnight Photography Fellowship. He lives in Minneapolis. Frank H. Wu is dean of Wayne State University Law School and the author of Yellow: Race in America Beyond Black and White. Anita Gonzalez teaches in the Master of Liberal Studies Program at the University of Minnesota. (shrink)

continent. 1.2 (2011): 141-144. This January, while preparing a new course, Robert Seydel was struck and killed by an unexpected heart attack. He was a critically under-appreciated artist and one of the most beloved and admired professors at Hampshire College. At the time of his passing, Seydel was on the brink of a major artistic and career milestone. His Book of Ruth was being prepared for publication by Siglio Press. His publisher describes the book as: “an alchemical assemblage that composes (...) the life of his alter ego, Ruth Greisman— spinster, Sunday painter, and friend to Joseph Cornell and Marcel Duchamp. Through collages, drawings, and journal entries from Ruth’s imagined life, Seydel invokes her interior world in novelistic rhythms.” This convergence of his professional triumph with the tragedy of his death makes now a particularly appropriate time to think about Robert Seydel and his work. This feature contains a selection of excerpts from Book of Ruth (courtesy of Siglio Press) alongside a pair of texts remembering him and giving critical and biographical insights into his art and his person. These texts, from a former student and a colleague respectively, were originally prepared for Seydel's memorial at Hampshire College and have since been revised for publication in continent. For more information on Book of Ruth, please visit the book's page at the Siglio Press website. —Ben Segal draughty R. * Lauren van Haaften-Schick 2011 “The most apt way to order Smithson's library is with the conjunction 'and'; science and religion; modernism and mass culture; what is present and what is missing.” —Alexander Alberro, 248 Robert Seydel's classes on collage and collecting immersed his students in a curious world of cabinets, oddities, exhaustive archives and obscure histories, explored always with critical rigor and a sincere eye for wonder. His office was a compendium of the ancient, mythic, potential and unworldy, where seemingly unrelated references were endlessly pulled, piled and fused in an ecstatic dance of hyper-annotation. The small room and all its contents overflowed with notes tucked in every margin and corner. Books coated the walls like a switchboard, anxious and humming, waiting for infinite links to be activated. William Blake's books of Job and Urizen summoned Greek mythology and the animal as metaphor, leading to 19th century cryptozoology and the cave paintings at Lascaux, Gaston Bachelard's description of the bird in his garden and Robert Rauschenberg's Canyon . Tracking archetypes and following tangential threads, new revelations and ancient narratives were compiled and ordered to form a new text, a bibliography as assemblage, portrait and poem. Robert's library—one of his many collections—is a portrait, an “artifact, collage of time, a token and remnant” (Seydel, 2007) He is humming with it still. The imagination of this room—of Robert—breathes through the pages of Book of Ruth, as every decision and detail unfolds to a cosmos. Allegory, invention, personal and art histories are entangled and leveled, rendering lived, perceived and absorbed experiences indistinguishable. Anonymous scraps discovered on the street or studio floor, careful clippings and drawn figures are chosen and animated through serendipitous destruction and whimsical, delicate positioning. A precise vocabulary of characters and terms erupts and collapses as personas and passers-by wave and whisper, “Every figure reveals aspects of the total form, which is open and green” (Seydel, 2007). The initials R.S. repeat, a nod to Robert's true family tree and further complicating identification. Robt, Robert's sometimes alter-ego, appears in myriad forms as a trickster “half-wit,” mercurial and skittish, or soft and worn thin. Saul is a solemn tinkerer, parsing the world and sometimes blind. Ruth, the speaker of the book, records and translates all, her voice wavering between poetic verse and a cryptic half-speech as complex as it is sparse. The rhythm of frayed edges sets time - the weight of the world and the lightness of paper. Robert wrote of his process, “Material is essential; scuffings carry history, which wanders throughout” (Seydel, 2007). Collectors, assemblers, sway between careful movements of selection and placement as they pull from the found world, mediating calculated and unconscious association to form a lexicon of gestures, symbols and allusion, the “artifacts of a life... the refuse and rejecta of days” (Seydel, 2007). These assembled fragments shift and chatter, at home in their homelessness, actors performing in their own lives, populating an invented world of similar orphans. Such accumulated, severed parts carry the injury of their cutting and retain the evidence of their source, binding loss to creation in a symbiosis of trauma and repair. Mourning and remembrance are deeply embedded in the histories and acts of such practices. Grievance, acceptance, and the fragility of life are conveyed in the 18th century allegorical arrangements of fetal specimens by Frederik Ruysch. A certain melancholy reverence colors Joseph Cornell's intimately tactile assemblages rendering the universe tangible in miniature, or made in devotion to unrequited loves. Preserved in stasis, these ghosts and idols are kept in a purgatory where fact and fiction, past and present are irrelevant distinctions. Catalogued and contained, the subject of loss is transferred to an artifact. Every thread, scrap and letter may be glued, gathered and placed in a museum, a tomb, a box, a page, ripe and open for possession. Holding on to grief and reveling in disrepair, we opt to be haunted. Forever unbalanced and in flux, the sublime of collage is its resolve to irresolution. For Robert, “Art, as creation and as sign of primary Imagination, is not objects but a state, a kind of fluid” (Seydel, 2007) Reflecting on his work, life, and death, I am drawn to my library and the myriad titles acquired through his inspiration. There is Daniel Spoerri's An Anecdoted Topography of Chance , Susan Stewart's On Longing , various Borges, Barthes, Perec, and especially Life: A User's Manual , which concludes that the perfect puzzle will have no solution. I think of the drawers of miscellaneous swallowed objects at the Mutter Museum, Ray Johnson coding the every day in riddles, Wallace Berman twisting tongues, and Susan Hiller laying every detail to bear. Collectors and makers working in endless cycles of observation, ingestion and display. Every gesture informs and is defined by others, every space is shaped by that which surrounds and fills it, the knot has an inner logic, the gigantic is not so different from the miniature, there is a world in every detail, and “All art is collage” (Seydel, 2011) These thoughts have molded my life, my art, and all the minutia that keep the two so profoundly intertwined; There is no difference between life and what we do with our time. “I write my life. I make me up.” What a gift to share this secret way of knowing the world, and to leave this knowledge for us to do with what we please. “Art begins in admiration” (Seydel, 2011) Lauren van Haaften-Schick is a curator, writer and artist based in New York. Upcoming curatorial projects include "Cancelled" at the Center for Book Arts, and "The Spirit of the Signal" at Nicole Klagsbrun Gallery, New York. Recent activities include the workshops "Market, Alternative" and "Alternative Art Economies" at Trade School and Momenta Art, and the e-flux Time/Store, New York. She is the founding director of two arts spaces in Northampton, MA and Philadelphia, PA. She received a BA in Art History and Studio Art from Hampshire college in 2006. Sura Levine on Robert Seydel If early on in his time at Hampshire College I was officially his “mentor,” Robert Seydel quickly became one of my great teachers. Over the years we talked about everything, from art, music, collage, and poetry, to campus politics, this latter far too often. It was always a sublime pleasure, if all too rarely done, to enter his apartment to look at his work in progress, to peruse his bookshelves where, inevitably, there were always new treats to examine. And, while he was working on his Book of Ruth , I was given the opportunity over the course of many meals at the Korean and other restaurants, to talk with him about image and poem ordering. To see how he thought through each comma, each juxtaposition across the gutters of the Book, was to watch a brilliant curator at work. Each day, I walk past his wonderful collaged portrait of Ruth, purchased, after much haggling, as a birthday present, a couple of years ago. And each day, I think how lucky I am to have known Robert as he produced this magnum opus. One of my greatest pleasures in 24 years at the College was to teach “The Collector” with Robert. One of my greatest regrets is that the magic we created together in the classroom will not, and cannot, be duplicated. Its various incarnations, its utter intelligence and magic, were all so deeply Robert’s. His was a mind that put poetry, philosophy, history of science, and history together with art, and art together with music. His intellect and eye were unparalleled. He introduced us to so many artists. He shared his fascination with the cabinets of curiosity of Aldrovandi, of Seba, and Peter the Great’s collection of fetal anomalies, as well as the Museum of Jurassic Technology in Los Angeles. Robert knew them all and so many more. He was a walking encyclopedia, his home a great archive. Arcane knowledge, perhaps, but oh so important for another of Robert’s heroes, the mid-20th century Belgian artist Marcel Broodthaers, whose name he invariably mispronounced as “Broadthayers.” In speaking his name, Robert would always look in my direction in a panic, and then he go on and maul it. I absolutely loved his various mispronunciations of French names and terms! “The Collector” was always filled with talented young artists, art historians, philosophers and writers who all came to understand the wondrous obsessions of the figure of the collector. Students in this course created dazzling projects each term. He always moved while looking and speaking. He read deeply, and commented on everyone’s work with wonderful generosity. Robert always found something to praise even in the least developed of projects. Robert inspired and mentored all of his students into making work that far exceeded their expectations—and ours. For those of you who were lucky enough to have been touched by or to have had an evaluation written by Robert, savor it, keep it, reread it, and share it. He loved working with you all; it is somehow fitting that he died while prepping yet another new course. Robert, it’s almost impossible to speak of you in the past tense, even though you left us a month ago. No doubt, if you knew about our gatherings and celebrations of you, you would be embarrassed that we are making a fuss over you; you always placed the focus on others rather than on yourself. This trait is exactly why so many people miss you now. We’re here to love you publicly as we all did privately for the eleven years you were among us. Robert, my very dear friend, you were an extraordinary artist—you were my brother of choice. My heart broke when yours did. I miss you profoundly. —Sura Levine, February 26, 2011 Sura Levine is a professor of art history at Hampshire College. Her field of specialty is 19th century Belgian and French art, particularly realism and impressionism. Having worked in museums for a number of years both prior to coming to the College, and, as guest curator and co-author of exhibition catalogues, she became particularly interested in the history of museum and trends in collecting. It was because of their shared interests that she and Robert Seydel developed their course, The Collector, which they co-taught for many years. (shrink)

According to Eugenie Scott, methodological materialism---the view that science attempts to explain the world using material processes---does not imply philosophical materialism---the view that all that exists are material processes. Thus one can consistently be both a scientist and a theist. According to Phillip Johnson, however, methodological materialism presupposes philosophical materialism. Consequently, scientists are unable to see the cogency of supernatural explanations, like creationism. I argue that both Scott and Johnson are wrong: scientists are not limited to explaining tbe world using (...) material processes and science does not presuppose materialism. Thus scientists’ rejection of creationism is not irrational. (shrink)

This is an important new book about human motivation, about the reasons people have for their actions. What is distinctively new about it is its focus on how people see or understand their situations, options, and prospects. By taking account of people's understandings, Professor Schick is able to expand the current theory of decision and action. The author provides a perspective on the topic by outlining its history. He defends his new theory against criticism, considers its formal structure, and (...) shows at length how it resolves many currently debated problems: the problems of conflict and weakness of will, Allais' problem, Kahneman and Tversky's problems, Newcomb's problem, and others. The book will be of special interest to philosophers, psychologists, and economists. (shrink)

Anita Chari revives the concept of reification from Marx and the Frankfurt School to spotlight the resistance to neoliberal capitalism now forming at the level of political economy and at the more sensate, experiential level of subjective transformation. Reading art by Oliver Ressler, Zanny Begg, Claire Fontaine, Jason Lazarus, and Mika Rottenberg, as well as the politics of Occupy Wall Street, Chari identifies practices through which artists and activists have challenged neoliberalism's social and political logics, exposing its inherent tensions (...) and contradictions. (shrink)

How do I know whether there are any minds beside my own? This problem of other minds in philosophy raises questions which are at the heart of all philosophical investigations--how it is that we know, what is in the mind, and whether we can be certain about any of our beliefs. In this book, Anita Avramides begins with a historical overview of the problem from the Ancient Skeptics to Descartes, Malebranche, Locke, Berkeley, Reid, and Wittgenstein. The second part of (...) the book investigates the views of influential contemporary philosophers such as Strawson, Davidson, Nagel and Searle. (shrink)

In a conflict between two people, one person wants one thing and the other wants something else and they think they can't both have what they want. Suppose that what they want can only be the outcome of some joint action. Adam must do either y or z and Eve either y ' or z ' – here y -and- y ' would be one joint action, y -and- z ' would be another, and so on. Adam wants the outcome (...) of his doing z while Eve is doing y '. Eve wants the outcome of her doing z ' while Adam is doing y. Each thinks that these outcomes can't both be had. (shrink)

Ted Schick submits the ‘God hypothesis’ to close scientific and logical scrutiny and finds it seriously lacking.

Some writers have noted that valuation is often focused on foreseen changes. They say that we often don't value situations in terms of what we would have in them only but also in terms of the gains or losses that they offer us — that we then focus on departures from our status quo. They argue that such thinking conflicts with basic economic analysis, and also that it violates logic: they say that it is irrational. I agree that it seems (...) to be common. But is such a way of setting one's values a challenge to economics? And does it conflict with being rational? (shrink)

One of the most intriguing of philosophical puzzles concerns other minds. How do you know there are any? Yes, you're surrounded by living organisms that look and behave much as you do. They even say they have minds. But do they? Perhaps other humans are mindless zombies: like you on the outside, but lacking any inner conscious life, including emotions, thoughts, experiences and even pain. What grounds do you possess for supposing that other humans aren't zombies? Perhaps less than you (...) think. Anita Avramides tackles this fascinating question. (shrink)

Starting from the question whether one has to assign Fichte and Jacobi to the Enlightenment movement, this paper makes the attempt to show that it is the categorical interest in the reality of reason, which is an at least necessary condition for characterizing a certain way of thinking as enlightening. At the center of the study stands the relationship of Jacobi and Fichte to Friedrich Nicolai and the Berlin Enlightenment. In this controversy, all thinkers share the very same interest, namely, (...) the interest in the reality of reason. But what distinguishes Fichte and Jacobi from Nicolai is the absoluteness of their interest in reason, scilicet an interest which is not induced by affects or needs exterior to reason. At the same time, the dispute addresses the relation between absoluteness and conditionality of reason itself. Both Fichte and Jacobi try to elaborate a critical notion of reason mediating between absoluteness and conditionality. Ausgehend von der Frage, ob Jacobi und Fichte der Aufklärung zuzuordnen sind, versucht der Artikel zu zeigen, dass das unbedingte Interesse an der Wirklichkeit der Vernunft eine wenn auch nicht hinreichende, so doch zumindest notwendige Bedingung für die Bezeichnung eines Denkens als aufklärerisch in einem systematischen Sinne ist. Im Zentrum der Untersuchung steht dabei das Verhältnis von Jacobi und Fichte zu Friedrich Nicolai und der Berliner Aufklärung. In ihrer Auseinandersetzung teilen alle Denker nämlich ein gemeinsames Interesse, und zwar das Interesse an der Wirklichkeit der Vernunft. Was Fichte und Jacobi aber von Nicolai unterscheidet, ist die Unbedingtheit ihres Interesses an der Vernunft – also ein Interesse, das nicht durch der Vernunft äußerliche Neigungen oder Bedürfnisse bedingt ist. Der Disput thematisiert dabei zugleich das Verhältnis von Bedingtheit und Unbedingtheit der Vernunft selbst. Fichte und Jacobi bringen jeweils einen zwischen Bedingtheit und Unbedingtheit vermittelnden kritischen Vernunftbegriff zur Geltung. (shrink)

Although Kant introduced the analytic/synthetic distinction, and although this distinction has been immensely influential, very few philosophers find Kant’s formulation of the distinction acceptable. Quine, for example, rejects Kant’s characterization of analyticity on the grounds that “it appeals to a notion of containment which is left at a metaphorical level.” This criticism is, I believe, unwarranted, for, although Kant is not as clear about the notion of conceptual containment as one would like, in both the Critique of Pure Reason and (...) the Prolegomena to Any Future Metaphysics he offers intentional characterizations of this notion which, I hope to show, can be given a clear and precise formulation. Moreover, I shall argue that the notion of conceptual containment can be used to provide both an adequate characterization of analyticity and a nonlinguistic solution to the paradox of analysis. (shrink)

The Gricean account of language is at the center of much current work in the philosophy of language and the philosophy of mind. Anita Avramides maintains that Grice's paradigm can be used to defend very different conceptions of mind and of meaning. In this clearly argued book she describes Grice's analysis of meaning and proposes two interpretations of it, one reductive and one nonreductive. Much current work in cognitive science assumes that the content of words and thoughts can be (...) explained in naturalistic terms. A leading idea (advanced mainly by Stephen Schiffer and Brian Loar) is that the naturalistic account of content will proceed in two stages: a reduction of the semantic features of word; to the contents of propositional attitudes and then a reduction of the latter to physical or functional notions. The appeal of Grice's work on meaning to this two stage reductionist strategy is that Gricean definitions seem to provide the only way of reducing the semantic to the psychological, a reduction that is required for a naturalistic account of intentionality. While Avramides defends the method of analysis as one suited to the concept of meaning, she rejects a reductive interpretation of the analysis. She argues that any attempt to reduce the semantic to the psychological leads to a mistaken conception of mind. She exposes the assumptions behind the reductive interpretation and offers fresh and original arguments for the antireductionist position. Against the reductive Gricean she defends the idea that there is a deep epistemological symmetry between semantic and propositional attitude notions, a result of which is that semantically characterized linguistic behavior is central to our concept of belief. Anita Avramides is Lecturer in Philosophy at The Queens College, The University of Oxfor. A Bradford Book. (shrink)

I want in this paper to do two things. First, I want to respond to some studies that argue that people are often not rational: that people regularly and systematically depart from rationality. The conclusion itself does not worry me. I pressed for the same in a recent book. But the arguments seem to me wrong, and wrong in an interesting way. There may be something to be learned from seeing how and why they fail.

Levi’s work in decision theory has for many years been a major influence on the field. His writings have raised important new issues and opened new lines of inquiry. This collection of his papers brings out the range of his recent studies and the close bearing of his work on the work of others.

This discussion note offers a preliminary analysis of what recent developments in human germline gene editing tell us about the effectiveness of speculative and anticipatory modes of techno-ethics. It argues that the benefits of speculative discussions are difficult to detect thus far, and that pushing the focal point of ethical discourse well ahead of the current state of technology may prematurely undermine existing norms long before a broad consensus would justify moving beyond them.

'Anita L. Allen breaks new ground...A stunning indictment of women's status in contemporary society, her book provides vital original scholarly research and insight.' |s-NEW DIRECTIONS FOR WOMEN.

Aufschluß über Phänomene des Fühlens ausgerechnet von idealistischen Theorien von der Art der Fichteschen und Hegelschen zu erwarten, liegt auf den ersten Blick nicht nahe - scheinen diese Phänomene doch als Weisen, in denen wir uns weder frei erkennen noch selbst bestimmen, schlecht zu Theorien zu passen, die Subjektivität in Termini absoluter Selbstbestimmung bzw. Selbsterkenntnis auslegen. Man möchte also erwarten, daß jene Phänomene in idealistischen Systemen bestenfalls idealistisch retouchiert oder als dunkle Randexistenzen zur Sprache kommen werden. Nun haben aber Fichte (...) und Hegel die Sphäre des Fühlens weder marginalisiert noch wegerklärt. Vielmehr gehört es ausdrücklich zum Programm beider, die Einheit der verschiedenen Weisen zu verstehen, in denen sich Subjekte fühlend, denkend, wollend auf sich, ihre Welt und andere Subjekte beziehen. So spricht Fichte der Wissenschaftslehre das Verdienst zu, daß »durch dieses System Einheit und Zusammenhang in den ganzen Menschen [kommt; d.V.], die in so vielen Systemen fehlen«. Und Hegel ruft zum Zeugen gegen rationelle und empirische Psychologie, die den Menschen zum Aggregat von Kräften mechanisiert hätten, das Gefühl selbst auf. (shrink)

Cet article s’inscrit dans la continuité des études sur l’utilisation des corpus oraux comme ressource didactique en français langue étrangère. Il présente les défis sous-jacents à la construction d’un exercice sous format numérique à partir de l’expression polysémique genre à l’oral. L’exercice a été développé dans le cadre du projet de recherche appliquée DiCoi (Digitalisation – Corpus – Interaction), dont le but est de soutenir le développement de la compétence d’interaction orale de jeunes en formation professionnelle de métiers manuels. L’effet (...) des interventions est mesuré à l’aide de feedback, mais aussi de la collecte d’interactions orales libres enregistrées sous format audio. La réception de l’exercice est généralement positive, mais l’analyse du phénomène dans le corpus d’interaction entre allophones révèle la difficulté d’établir un lien clair entre input et output. Néanmoins, une didactisation soigneuse du matériel authentique semble rendre les phénomènes cibles saillants. (shrink)