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)

"... Dr. Ihde brings an enlightening and deeply humanistic perspective to major technological developments, both past and present." —Science Books & Films "Don Ihde is a pleasure to read.... The material is full of nice suggestions and details, empirical materials, fun variations which engage the reader in the work... the overall points almost sneak up on you, they are so gently and gradually offered." —John Compton "A sophisticated celebration of cultural diversity and of its enabling technologies.... perhaps the best single (...) volume relating the philosophical tradition to the broad issues raised by contemporary technologies." —Choice "... important and challenging... " —Review of Metaphysics "... a range of rich historical, cultural, philosophical, and psychological insights, woven together in an intriguing and clear exposition... The book is really a pleasure to read, for its style, immense learning and sanity." —Teaching Philosophy The role of tools and instruments in our relation to the earth and the ways in which technologies are culturally embedded provide the foci of this thought-provoking book. (shrink)

It is widely believed that Hume often wrote carelessly and contradicted himself, and that no unified, sound philosophy emerges from his writings. Don Garrett demonstrates that such criticisms of Hume are without basis. Offering fresh and trenchant solutions to longstanding problems in Hume studies, Garrett's penetrating analysis also makes clear the continuing relevance of Hume's philosophy.

Beginning with an overview of Hume's life and work, Don Garrett introduces in clear and accessible style the central aspects of Hume's thought. These include Hume's lifelong exploration of the human mind; his theories of inductive inference and causation; skepticism and personal identity; moral and political philosophy; aesthetics; and philosophy of religion. The final chapter considers the influence and legacy of Hume's thought today. Throughout, Garrett draws on and explains many of Hume's central works, including his Treatise of Human Nature (...) , Enquiries Concerning Human Understanding , and Dialogues Concerning Natural Religion . Hume is essential reading not only for students of philosophy, but anyone in the humanities and social sciences and beyond seeking an introduction to Hume's thought. (shrink)

Pierre Duhem's often unrecognized influence on twentieth-century philosophy of science is illustrated by an analysis of his significant if also largely unrecognized influence on Albert Einstein. Einstein's first acquaintance with Duhem's La Théorie physique, son objet et sa structure around 1909 is strongly suggested by his close personal and professional relationship with Duhem's German translator, Friedrich Adler. The central role of a Duhemian holistic, underdeterminationist variety of conventionalism in Einstein's thought is examined at length, with special emphasis on Einstein's deployment (...) of Duhemian arguments in his debates with neo-Kantian interpreters of relativity and in his critique of the empiricist doctrines of theory testing advanced by Schlick, Reichenbach, and Carnap. Most striking is Einstein's 1949 criticism of the verificationist conception of meaning from a holistic point of view, anticipating by two years the rather similar, but more famous criticism advanced independently by Quine in Two Dogmas of Empiricism. (shrink)

Humans, more than any other species, have been altering their paths of development by creating new material forms and by opening up to new possibilities of material engagement. That is, we become constituted through making and using technologies that shape our minds and extend our bodies. We make things which in turn make us. This ongoing dialectic has long been recognised from a deep-time perspective. It also seems natural in the present in view of the ways new materialities and digital (...) ecologies increasingly envelop our everyday life and thinking. Still the basic idea that humans and things are co-constituted continues to challenge us, raising important questions about the place and meaning of materiality and technical change in human life and evolution. This paper bridging perspectives from postphenomenology and Material Engagement Theory is trying to attain better understanding about these matters. Our emphasis falls specifically on the human predisposition for technological embodiment and creativity. We re-approach the notion Homo faber in a way that, on the one hand, retains the power and value of this notion to signify the primacy of making or creative material engagement in human life and evolution and, on the other hand, reclaims the notion from any misleading connotations of human exceptionalism. In particular, our use of the term Homo faber refers to the special place that this ability has in the evolution and development of our species. The difference that makes the difference is not just the fact that we make things. The difference that makes the difference is the recursive effect that the things that we make and our skills of making seem to have on human becoming. We argue that we are Homo faber not just because we make things but also because we are made by them. (shrink)

Prototypical instances of disinformation include deceptive advertising (in business and in politics), government propaganda, doctored photographs, forged documents, fake maps, internet frauds, fake websites, and manipulated Wikipedia entries. Disinformation can cause significant harm if people are misled by it. In order to address this critical threat to information quality, we first need to understand exactly what disinformation is. This paper surveys the various analyses of this concept that have been proposed by information scientists and philosophers (most notably, Luciano Floridi). It (...) argues that these analyses are either too broad (that is, that they include things that are not disinformation), or too narrow (they exclude things that are disinformation), or both. Indeed, several of these analyses exclude important forms of disinformation, such as true disinformation, visual disinformation, side-effect disinformation, and adaptive disinformation. After considering the shortcomings of these analyses, the paper argues that disinformation is misleading information that has the function of misleading. Finally, in addition to responding to Floridi’s claim that such a precise analysis of disinformation is not necessary, it briefly discusses how this analysis can help us develop techniques for detecting disinformation and policies for deterring its spread. (shrink)

Donald Davidson once suggested that a liar ?must intend to represent himself as believing what he does not?. In this paper I argue that, while Davidson was mistaken about lying in a few important respects, his main insight yields a very attractive definition of lying. Namely, you lie if and only if you say something that you do not believe and you intend to represent yourself as believing what you say. Moreover, I show that this Davidsonian definition can handle counter-examples (...) that undercut four prominent definitions of lying: viz., the traditional intend-to-deceive definition, Thomas Carson's definition, Don Fallis's definition, and Andreas Stokke's definition. (shrink)

Technology's impact on and implications for the social, ethical, political, and cultural dimensions of our world must be seriously considered and addressed. Philosophy of Technology is a clear introduction to one of philosophy's newest issues. Don Ihde critically examines the impact of technological developments on various cultures throughout history-from the earliest feats of engineering and architecture to the cutting-edge developments in artificial intelligence- with an aim to understanding the human implications within a world technological culture. Using a wide variety of (...) concrete examples and illustrations, including artificial intelligence, robotics, and nuclear energy, the author looks at both the current situation and future directions. In a final chapter, he takes the position that the foundational concern for the twenty-first century is the global environment, followed closely by multiculturality and its effect on technoculture, the future of warfare, and the distribution of wealth in a world economy. Special Features Provides an introduction to the best and most recent literature on the subject Places the philosophy of technology within the overall project of philosophy Provides a clear and comprehensive overview of the main issue in the field Promotes understanding of the special role of philosophical criticism Contains a wealth of often humorous and highly imaginative examples that have become the hallmark of this author. (shrink)

This paper is about some of the ways in which people sometimes speak while be- ing indifferent toward what they say. We argue that what Harry Frankfurt called ‘bullshitting’ is a mode of speech marked by indifference toward inquiry, the coop- erative project of reaching truth in discourse. On this view bullshitting is character- ized by indifference toward the project of advancing inquiry by making progress on specific subinquiries, represented by so-called questions under discussion. This ac- count preserves the central (...) insight of Frankfurt’s influential analysis of bullshitting in seeing the characteristic of bullshitting as indifference toward truth and falsity. Yet we show that speaking with indifference toward truth is a wider phenomenon than the one Frankfurt identified. The account offered in this paper thereby agrees with various critics of Frankfurt who argue that bullshitting is compatible with not being indifferent toward the truth-value of one’s assertions. Further, we argue that, while bullshitting and lying are not mutually exclusive, most lies are not instances of bullshitting. The account thereby avoids the problem that Frankfurt’s view ulti- mately is insufficient to adequately distinguish bullshitting and lying. (shrink)

Ontic structural realism (OSR) is crucially motivated by empirical discoveries of fundamental physics. To this extent its potential to furnish a general metaphysics for science may appear limited. However, OSR also provides a good account of the progress that has been achieved over the decades in a formalized special science, economics. Furthermore, this has a basis in the ontology presupposed by economic theory, and is not just an artifact of formalization. †To contact the author, please write to: 4th Floor, Humanities (...) Building, University of Alabama at Birmingham, 900 13th Street South, Birmingham, AL 35294‐1260; School of Economics, Leslie Social Science Building, University of Cape Town, Private Bag, Rondebosch 7701, Cape Town, South Africa; e‐mail: don.ross@uct.ac.za. (shrink)

Material Hermeneutics explores the ways that new imaging technologies and scientific instruments have changed our notions about ancient history. From the first lunar calendar to the black hole image, and from an ancient mummy in the Italian Alps to the irrigated valleys of Mesopotamia, this book demonstrates how revolutions in science have taught us far more than we imagined. Written by a leading philosopher of technology and utilising an interdisciplinary approach, this book has implications for many fields, including philosophy, history, (...) science and technology. It will appeal to scholars and students of the humanities, as well as anthropologists and archaeologists. (shrink)

Using the occasion of the publication of a Blackwell anthology in the philosophy of technology, Philosophy of Technology: The Technological Condition (2003), as a key to the contemporary role of this subdiscipline, this article reviews the current state-of-this-art. Both philosophy of science and philosophy of technology are twentieth century inventions, but each has followed a somewhat different set of philosophical traditions and pursued sometimes divergent questions. Here the primary developments of recent philosophy of technology are examined with emphasis upon issues (...) which might also be of greater interest to philosophers of science. These include epistemological, but also environmental and cultural issues. The bibliographical spread includes references to some fifty recent books in the field. (shrink)

In Plato's Symposium, Diotima ends her speech suggesting that erōs is the key to immortality. This raises two problems. First, if erōs is aimed at one's own immortality, then it seems selfish and not a genuine form of interpersonal love. Second, she argues that erōs leads us to procreate, but procreation is a way of producing others, not ourselves. In this article the author argues that our misunderstandings of erōs and eudaimonia account for the trouble we have in seeing how (...) Diotima succeeds in explaining a reasonable balance between prudent self-care and genuine love of others that leaves room for a genuine, albeit exotic, personal immortality. (shrink)

Expanded new edition of the landmark book demonstrating the practice of phenomenology through visual illusions and ambiguous drawings.

The physics and metaphysics of identity and individuality Content Type Journal Article DOI 10.1007/s11016-010-9463-7 Authors Don Howard, Department of Philosophy and Graduate Program in History and Philosophy of Science, University of Notre Dame, Notre Dame, IN 46556, USA Bas C. van Fraassen, Philosophy Department, San Francisco State University, 1600 Holloway Avenue, San Francisco, CA 94132, USA Otávio Bueno, Department of Philosophy, University of Miami, Coral Gables, FL 33124, USA Elena Castellani, Department of Philosophy, University of Florence, Via Bolognese 52, 50139 (...) Florence, Italy Laura Crosilla, Department of Pure Mathematics, School of Mathematics, University of Leeds, Leeds, LS2 9JT UK Steven French, Department of Philosophy, University of Leeds, Leeds, UK Décio Krause, Department of Philosophy, Federal University of Santa Catarina, 88040-900 Campus Trindade, Florianópolis, SC Brazil Journal Metascience Online ISSN 1467-9981 Print ISSN 0815-0796. (shrink)

Spinoza's guiding commitment to the thesis that nothing exists or occurs outside of the scope of nature and its necessary laws makes him one of the great seventeenth-century exemplars of both philosophical naturalism and explanatory rationalism. Nature and Necessity in Spinoza's Philosophy brings together for the first time eighteen of Don Garrett's articles on Spinoza's philosophy, ranging over the fields of metaphysics, epistemology, philosophy of mind, ethics, and political philosophy. Taken together, these influential articles provide a comprehensive interpretation of that (...) philosophy, including Spinoza's theories of substance, thought and extension, causation, truth, knowledge, individuation, representation, consciousness, conatus, teleology, emotion, freedom, responsibility, virtue, contract, the state, and eternity-and the deep interrelations among them. Each article aims to resolve significant problems in the understanding of Spinoza's philosophy in such a way as to make evident both his reasons for his views and the enduring value of his ideas. At the same time, Garrett's articles elucidate the relations between his philosophy and those of predecessors and contemporaries like Aristotle, Hobbes, Descartes, Locke, and Leibniz. Lastly, the volume offers important and substantial replies to leading critics on four crucial topics: the necessary existence of God (Nature), substance monism, necessitarianism, and consciousness. (shrink)

Barry Commoner has argued that the environmental failure of modern technology is due in large part to the reductionistic character ofmodern science, especially its biological component where the reductionist approach has triumphed in molecular biology. I claim, first, that Commoner has confused reduction in the sense of the reduction of one theory to another with what is better called analysis, or the strategy of breaking a whoie into its parts in order to understand the properties of the whole, this latter (...) being the actual target of his attack. I then argue that his criticisms of molecular biology fail since each of the properties of the cell which he claims cannot be understood in an analytic fashion, such as reproduction, development and inheritance, can be so understood, and that, in fact, each of his putatively nonanalytic accounts of these properties is the result of analysis. Similarly, Commoner’s claim that ecosystenls possess properties that cannot be understood analytically is refuted by comparing ecosystems with automobiles, which Commoner acknowledges are susceptible to analysis, and by showing that there are no essential differences between the two. FinaIly, l observe that while it is false that ecosystems canna! be understood in analytic terms, it is true that they are not usually thus understood, and that the explanation for this is not that scientists subscribe to amistaken philosophy, but that our social institutions for the teaching and application of science do not adequately stress the importance of exploring the connections between the parts of such complex wholes. (shrink)

In my discussion of the articles in this special issue of Techné I will relate the multiple perspectives on the phenomenon of driving-celling to the core debate, which concerns how this dual activity may be related to the need to have a concentrated focus, on the one hand, or to the possibility of a form of multitasking, on the other. The contributors show multiple perspectives on this phenomenon and draw from a range of authors on the roles of attention, embodiment (...) and perception. (shrink)

This essay contends that reality is a creative evolutionary process by which the virtual is transformed into the actual and argues that our critical conception of realism in literature needs to be altered to reflect this purposive and progressive living reality in contrast to the static and dead actuality assumed by the conventional notion of realism as mimesis. Realist fiction writers who are profound creators have strategically employed metaphysically dipolar and ethically earnest literary genres in tandem with mimetic realism, resulting (...) in complexly interactive alternative and prophetic realisms that function as catalytic agents for progressive change in our world. (shrink)

Want to be cunning? You might wish you were more clever, more flexible, able to cut a few corners without getting caught, to dive now and again into iniquity and surface clutching a prize. You might want to roll your eyes at those slaves of duty who play by the rules. Or you might think there's something sleazy about that stance, even if it does seem to pay off. Does that make you a chump? With pointedly mischievous prose, Don Herzog (...) explores what's alluring and what's revolting in cunning. He draws on a colorful range of sources: tales of Odysseus; texts from Machiavelli; pamphlets from early modern England; salesmen's newsletters; Christian apologetics; plays; sermons; philosophical treatises; detective novels; famous, infamous, and obscure historical cases; and more. The book is in three parts, bookended by two murderous churchmen. "Dilemmas" explores some canonical moments of cunning and introduces the distinction between knaves and fools as a "time-honored but radically deficient scheme." "Appearances" assails conventional approaches to unmasking. Surveying ignorance and self-deception, "Despair?" deepens the case that we ought to be cunning--and then sees what we might say in response. Throughout this beguiling book, Herzog refines our sense of what's troubling in this terrain. He shows that rationality, social roles, and morality are tangled together--and trickier than we thought. (shrink)

It is common to view appeals to popularity as fallacious. We argue this is a mistake and that Condorcet’s jury theorem can be used to justify at least some appeals to popularity as legitimate inferences. More importantly, the conditions for the application of Condorcet’s theorem can be used as critical tools when evaluating appeals to popularity. The application of these three concepts to appeals to popularity provide a more fine-grained critical strategy for argument evaluation and, also, allow us to see (...) the real problems that often arise with such appeals more clearly. (shrink)

John Lizza says that to define death well, we must go beyond biological considerations. Death is the absence of life in an entity that was once alive. Biology is the study of life. Therefore, the definition of death should not involve non-biological concerns.