ObjectivesTo document the auditory processing, visual attention, digit memory, phonological processing, and receptive language abilities of individual children with identified word reading difficulties.DesignTwenty-four children with word reading difficulties and 28 control children with good word reading skills participated. All children were aged between 8 and 11 years, with normal hearing sensitivity and typical non-verbal intelligence. Both groups of children completed a test battery designed to assess their auditory processing, visual attention, digit memory, phonological processing, and receptive language.ResultsWhen compared to children (...) who were good readers, children with word reading difficulties obtained significantly lower average scores on tests of auditory processing, including the frequency pattern test, gaps in noise, frequency discrimination, Dichotic Digit difference Test, and Listening in Spatialized Noise. The two groups did not differ on the discrimination measures of sinusoidal amplitude modulation or iterated rippled noise. The results from children with word reading difficulties showed that 5 children (21%) had comorbid deficits in auditory processing, visual attention, and backward digit memory; whereas 12 children (50%) had comorbid auditory processing and visual attention deficits only, and 2 children (8%) had comorbid deficits in auditory processing and digit memory; the remaining children had only auditory processing, visual attention, or digit memory deficits.ConclusionThe current study highlights the general co-existence of auditory processing, memory, and visual attention deficits in children with word reading difficulties. It is also noteworthy, however, that only one fifth of the current cohort had deficits across all measured tasks. Hence, our results also show the significant individual variability inherent in children with word reading difficulties. (shrink)

In this paper, we present two ways of modelling every epistemic formal conditional commitment that involves (at most) three key epistemic attitudes: acceptance, rejection and neither acceptance nor rejection. The first one consists of adopting the plurality of every mixed Strong Kleene logic (along with an epistemic reading of the truth-values), and the second one involves the use of a unified system of six-sided inferences, named 6SK, that recovers the validities of each mixed Strong Kleene logic. We also introduce a (...) sequent calculus that is sound and complete with respect to both approaches. We compare both accounts, and finally, we suggest that the plurality of Strong Kleene logic as well as the general framework 6SK are linked to formal epistemic norms via bridge principles. (shrink)

Sally Haslanger is Ford Professor of Philosophy and Women's and Gender Studies at the Massachusetts Institute of Technology and a leading contemporary feminist philosopher. She has worked on analytic metaphysics, epistemology, and ancient philosophy. Her areas of interest are social and political philosophy, feminist theory, and critical race theory. Her 2012 book, Resisting Reality: Social Construction and Social Critique, collects papers published over the course of twenty years that link work in contemporary metaphysics, epistemology, and philosophy of language with social (...) and political issues concerning gender, race, and the family. It was awarded the 2014 Joseph B. Gittler Prize for “outstanding scholarly contribution in the field of the philosophy of one or more of the social sciences.” In this interview, done in the wake of the COVID-19 pandemic and the #BlackLivesMatter movement, we discuss her ideas on social practices, social structure, and structural explanation. We also delve into her debunking project of elucidating the notion of ideology in a way that links it with contemporary work in epistemology, philosophy of language, and philosophy of mind, and to do justice to the materiality of social practices and social structures. (shrink)

In this interview with W. Alton Jones Professor of Philosophy at Vanderbilt University, Lucius T. Outlaw, Jr, we discuss the metaphysical and ethical questions of grouping and classifying people in terms of race and ethnicity. Outlaw is the author of [On Race and Philosophy] and one of the recognised pioneers of Africana Philosophy. Outlaw talks about growing up in racial segregation in Starkville, Mississippi, the Black Power movement, the notion of the Black intellectual, scholarship and teaching, and philosophizing about race. (...) We discuss the ambiguity of the concept of philosophy of race and explore the concepts of raciality, categories, human sociality, evolution, and oppression. With his philosophical, political, and sociological influences, Outlaw asserts that racism makes no sense at all because the diversity of our species is one of our greatest assets; and in terms of survival, we are all of the same species though certain group-shared differences do matter. (shrink)

What would a romantic relationship between a biological human and an artificial intelligence system look like? The question is explored through a fictional correspondence between Alan Turing and Ada Lovelace.

The hit American TV show The Good Place has garnered quite a following in recent years. Its main premise implies a scorekeeping view of the afterlife. People who have collected enough credits in their earthly lives will make the cut and go to the Good Place, while those who do not will be banished to the Bad Place. We suggest that such a premise would have to come to terms with Ted Sider's puzzle about the compatibility of a binary afterlife (...) with God's divine attributes. (shrink)

This paper develops a philosophical account of the relata of romantic love, the nature of the objects in a love-relation. This account holds that the lover who loves and the beloved who is loved are particular people who persist through time by having temporal parts. We show how such a perdurantist account could provide models of different kinds of romantic love: from the love of transitory lovers to the love of immortal beings; from the love of lifelong companions to the (...) love of soulmates. Finally, two possible issues raised against this view will also be addressed. (shrink)

In ‘Fuzzy gender: between female embodiment and intersex’, Ashley Tauchert offers a ‘fuzzy’ model for gender. Her proposed model aims to account for the normative boundaries of sex and gender, especially between females, transwomen, and intersexuals, in terms of a ‘gender line’ on which different gender categories are located. This reply paper aims to clear the fuzziness in Tauchert’s model by pointing out two critical problems. First, her model appears to be self-defeating, since the marginalized gender categories it attempts to (...) empower are defined in terms of the hegemonic binarism of the ‘pure’ heterosexual male and the ‘pure’ heterosexual female, which it tries to dislodge. Second, her model implies an infinite number of possible gender categories along the gender line; being so, it becomes theoretically inert and practically inadequate. In lieu of the fuzzy model, this paper suggests an alternative model of thinking through the black/white and grey gender categories. This model utilizes the metaphor of gender galaxies, where each gender category is treated as an independent, socially-conferred galaxy; each having specific societal concerns and political agenda. This model, as will be argued, provides firmer grounding for the political aspirations of these various gender categories. (shrink)

Da Ré and Szmuc argue that while there is a symmetry between ‘infectious’ and ‘immune’ logics, this symmetry fails w.r.t. extending an algebra with an immune or an infectious element. In this paper, I show that the symmetry also fails w.r.t. defining a new logical operation from a given set of primitive (Boolean) operations. I use the case of the material conditional to illustrate this point.

In “Why We Need Friendly AI”, Luke Muehlhauser and Nick Bostrom propose that for our species to survive the impending rise of superintelligent AIs, we need to ensure that they would be human-friendly. This discussion note offers a more natural but bleaker outlook: that in the end, if these AIs do arise, they won’t be that friendly.

Zarpó del puerto de Lisboa con destino a las costas de Inglaterra. La «Grande y Felicísima Armada» de Felipe II comenzó -oro y hierro- su majestuosa marcha. Lenta, pesada, con más reveses que fortuna, la empresa al mando del duque de Medina-Sidonia dio abundantes indicios antes de arribar a tierra inglesa de lo que en escasos meses se convertiría en una colosal derrota. Todo augurio de su final. Pareció cumplirse en Alonso Pérez de Guzmán, su almirante trémulo, aquello de Mariana (...) de que «el temor y el recato demasiado nunca hicieron cosa honrosa; a los valientes ayuda Dios, a los cobardes todo se les deshace entre las manos». Con todo, nada impidió que la amenaza, que suele representarse mayor que el daño cuando se produce. se fuera dando a conocer a los ingleses con un temor creciente. Con un temor tal que en el amanecer del día 5 de abril de aquel año de 1588, una mujer de la pequeña aldea de Malmesbury, al suroeste de la Isla, alumbrará gemelos. Pues «al difundirse por nuestras plazas -contará uno de esos retoños, T. Hobbes- el rumor de que con la flota se acercaba el último día para nuestro pueblo, tanto miedo concibió mi madre que parió gemelos: a mí y al miedo al mismo tiempo». Es verdad. Pocas cosas le están tan hermanadas al hombre y le son tan reveladoras como sus propios miedos; al menos en su presente estado. Y pocas cosas como sus miedos ayudan a caracterizar mejor sus formas de organización social. De ahí que ame la paz y se goce con la compañía afable, como a renglón seguido también el propio Hobbes apunta. (shrink)

We discuss misinformation about “the liar antinomy” with special reference to Tarski’s 1933 truth-definition paper [1]. Lies are speech-acts, not merely sentences or propositions. Roughly, lies are statements of propositions not believed by their speakers. Speakers who state their false beliefs are often not lying. And speakers who state true propositions that they don’t believe are often lying—regardless of whether the non-belief is disbelief. Persons who state propositions on which they have no opinion are lying as much as those who (...) state propositions they believe to be false. Not all lies are statements of false propositions—some lies are true; some have no truth-value. People who only occasionally lie are not liars: roughly, liars repeatedly and habitually lie. Some half-truths are statements intended to mislead even though the speakers “interpret” the sentences used as expressing true propositions. Others are statements of propositions believed by the speakers to be questionable but without revealing their supposed problematic nature. The two “formulations” of “the antinomy of the liar” in [1], pp.157–8 and 161–2, have nothing to do with lying or liars. The first focuses on an “expression” Tarski calls ‘c’, namely the following. -/- c is not a true sentence -/- The second focuses on another “expression”, also called ‘c’, namely the following. -/- for all p, if c is identical with the sentence ‘p’, then not p -/- Without argumentation or even discussion, Tarski implies that these strange “expressions” are English sentences. [1] Alfred Tarski, The concept of truth in formalized languages, pp. 152–278, Logic, Semantics, Metamathematics, papers from 1923 to 1938, ed. John Corcoran, Hackett, Indianapolis 1983. -/- https://www.academia.edu/12525833/Sentence_Proposition_Judgment_Statement_and_Fact_Speaking_about_th e_Written_English_Used_in_Logic. (shrink)

Introducción: El consentimiento informado es un procedimiento que brinda oportunidad a los pacientes de disponer de información y participar en la toma de decisiones médicas. Sin embargo, existe el criterio de que el nivel de entendimiento de la información aportada por los facultativos al paciente, sus familiares o ambos, es bajo y además, muchos médicos lo consideran como una herramienta de trabajo secundaria o que no es necesario realizarla con inmediatez. Objetivo: Evaluar la percepción y experiencia del personal sanitario de (...) la unidad de terapia polivalente del Hospital Docente Clínico Quirúrgico "Joaquín Albarrán" acerca del consentimiento informado. Método: Estudio descriptivo realizado en la unidad de terapia polivalente del Hospital "Joaquín Albarrán" de enero a marzo del 2013. Se aplicó una encuesta a 67 trabajadores que accedieron voluntariamente a responderla. Resultados: El 60 % de los encuestados tenía menos de dos años de trabajo en la unidad y solo el 45 %, conocimientos básicos de ética médica. Únicamente el 50 % de los interrogados consideró que este procedimiento puede mejorar la relación médico-paciente. Conclusiones: Es necesario incrementar el conocimiento sobre la utilidad del consentimiento informado entre los trabajadores de la unidad para aprovechar al máximo sus beneficios. Introduction: Informed consent is a procedure that offers full opportunity for patients to have access to information and participate in medical decision-makings. However, it is believed that the information given by the doctors are not fully understood by the patients, their families or both, and besides that many doctors consider it as a second tool or something that doesn't have to be done right away. Objective: Evaluate the perception and experience of the health staff of the polyvalent unit of the surgical clinical teaching hospital Joaquin Albarrán about informed consent. Method: Descriptive study carried out in the polyvalent unit of Joaquin Albarrán Hospital from January to march 2013. A survey was given to 67 workers who voluntarily agreed to answer it. Results: The 60% of the participants had been working in the unit for less than 2 years and only 45% of them had basic knowledge of medical ethics. Only 50% of the participants considered that this procedure could help to improve doctor-patient relationship. Conclusions: It is necessary to increase the knowledge of the usefulness of the informed consent among the workers of the unit to have full profit from it. (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)

In an attempt to provide some clarification in the abortion issue it has recently been proposed that since 'brain death' is used to define the end of life, 'brain life' would be a logical demarcation for life's beginning. This paper argues in support of this position, not on empirical grounds, but because of what it reflects of what is valuable about the term 'life'. It is pointed out that 'life' is an ambiguous concept as it is used in English, obscuring (...) the differences between being alive and having a life, a crucial distinction for bioethical questions. The implications of this distinction for the moral debate about abortion are discussed. (shrink)

We present here solutions of a non-linear Schrödinger equation in presence of an arbitrary linear external potential. The non-linearity expresses a self-focusing interaction. These solutions are the product of the pilot wave with peaked solitons the velocity of which obeys the guidance equation derived by Louis de Broglie in 1926. The degree of validity of our approximations increases when the size of the soliton decreases and becomes negligible compared to the typical size over which the pilot wave varies. We discuss (...) the possibility to reveal their existence by implementing a humpty-dumpty Stern-Gerlach interferometer in the mesoscopic regime. (shrink)

Recent developments in biology have made it possible to acquire more and more precise information concerning our genetic makeup. Although the most far-reaching effects of these developments will probably be felt only after the Human Genome Project has been completed in a few years' time, scientists can even today identify a number of genetic disorders which may cause illness and disease in their carriers. The improved knowledge regarding the human genome will, it is predicted, in the near future make diagnoses (...) more accurate and treatments more effective, and thereby considerably reduce and prevent unnecessary suffering. On the other hand, however, the knowledge can also be, depending on the case, futile, distressing or plainly harmful. This is why we propose to answer in this paper the dual question: who should know about our genetic makeup and why? Through an analysis of prudential, moral and legal grounds for acquiring the information, we conclude that, at least on the levels of law and social policy, practically nobody is either duty-bound to receive or entitled to have that knowledge. (shrink)

In the World Library of Psychologists series, international experts themselves present career-long collections of what they judge to be their finest pieces - extracts from books, key articles, salient research findings, and their major theoretical and practical contributions. Jonathan St B T Evans is amongst the foremost cognitive psychologists of his generation, having been influential in spearheading developments in the psychological study of reasoning from its very beginnings in the 1970s up to the present day. This volume of self-selected papers (...) recognises Professor Evan's major contribution to the psychological study of thinking and reasoning by bringing together his most influential and important works. Early selections in the book focus upon experimental studies of reasoning - matching bias in the Wason selection task, belief bias in syllogistic reasoning, and also seminal work on the understanding of conditional statements. The later selections include Evans' work on more general forms of dual process and dual system theory, and his recent account of two minds in one brain. The volume also contains chapters which highlight Evans' contribution to the topic of human rationality, and also his influence on the development of the "new paradigm" in the psychology of reasoning. The key developments in the psychology of reasoning are paralleled by those in Evans's own intellectual history, and the book will therefore make essential reading for all researchers in the psychology of reasoning, and a wider audience of graduate and upper-level undergraduate students with an interest in reasoning and/or dual process theory. (shrink)

The best way to distinguish treatment from research is by their functions. This mode of distinction fits well with the basic ethical work that needs to be carried out. The distinction needs to serve as an ethical flag, highlighting areas in which the goals of doctors and patients are more likely than usual to diverge. The distinction also allows us to illuminate and understand some otherwise puzzling elements of debates on research ethics: it shows the peculiarity of exclusive conceptions of (...) the distinction between research and treatment; it allows us to frame questions about therapeutic obligations in the research context, and it allows us to consider whether there may be research obligations in the therapeutic context. (shrink)

In a recent case in Great Britain, a couple described as “white” underwent in vitro fertilisation and gave birth to twins described as “black”. In the sense of a fair adjudication of this particular case, serving justice requires a thick description and a sensitive understanding of the relevant facts. We have only a few facts, but they may be sufficient to serve justice in this first sense.We are told that the couple wants to keep the twins. We are told further (...) that British law holds that the woman giving birth is to be regarded as the legal mother . Finally, we are told that DNA testing has established that the gestational mother is also the genetic mother of these infants. Her husband, whose sperm were supposed to be used to fertilise his wife’s eggs, is not the genetic father. A black couple was also undergoing IVF at the same clinic; it may be that this man’s sperm were used by mistake.We know enough to reach a defensible decision in the case. The couple caring for these children has contributed a half share of the children’s genes, and the woman was also the gestational mother, so they have at least an equal argument from biology. Their intention was to have these children and they also wish to raise them; they went through the rigours of IVF, and are willing to take on the responsibility of parenthood. Since the children were born, furthermore, they have shouldered the hard work of parenthood. We don’t know their particular circumstances; perhaps they’ve had help from family or others; but in all likelihood they’ve had an ample share of sleep deprived nights, soiled nappies, and exhausted days. …. (shrink)

This work has been selected by scholars as being culturally important and is part of the knowledge base of civilization as we know it. This work is in the public domain in the United States of America, and possibly other nations. Within the United States, you may freely copy and distribute this work, as no entity (individual or corporate) has a copyright on the body of the work. Scholars believe, and we concur, that this work is important enough to be (...) preserved, reproduced, and made generally available to the public. To ensure a quality reading experience, this work has been proofread and republished using a format that seamlessly blends the original graphical elements with text in an easy-to-read typeface. We appreciate your support of the preservation process, and thank you for being an important part of keeping this knowledge alive and relevant. (shrink)

Recently, in Found. Phys. 53: 64 (2023), it has been argued that there is no reality to the PBR theorem. In Found. Phys. 54: 36 (2024), Hofer-Szabó has commented that the argument is flawed and that PBR theorem remains in tact. Here we reply to Hofer-Szabó by showing that his counterargument does not hold up, concluding that the PBR theorem has been disproved.

Burgess, J.P. and Rosen, G. Subject with No ObjectElliott, R.Faking Nature.