Since 2008 I have been closely following the conceptual/performance/video work of Daniel Peltz. Gently rendered through media installation, ethnographic, and performance strategies, Peltz’s work reverently and warmly engages the inner workings of social systems, leaving elegant rips and tears in any given socio/cultural quilt. He engages readymades (of social and media constructions) and uses what are identified as interruptionist/interventionist strategies to disrupt parts of an existing social system, thus allowing for something other to emerge. Like the stereoscope that requires two (...) identical images to create an illusion of a three-dimensional image, Peltz sometimes visualizes two separate elements to create an object or moment that requires space and depth to focus on its varied layers. They say your brain has to process and make meaningful sense out of all that visual information before it can accept the illusion. I say your brain has to do a similar thing when looking and seeing the divine, magical, and faithful (social) art making of Daniel Peltz. Daniel Peltz is Associate Professor of Film/Animation/Video at RISD. He divides his time between Rhode Island and Sweden and is currently at work on an exhibition at Botkyrka Konsthall, Stockholm opening February 2013 and a new project to be included in the IASKA: Spaced Biennial (Australia) in 2014. This interview took place on Skype and is part one of a two-part interview. Feliz Lucia Molina: Are you in Providence, RI? Daniel Peltz: I’m at my house in Providence. I’ve been back for six days teaching winter session at RISD and doing this workshop series—these investors’ drum circles with a group of wealth managers. a client of the firm, 2013, photo Shirin Adhami FLM: The wealth managers were all drumming together? DP: They were all drumming in response to the performance of their retirement portfolios. FLM: Is this part of the “Unrealized Gain/Loss” piece? DP: Yes, it’s part of a show I’m working on in Sweden. I can show you because it was just today. I’ll show you some of this. Lets see—share screen [click, click, click]. This is the room. I’ve been using the camera system that’s already installed in the conference rooms to record them. So the video is being recorded directly by the wealth management office’s tech staff. These are the people I worked with in the last workshop. This conference table is less wondrous. They’ve been learning to drum in response to their retirement portfolios. I started by bringing in my little bit of wealth for them to propose a management strategy, I came to the follow-up meeting with a counter proposal, which was this workshop. So they agreed to do this series of workshops instead of managing my wealth. FLM: Does everybody in the room manage your wealth? That’s kind of a lot of people. DP: That woman in the back there and Craig —they handle new client business. So when you come there with your wealth, they sit down with you and suggest to you how they would manage it. They’re very nice, responsible people. FLM: And where is this? DP: This is in Providence and the one I was showing you is in Waltham, where I was today. Then I’m going to Newport for the last one on Friday. So I will have done four of them. This is the group in Waltham that I just played with today. I played directly with the two groups in Providence and I’m working with an ethnomusicologist at Brown, Asha Tamarisa, who is facilitating the last two. She’s helped develop the workshop in terms of figuring out how to train a group to do this and thinking about the compositional challenges of working in response to retirement portfolio data. FLM: Screensharing helps me to figure out tiny bits here and there about the project. DP: I might even be able to play you a little of the audio I’ve also been working with a group of professional percussionists on what will become a quarterly public investors’ drum circle event. Their stuff was really nice, but I want you to hear what we sounded like in the workshops. They’ve all been recorded by the a/v system in the offices. We use a simple structure where the drummer investors interpret the sensation of gain or loss as embellishments to a base heartbeat rhythm. The group holds the heartbeat and, as each person experiences gain or loss, they embellish that rhythm. "Screensharing helps me to figure out tiny bits here and there about the project" FLM: Is the process all very spontaneous? DP: Its actually quite structured. We produce a custom stock ticker that shows the performance of their collective portfolios. In advance of the workshop each participant submits assets in their retirement portfolio. Then we make a stock ticker that shows the real-time performance of their assets so that they can respond to almost live data. FLM: Are they reading the stock ticker projected up on the screen in the room? Do people drum in correspondence to the visual live data of the performance of their assets? DP: Exactly. They’re looking at the stock ticker as opposed to each other, so it’s a slightly shifted drum circle. They’re looking at the ticker but they’re listening to each other—that’s what we’re practicing. For example, NVO—the price is 172.08 but it’s down -1.16 and as that moves across the screen, the person who’s retirement is invested in that asset starts to embellish when that arrow first appears, based on their experience of loss. They stop when it exits the screen and return to the heartbeat. You could have one ticker for each retirement portfolio, but the way the workshop is constructed is that we just isolate one asset from each person’s portfolio so that everyone in the group is represented in a single ticker. So they’re drumming and looking at the ticker, but they’re hearing each other experience gain and loss. We’ve removed direct visual engagement from the social structure of a drum circle but the oral engagement is still there. FLM: So they had their own sound interpretation of gain and loss? DP: Yeah and that part is quite spontaneous as you were saying. In some of the preparatory exercises we’ve been working to give the participants more strategies for interpreting the sensations of gain and loss. We’re trying to develop their capacity to embellish a heartbeat or base rhythm but I’m not invested in having a melodious result. I’m quite curious about what this kind of structure will result in without any desire for a particular result. FLM: For context, can you talk about the project you did a couple years ago in Bali, “Unrealized Gain/Loss” in relation to this current wealth management project? DP: The workshops I’ve been doing use a similar strategy to the other components in this project. It started in Indonesia on my sabbatical and I was really trying to understand where I was physically and where I was being on sabbatical—this kind of strange jubilee structure where every seventh year you’re supposed to renew your self. And it was around the time of the global financial crisis. I was on sabbatical for the global financial crisis. I remember watching my father, in particular, respond to the financial crisis by monitoring his retirement portfolio and trying to make sense of it. I realized on a visit to their home that he checked his retirement portfolio every single day and I was really struck by that because in some way our parents are mysteries to us as children, especially their moods. We know how important their moods are but we don’t know what governs them. And somehow it was like I’d figured it out, it’s the performance of the DOW! So I think there was something in that. Then I was in Indonesia and I had been drawn there by an interest in their highly ritualized Hindu culture, where so much of life is driven by a ceremonial calendar. I was interested in Bali as this predominantly Hindu pocket within a predominantly Islamic country and life there being organized by this ritual calendar functioning as a kind of resistance to the dominant global religion of free-market capitalism. So I started to explore that correlation between the ways in which this culture that I was living in was sort of “living for the afterlife” and this idea within certain segments of American society of “living for the afterwork life”. The idea that your wellbeing in the “afterwork life” is tied to forces that are unseen and largely beyond your control has strong similarities to many religious understandings of the universe. So I started to explore that and the crafts and materials that were around me were primarily Batik and percussion. Percussion is a huge part of daily life in Bali. These gamelan troupes were everywhere. And I also happened to be there for Nyepi, the day of silence, which is preceded by a very elaborate procession and construction of demonic statues. These were the things that were around me and I started studying Batik with one of the Batik artists there and also started a conversation with two master Batik artists, one who is American and her Indonesian husband. I developed these patterns that were based on symbols from the performance of my retirement portfolio and worked with the batik artists to produce two sarongs. d. peltz - 2012 In producing the designs, I treated the performance of my retirement portfolio since my arrival at RISD [7 years] as a significant interval and then I looked at the ways in which decisions are made within retirement portfolios as having an extension outwards from the individual assets that underlie the retirement portfolio, which are kind of like the base elements of the retirement world. Then there’s the allocation of your assets, which is a global way of understanding an individual according to typologies, which are often referred to in terms of risk—this notion of a ‘risk profile’. What type of ‘person’ you are is determined by your attitude towards risk, or potentiality, and I found that to be a really fascinating way of understanding the universe. I remember looking at the tabs in my retirement portfolio and finding this one for viewing ‘Unrealized Gain/Loss’ and that’s often how I work—is just going through the Cambridge Parking Code, for example, and finding this section of the code that was called ‘Crossing Non-Signalized Locations’ and just feeling “I can’t do any better than that,” you know? That’s what I was talking about in terms of ready-mades that exist in the social sphere. So I found that tab, actually, a long time ago, and I pulled it out of a journal when I was there [in Bali] working on these pieces and I wound up making these two sarongs and later on a series of porcelain vessels for holding one’s unrealized gains and losses. At the time, I knew that I wanted a performance to come out of them, but I wasn’t sure what it was. I was inspired very much by this sort of thing: Pulls out a TIAA-CREF brochure with a man in a suit seated at a table. This guy is probably an actor, and [the brochure] says “TIAA-Cref announces “Individual counseling sessions at the Rhode Island School of Design. Individual counseling sessions at no additional cost to you. You can discuss your personal financial situation with an experienced TIAA consultant on a confidential basis. We are available to help you discuss how to achieve your financial goals by investing in financial solutions such as mutual funds, brokerage, life insurance, and annuities...etc....What retirement benefits best fits your situation?” Often I encounter this and I think O.K., this is one way to prepare for the after-work life and it seems inadequate to me. But, I also find it really inspiring. I really like the visual language of it. I kind of want to be that man. I’d like to see if I could maybe buy his clothes. FLM: What it is about the man on the brochure that interests you? DP: He’s offering personalized objective advice and a detailed evaluation of everything you need to know and do. Who wouldn’t want that? But he’s also something of a contemporary priest or priestess, mediating between the unseen all-powerful universe of global capitalism and the common worker. So I started off developing Unrealized Gain/Loss directly from the charts that represent the performance of my retirement portfolio. Then I came home and I wanted to use those. I had this word in my journal “unrealized gain/loss vessel.” I had this notion of vessels that would contain unrealized gains and losses. That felt really important to me that they would have somewhere to go. I had been thinking a lot about altars and making offerings—that somehow this really fickle, massive, difficult-to-comprehend-universe of the financial world—that somehow it might be nice if you could making an offering to it. [In Bali] they made such beautiful elaborate offerings. So I studied offering making as well with one of the women there and she taught me some of the standard forms created by folding leaves and the significance of the floral arrangements. I started working in clay and then moved to porcelain and I made these unrealized gain/loss vessels. I made a few of them, they have holes on either side that you can’t get your fingers in. But something can go in there and something can go out of there. It’s a nice size for putting on an altar. Then I got this commission from Artists in Context who was interested in my doing something for this project “Artists Perspectives for the Nation” project. I proposed initiating these investors’ drum circles as a new public performance form. I’m interested in bringing together those two symbols—the symbol of the djembe and the drum circle. unrealized gain/loss vessel - d.peltz - 2012 FLM: I can imagine the public digital stock ticker performing like a soft fleeting stream of information, a kind of (meaningless) illusory comfort blanket. DP: In some way you have to understand its relevance outside of the obvious, right? Because the obvious is illogical. Nobody is actually using that data to day trade, for example. People aren’t sitting there with their computers watching the market data in Times Square or setting up an outdoor office and being like “OK it’s up 3 points or it’s up 1.56, trade! Ok now buy, Ok now sell!” That would be a kind of a nice performance, actually. But actual day traders would want more up to date data than that. To understand what that data is doing is really important. And that’s something I’ve realized—that I’m interested in a particular kind of data visualization, which is not about what data can tell people, but what data can tell people who are visualizing it. For example, in the Cambridge Project “Crossing Non-Signalized Locations” I was interested in the 10,000 excuses archive of data recording five years worth of excuses for why people thought they shouldn’t have received their parking ticket. I was not interested in making that excuse wall so that the public could see and understand this data. Inevitably the data will be seen by others but I was really interested in what the action of visualizing the data told those who were visualizing it. The parking attendants themselves were writing those excuses on the wall—I was interested in what that kind action of writing the excuses on the wall told them about the data. Similarly, I’m interested in designing a way to allow people to pass this data from the unseen universe of the market, through their own bodies, which happens through the merging of the drum and the stock ticker. I’m interested in those two also as symbols; the drum as this symbol of the earth, the body and a pagan counterculture, and the stock ticker referring to the ethereal world of global markets—bringing those two together and making them dependent. I’m often drawn to conceptual propositions that I become invested in testing in a sincere way—at first they often they sound humorous to others, but I have to remember that there is humor in them. I don’t sit around and laugh about these things. I stop finding them funny at all. I’m interested in the proposition that we could know something about the after-work life by drumming in response to our retirement portfolio. So then I become really interested in how to craft that into a viable performance form for myself and others. FLM: The aspect of using sound in “Unrealized Gain/Loss” as a way of embodying the information to the asset holder is really intriguing—using sound as a means of embodying the asset data. Was sound a medium that made sense to use immediately or were you considering other means of attempting to embody it? DP: Well I do use other mediums within the project like textile, ceramic, and batik patterns. I was first drawn to the history of Batik patterns as a socio-economic stratification system and the vessels as a way of embodying or manifesting this data of unrealized gain and loss. My first approach was to work with meditation actually—a meditation workshop with my colleagues. I was going to offer this “Unrealized Gain/Loss” workshop where you would explore the sensations of gain and loss by adapting the way yogi-nidra brings you into contact with your physical surroundings and stretches your perception. FLM: At Naropa University there are/were business & compassion workshops—a sort of mash-up of business and compassion and how compassion could be incorporated into a business model. This process and engagement of “embodying data” also has to do with “Participatory Democracy and the Future of Karaoke” you created at the DNC in Denver in 2008. DP: That kind of appropriation and instrumentalization of spiritual practice could be disturbing and thus compelling as a strategy. For various reasons, I’ve come to be drawn to both the form of a quarterly public performance and the established performance form of a drum circle. Its something I’ve seen myself do before, that is to mess up a really good functional social system like a drum circle or karaoke. I remember I was developing language for the karaoke project and started calling it “Participatory Democracy and the Future of Karaoke” and one of my assistants on the project, who’s an incredible artist, said, “but don’t you think the future of karaoke is guitar hero?” and I realized that maybe he thought I was trying to improve the form. I’m just trying to get people to have this shifted embodied experience, I need to craft the performance context so that they can do that. In the case of the karaoke project, for example, what did I need in order to be able to do this [a person to stand up in front of a bar and deliver a karaoke speech]? I realized that the body is very vulnerable so I built a podium so that the speaker can feel secure enough to do this, otherwise you couldn’t get to this state achieved by passing these speeches through the body. Then I was, like, well you need to be able to practice the lyrics because you don’t know all the “songs” by heart, which became an insert to the massive track books carried by most karaoke VJs. And then sometimes the crowd in the bar isn’t there with me, so I needed to extract the voice of the crowd cheering from the original venue and I needed the local audience to cheer if they wanted to. I’m interested in both where the form succeeds and fails. In particular, one of the most interesting things is this auditory gap between the space where you are, the reduced scale of applause in your own little bar, and this grand scale of applause at the convention center where the speech was originally delivered. FLM: How did the concept of “Participatory Democracy Karaoke” come about and why did you use karaoke as a means of engaging what was happening at the DNC in 2008? DP: I was looking at a lot of different readymade media infrastructures within the city at the time. I was interested in the emergency broadcast systems and I developed a proposal to repurpose that system and karaoke became an important symbol because it was this populist form that was already engaged in exploring the sensation of celebrity but also visualizing the gap between ourselves and those with more power and influence. So it had this readymade capacity to play with power and celebrity and I felt like the Obama presidential campaign, the first one in particular, had some very curious overlaps with this culture of celebrity. Obama of course rose to power partly based on his oratory abilities and I was interested in how karaoke as a vehicle was so adept at offering people all that was left of authentic expression in a political speech. Managing a politician and constructing their identity is such a developed practice that it becomes, kind of automatically, a metaphor for the way that our own identities are constructed. Of course the Obama campaign was very hip and savvy and deploying this notion of grassroots. It was really pioneering in its use of social media and this deployment of notions of populism. I was interested at that time in the capacity of karaoke to track speech patterns, precise tempos of anyone’s delivery, and that to me was a way of thinking about what might be left of the authentic self. I was interested in karaoke’s capacity to extract that authentic component and offer it to others. So not just to stand up and be them, but to [literally] pass their speech patterns through your own body. A long time ago, it started to strike me as odd that one would make media at all. It struck me as a kind of un-contemporary way of going about making art in an age of media overflow. That logic extended into my thinking on delivery devices and installation as well. Why would one buy a screen or even set one up when there are so many out there? And the way in which these media displays function in karaoke bars and bars in general is very interesting to me. I’m drawn to this passive consumption of media where your primary social interaction is with the bartender or a few other individuals but these screens are around you and your attention is shifting back and forth between these spaces. So much political rhetoric is spoken to a half-listening audience. I was interested in what was happening in the slippage and that karaoke was a kind of slippage amplifier. So if you put people in a bar and they are delivering a Kucinich speech and Kucinich comes up on a screen then your getting a sound bite of Kucinich and an image of Kucinich and your friend is talking to you— FLM: A kind of magic takes place in that incongruency between sound and image and the karaoke participant who’s relaying the speech-text at the same time. DP: Exactly and there’s some kind of truth in that experience of reality. FLM: Yeah, there’s something uncanny about seeing the body close-up like that as though it can’t lie to you in that moment or context. It’s a weird moment of luminous clarity. The work you’ve done and all of what you’re saying about karaoke is so very interesting to me. Growing up, my dad and uncles sang karaoke a lot (and still do) and being first-generation Filipino American is a different cultural subtext entirely. I’m also seeing it from the position of witnessing family members who are carriers of these stories and songs. And seeing them cherish these Tony Bennett, Frank Sinatra, Elvis Presley songs so much, I also see how their bodies are literal vessels of popular music that signifies something greater—it signifies their cultural and socioeconomic place in the world. The way that they cherish these American 1950s and 1960s pop songs is similar to having a certain kind of reverence for their spiritual faith or Catholicism. It’s a similar kind of care, focus, and attention exerted in karaoke and Catholicism—that these two structures and systems give something to focus on. Setsuko, Seiji and Hitoshi in Obama, Japan as Obama in Indiana — d. peltz — 2008 DP: Sure there something about the relationship we have to our candidate or the way we go about choosing a candidate, which is very similar to a deity or idol. I learned a lot about karaoke culture through this project. I’d never done karaoke. I’d never been interested in it as a form and then I travelled to Japan as part of the project when I made “Setsuko, Seiji and Hitoshi in Obama, Japan as Barack Obama in Indiana” and it was quite fascinating because my image of karaoke had always been this very public forum in a karaoke bar and then I discovered there’s this whole other world of karaoke where people even go on their own, they go and rent a room or cubicle and sing, or they go on a date—just the two of them go and sit in a room and do karaoke together. FLM: I’m interested in issues that take place within or as a result of specific karaoke culture(s). In the Philippines within the last several years there’s been occurring the “My Way Killings” phenomenon. Apparently baklas or gay men are employed by karaoke establishments to help “smooth over conflicts over karaoke singing”—these social forms of conduct, or lack thereof that arise out of the infrastructures of this social sport. In this one rural part of the Philippines there’s a village karaoke machine that the whole village shares—the Aeta indigenous people have an appointed “keeper” of the karaoke machine. I also see karaoke as a proxy to the confessional box in Catholicism where one goes to pour out their sins (minus the penance and redemption). The karaoke machine enables one to literally sing out whatever’s going on internally, but through highly saturated popular song lyrics. While karaoke is a public and social sport, it can also be a private one. Karaoke is a means of communion with each other. DP: Right, this preference for this kind of mediated communication. In Japan I was trying to organize people to work on this project and I was talking about throwing a party and they were like, well, we have to rent a karaoke machine because what else are we going to do? And I think its kind of serving that function of surrogacy—emotional surrogacy. FLM: And karaoke tools can be read as ritual tools—the magic mic that holds everything. There’s got to be some overlap at some point—between religious ceremony and devotion to the karaoke machine. DP: The way I designed the piece was so that it could slip right on top of the ready-made karaoke infrastructure. There was a flat-packed podium and it was made of a single sheet of plywood with no fasteners that slotted into itself. Those were sent out to a network of karaoke bars that I invited to become “karaoke convention centers.” The local VJs downloaded our custom-made, speech-extracted tracks that were designed to play on their existing equipment. In this sense the piece is a permanent installation. If you go to Denver today, some of the VJs still have the tracks in their library of offerings, the Ramones and Romney. It was this notion of re-purposing readymade infrastructure to create a distributable populist form. Obama was coming and the convention was in the Pepsi Center and 30,000 people were coming including 10,000 journalists. The impetus behind the larger art project that commissioned international artists to make works in Denver, was that local people weren’t going to have much access to this convention. It was like an invasion, the city was being descended upon, but if you lived a block away from the site, you had the same access as people in Zimbabwe&mash;30 second media bits excerpted from the speeches. So it seemed to me that the fundamental gesture was how do I take that signal, which was travelling out of the convention center, and create a local interruption? FLM: Is that what you mean by ‘intervention’? The term is frequently used to help describe your work. DP: It depends on the day. Around that karaoke project I had a conversation with Krzysztof Wodiczko and he was proposing that maybe rather than intervention, we should consider the word interruption. Because intervention is kind of an overused term in the field of art and it has militaristic and therapeutic associations outside of the art context. Fundamentally, the idea of intervening speaks to the readymade social world as your primary material. So it’s basically suggesting a kind of subtractive process, which gets back to this question: what is the role of the contemporary media artist in a world that’s so saturated with media? You can’t work additively in a saturated field. If you want to make a visible mark you have to work subtractively. That’s what intervention is about to me, just another way of saying “to work subtractively.” FLM: So the interventions or interruptions aren’t necessarily adding or subtracting, but are they putting orange cones there? What are they doing exactly? DP: I think you’re right about that, they’re not really subtracting. They’re adding to the scope of possibility. I’ve been thinking (with this exhibition I’m mounting next month) about the work as explorations and expansions of social possibility. Maybe it’s more insertion. I started calling the pieces ‘insertions’ that I was making in Rejmyre—a small town in Sweden where I’ve been working for six years now. My favorite site to install there is the tourist bureau. I started calling the video pieces that I made for the tourist bureau, video insertions. This idea that you’re inserting something into the readymade media infrastructure of the world resonates with me. Insertion leverages a context, creating a possibility that the inserted object might be naturalized in the process — that someone can encounter my video in Rejmyre as tourist information. And then all of a sudden tourist information can include some American guy prostrating through town and it can include really bad relationship advice. Maybe insertion is a better word. tourist information – d. peltz 2009-present  . (shrink)

This paper examines the relationship between CEO incentives and strong and weak corporate social performance. Using the KLD database we find that incentives have no significant relationship with strong social performance. Salary and long-term incentives have a positive association with weak social performance.

Cognition is embodied when it is deeply dependent upon features of the physical body of an agent, that is, when aspects of the agent's body beyond the brain play a significant causal or physically constitutive role in cognitive processing. In general, dominant views in the philosophy of mind and cognitive science have considered the body as peripheral to understanding the nature of mind and cognition. Proponents of embodied cognitive science view this as a serious mistake. Sometimes the nature of the (...) dependence of cognition on the body is quite unexpected, and suggests new ways of conceptualizing and exploring the mechanics of cognitive processing. Embodied cognitive science encompasses a loose-knit family of research programs in the cognitive sciences that often share a commitment to critiquing and even replacing traditional approaches to cognition and cognitive processing. Empirical research on embodied cognition has exploded in the past 10 years. As the bibliography for this article attests, the various bodies of work that will be discussed represent a serious alternative to the investigation of cognitive phenomena. Relatively recent work on the embodiment of cognition provides much food for thought for empirically-informed philosophers of mind. This is in part because of the rich range of phenomena that embodied cognitive science has studied. But it is also in part because those phenomena are often thought to challenge dominant views of the mind, such as the computational and representational theories of mind, at the heart of traditional cognitive science. And they have sometimes been taken to undermine standard positions in the philosophy of mind, such as the idea that the mind is identical to, or even realized in, the brain. (shrink)

Sex differences in mortality rates stem from genetic, physiological, behavioral, and social causes that are best understood when integrated in an evolutionary life history framework. This paper investigates the Male-to-Female Mortality Ratio (M:F MR) from external and internal causes and across contexts to illustrate how sex differences shaped by sexual selection interact with the environment to yield a pattern with some consistency, but also with expected variations due to socioeconomic and other factors.

El artículo presenta el análisis de las implicaciones de evaluar la comprensión de lectura y la redacción en pruebas de ingreso a la educación superior, como una consideración necesaria para el desarrollo de una política de competencia comunicativa. Se describe el diseño de un instrumento, partiendo de la concepción sociosemiótica de la lengua, del enfoque metodológico de la comprensión por niveles intra, inter y extratextual, ligado a procesos cognitivos, y la escritura como tecnología. Se incluye, además, un concepto de evaluación (...) enmarcado en el desarrollo de competencia, es decir, los resultados de la prueba se utilizan, por fuera de concepciones deterministas excluyentes, para mostrar un estado de la competencia y las acciones posibles de mejoramiento de la misma. La competencia comunicativa se demuestra como saber transversal, inter y transdisciplinario. (shrink)

This book arises from a three-year study of Preventive Justice directed by Professor Andrew Ashworth and Professor Lucia Zedner at the University of Oxford. The study seeks to develop an account of the principles and values that should guide and limit the state's use of preventive techniques that involve coercion against the individual. States today are increasingly using criminal law or criminal law-like tools to try to prevent or reduce the risk of anticipated future harm. Such measures include criminalizing (...) conduct at an early stage in order to allow authorities to intervene; incapacitating suspected future wrongdoers; and imposing extended sentences or indefinate on past wrongdoers on the basis of their predicted future conduct - all in the name of public protection and security. The chief justification for the state's use of coercion is protecting the public from harm. Although the rationales and justifications of state punishment have been explored extensively, the scope, limits and principles of preventive justice have attracted little doctrinal or conceptual analysis. This book re-assesses the foundations for the range of coercive measures that states now take in the name of prevention and public protection, focussing particularly on coercive measures involving deprivation of liberty. It examines whether these measures are justified, whether they distort the proper boundaries between criminal and civil law, or whether they signal a larger change in the architecture of security. In so doing, it sets out to establish a framework for what we call 'Preventive Justice'. (shrink)

Resumo: Este artigo tem por objetivo inserir a discussão do segundo pragmatismo de Peirce, por ele chamado de pragmaticismo, no contexto das ciências normativas, a saber, a estética, a ética e a lógica ou semiótica. Tendo por finalidade estudar os fins e ideais que guiam os sentimentos, a conduta e o pensamento humanos, as ciências normativas funcionam como chaves para a compreensão do ideal último do pragmaticismo que está no crescimento da razoabilidade concreta do mundo.: The aim of this article (...) is to discuss Peirce's second pragmatism, witch he called pragmaticism, within the framework of his normative sciences, i. e. aesthetics, ethics, and logic or semiotic. The scope of these sciences is the study of the aims and ideals that guide human feeling, behavior, and thought. The normative sciences function as a key to the understanding of the ultimate ideal of pragmatism, i. e., the grouth of concrete reasonableness in the world. (shrink)

Aristotle follows the Socrates of Plato's Gorgias in contrasting rhetoric with teaching. For him, premises of arguments must in rhetoric be reputable ( endoxa), but in teaching be archai of the relevant science. And teaching requires recognition of the speaker's authority, rhetoric does not. Like Socrates, he thinks teaching but not rhetoric requires knowledge of your subject. Unlike Socrates, Aristotle does not for this reason reject rhetoric as dangerous, but accepts it as useful for public and interpersonal deliberation.

A latência é o período do desenvolvimento menos abordado pela literatura psicanalítica e menos compreendido, apesar de corresponder à idade na qual ocorre a maior procura por atendimento psicológico. Além disso, questiona-se um possível encurtamento do período da latência em nossa cultura. Partindo ..

Philosophers and psychologists have traditionally understood folk psychology to emerge in one of two ways: either first through the origin of the function of self-consciousness or first through the origin of the function of mindreading. The aim of this paper is to provide reasons to doubt that those options exhaust the possibilities. In particular, I will argue that in the discussion about whether self-consciousness or mindreading evolved first, we have lost sight of a viable third option. I will urge that (...) mindsharing—the kind of intersubjectivity involved in joint engagement—may have been an important precursor to the ascription of mentalstates to selves and others. I analyze arguments for the view that mindreading evolved prior to self-consciousness, which I call “the mindreading priority account.” I acknowledge that proponents of the mindreading priority account are correct to stress the importance of our social natures in the emergence of self-consciousness. However, such accounts have focused too narrowly on mindreading as the biological function that is the basis of the development of self-consciousness. I argue that there are methodological reasons to doubt that mindreading is prior to self-consciousness, because awareness of oneself and awareness of others is symmetrical. I argue that there are empirical reasons to doubt that there is evidence for an adaptation explanation for mindreading. I provide a skeptical argument against the mindreading priority account by critiquingtwo central assumptions of that account, namely that mindreading is an adaptation and self-consciousness is a byproduct of mindreading. I consider an alternative view of mindsharing as the function of folk psychology and suggest that the mindsharing account may be on better grounds than the mindreading account in terms of providing an explanation of the origins of self-consciousness. In addition, I will outline an account of the development of self-consciousness and mindreading that emerges from mindsharing. In the conclusion, I will consider two objections to my account and reply to both objections. (shrink)

In The Paradox of Self-Consciousness, Jose Luis Bermúdez presents an abductive argument for what he calls ‘the Symmetry Thesis’ about self-ascription: in order to have the ability to self-ascribe psychological predicates to oneself, one must be able to ascribe psychological predicates to other subjects like oneself. Bermúdez discusses joint engagement as a key phenomenon that underwrites his abductive argument for the Symmetry Thesis. He argues that the ability to self-ascribe is “constituted” by the intersubjective relations that are realized in joint (...) engagement. I will argue in §1 that although Bermúdez may be correct that these phenomena support the idea that pre-linguistic infants and non-linguistic animals possess primitive forms of self-consciousness, for conceptual reasons, his account of joint engagement cannot be used to argue for the Symmetry thesis. I will argue in §2 that while Bermúdez is correct that joint engagement is significant for the constitution of self-ascription, his description of that phenomenon is too robust, because it requires that the infant have a mental representation of the other as a psychological subject of perceptions. I argue that Bermúdez’s description requires an iteration of representations each of which requires a form of self-reference, which goes against Bermudez’s aim of avoiding the paradox of self-consciousness. In presenting his argument for the Symmetry thesis and his account of joint engagement, Bermúdez critiques P. F. Strawson’s argument for the Symmetry Thesis. In §3 of the paper, I turn to the positive project of presenting a constructive argument for the Symmetry thesis. In a variety of sources, P. F. Strawson and Gareth Evans present a transcendental argument for the Symmetry thesis. I suggest that an argument for the Symmetry thesis is available in Strawson’s notion of the primitiveness of the person. In §4, this leads to a corresponding account of joint engagement. Instead of the robust account of joint engagement presented by Bermúdez, I suggest that the infant perceives the mother’s acknowledgement of the infant without the capacity for self-reference that the Bermúdez’s iteration requires. I reconstruct an account of other-ascription in terms of what I call “person perception,” relying on a recent discussion of Strawson’s view by Axel Seemann (2008). On the Strawsonian account that I provide, an adult summons a child to recognize and acknowledge a form of life in which it participates as a person. In closing, I consider how my account of other-ascription differs from two classic accounts— the theory-theory and the simulation theory— and discuss how my account provides a genuine third alternative: the Persons theory. I would argue that the Persons theory offers a new approach to key issues in philosophy and psychology concerning self-consciousness and intersubjectivity. (shrink)

WoLLIC'2006 was held at the Center for the Study of Language and Information , Stanford University, USA, from July 18th to 21st, 2006. WoLLIC is a series of workshops which started in 1994 with the aim of fostering interdisciplinary research in pure and applied logic. The idea is to have a forum which is large enough in the number of possible interactions between logic and the sciences related to information and computation, and yet is small enough to allow for concrete (...) and useful interaction among participants. Previous versions were held at: Recife in 1994 and 1995; Salvador in 1996; Fortaleza in 1997; São Paulo in 1998; Itatiaia in 1999; Natal in 2000; Brasília in 2001; Rio de Janeiro in 2002; Ouro Preto in 2003; Fontainebleau in 2004; Florianópolis in 2005. It is planned that in 2007 it will be held in Rio de Janeiro, 2008 in Edinburgh , and 2009 in Japan . Scientific sponsorship comes from the Interest Group in Pure and Applied Logics , the European Association for Logic, Language and Information , the Association for Symbolic Logic , European Association for Theoretical Computer Science , the Sociedade Brasileira de Computação , and the Sociedade Brasileira de Lógica . Funding was kindly given by: The Tinker Foundation; The Office of the Provost, Stanford University; Center for the Study of Language and Information, Stanford University; Department of Philosophy, Stanford University; Department of Mathematics, Stanford University; Symbolic Systems Program, Stanford University. Contributions were received in the form of short papers in all areas related to logic, language, information and computation, including: context and situation theory; …. (shrink)

The facts concerning the occurrence of superconductivity in R 2- z Ce z CuO 4 and in R 2- z Th z CuO 4 are studied using a combination of simple tools: a hard-sphere model, the self-consistent bond-valence-sum method and Madelung potential calculations. Doping by isolated substitutional Ce should produce Ce 3+ , and not Ce 4+ , causing us to conclude that the dopants are not isolated, but pairs, which make the material p type and not n type. The (...) L = 0 magnetic rare-earth ions Gd and Cm are unsplit pair breakers, unlike the other magnetic rare-earth ions which lead to superconductivity. As the rare-earth ions become smaller, the c -axis length shortens; then the O ions rotate after they come into contact with one another. Eu 1.85 Th 0.15 CuO 4 does not superconduct because quadrivalent Th is too large to fit at the dopant site, but Eu 1.85 Ce 0.15 CuO 4 does superconduct because Ce fits. (shrink)

We construct a model in which the splitting number is large and every ultrafilter has a small subset with no pseudo-intersection.

Partitioner algebras are defined by Baumgartner and Weese 619) as a natural tool for studying the properties of maximal almost disjoint families of subsets of ω. We prove from PFA+ and that there exists a partitioner algebra which contains a subalgebra which is not representable as a partitioner algebra.

. Fresh evidence from Free Choice Items (FCIs) in French question the current perception of the class. The role of some standard distinctions found in the literature is weakened or put in a new perspective. The distinction between universal and existential is no longer an intrinsic property of FCIs. Similarly, the opposition between variation-based vs intension-based analyses is relativized. We show that the regime of free choiceness can be characterized by an abstract constraint, that we call Non-Individuation (NI), and which (...) can be satisfied in different ways that match current distinctions. NI says that the information conveyed by a sentence containing a FCI should not be reducible to a referential situation, that is a situation in which particular individuals satisfy the sentence in the current world. The widely used resource of modal variation becomes a particular scenario of free-choiceness, not its essence. In fact, we show that under certain conditions, FCIs can occur in episodic, non-modal sentences, a fact that NI can accommodate. We also discuss more fine-grained aspects of the semantics of FCIs, such as their emotional colour. (. . .) the tripod fell spontaneously, because, though it stood on its feet so as to serve for a seat, it did not fall so as to serve for a seat. Aristotle, Physics II,6. (shrink)

O texto discute a reiterada e repetida demanda pela qualidade e excelência exigida pela sociedade frente à educação contemporânea. Considerando alguns aspectos da modernidade/pós-modernidade em que vivem tanto os herdeiros de Prometeu, como os de Dionísio, caracterizados pelo hedonismo, e os de Hermes, que valorizam a comunicação, a criação e a mediação, postula-se que a educação vive sua crise de finalidade, não encontrando referências ou modelos para atualizar-se. Seu impulso legitimador foi diluído quando o cânone moderno de padrões objetivos de (...) conhecimento e organização em que se baseava o mundo, foram desacreditados frente a um cenário pós-moderno. Neste contexto, são discutidas as necessidades de escolhas, de suturar os opostos, de práticas de ruptura e de alternativas existenciais para impasses contemporâneos. (shrink)

This study locates what is happening to teachers' work in the global economy. Two case studies show how teachers are simultaneously experiencing significant changes to their work, and responding in ways that actively shape these process.

In the Classical world, the language of cosmology was a means for framing philosophical concerns. Among these were issues of time, motion, and soul; concepts of the limited and the unlimited; and the nature and basis of number. This is no less true of Indian thought-Hindu, Buddhist, Jain, and Ājivika-where the prestige of the cosmological idiom for organizing philosophical and theological thought cannot be overstated. This essay focuses on the structural similarities in the thought of Plotinus and Buddhist cosmological/philosophical speculation. (...) It builds on research concerning the Buddha-field (buddhakṣetra), which identified two discrete numerologies central to this speculation: the thousands of worlds (sāhasralokadhātu) comprising the field of a single Buddha (buddhakṣetra), characteristic of the Hinayana, and the innumerable or incalculable (asaṃkhyeya) Buddha-fields filling the ten regions of space, characteristic of the Mahāyāna. The Enneads of Plotinus serve as a lens through which to view in a fresh way a broad range of difficult issues associated with Buddhist cosmology in three general areas. First, it asks whether Plotinus' understanding of Intellect and his treatment of infinite and essential number afford an understanding of the innumerables and thousands central to the concept of the Buddhā-field. This analysis involves a consideration of the Hindu creator god, Brahma, as 'demiurge.' Second, it suggests analogies between the One, Intellect, and Soul of Plotinus and the three Buddhist Realms-the Formless Realm, the Realm of Form, and the Realm of Desire. Finally, it explores the possibility that an understanding of the Enneads can provide a model for relating the cosmologies of the Hīnayāna and the Mahāyāna. (shrink)

Utilizing examples from recent art, we critique Greta Gaard's argument that an inclusive ecofeminism must account for the role played by erotophobia in oppression. We suggest that while Gaard offers valuable insight into how fear of the erotic contributes to maintaining heteropatriarchal institutions, it fails to account for forms of oppression specific to lesbians. Moreover, Gaard's analysis unwittingly reinforces the conceptual, hence political, economic, and social invisibility of lesbians that, following Marilyn Frye, we argue is not merely consequent to compulsory (...) heterosexuality, but constitutive of it. Lastly, we sketch a lesbian erotic whose potential for generating conceptual dissonance within heteropatriarchal value dualism contains the seeds of a creative "sensibility" out of which a genuinely queer ecofeminism might emerge. (shrink)