Two main uses of categories are classification and feature inference, and category labels have been widely shown to play a dominant role in feature inference. However, the nature of this influence remains unclear, and we evaluate two contrasting hypotheses formalized as mathematical models: the label special-mechanism hypothesis and the label super-salience hypothesis. The special-mechanism hypothesis is that category labels, unlike other features, trigger inference decision making in reference to the category prototypes. This results in a tendency for prototype-compatible inferences because (...) the labels trigger a special mechanism rather than because of any influences they have on similarity evaluation. The super-salience hypothesis assumes that the large label influence is due to their high salience and corresponding impact on similarity without any need for a special mechanism. Application of the two models to a feature inference task based on a family resemblance category structure yields strong support for the label super-salience hypothesis and in particular does not support the need for a special mechanism based on prototypes. (shrink)

Predatory journals operate as vanity presses, typically charging large submission or publication fees and requiring little peer review. The consequences of such journals are wide reaching, affecting the integrity of the legitimate journals they attempt to imitate, the reputations of the departments, colleges, and universities of their contributors, the actions of accreditation bodies, the reputations of their authors, and perhaps even the generosity of academic benefactors. Using a stakeholder analysis, our study of predatory journals suggests that most stakeholders gain little (...) in the short run from such publishing and only the editors or owners of these journals benefit in the long run. We also discuss counter-measures that academic and administrative faculty can employ to thwart predatory publishing. (shrink)

This volume brings together eleven essays that address a range of issues extending from broader questions of social justice to the sexual intimacy that bears the mark of our fleshly existence. Collectively, these essays extend the reach of Paul Ricoeur’s early to late works by taking up some of the major social, political and religious challenges facing us in a postmodern, ultrapluralistic world.

Empty names vary in their referential features. Some of them, as Kripke argues, are necessarily empty -- those that are used to create works of fiction. Others appear to be contingently empty -- those which fail to refer at this world, but which do uniquely identify particular objects in other possible worlds. I argue against Kripke's metaphysical and semantic reasons for thinking that either some or all empty names are necessarily non-referring, because these reasons are either not the right reasons (...) for thinking that a name necessarily must fail to refer, or they are too broad -- they make every empty name necessarily non-referential. Plausibly, the explanation for the necessary non-reference of fictional names should be semantic, yet the explanation should not rule out a priori the contingent non-reference of certain other empty names. In light of this, I argue that a name's semantic value needs to carry information about its referential potential. I claim that names do so by encoding information about the way they were introduced into discourse. Names that are fictional will be marked as being non-referential -- they will fail to refer as a matter of their semantics. In contrast, names that are contingently empty will be marked as referential, but they will be failed referential names that could have been successful. The reason, then, for the non-referential status of a fictional name, will be semantic, as our intuitions suggest it should be. Likewise, the reason for the non-referential status of other empty names, those created by acts of failed attempts to refer, will be metaphysical, again, in keeping with our intuitions. (shrink)

The effort involved in playing sports calls for a hermeneutical reflection on the power that we have to move our bodies. Drawing on Paul Ricoeur’s phenomenology of the lived body and his later ontology of the flesh, I explore how athletic displays of agility, strength, and speed within the theater of sporting competitions exemplify the way that the effort made by athletes attests to their will and desire to succeed. The agonistic spirit of the Greek Olympics is evident in sporting (...) events where competitors or teams strive against one another. At the same time, the players’ willingness to enter the field of play has a counterpart in real-life situations over which we cannot exert complete control. The contingencies of the game in which the players are caught up are a model of the absence of aseity that is a mark of all human existence. By setting the playing field off from the concerns of everyday life, the game places this feature of the human condition on stage. The players’ physical exertion is the sign of a form of consent that sets the will, desire, and effort to exist against the wish for absolute freedom. Sporting competitions are therefore a theater for dramatizing the misery and grandeur of a specifically human freedom. (shrink)

Several axiom systems for preference among acts lead to a unique probability and a state-independent utility such that acts are ranked according to their expected utilities. These axioms have been used as a foundation for Bayesian decision theory and subjective probability calculus. In this article we note that the uniqueness of the probability is relative to the choice of whatcounts as a constant outcome. Although it is sometimes clear what should be considered constant, in many cases there are several possible (...) choices. Each choice can lead to a different "unique" probability and utility. By focusing attention on statedependent utilities, we determine conditions under which a truly unique probability and utility can be determined from an agent's expressed preferences among acts. Suppose that an agent's preference can be represented in terms of a probability P and a utility U.That is, the agent prefers one act to another iff the expected utility of that act is higher than that of the other. There are many other equivalent representations in terms of probabilities Q, which are mutually absolutely continuous with P, and state-dependent utilities V, which differ from U by possibly different positive affine transformations in each state of nature. We describe an example in which there are two different but equivalent state-independent utility representations for the same preference structure. They differ in which acts count as constants. The acts involve receiving different amounts of one or the other of two currencies, and the states are different exchange rates between the currencies. It is easy to see how it would not be possible for constant amounts of both currencies to have simultaneously constant values across the differentstates. Savage (1954, sec. 5.5) discovered a situation in which two seemingly equivalent preference structures are represented by different pairs of probability and utility. He attributed the phenomenon to the construction of a "small world." We show that the small world problem is just another example of two different, but equivalent, representations treating different actsas constants. Finally, we prove a theorem (similar to one of Karni 1985) that shows how to elicit a unique state-dependent utility and does not assume that there are prizes with constant value. To do this, we define a new hypothetical kind of act in which both the prize to be awarded and the state of nature are determined by an auxiliary experiment. (shrink)

Social opposition to instituted policies and practices marks the sites of resistance that populate the contemporary political landscape. Animated by the prospects of a better and more just world, the emancipatory ambitions of social and political movements bring to the fore discrepancies between ideologically congealed power relations and habits of thought and the subversive function of utopian expectations. Paul Ricoeur reminds us that our participation in society is invariably punctuated by our experiences of reality’s noncongruence with imaginative alternatives we can (...) project and upon which we can act. After explaining how literary fictions open spaces for reworking reality, I set out the imagination’s analogous power on the political plane. The struggles with which social and political movements are engaged seek to transform established conventions. Hence, like literary works, these movements aim at refashioning the existing order of reality from within. Protest movements attest to how struggles for recognition combat systemic injustices by holding out the prospect of a different and better future. Consequently, these movements exemplify the power that springs from individuals acting in consort, as evidenced by recent protests against the Trump administration. Conversely, violence destroys power. In view of the way that future expectations animate the force of the present, I therefore argue that dystopic representations of authoritarian regimes in Margret Atwood’s The Handmaid’s Tale and George Orwell’s 1984 fulfill a critical, social function as apocalyptic harbingers of political corruption and deceit. As such, these dystopian novels intensify the force that the present has as a time of crisis and decision. (shrink)

The economic theory of the consumer, which assumes individual satisfaction as its goal and individual freedom to pursue satisfaction as its sine qua non, has become an important ideological element in political economy. Some have argued that the political dimension of economics has evolved into a kind of “secular theology” that legitimates free market capitalism, which has become a kind of “religion” in the United States [Nelson: 1991, Reaching for Heaven on Earth: The Theological Meaning of Economics. (Rowman & Littlefield (...) Publishers, Inc, Savage, Maryland); 2001, Economics as Religion: From Samuelson to Chicago and Beyond (The Pennsylvania State University Press, University Park, Pennsylvania); Thurow: 1983, Dangerous Currents: The State of Economics (Random House, New York); Milbank: 1990, Theology and Social Theory, Beyond Secular Reason (Basil Blackwell, Cambridge, Massachusetts)]. Consumer theory in its ideological form provides an important base for this religion and is no longer merely a positive framework for understanding consumer choice or estimating market demand. The paper explores the view of the human being, the “anthropology,” that is implicit in the economic theory of the consumer and compares its “theological” implications with the corresponding theological anthropologies in the Judaeo-Christian tradition. The paper outlines the assumptions of consumer theory and then focuses on three aspects of the theory from a critical theological perspective: the individual in community, property ownership, and human destiny (or “eschatology” in theological terminology). The principal conclusion is that consumer theory, viewed from this perspective, leads to a reductionist and existentially harmful view of human beings. The maximization of individual satisfaction raises genuine ethical issues when viewed as a political and religious value. The paper argues that the issues could be ameliorated if economists would include more explicit treatment of a social dimension and ethical alternatives in consumer theory and if theologians would give greater attention to economic theory. (shrink)

We extend de Finetti’s (1974) theory of coherence to apply also to unbounded random variables. We show that for random variables with mandated infinite prevision, such as for the St. Petersburg gamble, coherence precludes indifference between equivalent random quantities. That is, we demonstrate when the prevision of the difference between two such equivalent random variables must be positive. This result conflicts with the usual approach to theories of Subjective Expected Utility, where preference is defined over lotteries. In addition, we explore (...) similar results for unbounded variables when their previsions, though finite, exceed their expected values, as is permitted within de Finetti’s theory. In such cases, the decision maker’s coherent preferences over random quantities is not even a function of probability and utility. One upshot of these findings is to explain further the differences between Savage’s theory (1954), which requires bounded utility for non-simple acts, and de Finetti’s theory, which does not. And it raises a question whether there is a theory that fits between these two. (shrink)

For Savage (1954) as for de Finetti (1974), the existence of subjective (personal) probability is a consequence of the normative theory of preference. (De Finetti achieves the reduction of belief to desire with his generalized Dutch-Book argument for Previsions.) Both Savage and de Finetti rebel against legislating countable additivity for subjective probability. They require merely that probability be finitely additive. Simultaneously, they insist that their theories of preference are weak, accommodating all but self-defeating desires. In this paper we (...) dispute these claims by showing that the following three cannot simultaneously hold: (i) Coherent belief is reducible to rational preference, i.e. the generalized Dutch-Book argument fixes standards of coherence. (ii) Finitely additive probability is coherent. (iii) Admissible preference structures may be free of consequences, i.e. they may lack prizes whose values are robust against all contingencies. (shrink)

"Cover"--"Title Page"--"Copyright" -- "Contents" -- "Introduction: At the Scene of Inscription" -- "1. Savage Marks: Subjection and the Specters of Anthropology" -- "2. Impact Erasure: Psychoanalysis and the Multiplication of Trauma" -- "3. Stings of Visibility: Picture Theories and Visual Contact" -- "4. Out of the Groove: Aural Traces and the Mediation of Sound" -- "Conclusion: Against Inscription?" -- "Acknowledgments" -- "Notes" -- "Works Cited.

The author presents a critique of the presentation of Female Circumcision as occasioned by the work of Alice Walker and Parthiba Pamar’s film Warrior Marks, Female Genital Mutilation and the Sexual Blinding of Women. The discussion focuses on North East Africa (with references to female circumcision by Western physicians in the nineteenth and early twentieth centuries). In the African context, the author observes, the operation is implemented almost exclusively by eIder women who regard the ritual as an important affirmation of (...) one generation of women’s authority over another. The practice will not be successfully eradicated, she argues, without a strategy that offers alternative possibilities of authority between older and younger generations of women in societies where it is practiced. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:
iscussion “WELL WIDE OF THE MARK”: RESPONSE TO STONE’S REVIEW OF THE ABC OF ARMAGEDDON P H. D History, Philosophy and Religious Studies / U. of Winnipeg Winnipeg, , Canada   .@. hether or not it is wise to defend one’s first book against the slings and Warrows of outrageous fortune, Bertrand Russell was never one to let indignities pass without response, and I will take my (...) example from him. Peter Stone’s review of my The ABC of Armageddon: Bertrand Russell on Science, Religion and the Next War, – is so irretrievably muddled that when he concludes “a thoroughly confused book ends on a thoroughly confused note”, this state of confusion most accurately represents the condition of the reviewer. The problem here is not an author and his book “adrift at Armageddon”, as the title of Stone’s review maintains, but a reviewer rowing furiously with one oar. Whatever inadequacies there are in The ABC of Armageddon, they are not those Stone so enthusiastically catalogues in his series of speculations as to what I might have done, but didn’t. In awaiting this review in Russell, I worried about how my various suggestions about Russell’s writing in the interwar period—even my definition of what the interwar period was—would be received. To list a few: the idea that the Great War constituted a dividing line in his work, and why; that his work in the interwar period should be judged as a whole; that his work in the interwar period was worth evaluating, not simply being dismissed as evidence of early philosophical dotage; the way Russell’s published ideas were entwined with those of his Anglo-American contemporaries; the theme of the “old savage in the new civilization” in Russell’s work, and in that of his contemporaries; the dimension of “rhetorical performance” and Russell’s deliberate stance as a  Russell, n.s.  (): – (at ). russell: the Journal of Bertrand Russell Studies n.s.  (summer ): – The Bertrand Russell Research Centre, McMaster U.  -  Discussion preacher; the differences between The Prospects of Industrial Civilization and The Scientific Outlook, on the one hand, and Religion and Science and Power: a New Social Analysis, on the other; the possible influence of Albert Schweitzer on the value of “an operational metaphysic” that allowed an older Russell to act as though ideas like “reverence for life” were true, even if they could not be proven. The list could continue. Stone overlooks all of these ideas, preferring instead to demonstrate my inability to hit targets at which he feels I should have aimed, characterizing my approach and my intentions in some unhelpful ways that are well wide of the mark. I was astounded to learn, for example, that I “assume the role of a political theorist towards Russell’s work”, and thus I “attempt to lay out an argument by Russell and critique it, so as to leave behind a stronger argument in its wake” (p. ). Because I am a political theorist, Stone concludes, “this book is simply a failure as a work of history” (p. ). Instead, being an historian he says, would have involved “situating Russell’s views in the personal and social context in which they emerged.” Writing as a “political theorist” himself (out of the Political Science department at Rochester University, where he is adjunct faculty), Stone’s defence of the historical approach is no doubt well intentioned. Had he followed his own prescription, however, he would have found this book to be substantially the same text as my dissertation (“The Old Savage and the Scientific Outlook: Science, Religion and Social Ethics in the Writings of Bertrand Russell, – ” [McMaster, ]). In the prefatory material appropriate to dissertations in Religious Studies (but not to books intended to sell) Stone would have found some of the acknowledgements and explanations whose absence he found the most irksome. Having dubbed me a political theorist, he excoriates me for an inadequate understanding of utilitarianism, instrumentalism, pragmatism and so on, utterly  In an editorial note discouraged by my editors at  Press but still permitted here, I cannot resist responding to Stone’s editorial notes disparaging the “highly inadequate” citations of Russell studies literature. I am well aware of Philip Ironside’s... (shrink)

Geach's problem, the problem of accounting for the fact that judgements expressed using moral terms function logically like other judgements, stands in the way of most noncognitive analyses of moral judgements. The non-cognitivist must offer a plausible interpretation of such terms when they appear in conditionals that also explains their logical interaction with straightforward moral assertions. Blackburn and Gibbard have offered a series of accounts each of which interprets such conditionals as expressing higher order commitments. Each then invokes norms for (...) the coherent acceptance of attitudes to explain why we hold certain combinations inconsistent. Against these accounts the paper presses two related objections: (1) The norms needed to do the explanatory work cannot be strong enough to do that work without also ruling clearly consistent attitudes inconsistent. And (2), the norms of rational attitude acceptance do not neatly track the distinction between consistent and inconsistent attitudes. (shrink)

This second edition of the book contains a new chapter on the notions of natural-kind words and natural kinds.

Lately, philosophers of mathematics have been exploring the notion of mathematical explanation within mathematics. This project is supposed to be analogous to the search for the correct analysis of scientific explanation. I argue here that given the way philosophers have been using “ explanation,” the term is not applicable to mathematics as it is in science.

The turn to descriptive studies of ethics is inspired by the sense that our ethical theorizing needs to engage ethnography, history, and literature in order to address the full complexity of ethical life. This article examines four books that describe the cultivation of virtue in diverse cultural contexts, two concerning early China and two concerning Islam in recent years. All four emphasize the significance of embodiment, and they attend to the complex ways in which choice and agency interact with the (...) authority of tradition. In considering these books, this article examines the relations between our academic claims concerning the self and ethics, conceptual or theoretical claims made in the elite writings of traditions, and the lived experiences of the people we study. The conclusion turns to our methodological foundations for studying these topics both comparatively and constructively. (shrink)

The text focuses on reflecting on the role of modern university in a man intellectual development, starting from Nietzsche’s ideas. By drawing up some of the main methodological and philosophical concepts of the German philosopher, the text highlights a series of aspects on the Humboldian nature of current universities – a state of tension under the political, economic and social factors. Thus, the classic concepts of Bildung and Kultur specific to the XIX-century University are analyzed in relation with the crisis (...) that marked the Prussian state of Bismarck period. Higher education being available to the masses is a current problem Nietzsche didn’t avoid to call „savageness” and „decline” of the higher educational system. The purpose of the text is to point out if Nietzsche’s ideas can be still applied nowadays. (shrink)

Offers managers new tools to deal with the tough problems businesses face today. Reveals how analyzing the ethical dimensions of problems actually offers competitive advantages. Offers illustrative case examples from internally recognized companies showing that high ethics and high profits go hand in hand--and identifies the factors responsible for these companies' success.

In this chapter, I outline dynamic models of motivation and emotion. These turn out not to be autonomous subsystems, but, instead, are deeply integrated in the basic interactive dynamic character of living systems. Motivation is a crucial aspect of particular kinds of interactive systems -- systems for which representation is a sister aspect. Emotion is a special kind of partially reflective interaction process, and yields its own emergent motivational aspects. In addition, the overall model accounts for some of the crucial (...) properties of consciousness. (shrink)

This book is a must-read for researchers interested in taking a high-level, non-mechanistic approach to answering age-old fundamental questions in the brain ...

Pragmatism has enjoyed a major resurgence in Anglo-American philosophy over the course of the last decade or two, and Robert Brandom’s work – particularly his 1994 tome Making it Explicit (MIE) – has been at the vanguard of this resurgence (Brandom 1994).2 But pragmatism comes in several surprisingly distinct flavours. Authors such as Hubert Dreyfus find their roots in certain parts of Heidegger and in phenomenologists such as Merleau-Ponty, and they privilege embodied, preconceptual skills as opposed to discursive practices as (...) the basic sites of meaning and agency (Dreyfus 1991; Dreyfus 1992; Todes 2001). With strong inheritances from Dewey and Wittgenstein, Richard Rorty has championed a pragmatism whose core emphasis is on the rejection of transcendental truth and high metaphysical theorizing (Rorty 1982), and this anti-theoretical banner has been taken up by several prominent ethicists, among others. For his part, Brandom, who purports to offer a systematic theory of language and meaning grounded on a foundation of pragmatic normative relationships between speakers, looks back instead to Sellars and Quine for his stripe of pragmatism. Near the start of MIE, he writes: The explanatory strategy pursued here is to begin with an account of social practices, identify the particular structure they must exhibit in order to qualify as specifically linguistic practices, and then consider what different sorts of semantic contents those practices can confer on states, performances, and expressions caught up in them in suitable ways. (Brandom 1994, xiii) Despite his professed pragmatism, Brandom is no foe of high theory or metanarratives, and he is vastly more interested in language and theoretical reason than in the rest of human bodily activity. For Brandom, inferentially articulated discourse forms an autonomous domain of normativity, while our bodily encounters with the world in perception and in action serve as language entry and exit points respectively.. (shrink)

neglected aspect: knowledge of error, or ‘‘negative’’ knowledge. The development of knowledge of what counts as error occurs via a kind of internal variation and selection, or quasi-evolutionary, process. Processes of reflection generate a hierarchy of principles of error.

This book scrutinizes recent work in phonological theory from the perspective of Chomskyan generative linguistics and argues that progress in the field depends on taking seriously the idea that phonology is best studied as a mental computational system derived from an innate base, phonological Universal Grammar. Two simple problems of phonological analysis provide a frame for a variety of topics throughout the book. The competence-performance distinction and markedness theory are both addressed in some detail, especially with reference to phonological acquisition. (...) Several aspects of Optimality Theory, including the use of Output-Output Correspondence, functionalist argumentation and dependence on typological justification are critiqued. The authors draw on their expertise in historical linguistics to argue that diachronic evidence is often mis-used to bolster phonological arguments, and they present a vision of the proper use of such evidence. Issues of general interest for cognitive scientists, such as whether categories are discrete and whether mental computation is probabilistic are also addressed. The book ends with concrete proposals to guide future phonological research.The breadth and depth of the discussion, ranging from details of current analyses to the philosophical underpinnings of linguistic science, is presented in a direct style with as little recourse to technical language as possible. (shrink)

Dieser Aufsatz analysiert Leibniz' Begriff der Expression. Er ist eine Vorstudie zu einer umfassenden Untersuchung der Lehre, daß jede einfache Substanz das ganze Weltall ausdrückt. Leibnizens Beispiele und Definitionen von Expression werden besprochen, und dann wird die Analyse des Begriffs in zwei Stufen entwickelt.

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)

The scope of this book is to revisit the ancient Aristotelian and Plotinian philosophical and metaphysical problem of dualism and monism with respect to the first principle. Essentially, it defends Aristotle’s position of the primacy of an intelligible first principle over the Plotinian philosophical move to affirm a principle above Intellect.

Philosophical interest in ecology is relatively new. Standard texts in the philosophy of biology pay little or no attention to ecology (though Sterelny and Griffiths 1999 is an exception). This is in part because the science of ecology itself is relatively new, but whatever the reasons for the neglect in the past, the situation must change. A good philosophical understanding of ecology is important for a number of reasons. First, ecology is an important and fascinating branch of biology with distinctive (...) philosophical issues that arise from its study. Second, ecology is only one small step away from urgent political, ethical, and management decisions about how best to live in an apparently increasingly-fragile environment. Third, philosophy of ecology, properly conceived, can contribute directly to both our understanding of ecology and help with its advancement. Philosophy of ecology can thus be seen as part of the emerging discipline of “biohumanities”, where biology and humanities disciplines together advance our understanding and knowledge of biology (Stotz and Griffiths forthcoming). In this paper, we focus primarily on this third role of the philosophy of ecology and consider a number of places where philosophy can play an important role in ecology. In the process, we.. (shrink)

We investigate differences between a simple Dominance Principle applied to sums of fair prices for variables and dominance applied to sums of forecasts for variables scored by proper scoring rules. In particular, we consider differences when fair prices and forecasts correspond to finitely additive expectations and dominance is applied with infinitely many prices and/or forecasts.

The globalized nature of modern organizations presents new and intimidating challenges for effective relationship building. Organizations and their employees are increasingly being asked to manage unfamiliar relationships with unfamiliar parties. These relationships not only involve working across different national cultures, but also dealing with different organizational cultures, different professional cultures and even different internal constituencies. Managing such differences demands trust. This book brings together research findings on organizational trust-building across cultures. Established trust scholars from around the world consider the development (...) and maintenance of trust between, for example, management consultants and their clients, senior international managers from different nationalities, different internal organizational groupings during times of change, international joint ventures, and service suppliers and the local communities they serve. These studies, set in a wide variety of national settings, are an important resource for academics, students and practitioners who wish to know more about the nature of cross-cultural trust-building in organizations"--Provided by publisher. (shrink)

Recently, several states in the US have made it more difficult to receive nonmedical exemptions to school vaccine mandates in the hope of better orienting parents towards vaccination. However, little is known about how public-facing school staff implement and enforce mandate policies, including why or how often they steer parents towards nonmedical exemptions. This study focused on Michigan, which has recently added an additional burden for families seeking nonmedical exemptions. We used an anonymous online survey to assess Michigan public-school employees (...) (n = 157) about their knowledge, attitudes, and behaviors regarding Michigan's school enrollment vaccine mandate policy. Our main conclusions are that frontline school staff are generally knowledgeable about vaccines and immunization policy, but are at best ambivalent about their role in immunization governance, believing that other agents should be responsible for ensuring that children are vaccinated. Furthermore, some respondents indicated low vaccine confidence, which was associated with increased ambivalence about, or opposition to, their role in immunization governance. As more jurisdictions within and beyond the US consider introducing or tightening childhood vaccine mandates, it is increasingly important to understand how these policies can be improved by attending to the attitudes and roles of relevant frontline actors. (shrink)

In studies of early Christian thought, 'philosophy' is often a synonym for 'Platonism', or at most for 'Platonism and Stoicism'. Nevertheless, it was Aristotle who, from the sixth century AD to the Italian Renaissance, was the dominant Greek voice in Christian, Muslim and Jewish philosophy. Aristotle and Early Christian Thoughtis the first book in English to give a synoptic account of the slow appropriation of Aristotelian thought in the Christian world from the second to the sixth century. Concentrating on the (...) great theological topics - creation, the soul, the Trinity, and Christology - it makes full use of modern scholarship on the Peripatetic tradition after Aristotle, explaining the significance of Neoplatonism as a mediator of Aristotelian logic. While stressing the fidelity of Christian thinkers to biblical presuppositions which were not shared by the Greek schools, it also describes their attempts to overcome the pagan objections to biblical teachings by a consistent use of Aristotelian principles, and it follows their application of these principles to matters which lay outside the purview of Aristotle himself. This volume offers a valuable study not only for students of Christian theology in its formative years, but also for anyone seeking an introduction to the thought of Aristotle and its developments in Late Antiquity. by a consistent use of Aristotelian principles, and it follows their application of these principles to matters which lay outside the purview of Aristotle himself. This volume offers a valuable study not only for students of Christian theology in its formative years, but also for anyone seeking an introduction to the thought of Aristotle and its developments in Late Antiquity. (shrink)

Originally published in 1999, this classic textbook includes twenty-six cases with commentary and bibliographic resources designed especially for medical students and the training of ethics consultants. The majority of the cases reflect the day-to-day moral struggles within the walls of hospitals typically described as community hospitals; as a result, the cases do not focus on esoteric, high-tech dilemmas--viz., genetic engineering or experimental protocols--but rather on fundamental problems that are pervasive in basic healthcare delivery in the United States: where to send (...) a frail, elderly patient who refuses to go to a nursing home; what role the family should play in making a treatment decision; what a hospital should do when it is getting stuck with too many unpaid bills. This thoroughly revised and updated second edition includes thirteen new cases, five of which are designated as "skill builder" cases aimed specifically for those participants in the Neiswanger Institute for Bioethics' web-based instructional program. This edition has also been restructured for teachability, and will feature reformatted and revised commentaries. (shrink)

Axel Honneth est mondialement connu pour sa théorie de la reconnaissance. Mais il se trouve que dans son dernier livre (Der Geist der Freiheit ; L'esprit de la liberté), Honneth opère ce qui paraît être un tournant dans sa pensée, en mettant l'accent non plus tant sur la reconnaissance que sur la liberté, et en particulier sur la manière dont les institutions peuvent réellement augmenter la liberté des individus. Faut-il donc désormais parler d'un Honneth I (celui de la reconnaissance), et (...) d'un Honneth II (celui de la liberté)? (shrink)