Es incuestionable el hecho de la evolución, así como la admisión de una realidad previa de la cual partir, sea creada o no. Pero luce cuestionable el mecanismo de la evolución en clave de “selección natural” cuando se la entiende como netamente naturalista. El evolucionismo darwinista no tiene fundamento suficiente para afirmar que las especies evolucionan de modo totalmente aleatorio y sin finalidad definida. Los más recientes descubrimientos socavan los cimientos del darwinismo (J. Enrique Cáceres-Arrieta), y nos hablan de un (...) Diseñador creando el universo de la nada en un tiempo finito y aceptando la evidencia del Big-Bang (William Lane Craig). Otros tipos de evolucionismo, aunque rechazan la teleología, admiten sin embargo, la teleonomía, que no es incompatible con la tesis agustiniana del “creacionismo evolutivo”. En estos tipos de evolucionismo sí cabe una tendencialidad antrópica como la defendida por Agustín, a través de sus razones seminales-causales y de los distintos modos de creación derivados de aquel “simul et in ictu” creacional. Las distintas creaciones virtuales, también simultáneas y derivadas de la creación propia “ex nihilo”, no implican que sean efectivas “simul” también las especies o prototipos. Una cosa es el hecho de la creación simultánea y otro el de su real y existencial efecto en el tiempo. En esta idea encontramos la fundamentación para defender un creacionismo evolutivo a lo agustiniano, que podría sintonizar con otros evolucionismos al estilo de X. Zubiri, K. Rahner, Pedro Laín Entralgo,… Palabras clave: creacionismo; creacionismo evolutivo; creación virtual; evolucionismo; razón seminal; fixismo (o fijismo); principio o sentido antrópico. Saint Augustine versus Darwin: Evolutionary Creacionism of ‘Seminal Reasons’Evolution is an unquestionable fact, and so is the admission of a previous reality from which to start up, whether created or not. But the mechanism of evolution in terms of “natural selection” does look questionable, when the latter is understood as entirely naturalistic. Darwinist evolutionism has no sufficient grounds to assert that species evolve in a totally random way, without a defined end. The most recent discoveries undermine the foundations of Darwinism (J. Enrique Cáceres-Arrieta), and tell us about a Designer creating the universe out of nothing in a finite time, accepting the big bang theory (William Lane Craig). Other types of evolutionism, while rejecting teleology, do admit teleonomy, which is not incompatible with the Augustinian thesis of “evolutionary creationism”. In these kinds of evolutionism it is indeed possible to speak of anthropic tendencies, as was defended by Augustine by means of his seminal-causal reasons and the different modes of creation derived from that creational “simul et in ictu”. The different virtual creations, simultaneous as well and derived from the “ex nihilo” creation, do not entail that the species or prototypes should also be effective “simul”. One thing is the fact of simultaneous creation; a different one is its real and existential effect over time. In this idea we find the grounds on which to defend an Augustinian-like evolutionary creationism, which might be compatible with other types of evolutionism like those of X. Zubiri, K. Rahner, Pedro Laín Entralgo,… Keywords : Creationism;Evolutionary Creationism; Virtual Creation; Evolutionism; Seminal Reason; Fixism; Anthropic Sense or Principle. (shrink)

It is quite obvious why the antireductionist picture of mental causation that rests on supervenience is an attractive theory. On the one hand, it secures uniqueness of the mental; on the other hand, it tries to place the mental in our world in a way that is compatible with the physicalist view. However, Kim reminds us that anti-reductionists face the following dilemma: either mental properties have causal powers or they do not. If they have them, we risk a violation of (...) the causal closure of the physical domain; if they do not have them, we embrace epiphenomenalism, which denies any sort of causal powers to the mental. So, either we violate the causal closure of physics, or we end up with epiphenomenalism. The first two sections of the article describe the problem of causal exclusion and Kim’s causal dilemma. The last two introduce Horgan’s antireductionist answer and my objection to that answer. (shrink)

The aim of this paper is to show that it’s not a good idea to have a theory of truth that is consistent but ω-inconsistent. In order to bring out this point, it is useful to consider a particular case: Yablo’s Paradox. In theories of truth without standard models, the introduction of the truth-predicate to a first order theory does not maintain the standard ontology. Firstly, I exhibit some conceptual problems that follow from so introducing it. Secondly, I show that (...) in second order theories with standard semantics the same procedure yields a theory that doesn’t have models. So, while having an ω- inconsistent theory is a bad thing, having an unsatisfiable theory of truth is actually worse. This casts doubts on whether the predicate in question is, after all, a truthpredicate for that language. Finally, I present some alternatives to prove an inconsistency adding plausible principles to certain theories of truth. (shrink)

RESUMEN El Servicio de Extensión Bibliotecaria es el medio adecuado que tiene la biblioteca para expandirse hacia la comunidad, de esa forma permite que aquellos usuarios que no la visitan hagan uso de sus servicios y documentos. Sin embargo, pocos conocen su historia y evolución a través del tiempo. Se muestra una revisión bibliográfica y el estado actual de este servicio. Los elementos incluidos en esta recolección abarcan publicaciones periódicas, sitios web, revistas electrónicas, publicados entre el siglo XVIII y el (...) presente. El documento pretende brindar una aproximación histórica al servicio de extensión bibliotecaria en las bibliotecas. ABSTRACT The Library Extension Service is the appropriate method a library has to expand into the community in a way that users who don’t visit it use its services and documents. However, just a few people know its history and development through time. A bibliographic review is shown along with the current state of this service. The elements included in it cover regular publications, web sites and electronic journals published from the XVIII century to the present time. The paper expects to provide a historical approach to the library extension service in libraries. (shrink)

It is widely accepted that a theory of truth for arithmetic should be consistent, but -consistency is a highly desirable feature for such theories. The point has already been made for first-order languages, though the evidence is not entirely conclusive. We show that in the second-order case the consequence of adopting -inconsistent theories of truth are considered: the revision theory of nearly stable truth T # and the classical theory of symmetric truth FS. Briefly, we present some conceptual problems with (...) ω-inconsistent theories, and demonstrate some technical results that support our criticisms of such theories. (shrink)

A theory of truth is usually demanded to be consistent, but -consistency is less frequently requested. Recently, Yatabe has argued in favour of -inconsistent first-order theories of truth, minimising their odd consequences. In view of this fact, in this paper, we present five arguments against -inconsistent theories of truth. In order to bring out this point, we will focus on two very well-known -inconsistent theories of truth: the classical theory of symmetric truth FS and the non-classical theory of naïve truth (...) based on ᴌukasiewicz infinitely valued logic: PAᴌT. (shrink)

En este artículo, tengo dos objetivos distintos. En primer lugar, mostrar que no es una buena idea tener una teoría de la verdad que, aunque consistente, sea omega-inconsistente. Para discutir este punto, considero un caso particular: la teoría de Friedman-Sheard FS. Argumento que en los lenguajes de primer orden omega inconsistencia implica que la teoría de la verdad no tiene modelo estándar. Esto es, no hay un modelo cuyo dominio sea el conjunto de los números naturales en el cual esta (...) teoría de la verdad pueda tener una interpretación consistente. En ese sentido, la introducción del predicado veritativo no mantiene la ontología estándar. Además, cuando se considera un lenguaje de orden superior, la situación es aun peor. En teorías de segundo orden con semántica estándar, la misma introducción produce una teoría que no tiene modelo. Por eso, si la omega-inconsistencia es un mal síntoma, la insatisfacibilidad de una teoría es aun peor. En segundo lugar, propongo abandonar el principio de unión de teorías FSn y aceptar una extensibilidad indefinida de teorías FS0, FS1, FS2, FS3,.... De acuerdo a mi punto de vista, la secuencia de teorías tiene las mismas virtudes que FS sin sus desagradables consecuencias. In this paper, I have two different purposes. Firstly, I want to show that it's not a good idea to have a theory of truth that is consistent but omega-inconsistent. In order to bring out this point, it is useful to consider a particular case: FS. I argue that in First-order languages omega-inconsistency implies that a theory of truth has not standard model. Then, there is no model whose domain is the set of natural numbers in which this theory of truth could acquire a consistent interpretation. So, in theories of truth without standard models, the introduction of the truth-predicate to a first order theory does not maintain the standard ontology. I add that in Higher-order languages the situation is even worst. In second order theories with standard semantic the same introduction produces a theory that doesn't have a model. So, if an omega-inconsistent theory of truth is bad, an unsatisfiable theory is really bad. Secondly, I propose to give up the union principle of theories FSn and accept an indefinite extensibility of theories FS0, FS1, FS2, FS3,... According to my view, the sequence of theories has the same virtues of FS without its disgusting consequences. (shrink)

During the Winter of 2011 I visited SADAF and gave a series of talks based on the central chapters of my manuscript on the Yablo paradox. The following year, I visited again, and was pleased and honored to find out that Eduardo Barrio and six of his students had written ‘responses’ that addressed the claims and arguments found in the manuscript, as well as explored new directions in which to take the ideas and themes found there. These comments reflect (...) my thoughts on these responses (also collected in this issue), as well as my thoughts on further issues that arose during the symposium that was based on the papers and during the many hours I spent talking and working with Eduardo and his students. Durante el invierno de 2011, visité SADAF y dí una serie de conferencias sobre los capítulos centrales de mi manuscrito sobre la paradoja de Yablo. El año siguiente, visité Buenos aires nuevamente y tuve el placer y el honor de descubrir que Eduardo Barrio y seis de sus estudiantes habían escrito respuestas que abordan las afirmaciones y argumentos de mi manuscrito, además de explorar nuevas direcciones en las cuales considerar las ideas y temas encontrados allí. El presente trabajo refleja mis pensamientos sobre estas respuestas (también incluidas en este volumen), así como mis ideas sobre otras cuestiones que surgieron durante el simposio en el que se presentaron los artículos y en las muchas horas que nosotros discutimos y trabajamos con Eduardo y sus estudiantes. (shrink)

Abstract:San Diego, California, is the eighth largest city in the United States and one of the least affordable cities in the world. Many people in San Diego experience significant ramifications from competition for space. Currently, the southern side of downtown San Diego is the hottest area for development in San Diego county. This article examines the redevelopment of Barrio Logan, a small Latino community that borders downtown San Diego. Barrio Logan is a part of San Diego's third oldest (...) community. The study interviewed ten planning board members who participated in redevelopment and rezoning processes and provided thematic data. In addition, ten U-T San Diego newspaper articles also provided data on a referendum initiated by the marine industry to repeal adopted zoning ordinances. The data are used to discuss the construction of personal, group, and institutional social reality that influenced the outcome of the redevelopment and rezoning processes. The successful Barrio Logan Redevelopment Project Area process was about both the restoration and the sociopolitical empowerment of the community. Due to that redevelopment process, Barrio Logan has begun to emerge as a vibrant, exciting community. A subsequent redevelopment effort, the Barrio Logan Community Plan Update (BLCPU), focused on instituting new zoning ordinances to address the incompatible land uses and toxins in Barrio Logan. Industry in the community has resisted these types of changes to the zoning ordinances for decades. This resistance culminated with a referendum that repealed the BLCPU, which had been passed by the San Diego City Council. The marine industry's central selling vision of jobs influenced a majority of San Diego City voters outside of Barrio Logan to reject the Plan 1A version of the BLCPU. The reasons for and ramifications of the rejection of Plan 1A are discussed and steps Barrio Logan and the other San Diego redevelopment districts could take to improve their chances of winning a future referendum election are recommended. (shrink)

Barrio et al. (_Journal of Philosophical Logic_, _49_(1), 93–120, 2020 ) and Pailos (_Review of Symbolic Logic_, _2020_(2), 249–268, 2020 ) develop an approach to define various metainferential hierarchies on strong Kleene models by transferring the idea of distinct standards for premises and conclusions from inferences to metainferences. In particular, they focus on a hierarchy named the \(\mathbb {S}\mathbb {T}\) -hierarchy where the inferential logic at the bottom of the hierarchy is the non-transitive logic ST but where each subsequent (...) metainferential logic ‘says’ about the former logic that it is transitive. While Barrio et al. ( 2020 ) suggests that this hierarchy is such that each subsequent level ‘in some intuitive sense, more classical than’ the previous level, Pailos ( 2020 ) proposes an extension of the hierarchy through which a ‘fully classical’ metainferential logic can be defined. Both Barrio et al. ( 2020 ) and Pailos ( 2020 ) explore the hierarchy in terms of semantic definitions and every proof proceeds by a rather cumbersome reasoning about those semantic definitions. The aim of this paper is to present and illustrate the virtues of a proof-theoretic tool for reasoning about the \(\mathbb {S}\mathbb {T}\) -hierarchy and the other metainferential hierarchies definable on strong Kleene models. Using the tool, this paper argues that each level in the \(\mathbb {S}\mathbb {T}\) -hierarchy is non-classical to an equal extent and that the ‘fully classical’ metainferential logic is actually just the original non-transitive logic ST ‘in disguise’. The paper concludes with some remarks about how the various results about the \(\mathbb {S}\mathbb {T}\) -hierarchy could be seen as a guide to help us imagine what a non-transitive metalogic for ST would tell us about ST. In particular, it teaches us that ST is from the perspective of ST as metatheory not only non-transitive but also transitive. (shrink)

This book is a state-of-the-art review on the Physics of Emergence. Foreword v Gregory J. Chaitin Preface vii Ignazio Licata Emergence and Computation at the Edge of Classical and Quantum Systems 1 Ignazio Licata Gauge Generalized Principle for Complex Systems 27 Germano Resconi Undoing Quantum Measurement: Novel Twists to the Physical Account of Time 61 Avshalom C. Elitzur and Shahar Dolev Process Physics: Quantum Theories as Models of Complexity 77 Kirsty Kitto A Cross-disciplinary Framework for the Description of Contextually Mediated (...) Change 109 Liane Gabora and Diederik Aerts Quantum-like Probabilistic Models Outside Physics 135 Andrei Khrennikov Phase Transitions in Biological Matter 165 Eliano Pessa Microcosm to Macrocosm via the Notion of a Sheaf (Observers in Terms of t-topos) 229 Goro Kato The Dissipative Quantum Model of Brain and Laboratory Observations 233 Walter J. Freeman and Giuseppe Vitiello Supersymmetric Methods in the Traveling Variable: Inside Neurons and at the Brain Scale 253 H.C. Rosu, O. Cornejo-Perez, and J.E. Perez-Terrazas Turing Systems: A General Model for Complex Patterns in Nature 267 R.A. Barrio Primordial Evolution in the Finitary Process Soup 297 Olof Gornerup and James P. Crutchfield Emergence of Universe from a Quantum Network 313 Paola A. Zizzi Occam's Razor Revisited: Simplicity vs. Complexity in Biology 327 Joseph P. Zbilut Order in the Nothing: Autopoiesis and the Organizational Characterization of the Living 339 Leonardo Bich and Luisa Damiano Anticipation in Biological and Cognitive Systems: The Need for a Physical Theory of Biological Organization 371 Graziano Terenzi How Uncertain is Uncertainty? 389 Tibor Vamos Archetypes, Causal Description and Creativity in Natural World 405 Leonardo Chiatti . (shrink)

J. T. Ismael's monograph is an ambitious contribution to metaphysics and the philosophy of language and mind. She tackles a philosophical question whose origin goes back to Descartes: What am I? The self is not a mere thing among things--but if so, what is it, and what is its relationship to the world?

Laland and colleagues have sought to challenge the proximate–ultimate distinction claiming that it imposes a unidirectional model of causation, is limited in its capacity to account for complex biological phenomena, and hinders progress in biology. In this article the core of their argument is critically analyzed. It is claimed that contrary to their claims Laland et al. rely upon the proximate–ultimate distinction to make their points and that their alternative conception of reciprocal causation refers to phenomena that were already accounted (...) for by standard theory. (shrink)

Recent highly publicized privacy breaches in health care and genomics research have led many to question whether current standards of data protection are adequate. Improvements in de-identification techniques, combined with pervasive data sharing, have increased the likelihood that external parties can track individuals across multiple databases. This paper focuses on the communication of identifiability risks in the process of obtaining consent for donation and research. Most ethical discussions of identifiability risks have focused on the severity of the risk and how (...) it might be mitigated, and what precisely is at stake in pervasive data sharing. However, there has been little discussion of whether and how to communicate the risk to potential donors. We review the ethical arguments behind favoring different types of risk communication in the consent process, and outline how identifiability concerns can be incorporated into either a detailed or simplified method of communicating risks during the consent process. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

These are challenging times for leaders who believe schools must teach history honestly, be laboratories of democracy, and honor differences while finding common cause. This book, grounded in two decades of work in diverse school settings, provides guidance to help us remain steadfast in the work. -Racial justice: Beyond proclamations, how can school leaders reallocate resources to support substantive anti-racist school reforms? -Democratic practice: How can school leaders who have significant authority in a hierarchical system wield their power in support (...) of democracy? -Restorative justice: With time in short supply, how can schools truly embrace restorative practice, which calls for slowing down to repair and prevent harm? -Student activism: How can school leaders uphold rules while also supporting students who disrupt in the name of justice? -Counter-extremism: White supremacist threats are a danger to our communities. How can school leaders carefully confront the extremism of these troubled times? Compelling stories drawn from contemporary school contexts help illuminate each of these questions in fine detail. Each chapter concludes with a list of concrete actions every school leader can take in pursuit of answers. Administrators, teacher leaders, and those who support school reform with justice in mind will find both practical guidance and inspiration. (shrink)

Muhammed Kâsım Nânotevî başkanlığında kurulan Diyobendîlerin ta-savvuf ile irtibatını konu edinen bu çalışmanın temel amacı, Hint alt kıtasının dinî yaşantısında etkin olan Diyobendîlerin tasavvufa olan yaklaşımlarını analiz etmektir. Çalışmada öncelikle Diyobend’in kuruluşu, İngilizlere karşı mücadeleleri, Osmanlı Devleti ile temasları ve daha sonra Diyobendîlerin tasavvuf anlayışına dâir bilgilere yer verilmiştir. Onların tasavvuf ile ilişkileri araştırılırken literatür açısından Diyobendîler ile ilgili temel kaynaklara bakılmıştır. Bu kaynaklar geniş bir incelemeye tabi tutularak onların tasavvufa bakış açıları tespit edilmeye çalışılmıştır. Elde edilen sonuçlar kısaca şöyle (...) özetlenebilir: Sünnî olan Diyobendîler tasavvufu şerîatın bir parçası olarak görmektedirler. Onlar, mânevî hastalıklardan korunmak için tasavvufa sarılmaya, mürşidlerin sünnete ittibasına ve bid’atlardan uzak durmaya önem vermiş, ayrıca nübüvvetin velâyetten üstün olduğunu, kerâmetin hak olduğunu ve vahdet-i vücûdun tasavvufun esaslarından biri olmayıp bunun bir hâl olduğunu ifade etmişlerdir. Eğitim müfredatlarında tasavvuf klasiklerinin yanı sıra kendi mürşidlerinin yazdığı eserleri de okutan Diyobendîlerin tasavvufun birçok konusunda söz sahibi oldukları tespit edilmiştir. (shrink)

Amongst other countries, the Netherlands currently allows euthanasia, provided the physician performing the procedure adheres to a strict set of requirements. In 2016, Second Chamber member Pia Dijkstra submitted a law proposal which would also allow euthanasia without the reason necessarily having any medical foundation; euthanasia on the basis of a completed life. The debate on this topic has been ongoing for over two decades, but this law proposal has made the discussion much more immediate and concrete. This paper considers (...) the moral permissibility of Pia Dijkstra’s law proposal, focusing on the ethics of the implementation Dijkstra describes in her proposal. I argue that, at present, Dijkstra’s law proposal is unsuitable for implementation, due to a number of as of yet unaddressed problems, including the possible development of an ageist stigma and undue pressure on the profession of end-of-life coordinator. Perhaps adequate responses can be conceived to address these issues. However, the existence of a radically different, yet currently equally unacceptable position regarding the implementation of euthanasia for a completed life as proposed by fellow party member Paul Schnabel suggests it may be difficult to formulate an ethically acceptable implementation for this, in principle, ethically acceptable concept. (shrink)

T. R. Miles; IV—The “Mental” - “Physical” Dichotomy, Proceedings of the Aristotelian Society, Volume 64, Issue 1, 1 June 1964, Pages 71–84, https://doi.org/10.1.

"The papers are marked by a high degree of intellectual perspicacity and help us to reformulate certain "alien" concepts to our indigenous needs.... Oommen gives us a competent analysis of the extant situation. His "reformulation" could act as the springboard of fresh political thinking to resolve the present crises." --The Tribune "The attempt to re-examine some of the prevalent social science theories is a very relevant exercise. It is a book which should be of interest not only to social scientists (...) but also social activists." --Social Action Traditionally, third world countries have been viewed as being useful only in determining the hegemony of either capitalism or socialism. Alien Concepts and South Asian Reality takes a giant leap forward in establishing independent Indian social science thought. Basing his concepts on empirical evidence from Asia, Author T. K. Oommen thoughtfully reformulates various well-known theories and assertively shakes off the "intellectual colonialism" that third-world countries have been subject to in the past. Innovative and bold, this volume offers a synthesis of information for social scientists and scholars all over the world. Recommended for studies in the following subject areas: sociology, social anthropology, social and political thought, political science, psychology, and social movements. (shrink)

T. S. Champlin; VII*—Tendencies, Proceedings of the Aristotelian Society, Volume 91, Issue 1, 1 June 1991, Pages 119–134, https://doi.org/10.1093/aristotelian/9.