Empathy is an emotional response that may facilitate prosocial behavior and inhibit aggression by increasing empathic concern for others. But the vicarious experience of other’s feelings may also turn into personal distress when the person has poor regulation skills and holds stigmatizing beliefs. In thinking about the processes that may trigger the experience of personal distress or empathic concern, research on the influence of psychological flexibility and inflexibility on stigma is showing promising results. Both processes are assessed with the Acceptance (...) and Action Questionnaire–Stigma. The current study sought to carry out a validity study of a Spanish version of the AAQ-S with a sample of adolescents aged 11–17 years. The study included an expanded test of its predictive validity with measures at three times to evaluate the role of psychological flexibility and inflexibility as risk or protective variables for the development of personal distress and/or empathic concern in the stigmatizer. Statistical analyses confirmed a two-correlated-factor solution, the adequate reliability of both factors, and their construct and predictive validity in the expected direction. The stigmatizer’s inflexible reaction to their stigmatizing thoughts predicted the occurrence of personal distress, whereas the stigmatizer’s flexible reaction to their stigmatizing thoughts predicted the occurrence of empathic concern for others. These findings confirm the importance of considering the role of regulatory skills in the experience of empathic concern or personal distress in the presence of stigmatizing thoughts, with possible implications for the promotion of prosocial behavior and the reduction of aggressive behavior among adolescents. (shrink)

O objetivo desde artigo é analisar a espiritualidade na educação em Paulo Freire e bell hooks. Trata-se de uma pesquisa bibliográfica que tem como fundamentação teórica: Freire, hooks, Oliveira, Boff, Dullo, entre outros. Considera-se nesta análise que os educadores percebem a educação como um processo de libertação de toda forma de dominação, a partir do diálogo, do desenvolvimento do pensamento crítico, da construção coletiva do conhecimento, da práxis e do respeito aos saberes e as experiências de educandos e educadores. A (...) espiritualidade tratada como pertencente à sala de aula de forma a garantir a integralidade, a inteireza do ser, espiritualidade que nutre a esperança na educação como prática de liberdade. (shrink)

I argue that if there are nondisabled reasons to believe p, then there cannot be nondisabled reasons to believe something incompatible with p. I first defend a restricted version of the view, which applies only to situations where the relevant agent has complete evidence. Then, I argue for a generalized version of the view, which holds regardless of the agent's evidence. As a related result, I show that, given plausible assumptions, there cannot be nondisabled reasons to believe something false.

The idea that one can 'soak up' someone else's mood or sense the tension in a room is familiar - as in 'negative energy'. This ability to borrow or share states of mind is now pathologized, as the author shows in relation to affective transfer in psychiatric clinics.

Words change meaning, usually in unpredictable ways. But some words’ meanings are revised intentionally. Revisionary projects are normally put forward in the service of some purpose – some serve specific goals of inquiry, and others serve ethical, political or social aims. Revisionist projects can ameliorate meanings, but they can also pervert. In this paper, I want to draw attention to the dangers of meaning perversions, and argue that the self-declared goodness of a revisionist project doesn’t suffice to avoid meaning perversions. (...) The road to Hell, or to horrors on Earth, is paved with good intentions. Finally and more importantly, I want to demarcate what meaning perversions are. This, I hope, can help us assess the moral and political legitimacy of revisionary projects. (shrink)

Kaplan (1999) argued that a different dimension of expressive meaning (“use-conditional”, as opposed to truth-conditional) is required to characterize the meaning of pejoratives, including slurs and racial epithets. Elaborating on this, writers have argued that the expressive meaning of pejoratives and slurs is either a conventional implicature (Potts 2007) or a presupposition (Macià 2002 and 2014, Schlenker 2007, Cepollaro and Stojanovic 2016). We argue that an expressive presuppositional theory accounts well for the data, but that expressive presuppositions are not just (...) propositions to be added to a common ground. We hold that expressives, including pejoratives and slurs, make requirements on a contextual record governed by sui generis norms specific to affective attitudes and their expressions. (shrink)

John MacFarlane defends a radical form of truth relativism that makes the truth of assertions relative not only to contexts of utterance but also to contexts of assessment, or perspectives. Making sense of assessment-sensitive truth is a matter of making sense of the normative commitments undertaken by speakers in using assessment sensitive sentences. This paper argues against the possibility of making sense of such a practice. Evans raised a challenge to the coherence of relative truth. A modification of the challenge (...) can be given against MacFarlane’s revised views on assertion. The main objection to the relativist is that rational and earnest speakers are not bound by assessment-relative standards of correctness. (shrink)

How can we disagree with a bald-faced liar? Can we actively disagree if it is common ground that the speaker has no intent to deceive? And why do we disapprove of bald-faced liars so strongly? Bald-faced lies pose problems for accounts of lying and of assertion. Recent proposals try to defuse those problems by arguing that bald-faced lies are not really assertions, but rather performances of fiction-like scripts, or different types of language games. In this paper, I raise two objections (...) to the fictionalist view, and then offer an analysis of how we disagree with bald-faced liars. I conclude that bald-faced lies are assertions, and that in pronouncing a bald-faced lie, the speaker tries to make it common ground that the assertion was in good standing qua assertion. (shrink)

Concepts stand at the centre of human cognition. We use concepts in categorizing objects and events in the world, in reasoning and action, and in social interaction. It is therefore not surprising that the study of concepts constitutes a central area of research in philosophy and psychology, yet only recently have the two disciplines developed greater interaction. Recent experiments in psychology that test the role of concepts in categorizing and reasoning have found a great deal of variation, across individuals and (...) cultures, in categorization behaviour. Meanwhile, philosophers of language and mind have investigated the semantic properties of concepts, and how concepts are related to linguistic meaning and linguistic communication. A key motivation behind this was the idea that concepts must be shared across individuals and cultures. With the dawn of experimental philosophy, the proposal that the experimental data from psychology lacks relevance to semantics is increasingly difficult to defend. -/- This volume brings together leading psychologists and philosophers to advance the interdisciplinary debate on the role of concepts in categorizing and reasoning, the relationship between concepts and linguistic meaning and communication, the challenges conceptual variation poses to communication, and the social and political effects of conceptual change. (shrink)

This article argues that a particular metaphysical model permeates cultural practices surrounding pregnancy: the foetal container model. Widespread uncritical reliance on this view of pregnancy has been highly detrimental to women's liberty and reproductive autonomy. In this article, I extend existing critiques of the medical treatment of pregnant women to the context of the burgeoning commercial surrogacy industry. In doing so, I aim to show that our philosophical analysis in both spheres is constrained by the presupposition that the foetus and (...) pregnant woman are metaphysically and ethically distinct entities. By exploring the similarities and differences between the expectations placed on pregnant women in these two spheres, I show that the foetal container model is not a homogeneous understanding of pregnancy applied consistently across contexts; rather, it has been used to justify various practices and attitudes toward pregnancy and pregnant women through different moral frameworks, in the service of different overarching aims. (shrink)

Es bien conocida la primera filosofía de Ortega y Gasset en torno al "raciovitalismo" y al liberalismo. En cambio, su segunda navegación, en expresión suya, no ha alcanzado aún perfiles precisos ante el público interesado. Nada mejor para ello que revisitar la obra póstuma que mejor representa tal vez la tarea filosófica del último Ortega: "La idea de principio en Leibniz y la evolución de la teoría deductiva". En este libro, por un lado se examinan las raíces alemanas con especial (...) atención a Fichte y a Heidegger y la teoría del conocimiento que Ortega va diseñando. Por otro, se analiza la estructura textual del libro mientras se profundiza en algunos de los logros más generales de la "segunda navegación" de Ortega, como el tema de "ideas y creencias", el constructivismo cognitivo y la teoría de la historia. En una tercera parte, se incide en diversas consecuencias de la obra de Ortega, en la hermenéutica y en el pensamiento cívico sobre España, así como en la crítica filosófica. (shrink)

In this study, some new hypotheses and techniques are presented to obtain some new analytical solutions to the generalized Kawahara equation. As a particular case, some traveling wave solutions to both Kawahara equation and modified Kawahara equation are derived in detail. Periodic and soliton solutions to this family are obtained. The periodic solutions are expressed in terms of Weierstrass elliptic functions and Jacobian elliptic functions. For KE, some direct and indirect approaches are carried out to derive the periodic and localized (...) solutions. For mKE, two different hypotheses in the form of WSEFs are used to derive the periodic and localized solutions. Also, the cnoidal wave solutions in the form of JEFs are obtained. As a realistic physical application, the solutions obtained can be dedicated to studying many nonlinear waves that propagate in plasma. (shrink)

This paper presents reasons against semantic relativism. Semantic relativism is motivated by intuitions that are presumed to raise problems for traditional or contextualist semantics in contested domains of discourse. Intuition-based arguments are those based on competent speakers’ putative intuitions about seeming faultless disagreement, eavesdropper, and retraction cases. I will organize the discussion in three parts. First, I shall provide a brief introduction to the intuition-based arguments offered in favor of semantic relativism. Second, I shall indicate that there are ways for (...) contextualism to explain the (appearance of) intuitions that support semantic relativism. Third, I shall review some experimental results and independent arguments that put into question the appeal of semantic relativism. (shrink)

Recent studies have shown that deductive reasoning skills are related to mathematical abilities. Nevertheless, so far the links between mathematical abilities and these two forms of deductive inference have not been investigated in a single study. It is also unclear whether these inference forms are related to both basic maths skills and mathematical reasoning, and whether these relationships still hold if the effects of fluid intelligence are controlled. We conducted a study with 87 adult participants. The results showed that transitive (...) reasoning skills were related to performance on a number line task, and conditional inferences were related to arithmetic skills. Additionally, both types of deductive inference were related to mathematical reasoning skills, although transitive and conditional reasoning ability were unrelated. Our results also highlighted the important role that ordering abilities play in mathematical reasoning, extending findings regarding the role of ordering abilities in basic maths skills. These results have implications for the theories of mathematical and deductive reasoning, and they could inspire the development of novel educational interventions. (shrink)

Semyon Frank opposed the Neo-Kantian School and admitted the real existence of the objects of cognition. He treated ontologism as essential to the entire movement of Russian religious philosophy. For Frank, one can only know about something thanks to the absolute, which exists prior to the knowing subject. Ontologism, affirming the priority of being over cognition, has a great significance not only for metaphysics and epistemology, but also for the philosophy of religion. In particular, Frank taught that the most privileged (...) mode of cognition of God is intuition, an immediate experience of God or faith. Intuition is at the heart of the ontological proof, which can be found in St. Anselm, Descartes, and Frank himself. Frank dedicated a number of articles to this topic: “K istorii ontologicheskogo dokazatel’stva”, “Ontologicheskoe dokazatel’stvo bytiya Boga”, as well as texts recently discovered at the Bakhmeteff Archive, including “Dokazatel’stvo bytiya Boga”. In this way, Russian ontologism leads to a new interpretation of the traditional ontological proof, one which acknowledges the existence of God, not on the basis of arguments resting on His definition, but on the basis of the intuitive recognition of His being. (shrink)

La flexibilidad y la mercantilización de lo espiritual ¿son aspectos característicos de la cultura contemporánea? Centrado en los casos de Alemania, Inglaterra y Francia, el artículo detalla cómo el romanticismo literario se articula como un movimiento pionero de la espiritualidad flexible, proceso que se entrelaza con su rol seminal en la formación del campo literario moderno. El crecimiento económico y demográfico sostenidos en Europa desde el s. XV, así como la alfabetización impulsada por el protestantismo, construyen un moderno público lector (...) que da pie —durante el s. XVIII— a la revolución y diversificación de la lectura, lo que promueve la difusión de incipientes tendencias modernas (ciencia, Ilustración, prensa). Oponiéndose parcialmente a estas tendencias y extendiendo la diversificación de lo impreso, surge la tendencia romántica. Sus autores flexibilizan la espiritualidad más allá de las convenciones religiosas de la época —y aportan a la formación del campo literario— (1) caracterizando el desencanto y otras formas de malestar moderno; (2) multiplicando el lenguaje imaginario-trascendente; (3) brindando connotaciones metafísicas al genio artístico; (4) promoviendo la autonomía y libertad expresiva del arte. La evidencia indica que el mercado fue una condición histórica básica para la EF. Se sugiere que esta flexibilidad se muestra como una adaptación de la espiritualidad a las circunstancias empíricas de la modernidad, la cual conlleva nuevas necesidades de sentido y una mayor capacidad para divergir de los relatos religiosos tradicionales. (shrink)

El problema y debate sobre la disyunción de la filosofía y la clínica psicoanalítica es un fenómeno que ha traído diversas discusiones desde ambas aristas teóricas. En el presente documento se abordan algunas de las contribuciones más recientes al debate filosófico en implicancia con las modificaciones de la clínica psicoanalítica actual. Nuestro objetivo fue mediante un análisis documental con miramiento teóricocrítico contribuir al esclarecimiento de las herramientas fundamentales que la filosofía entrega a la modificación de la teoría y práctica psicoanalítica. (...) Para tal efecto, hemos trazado un recorrido histórico general a las modificaciones y argumentos que a lo largo de la historia del psicoanálisis hanido emergiendo. Finalmente, exponemos algunos de los debates y tesis pendientes de continuar explorando, en miras de la mixtura de los saberes y en beneficio de las reflexiones y análisis enfocados en la condición humana, cuestiones que tanto la filosofía como el psicoanálisis tienen como ejes centrales. (shrink)

The authors examined cue competition effects in young children using the blicket detector paradigm, in which objects are placed either singly or in pairs on a novel machine and children must judge which objects have the causal power to make the machine work. Cue competition effects were found in a 5- to 6-year-old group but not in a 4-year-old group. Equivalent levels of forward and backward blocking were found in the former group. Children's counterfactual judgments were subsequently examined by asking (...) whether or not the machine would have gone off in the absence of I of 2 objects that had been placed on it as a pair. Cue competition effects were demonstrated only in 5- to 6-year-olds using this mode of assessing causal reasoning. (shrink)

La televisión se constituyó en el dispositivo comunicacional de mayor importancia en los años 1990, al llegar a todos los hogares de clase media y ocupar un rol preponderante en la elaboración de sentidos sociales compartidos. El objetivo de este artículo es indagar distintas dimensiones y sentidos del humor en El palacio de la risa, programa humorístico de gran relevancia conducido por Antonio Gasalla entre 1992 y 1996 y transmitido por ATC y Canal 13, en Argentina. Nos enfocaremos en los (...) números protagonizados por los actores Alejandro Urdapilleta y Humberto Tortonese, quienes, junto a Gasalla, introducen importantes innovaciones en la producción humorística televisiva. En la primera sección, analizaremos qué elementos del teatro underground de los años 1980 son recuperados y puestos en juego en la propuesta televisiva. A continuación, se examinarán tres dimensiones que funcionan como materia prima para la producción humorística del trío: la crítica a las clases dominantes argentinas, la tensión entre sexualidades dominantes y disidentes, y las menciones paródicas realizadas sobre la propia televisión. En cuanto a la metodología, el trabajo fue realizado en base a un análisis de 30 sketches del trío Urdapilleta-Gasalla-Tortonese, registrando temas, aspectos estéticos, gestualidad corporal y usos discursivos. En suma, el trabajo realiza una contribución al conocimiento de la cultura de masas y las posibilidades paródicas y de desestabilización del sentido común de la televisión durante los años 1990 en Argentina. (shrink)

Este ensayo presenta una panorámica general y un análisis de la visión que sustenta el empleo de los métodos cualitativos, incluyéndose su aplicación a la investigación en Administración. Bajo los planteamientos de un monismo metodológico, la aportación de conclusiones no generalizables y de subjetividad inherente de tales métodos se considera limitada; mientras que para los adherentes al constructivismo y al pluralismo, es de gran valía en la exploración de la profundidad de los fenómenos de estas disciplinas. En sí, prevalece en (...) el medio una falta de consensos incluso con respecto a qué son los métodos cualitativos y qué son las técnicas cualitativas de investigación, derivada del uso indistinto que dan algunos autores a esos términos; lo que aunado a la cantidad y diversidad de métodos cualitativos crea dificultades para comprender qué es en realidad la investigación cualitativa.This essay presents a general outlook and an analysis of the rationale behind the use of qualitative methods, including their being applied in research in Management. According to the views of methodological monism, the contribution of the conclusions which these methods yield, which are essentially subjective and not susceptible of being generalized, is considered too limited; while for advocates of constructivism and pluralism they are valuable in probing the depth of the phenomena of these disciplines. In fact, a lack of consensus prevails in these areas even in connection with what are qualitative methods and what are qualitative research techniques, associated to an indistinct use of these terms by some authors; which together with the number and diversity of qualitative methods makes it difficult to understand what actually is qualitative research. (shrink)

In this landmark collection of original essays, outstanding feminist critics in Britain, France, and the United States present new perspectives on feminism and psychoanalysis, opening out deadlocked debates. The discussion ranges widely, with contributions from feminists identified with different, often opposed views on psychoanalytic criticism. The contributors reassess the history of Lacanian psychoanalysis and feminism, and explore the significance of its institutional context. They write against the received views on 'French feminism' and essentialism. A remarkable restatement of current positions within (...) psychoanalysis and feminism, the volume as a whole will change the terms of existing debates, and make its arguments and concerns more generally accessible. (shrink)

_Exhausting Modernity_ is a bold new work on the exhaustion of our resources, both natural and human. Drawing on the insights of Marx and Freud, it provides a compelling analysis of the exhaustion pervading modern capitalism: environmental collapse, rising poverty levels and increasing global economic disparity. This is essential reading for political and social theorists, philosophers, economists, and all those interested in the environment.

The letter from Georges Florovsky to Davis McCaughey is a reflection after reading the Report The Era of Atomic Power: Report of a Commission (1946). Florovsky gives his own arguments against the development of research concerning nuclear weapons and their use. These include: treating an attempt at a technical transformation of the world as a human claim to put oneself in God’s place, i.e., to be a God-man. Another group of indictments against the use of the atomic bomb concerned ethical (...) issues and human responsibility for the war. Florovsky’s letter is his contribution to the discussion on the threat posed by the atomic bomb. (shrink)

In this chapter, I try to answer the above question, and another question that it presupposes: can philosophy of language help us navigate the political news cycle? A reader can be sceptical of a positive answer to the latter question; after all, citizens, political theorists, and journalists seem to be capable of following current politics and its coverage in the news, and there is no reason to think that philosophy of language in particular should be capable of helping people make (...) sense and respond to the news. I will illustrate the application of philosophy of language to three contrasting strategies of political propaganda: dogwhistles, meaning perversions, and bald-faced lies. I hope that these help us see that philosophy of language can be a good tool in diagnosing demagoguery, and in resisting it. (shrink)

Recent years have seen an upsurge of inflammatory speech around the world. Understanding the mechanisms that correlate speech with violence is a necessary step to explore the most effective forms of counterspeech. This paper starts with a review of the features of dangerous speech and ideology, as formulated by Jonathan Maynard and Susan Benesch. It then offers a conceptual framework to analyze some of the underlying linguistic mechanisms at play: derogatory language, code words, figleaves, and meaning perversions. It gives a (...) hypothesis for assessing the moral responsibility of interlocutors in dangerous speech situations. The last section applies this framework to a case of demagogic discourse. The framework offered explains how public discourse has harmed social relations and institutions, and is an obstacle to rational resolutions to the political situation. (shrink)

Pragmatist views inspired by Peirce characterize the content of claims in terms of their practical consequences. The content of a claim is, on these views, determined by what actions are rationally recommended or supported by that claim. In this paper I examine the defeasibility of these relations of rational support. I will argue that such defeasibility introduces a particularist, occasion-sensitive dimension in pragmatist theories of content. More precisely, my conclusion will be that, in the sort of framework naturally derived from (...) Peirce’s pragmatist maxim, grasping conceptual contents is not merely a question of mastering general rules or principles codifying the practical import of claims, but decisively involves being sensitive to surrounding features of the particular situation at hand. (shrink)

This volume offers an English translation of John of St. Thomas's Cursus theologicus I, question I, disputation 2. In this particular text, the Dominican master raises questions concerning the scientific status and nature of theology. At issue, here, are a number of factors: namely, Christianity's continual coming to terms with the "Third Entry" of Aristotelian thought into Western Christian intellectual culture - specifically the Aristotelian notion of 'science' and sacra doctrina's satisfaction of those requirements - the Thomistic-commentary tradition, and the (...) larger backdrop of the Iberian Peninsula's flourishing "Second Scholasticism." In this latter context, John of St. Thomas applies the theological principles of Thomas Aquinas to the Scholastic disputes preoccupying Thomist, Franciscan, and Jesuit theologians, such as Cajetan, Bañez, Luis de Molina, Vazquez, Suárez - to name only a few - in a tour de force of theological thinking throughout the entire period of Scholasticism. In the process - and not insignificantly - the status quaestionis of theology's scientific character is clearly framed and answered according to John's satisfaction. Key to John of St. Thomas's resolution of the question is his understanding of the continuity of the power of human reason with the super-intelligibility of divine revelation spelled out in terms of what he calls "virtual revelation." This text presented in this volume is a quintessential example of the deep and abiding harmony that flourished between faith and reason as well as grace and nature within the golden era of Baroque Scholasticism. (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)

Latinx migrant farmworkers face numerous barriers in accessing health care which are linked in part to self-medication practices using health products manufactured and sold abroad. This study explores the use of mail-ordered medication among the understudied population of Latinx migrant dairy workers in Vermont, a northeastern international border state. Thirty-four Latinx migrant dairy workers or their domestic partners were interviewed. Data analysis found that myriad health access barriers compounded by increased fear of law enforcement as a result of international border (...) proximity results in unequal knowledge about and local access to desired health care products and services. This unequal access experienced by those living closest to the border in addition to a familiarity and trust in Latin American pharmaceutical drugs, and varied experiences accessing health care services, are significant factors influencing the decision to request health products by mail. (shrink)

This volume marks a phase of accomplishment in the work of the World Phenomenology Institute in unfolding a dialogue between Occidental phenomenology and the Oriental/Chinese classic philosophy. Going beyond the stage of reception, the Oriental scholars show in this collection of studies their perspicacity and philosophical skills in comparing the concepts, ideas, the vision of classic phenomenology and Chinese philosophy toward uncovering their common intuitions. This in-depth probing aims at reviving Occidental thinking, reaching to its intuitive sources, as well as (...) providing Chinese thinking with a precise apparatus of expression toward its rejuvenation in a new significance. Studies by Korean and Chinese phenomenologists: Nam-In Lee, Inhui Park, Benjamin I. Schwartz, Anna-Teresa Tymieniecka, Sitansu Ray, Zhang Xian, Zhang Qingxiong, Tsung-I Dow, Ashok K. Gangadean, Yushiro Takei, Louise Sunderarajan, Gregory Tropea, James Sellmann, Tyong Bok Rhie, Sang-Ki Kim, Daniel Zelinski, Qingjie Wang, Calvin O. Schrag, Jung-Sun Han. (shrink)

Organ transplantation is a lifesaving procedure for end-organ damage and remains up to today as the most cost-effective alternative to treat these conditions. However, the main limitation to performing organ transplants is the availability of donor organs suitable for transplantation. To increase the donor pool, expanding organ donation from the conventional neurologic determination of death (NDD) to include circulatory determination of death (DCD) has been a well-established method of increasing donors in other countries. In this article, we discuss the clinical (...) and ethical considerations for introducing DCD in Chile. The concepts we have used could very well be translatable to other similar countries which have not implemented this donation system yet. The most relevant issue to date is that DCD needs to alter the care of dying patients to obtain quality donor organs. In some countries, including Chile, there are some cultural barriers regarding withdrawal-of-care. These barriers include confusing withdrawal of care with acceleration of death, which leads to many practitioners refusing to remove artificial life support, and in turn only minimize ventilatory support or switch to a T-tube (without extubation). This cultural barrier could be overcome with careful consideration of the opinions of healthcare workers, family members, community and policy-based stakeholders. We also identified ethical issues related to informed consent of both donor and recipients, among other relevant ethical considerations. In conclusion, DCD donation in Chile can increase organ donation numbers in one of Latin America's countries with the lowest effective donor rate. However, this opportunity must be taken with caution to avoid the opposite effect if this policy is not well implemented, respecting the sound ethical principles mentioned in this paper. (shrink)

One particularly vibrant area of debate, in recent times, concerning potential cognitive differences between humans and other animals (and also one wth a veritable history) is centred on the claim that non-human animals are, in some sense, 'stuck in time', whereas humans are able to cognitively transcend the present moment in time by turning their minds back to particular past events. This chapter seeks to clarify what is at issue in these debates.

In this paper I argue that defeasible inferences are occasion-sensitive: the inferential connections of a given claim depend on features of the circumstances surrounding the occasion of inference. More specifically, it is an occasion-sensitive matter which possible defeaters have to be considered explicitly by the premises of an inference and which possible defeaters may remain unconsidered, without making the inference enthymematic. As a result, a largely unexplored form of occasion-sensitivity arises in inferentialist theories of content that appeal to defeasible inferences.

In this paper the structure of pretemporal algebra is used to study some aspects of temporal algebras and modal algebras. The paper contains a computational approach to finite temporal algebras and a general splitting theorem for finite temporal algebras.