The article substantiates the dangers of illegal chemical and explosive goods transferring between countries. The threats arising from the use of chemical precursors for the production of homemade explosive weapons, including terrorist organizations, have been argued. The role of the World Customs Organization in counteracting the illegal transferring of chemical precursors across the border is analyzed. The features of the Global Shield program are revealed in counteracting the risks of customs space while transferring chemical precursors. The problems (...) that exist when moving chemical precursors across the customs border of Ukraine are determined. (shrink)

In this paper, I develop a novel account of ideological kinds. I first present some conceptual territory regarding the use of Occam’s Razor in minimizing ontological commitments. I then present the analogous device for minimizing ideological commitments, what I call the Comb. I argue that metaphysicians ought to use both or none at all. This means that those who endorse a principle of ontological parsimony ought to also endorse some principle of ideological parsimony, where we ought to prefer the metaphysical (...) theory that employs less ideology. In support of one such principle, I propose a novel account of ideological kinds. I individuate ideological kinds based on the satisfaction of two conditions: interdefinability and sameness of syntactic category. Ultimately, I think this account is the best available. It does, however, produce surprising results. For instance, my account shows that quantifier pluralism is ideologically parsimonious. I end by replying to some objections. (shrink)

Dogs are known for their incredible ability to detect odours, extracting them from a “complex” environment and recognising them. This makes sniffer dogs precious assets in a broad variety of security applications. However, their use is subject to some intrinsic restrictions. Dogs can only be trained to a limited set of applications, get tired after a relatively short period, and thus require a high turnover. This has sparked a drive over the past decade to develop artificial sniffer devices—generally known (...) as “chemical sniffers” or “electronic noses”—able to complement and possibly replace dogs for some security applications. Such devices have been already deployed, or are intended to be deployed, at borders, airports and other critical installation security checkpoints. Similarly to dogs, they are adopted for detecting residual traces that indicate either the presence of, or recent contact with, substances like drugs and explosives. It goes without saying that, as with sniffer dogs, the use of artificial sniffer devices raises many sensitive issues. Adopting an ethical and legal perspective, the present paper discusses the privacy and data protection implications of the possible deployment of a hand-held body scanning sniffer for screening passengers at EU airport security checkpoints. (shrink)

In 1914, James Leuba, a psychologist at Bryn Mawr, conducted several surveys of scientists and college students regarding their religious beliefs, publishing his findings in a 1916 book titled The Belief in God and Immortality. Among scientists generally, 41.8 percent indicated they were believers in a personal God (defined as a being to whom one could pray, expecting a response), whereas 41.5 percent expressed disbelief in such a God and 16.7 percent declared themselves to be agnostic. Among elite scientists (those (...) with an asterisk by their names in James McKean Cattell's American Men of Science), the percentage of believers was lower, at 31.6 percent. Among elite biologists, the subset who believed in God was even smaller—16.9 percent. In 1996 and 1998, Edward Larson and Larry Witham replicated Leuba's study, publishing their findings in the April 23, 1997, and July 23, 1998, issues of Nature. Their surveys revealed that of all scientists questioned, 39.3 percent professed belief in a personal God, about the same as in the 1914 study. However, among elite scientists—now defined as members of the National Academy of Sciences—the proportion who were believers had plummeted to 7 percent, with biologists showing the least religious conviction at 5.5 percent. In the general population of the United States, some 86 percent profess belief in the existence of a personal God, according to a 1999 Gallup poll. These figures dramatically indicate the great no-mans land separating the religious convictions of ordinary citizens from those of the scientific community, especially its leading members. This dissensus has fueled many of the bitter battles recently fought over evolution and stem cells and has ignited explosive devices laid along several political byways. (shrink)

While in many countries the use of unmanned systems is still in its infancy, other countries, most notably the US and Israel, are much ahead. Most of the systems in operation today are unarmed and are mainly used for reconnaissance and clearing improvised explosive devices. But over the last years the deployment of armed military robots is also on the increase, especially in the air. This might make unethical behavior less likely to happen, seeing that unmanned systems are (...) immune to what are considered to be main causes of misconduct on the battlefield: frustration, boredom, and anger. The use of robots raises some ethical questions, though, and this paper attempts to give an overview of issues at stake, such as the role of emotions, civilian casualties, just war theory, and responsibility. (shrink)

Humankind faces a wide range of threats to its security and safety, from terrorist groups and cybercriminals to disease pandemics and climate change. All these threats share one characteristic: they are constantly changing. Decision-makers can never be sure whether the next tropical storm will be as violent as the last, or whether Taliban insurgents will use a roadside improvised explosive device or a suicide bomber for their next attack. Therefore, many of our security systems — those that are resistant (...) to change, or that try to eliminate all risk — are doomed. Firewalls have failed to protect computers from hackers for 40 years; screening airline passengers for liquids didn't prevent Umar Abdulmutallab from taking a powdered incendiary onto a plane; and so cumbersome is the military procurement cycle that heavy armoured vehicles designed to repel improvised explosive attacks were deployed in Iraq a full three years after soldiers had identified the need. (shrink)

There is a need to rapidly assess the impact of new technology initiatives on the Counter Improvised Explosive Device battle in Iraq and Afghanistan. The immediate challenge is the need for rapid decisions, and a lack of engineering test data to support the assessment. The rapid assessment methodology exploits available information to build a probabilistic model that provides an explicit executable representation of the initiative’s likely impact. The model is used to provide a consistent, explicit, explanation to decision makers (...) on the likely impact of the initiative. Sensitivity analysis on the model provides analytic information to support development of informative test plans. (shrink)

ABSTRACTIn November 2005, U.S. Marine Sergeant Frank Wuterich fired on and killed five unarmed Iraqi men standing by a car near the site of an improvised explosive device explosion in Haditha...

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)

Holography exploded on the scientific world in 1964, but its slow fuse had been burning much longer. Over the next four decades, the echoes of that explosion reached scientists, engineers, artists and popular culture. Emerging from classified military research, holography evolved to represent the power of post-war physics, an aesthetic union of art and science, the countercultural meanderings of holism, a cottage industry for waves of would-be entrepreneurs and a fertile plot device for science fiction. New working cultures sprang up (...) to mutate holography, redefining its products, reshaping its audiences and reconceiving its applications. The outcomes included ever more sublime holograms and exquisitely sensitive measuring techniques - but also priority disputes, prurience and poisonous business rivalries. New subjects cross intellectual borders, and so do their explanations. This book draws on the history and philosophy of science and technology, social studies, politics and cultural history to trace the trajectory of holography. The result is an in-depth account of how new science emerges. Based on unprecedented interviews with pioneer holographers and extensive archival research, it reveals how science, technology, art and wider culture are entwined in the modern world. (shrink)

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's _Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin _and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations (...) into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself. (shrink)

Soon after the book's publication in 1982, artist David Hockney read Lawrence Weschler's _Seeing Is Forgetting the Name of the Thing One Sees: A Life of Contemporary Artist Robert Irwin _and invited Weschler to his studio to discuss it, initiating a series of engrossing dialogues, gathered here for the first time. Weschler chronicles Hockney's protean production and speculations, including his scenic designs for opera, his homemade xerographic prints, his exploration of physics in relation to Chinese landscape painting, his investigations (...) into optical devices, his taking up of watercolor—and then his spectacular return to oil painting, around 2005, with a series of landscapes of the East Yorkshire countryside of his youth. These conversations provide an astonishing record of what has been Hockney's grand endeavor, nothing less than an exploration of "the structure of seeing" itself. (shrink)

Technologies and artefacts have long played a role in the structure of human memory and our cognitive lives more generally. Recent years have seen an explosion in the production and use of a new regime of information technologies that might have powerful implications for our minds. Electronic-Memory, powerful, portable and wearable digital gadgetry and “the cloud” of ever-present data services allow us to record, store and access an ever-expanding range of information both about and of relevance to our lives. Already, (...) for a decade we have been carrying around expansive gadgetry which allows us to collect, store and use what would have been almost unimaginable amounts of digital information only a short time ago. Now, thanks to the wireless internet adding vast processing and storage potential to the powerful portable devices which many of us carry constantly or wear, this information can be accessed and customised in an ever-greater variety of ways. How should we assess the implications of the new portable and pervasive cognitive technologies on offer? Does E-Memory and the wider panoply of cloud-enabled cognitive technologies really promise, or threaten, a radical change to the human cognitive abilities and perhaps the very nature of our minds? If so, how are we to assess the possibilities and attempt to understand whether they offer a hopeful or dangerous turn in the human condition? This investigation is structured around four related factors of the new technology: Totality, Practical Incorporability, Autonomy and Entanglement. We use these factors to inquire into the implications of this cloud-based memory technology for our minds and our sense of self. (shrink)

While the mediational theories of Don Ihde and Peter-Paul Verbeek have helped to uncover the role that technologies play in ethical life, the role that technologies play in political life has received far less attention. In order to fill in this gap, I turn to the mediational theory of Hegel. Hegel shows how understanding the mediated nature of experience is vital to understanding the development of political life. Through examples found in the military, in particular concerning the relationship between (...) class='Hi'>explosive ordnance detonation (EOD) soldiers and robots, I illustrate how Hegel’s analysis of the “struggle for recognition” can be used to understand human-technology relations from a political perspective. This political perspective can consequently help us to appreciate how technologies come to have a role in political life through our ability to experience solidarity with technology. Solidarity is experienced by users due to the recognition of technologies as serving roles in society that I describe as functionally equivalent to the social roles of the user. The realization of this functional equivalence allows users to learn how they are perceived and respected by society through the experience of how functionally equivalent technologies are perceived and respected. I conclude by focusing on the importance of understanding functional equivalence in design, as well as in the case of the Dallas Police Department having turned an EOD robot from a life-saving to a life-taking device. These examples show why Hegel is necessary for helping us to understand the political significance of recognizing and of misrecognizing technologies. (shrink)

Motivated by advances in mass customization in business practice, explosion in the number of internet of things devices, and the lack of published research on privacy differentiation and customization, we propose a contextual information relevance model of privacy. We acknowledge the existence of individual differences with respect to unique security and privacy protection needs. We observe and argue that it is unfair and socially inefficient to treat privacy in a uniform manner whereby a large proportion of the population remain (...) unsatisfied by a common policy. Our research results provide quantifiable means to measure and evaluate the customized privacy. We show that with privacy differentiation, the social planner will observe increases in demand and overall social welfare. Our results also show that business practitioners could profit from privacy customization. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Nuclear Power after Fukushima 2011:Buddhist and Promethean PerspectivesGraham ParkesDuring 2010 many environmentalists previously opposed to nuclear power were deciding, in the face of anthropogenic climate change from burning fossil fuels, that the only way to prevent runaway global warming would be to build more nuclear power plants after all.1 There are risks involved—though fewer than with carbon-based sources of energy.2 When one compares the detrimental effects of nuclear power (...) with those of burning fossil fuel, it is clear that the human injury and death toll (not to mention environmental devastation) resulting from the former have been nothing compared to the damage caused by the extraction and consumption of fossil fuels, owing to mining accidents, oil spills, and so forth—not to mention the massive carbon dioxide emissions.On the other hand, the problem of how and where to store the growing amount of radioactive waste from nuclear power plants, which remains deadly for many thousands of years, has yet to be solved. Costly security measures have to be taken to guard against terrorist attacks and theft of materials usable for nuclear devices. When full safety features are included, nuclear power plants become ever more expensive to build, and the costs of insuring them against accidents are so prohibitive that governments have to subsidize them, which they are increasingly unwilling to do.Not long after the explosions and meltdowns at the Fukushima Daiichi nuclear power station in March 2011, two dismal world records were announced: in 2010 we discharged a record amount of carbon dioxide (more than 30 gigatons) into the atmosphere, mainly by burning fossil fuels, and, as a direct consequence, carbon dioxide levels in the atmosphere (as measured at the Earth Systems Research Laboratory in Hawai'i) reached a record level of 395 parts per million. These figures suggest that we are continuing to generate a rise in global average temperatures that is already destroying the livelihoods of millions and will soon jeopardize the lives of hundreds of millions more.As a consequence of the 2011 Fukushima disaster, Japan—long a leading promoter of nuclear power—has begun to enforce some widely neglected safety regulations and is seriously reconsidering its reliance on nuclear energy. China has put construction of [End Page 89] new power plants on hold. Other nations (such as Germany, Italy, Switzerland, Thailand, and Malaysia) have decided to phase out or cancel plans to build more nuclear power stations. Yet the primary motivations remain unclear, since people's attitudes toward the dangers of nuclear radiation are anything but rational—as evidenced by the mass departure of foreigners from Japan after the catastrophe at Fukushima, when health dangers beyond the vicinity of the power station were minimal.In Europe, the reaction to the Fukushima disaster has clearly been aggravated by memories of the catastrophe at Chernobyl in 1986. While Chernobyl was a more widely destructive event than Fukushima, releasing a much greater amount of radioactivity, its effects on human health continue to generate disagreement. According to the third report on the effects of the Chernobyl catastrophe issued by the United Nations Scientific Committee on the Effects of Atomic Radiation (UNSCEAR), among the 134 plant staff and emergency workers who suffered acute radiation syndrome (ARS), the condition proved fatal for twenty-eight of them. By 2006 another nineteen ARS survivors died, although their deaths were not directly attributable to the effects of ionizing radiation. Although the report attributes "a substantial fraction" of the six thousand cases of thyroid cancer in people who were children at the time of the accident to their consumption of milk contaminated with iodine-131, only fifteen cases had proved fatal by 2005, some twenty years later.3 The death toll, then, was fewer than fifty.By contrast, a study by a group of scientists from Belarus, Russia, and the Ukraine, Chernobyl: Consequences of the Catastrophe for People and the Environment, estimates the number of deaths attributable to the meltdown at around 980,000—almost twenty thousand times greater than the estimate by the UN scientific committee.4 What are we to make of this vast discrepancy, especially since the UNSCEAR report "was prepared in close cooperation with... (shrink)

RESUMO Absurdo e falta de sentido são geralmente estudados como categorias filosóficas e/ou lógicas. Este artigo examina o absurdo como um fenômeno semiótico e como parte dos mecanismos de geração de significado. Argumenta que o problema do absurdo e do significado como um todo é, acima de tudo, um problema textual. Esta abordagem se fundamenta no legado do semioticista e estudioso da literatura Iúri Lótman, especialmente em seus conceitos de explosão e nas noções de “não-texto” e “menos- dispositivo”. O conceito (...) de absurdo destaca o inerente paradoxo informacional da cultura humana e de seus sistemas de comunicação, nos quais ruído, erros e contratempos não impedem a comunicação, pelo contrário, estimulam-na. Em uma escala maior, o exemplo de como as culturas humanas lidam com o “não-sentido” na comunicação tem implicações para o estudo da evolução da cultura e da linguagem humanas e também traz luz adicional ao problema metodológico da relação texto/signo. ABSTRACT Absurdity and nonsense are usually studied as philosophical and/or logical categories. This paper examines nonsense as a semiotic phenomenon and as part of the mechanisms of meaning generation, and argues that the problem of nonsense and meaning as a whole is foremost a textual problem. This approach is based on the legacy of the semiotician and literary scholar Iurii Lotman, and especially his concepts of explosion and the notions of “non-text” and “minus-device.” The concept of nonsense thus highlights the inherent informational paradox of human culture and human communication systems, in which noise, errors and mishaps do not impede communication but on the contrary, stimulate it. On a larger scale the example of how human cultures deal with ‘non-sense’ in communication has implications for the study of the evolution of human culture and language and also draws additional light to the methodological problem of the text/sign relation. (shrink)

This book provides the first unified overview of the burgeoning research area at the interface between Quantum Foundations and Quantum Information. Topics include: operational alternatives to quantum theory, information-theoretic reconstructions of the quantum formalism, mathematical frameworks for operational theories, and device-independent features of the set of quantum correlations. Powered by the injection of fresh ideas from the field of Quantum Information and Computation, the foundations of Quantum Mechanics are in the midst of a renaissance. The last two decades have seen (...) an explosion of new results and research directions, attracting broad interest in the scientific community. The variety and number of different approaches, however, makes it challenging for a newcomer to obtain a big picture of the field and of its high-level goals. Here, fourteen original contributions from leading experts in the field cover some of the most promising research directions that have emerged in the new wave of quantum foundations. The book is directed at researchers in physics, computer science, and mathematics and would be appropriate as the basis of a graduate course in Quantum Foundations. (shrink)

This paper is concerned with the implications of Husserl's phenomenological reformulation of the problem of error. Following Husserl, I argue that the phenomenon of error should not be understood as the accidental failure of a fully constituted cogito, but that it is itself constitutive of the cogito's formation. I thus show that the phenomenon of error plays a crucial role in our self-understanding as unified subjects of experience. In order to unpack this 'hermeneutical function' of error, I focus on three (...) inter-related notions which are recurrently used by Husserl to refer to the central aspects of error apprehension: explosion (Explosion), replacement (Ersatz), and cancellation (Durchstreichung). My discussion, however, does not remain committed to the Husserlian framework as such. This is not only because Husserl's notion of explosion proves itself untenable, but because the Husserlian paradigm does not make room for a linguistic dimension intrinsic, in my view, to the realization of error. Hence, I proceed by reconstructing the Husserlian terms as tropes of realization, as narratological devices in the 'language game' of error. I argue that these hermeneutical devices are necessary for maintaining what Nietzsche would call the self's 'semblance of unity'. The assumption of one single subject is perhaps unnecessary; perhaps it is just as permissible to assume a multiplicity of subjects, whose interaction and struggle is the basis for our thought and our consciousness in general? (Nietzsche, The Will to Power #490). (shrink)

On the ground of Kant’s reformulation of the principle of con- tradiction, a non-classical logic KC and its extension KC+ are constructed. In KC and KC+, \neg(\phi \wedge \neg\phi),  \phi \rightarrow (\neg\phi \rightarrow \phi), and  \phi \vee \neg\phi are not valid due to specific changes in the meaning of connectives and quantifiers, although there is the explosion of derivable consequences from {\phi, ¬\phi} (the deduc- tion theorem lacking). KC and KC+ are interpreted as fragments of an S5-based first-order (...) modal logic M. The quantification in M is combined with a “subject abstraction” device, which excepts predicate letters from the scope of modal operators. Derivability is defined by an appropriate labelled tableau system rules. Informally, KC is mainly ontologically motivated (in contrast, for example, to Jaśkowski’s discussive logic), relativizing state of affairs with respect to conditions such as time. (shrink)

Human gene patents are patents on human genes that have been removed from human bodies and scientifically isolated and manipulated in a laboratory. The U.S. Patent and Trademark Office (the USPTO) has issued thousands of patents on such genes, and patents have also been granted by the European Patent Office, (the EPO). Legal and moral justification, however, are not identical, and it is possible for a legal decision to be immoral although consistent with legal precedent and procedure. So, it is (...) surprising to learn that some people believe that the legal justification of human gene patents can remove the most serious moral objections to them. Yet, those who are well-versed in patent law often believe that confusion over some quite basic legal and scientific facts accounts for moral objections to such patents and, in particular, for the belief that they justify the ownership of one person by another. Once these confusions are removed, they contend, we will see that there is nothing especially alarming about patents on human genes, and no reason to believe them immoral. -/- Such claims seem especially surprising because the morality of an invention is generally supposed to have little role in decisions about whether or not an invention deserves a patent under U.S. law. Although the European Patent Convention’s article 53 (a) prohibits patenting inventions, the publication or exploitation of which would be contrary to public order or morality, it turns out that this clause rarely justifies withholding a patent from an invention that otherwise meets legal criteria. Thus, although more than 320,000 patents have been granted by the EPO since its creation, this clause has never been used successfully to strike down a claim for a patent. Indeed, Ulrich Schatz explains, “Poisons, explosives, extremely dangerous chemical substances, devices used in nuclear power stations, agro-chemicals, pesticides and many other things which can threaten human life or damage the environment have been patented, despite the existence of the public order and morality bar” in almost all European countries. -/- Indeed, this paper shows, while ethical objections to human gene patents are often controversial, they need not be unreasonable, nor need they depend on mistaken assumptions about patent law. Rather, they may reflect familiar ethical concerns about the dominance of commercial imperatives in modern societies; concerns about the disparities in power and wealth amongst individuals and countries; and concerns about the lack of public discussion, transparency and accountability surrounding significant changes in people’s rights, status and opportunities. Hence, I conclude, ethical concerns cannot be easily dismissed and, indeed, point to the need to think harder about the nature and justification of patent law, itself. (shrink)

How people pay is critically important to consumers and businesses alike. Many consumers are choosing to pay for goods and services from an increasing number of options. Tech‐savvy urbanites buy coffee by tapping their phone on a reader. Parents returning from a night out use peer‐to‐peer payment apps, such as Venmo, to pay the sitter. The recent explosion of financial innovations promises faster, more efficient, and cheaper transactions. These increasing digital payment options coincide with decreased number and volume of cash (...) transactions. However, vulnerable populations face more constrained payment choices and often rely exclusively on cash. Without experience, devices, or acceptable credit histories, vulnerable populations may have little access to digital transactions. The advantages of falling digital costs and other benefits thus accrue to the digitally connected. At the same time, those who must transact in coins and paper money are likely to find their relative costs increasing. This paper highlights payment trends and the potential impact on vulnerable populations in the United States as we move toward a cashless society. This paper should stimulate discussions of public policy initiatives to mitigate digital payment issues for vulnerable people. (shrink)

Viktor Šklovskij, the famous Russian literary theorist, and the founder of Russian Formalist School, published his first books in 1914, when World War I had just started. One of them consisted of the futuristic essay, Resurrection of the Word, first presented in December, 1913, and devoted to the problem of the death and resurrection of literature through the use of transrational language. Another book, entitled The Saturnine Fate, concerned archaic prose poetry devoted to the war that had just begun. Šklovskij (...) borrows an official military rhetoric and changes its accents, turning it into an instrument of pacifism. It should be stressed that 1914 was the same year the new Formalist theory started growing, reaching a first intellectual peak in 1916 when the key Šklovskij essay, Art as Device, was published. At the same time, Šklovskij had been drafted into the army, and war became a fruitful background for this emerging theory. Šklovskij first served as an instructor in the armored car division; following the February 1917 bourgeois revolution he was actively involved in agitation for the Provisional Government as a commissar, first on the Western front, then later on the Southern front. After the Russian bourgeois revolution of 1917, as events grew out of control, the explosion of history required simultaneous reflection. Šklovskij began writing memoirs long before he reached old age, based on his own conception of the genre. A war depicted in a book with the intertextual title Sentimental Journey is reconstructed here as a mechanism paralleled principally with the automobile; a means of transport to be handled with care. In the first part of the book, the war is seen as having a specific order of things, as opposed to a revolution which follows more the path of chaos. However, throughout his journey, Šklovskij observes the logic of events and concludes that the processes of war and revolution do not stand opposed, but instead have a consequential relationship. (shrink)

Internet of thing building sensors can capture several types of building operations, performances, and conditions and send them to a central dashboard to analyze data to support decision-making. Traditionally, laptops and cell phones are the majority of Internet-connected devices. IoT tracking allows customers to close the distance between devices and enterprises by collecting and analyzing various IoT data through connected devices, customers, and applications on the network. There is a lack of requirements for IoT edge applications security (...) and approval. There are no best practices regarding operations focused on IoT incidents. IoT elements are not covered by audit and logging requirements. In this article, a big data analytics-based customer operation system analyzes the operation. With the exponential rise in data usage, the explosive development in the IoT devices reflects the ideal overlap of big data growth with IoT. Big data analytics continuously evolving network raises trivial questions about the performance, distribution of data, analysis, and protection of data collection. IoT modifies almost all the construction industry characteristics. Human-centered artificial intelligence is described as systems that always improve because of human input while also delivering an effective experience between the human and the robotic. The IoT is the key factor that ensures greater building performance. It was the first evolution of technology in a long time to turn genuine inventions into an industry that depended heavily on paper and manual processes. The benefits of the IoT in construction are now quite obviously much heavier than those of current manual processes. As a result, more construction companies explore and incorporate IoT strategies to address their productivity challenges, increasing efficiencies and profits. The simulation analysis shows that the proposed BDA-CO model enhances the trust score of 98.5%, accuracy detection ratio of 93.4%, probability ratio of 97.6%, and security ratio of 98.7% and reduces the false negative ratio of 21.3%, response time of 10.5%, delay rate of 19.9%, and packet loss ratio of 15.4% when compared to other existing techniques. (shrink)

Le marché du jeu vidéo explose avec l’émergence d’un nouveau type de jeux et de joueurs appelés occasionnels par opposition au jeu traditionnel sur console. Développeurs et éditeurs adaptent divers types de jeux au format court, simple et non technologique du casual game, mais qu’en est-il du jeu de rôle et d’action exigeant l’exposé et le traitement d’un récit long et complexe ? Après avoir esquissé les enjeux du casual game, nous montrons que seule la mobilisation d’un stéréotype mythique ou (...) légendaire permet l’appropriation d’un scénario à un jeu court : sans en avoir conscience, le joueur connaît scènes et personnages ; aussi peut-il s’immerger directement dans l’action. C’est là retrouver le procédé du « feuilleton-roman » d’aventures du XIXe siècle et pourvoir le casual game d’une ascendance culturelle. Ainsi pourrait-on élargir au jeu vidéo l’essai d’analyser les civilisations à travers leurs jeux comme le souhaitait Roger Caillois.The video games market has been booming since the emergence of “casual” gaming, as opposed to core gaming using consoles. Developers and publishers are adapting different types of games to the short, simple and non-technological casual game format, but how does this affect role-playing and action, which demand an exposé and treatment of long and complex narratives? After outlining the issues arising in casual gaming, we show that appropriating a short game scenario only works when it involves a mythical or legendary stereotype: the game player knows the scene and the characters without thinking about them and can therefore plunge directly into the action. The process harks back to the serial adventure story of the 19th century, which may thus be seen as the ancestor of “casual gaming”. Approaches to the analysis of civilisations through their games could there- fore be extended to encompass video games, as suggested by Roger Caillois. (shrink)

During the late nineteenth and early twentieth centuries, gas-pipes were among the most popular therapeutic devices available to an unhealthy public. Spurred on by the explosion of print advertising, mail-order gas-pipes were questionable remedies promoted for such diverse conditions as pneumonia and neurasthenia. Though they are an interesting part of the social history of questionable therapeutics, no historian has recently looked in depth at these devices. This paper examines the clinical, social, and economic environment that facilitated the success (...) of the most ubiquitous gas-pipe, the Oxydonor, and its proprietor, Hercules Sanche. (shrink)

Mass casualty attacks in recent years have demonstrated the need to include “evil intent” as a design consideration. Three recent actual or potential weapons of mass destruction (WMD) attacks did not involve nuclear bombs or other devices designed as weapons, but rather benign objects used with evil intent. Just as unplanned events such as hurricanes, earthquakes, fires, and user misuse have been codified into design requirements based on the likelihood and potential impact of the event, “evil intent” has to (...) become part of the design process for buildings, vehicles, equipment, and other items. The endstate should be reasonable additions to existing codes and standards such that it is clear what is and is not designed for. In the absence of specific design guidance, professionals with appropriate expertise can assess potential for “evil intent” and provide recommendations to design out or warn against this potential harm to public safety, particularly when codified requirements are not present. (shrink)

Thanks to his unsurpassed eye and his fearless willingness to take a stand, Clement Greenberg (1909 1994) became one of the giants of 20th century art criticism a writer who set the terms of critical discourse from the moment he burst onto the scene with his seminal essays Avant Garde and Kitsch (1939) and Towards a Newer Laocoon (1940). In this work, which gathers previously uncollected essays and a series of seminars delivered at Bennington in 1971, Greenberg provides his most (...) expansive statement of his views on taste and quality in art, arguing for an esthetic that flies in the face of current art world fashions. Greenberg insists despite the attempts from Marcel Duchamp onwards to escape the jurisdiction of taste by producing an art so disjunctive that it cannot be judged that taste is inexorable. He argues that standards of quality in art, the artist's responsibility to seek out the hardest demands of a medium, and the critic's responsibility to discriminate, are essential conditions for great art. The obsession with innovation the epidemic of newness leads, in Greenbergs view, to the boringness of so much avant garde art. He discusses the interplay of expectation and surprise in aesthetic experience, and the exalted consciousness produced by great art. Homemade Esthetics allows us particularly in the transcribed seminar sessions, never before published to watch the critics mind at work, defending (and at times reconsidering) his theories. His views, often controversial, are the record of a lifetime of looking at and thinking about art as intensely as anyone ever has. (shrink)

In this paper, we consider the ex falso quodlibet rule (EFQ) as a derived rule and propose a new justification for it based on a rule we call the collapse rule. The collapse rule is a mix between EFQ and disjunctive syllogism (DS). Informally, it says that a choice between a proposition A and ⊥, which is understood as nullary disjunction, is no choice at all and it defaults to A. Thus, we can regard it as capturing the idea of (...) an implosion principle in contrast to EFQ’s explosion principle. Furthermore, we show that the collapse rule can also be used to justify DS and that all these three rules have the same deductive strength: they are all interderivable. Thus, the discussions about the justification of EFQ or DS be reduced to a discussion about the justification of the collapse rule. (shrink)

(2014). Explosive Population Growth in Tropical Africa: Crucial Omission in Development Forecasts—Emerging Risks and Way Out. World Futures: Vol. 70, No. 2, pp. 120-139.

One strategy for defending paraconsistent logics involves raising ‘normative arguments’ against the inference rule explosion. Florian Steinberger systematically criticises a wide variety of formulations of such arguments. I argue that, for one such formulation, Steinberger’s criticisms fail. I then sketch an argument, available to those who deny dialetheism, in defence of the formulation in question.

Logic has traditionally been construed as a normative discipline; it sets forth standards of correct reasoning. Explosion is a valid principle of classical logic. It states that an inconsistent set of propositions entails any proposition whatsoever. However, ordinary agents presumably do — occasionally, at least — have inconsistent belief sets. Yet it is false that such agents may, let alone ought to, believe any proposition they please. Therefore, our logic should not recognize explosion as a logical law. Call this the (...) ‘normative argument against explosion’. Arguments of this type play — implicitly or explicitly — a central role in motivating paraconsistent logics. Branden Fitelson, in a throwaway remark, has conjectured that there is no plausible ‘bridge principle’ articulating the normative link between logic and reasoning capable of supporting such arguments. This paper offers a critical evaluation of Fitelson’s conjecture, and hence of normative arguments for paraconsistency and the conceptions of logic’s normative status on which they repose. It is argued that Fitelson’s conjecture turns out to be correct: normative arguments for paraconsistency probably fail. (shrink)

Global Microfluidic Devices Market Size research report offers in-depth assessment of revenue growth, market definition, segmentation, industry potential, influential trends for understanding the future outlook and current prospects for the market. -/- Methods of performing experiments easily, cheaply, and speedily, as well as in a highly sensitive and throughput manner, are desirable for many scientific endeavors and commercial applications. To achieve this, the USA introduced the microarray and microfluidic technologies that are beneficial for the discovery of new drugs and (...) analysis of biological systems. -/- Drivers & Restraints -/- The global microfluidic devices market size stood at USD 5.14 Billion in 2018 and is projected to reach USD 22.65 Billion by 2026, exhibiting at a CAGR of 20.5% in the forecast period -/- This study provides information about the sales and revenue during the historic and forecasted period of (2024 to 2030). Understanding the segments helps in identifying the importance of different factors that aid market growth. Estimations about the CAGR value for specific forecast period, market drivers, market restraints, and competitive strategies are assessed in this Microfluidic Devices Market report. -/- This report focuses on Microfluidic Devices Market volume and value at the global level, regional level and company level. From a global perspective, this report represents overall Microfluidic Devices Market market size by analysing historical data and future prospect. Regionally, this report focuses on several key regions: North America, Europe, Asia-Pacific, Latin America and Middle East and Africa. -/- Competitive Strategic Window: -/- The Competitive Strategic Window analyses the competitive landscape in terms of markets, applications, and geographies to help the vendor define an alignment or fit between their capabilities and opportunities for future growth prospects. It describes the optimal or favorable fit for the vendors to adopt successive merger and acquisition strategies, geography expansion, research & development, and new product introduction strategies to execute further business expansion and growth during a forecast period. -/- An Overview of the Impact of COVID-19 on this Market: -/- The advancement of COVID-19 has conveyed the world to a stop. We fathom that this prosperity crisis amazingly influences associations across ventures. Nevertheless, everything fortunate or unfortunate should reach a conclusion. There are a couple of organizations that are fighting and some are thriving. By and large, essentially every region is relied upon to be impacted by the pandemic. -/- We are advancing incessant endeavors to help your business support and create during COVID-19 pandemics. Considering our experience and expertise, we will offer you an impact examination of Covid episode across ventures to help you with preparing for what's to come. -/- Key players covered in the global Microfluidic Devices Market research report: -/- uFluidix Perkin Elmer Fluidigm Blacktrace Holdings Ltd. (Dolomite Microfluidic) Micronit BioFluidix GmbH‎ Fluigent ALine, Inc. Philips Other prominent players. (shrink)

Argument“How should a modern artist react to the atomic age?” Time magazine posed this question in 1952 to open a review of an exhibition of paintings inspired by the “explosion of the atomic bomb” and by the “discovery of nuclear energy.” The energetic paintings of the Italian Spatial Movement were, according to Time, “almost as explosive as the bomb itself.” “Explosiveness” was a defining feature of much 1950s art, whose main impulse, gestural abstraction, has previously been understood as the (...) urgent expression of the artist's subjectivity. This paper argues that explosiveness in art can also be seen as an “expression” of the realities of the nuclear era. Postwar artists were ambivalent about the explosive forces, both liberating and devastating, that lay within the atom. Toward the end of the 1950s, no longer content merely to represent atomic disintegration, some artists went so far as to propose the outright self-destruction of the work of art as the only fitting means of expression in the atomic age.One must – and this is not an exaggeration – keep in mind that we are living in the atomic age, where everything material and physical could disappear from one day to another, to be replaced by nothing but the ultimate abstraction imaginable.– Yves Klein 1958. (shrink)

The aim of this article is to show that externalist accounts of cognition such as Clark and Chalmers' (1998) “active externalism” lead to an explosion of knowledge that is caused by online resources such as Wikipedia and Google. I argue that externalist accounts of cognition imply that subjects who integrate mobile Internet access in their cognitive routines have millions of standing beliefs on unexpected issues such as the birth dates of Moroccan politicians or the geographical coordinates of villages in southern (...) Indonesia. Although many externalists propose criteria for the bounds of cognition that are designed to avoid this explosion of knowledge, I argue that these criteria are flawed and that active externalism has to accept that information resources such as Wikipedia and Google constitute extended cognitive processes. (shrink)

Paraconsistency is commonly defined and/or characterized as the failure of a principle of explosion. The various standard forms of explosion involve one or more logical operators or connectives, among which the negation operator is the most frequent and primary. In this article, we start by asking whether a negation operator is essential for describing explosion and paraconsistency. In other words, is it possible to describe a principle of explosion and hence a notion of paraconsistency that is independent of connectives? A (...) negation-free paraconsistency resulting from the failure of a generalized principle of explosion is presented first. We also derive a notion of quasi-negation from this and investigate its properties. Next, more general principles of explosion are considered. These are also negation-free; moreover, these principles gradually move away from the idea that an explosion requires a statement and its opposite. Thus, these principles can capture the explosion observed in logics where a statement and its negation explode only in the presence of additional information, such as in the logics of formal inconsistency. (shrink)

The twentieth-century logical mainstream, derived from works by Łukasiewicz and Scholz, pictures the history of logic for the most part as the prehistory of Boolean–Fregean mathematical logic. Particularly, with respect to classical propositional calculus, the Stoic logic has been pictured as an early stage of it and Aristotle's or the Peripatetics' logic as a theory that assumes it. Although it was not emphasised, it follows that the ancient logics contain the principle of explosion. In the endmost quarter of the twentieth (...) century, a competitive view began to spread to the effect that the ancient systems of logic were paraconsistent or relevantistic. In the twenty-first century, the latter view prevails and has every chance of becoming a new orthodoxy. It is claimed that although in Łukasiewicz's argument for the classicality of ancient logics, there are gaps, it may be demonstrated that the ancient logics contain the principle of explosion. (shrink)

ㅤThis article is part of a symposium on Jc Beall's "Christ-A Contradiction.".

Research on concepts has focused on categorization. Categorization starts with a stimulus. Equally important are episodes that start with a thought. We engage in thinking to draw out new consequences from stored information, or to work out how to act. Each of the concepts out of which thought is constructed provides access to a large body of stored information. Access is not always just a matter of retrieving a stored belief (semantic memory). Often it depends on running a simulation. Simulation (...) allows conceptual thought to draw on information in special-purpose systems, information stored in special-purpose computational dispositions and special-purpose representational structures. While the utility of simulation, prospection or imagination is widely appreciated, the role of concepts in the process is not well understood. This paper turns to cognitive and computational neuroscience for a model of how simulations enable thinkers to reach novel conclusions. Carried over to conceptual thought, the model suggests that concepts are ‘plug & play’ devices. The distinctive power of thought-driven simulation derives from the ability of concepts to plug into two kinds of structure at once: the combinatorial structure of a thought at one end and special-purpose structural representations at the other. This article is part of the theme issue ‘Concepts in interaction: social engagement and inner experiences’. (shrink)

Not only in its conceptual reconstruction but also in the straightforward application of Badioursquo;s thought its problems and tensions come to light. This paper thus sets out to identify a generic truth procedure in the domain of art; specifically within theatre starting out from the Meyerhold-event and tracing enquiries in the work of Artaud and Brecht. It turns out once one follows the lines of further enquiries one ends up sketching an explosive genealogy that gives rise to the concept (...) of an art of presentation transgressing the boundaries of theatre, art and philosophy. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Ethics & the Environment 8.2 (2003) 71-79 [Access article in PDF] "Explosion" Greta Gaard I. In the beginning there was only water, and you were a part of it. Never mind what else you have heard. This was your first relationship, your connection to water. And the quality of this relationship, the character of your beliefs about water, shapes all relationships in your life. The way you do one (...) thing is the way you do everything. You cannot separate one relationship from another, treat this water with reverence, this water with waste. Because water returns. Water knows there are no separations. You too should know this, for water has been teaching you, from the beginning.Imagine a creek flowing through the length of your life, from your birth to your death. Yes, your death. Water precedes you, water survives you. Consider the silence of blue-ice glaciers, ancient in their solitude, melting. Each winter the snowfall thick and wet, fluffy, or crisp and dry. Each spring the snows melting, glaciers growing and melting. Water flows down pine needles and cedar bark, flows down rocks and fallen logs, flows through moss and soil and sand.The lake gathers rainfall, gathers snowmelt and the plenitude of creeks. The lake overflows, spills, falls, exuberance of fullness, joy in motion, streaming downhill now, swelling the creek bed where it has made this journey so many times before.You have never seen this creek, the hidden water that flows through your days and nights, from one season to the next. Without it you would not live. You rely on this unseen water to flow forever. It has flowed here [End Page 71] before you were born, before you stepped into its flow, and you imagine it will outlast you, outlast whatever you might do to this water. You believe it is limitless, unending. You know its persistent force has carved rocks because you can see them, see the way water flows through stone, leaving its imprint in kettles, in the basins of water where rocks circulate, in the interlaced fingers of water and stone embracing at the falls.Water becomes you. But Narcissus-like, you look at water and see only your self. You believe you are alone. You are afraid. You need to con-trol this fear, this aloneness, this terrifying separation. You see the power of water and you want power. Power will give you control. You build dams and concrete channels and ditches, believing that by doing this you will control the power of water, the fertility of water, the fear of your separation. But water is patient. There are laws that govern the way of water, the ways of energy and power, the ways of land. There are consequences. Water bears no grudge, extracts no retribution. Your own actions, skillful or unskillful, determine the outcome. Your own relationship to water will poison you or save you. You decide.You believe blocking the flow of water gives you power.You believe blocking the flow of feeling gives you power.You believe harnessing the animals, fencing off the land gives you power. And for awhile, these strategies work.But there are consequences. That which is diverted, divided, suppressed, always returns with greater force, and when it returns, no one can control it. No one. II. Imagine a family. Picture the elders first. How many do you see? Where are the children? The sisters and brothers, aunts and uncles, cousins and nephews and grandchildren? How many people are needed to form a family? Can you be a family of one?Look at it another way: is there a limit to the relations of family? Is there a certain number of people allowed in a family until a limit is reached? Do you say, "Families may only have ten people"? "The eleventh person will not be included." Or do you point to the basis of inclusion, the things that bind you, one to another, and say, "Yes, this person too"?How do you recognize a family?Do family members have to pulse with the same blood, or will love create a family where the blood... (shrink)

Science and revelation have been presented as two books with the same “author,” their reconciliation being called “concordism.” Teilhard opposed concordism, insisting that supposed “revelations” be treated as scientific hypotheses to be verified or not in experience. Applying his criterion for truth (Does it bring “coherence and fecundity” to the phenomena?) to Christian revelation, he told of finding “an explosion of dazzling flashes.” So Teilhard spoke of the hypothesis as the supreme spiritual act wherein the dust of experience takes on (...) form and is kindled at the fire of knowledge. (shrink)

Phenomenology has a rich tradition of interpreting technology, medicine, and the life sciences. It has not yet had much to say about the medical devices which have always been central to bioethics. In this chapter, I outline what is meant by medical devices, and connect the sense of intention in made-object design with the notion of intentionality in phenomenology. I survey three basicways of characterising medical devices grounded in the phenomenological literature: Albert Borgmann’s device paradigm, Don Ihde’s (...) human-machine relations, and Merleau-Ponty’s body-subject. Engaging with these approaches could help bring to analyses of medical devices the uniquely whole-of-context view of which phenomenology is capable, and better inform all stakeholders about their phenomenal consequences. (shrink)

I argue that the Stoic logic is explosive. The claim applies to the Stoics' syllogistic in the strictest sense, because there is a provable syllogism which qualifies as a principle of explosion. It applies also to the general consequence operation, in the sense that every sentence is derivable from any pair containing both a sentence and the negation of the sentence. Finally, it applies to the connective of implication (conditional), in the sense that any conditional is derivable, providing its (...) antecedent is a conjunction of a sentence and the negation of the sentence. All three claims allow weakening, i.e., additions of extra premises to an inference or extra conjuncts to the antecedent of an implication, respectively. Consequently, no concept of relevance, let alone paraconsistency or connexivity is applicable to the Stoic logic; in particular, the Stoics' connective of implication is either material (Boolean) or formal (strict). (shrink)