When citizens call the police to report a problem with another, they need to not only characterize the problematic action/event, but they must position themselves in relation to the complained-about person. This conversational work of positioning self, and describing the other's actions, is delicate business when the complained-about person is connected to the caller. Different constructions of the other and the problem affect whether callers get the help they are seeking. At the same time, alternate constructions offer different pictures of (...) the other's blameworthiness and self's contribution to the problem. In this study we analyze citizen calls to the police in which callers have a dilemma: they have a problem with another that they want remedied but the problem occurs in a situation where involving the police is regarded as unreasonable. Past research on calls to the police, and studies about how people position their own and others' actions in sensitive situations are described. Then the materials and interpretive method are explained. The heart of the article is a description of four relational positioning strategies. Strategies include: generic reference terms; `friend' to imply a non-sexual relationship; ex-prefaces; and agent-less problems. The conclusion considers where else the dilemma will be found and highlights distinctive features of the rhetorical discursive perspective developed in the article. (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)

This article examines discursive strategies used by police and politicians to describe and justify the application of penalty notices to minor criminal offences. Critical discourse analysis is used as an analytical tool to show how neoliberal economic thinking has informed the prism through which infringement notices have been rationalised as a legitimate alternative to traditional criminal prosecution, while also highlighting the contradictions inherent in neoliberalism as an ideology through which to view the embrace of legally hybrid powers in the (...) criminal justice system. Discursive strategies identified in the article include the use of ideological keywords ordinarily associated with free market economics and managerial efficiency; the adoption of militaristic vocabulary and metaphors in representations of policing and space; the strategies of assimilation and formulation to represent police views as uniform and coherent; and the use of nominalisations to legitimise the lack of procedural safeguards attached to infringement notices. The logic of—and the language ordinarily associated with—the domain of private business, the ‘free market’, and deregulation has infiltrated the criminal justice sphere. In addition, the naturalisation of neoliberal economic discourse in political and police representations of infringement notices produces and sustains important ideological effects, by disguising the ways in which the expanded use of administrative sanctions in public order policing intensifies state power at the expense of due process of law. (shrink)

A longstanding question is the extent to which "reasonable doubt" may be expressed simply in terms of a threshold degree of belief. In this context, we examine the extent to which learning about possible alternatives may alter one's beliefs about a target hypothesis, even when no new "evidence" linking them to the hypothesis is acquired. Imagine the following scenario: a crime has been committed and Alice, the police's main suspect has been brought to trial. There are several pieces of evidence (...) that raise the probability that Alice committed the crime. Her attorney's defense strategy is not to challenge this evidence, but instead to provide personal details about Alice's neighbour, Jane. While Jane is one of many people the police spoke to, they saw no reason to investigate her further. You now learn that Jane, too, had access to the shed where the murder weapon was stored, just like Alice. To what extent should this alter your beliefs about Alice's guilt? In this paper, we provide a formal description of the problem and a solution indicating circumstances under which learning about Jane will more or less impact beliefs about Alice. (shrink)

In 2013, there were an estimated 50,000 individuals involved in downloading and sharing indecent images of children in the United Kingdom. This poses challenges for limited police resources. We argue that police officers can make most effective use of limited resources by prioritizing those offenders who pose the greatest risk of contact offending, by nature of demonstrable pedophilia, hebephilia or dual offending status and thus, those at highest risk must be dealt with first. What is currently lacking is a clear (...) idea of the potential scale of the problem in socio-economic terms and why, therefore, it is so important that evidence-based approaches to offender detection and investigation continue to be a top priority for funders and policy makers. A systematic literature review was undertaken to address two related questions. First, what is the scale of the problem in the UK, in terms of the number of pedophilic and hebephilic individuals who pose a risk of contact offending against a child? Second, what is the potential socio-economic burden generated by the national IIOC suspect pool if left unattended to by targeted police action? Applying population estimates of pedophilia and hebephilia to the male population, we estimate there are between 2,365–5,991 males with paedophila and 12,218–30,952 males with hebephilia who are likely contact offenders. Applying average prevalence and incidence based costing methods to a conservative estimate of one victim per offender, the combined socio-economic burden from these persons could amount to £236-£597 million increasing to £2.9-£7.3 billion. Applying the same costs to CEOP estimate of 50,000 IIOC offenders we estimate that between 6,000 and 27,500 dual offenders could have already committed past contact offenses, contributing an economic burden of between £97–£445 million increasing to £1.2–£5.4 billion. Future contact offenses could contribute a further burden of £16–£18.6 million increasing to £198–£227 million. Drawing upon these findings, we argue for the benefits of a research-informed prioritization approach to target IIOC offenders. (shrink)

Del Giudice's model of sex-specific attachment patterns demonstrates the usefulness of infusing life history theory with principles of sexual selection. We believe a full synthesis between the two theories provides a foundation for a comprehensive model of alternative reproductive strategies. We extend Del Giudice's ideas based on our own program of research, focusing specifically on the importance of intrasexual competition and the individual phenotype during development.

Freezing of gait can cause reduced independence and quality of life for many with Parkinson’s disease. Episodes frequently occur at points of transition such as navigating a doorway. Therapeutic interventions, i.e., drugs and exercise, do not always successfully mitigate episodes. There are several different, but not exclusive causes for freezing of gait. People with freezing of gait are able to navigate dynamic situations like stairways by utilizing a different attentional strategy to over-ground walking, but may freeze when passing through (...) a doorway. The question is, is it possible to employ a special attentional strategy to prevent freezing at this point? Motor imagery allows for learning motor skills in absolute safety and has been widely employed in a variety of populations, including other neuro-compromised groups. Motor imagery is not studied in a homologous manner in people with Parkinson’s Disease, leading to conflicting results, but may have the potential to establish a different attentional strategy which allows a subject to mitigate freezing of gait episodes. This paper will identify and discuss the questions that still need to be answered in order to consider this approach i.e., can this population access motor imagery, can motor imagery alter the attentional strategy employed when moving through doorways, what is the best motor imagery approach for people with Parkinson’s Disease and freezing of gait, and what dosage is most effective, while briefly outlining future research considerations. (shrink)

Millions of people in the developing world lack access to curative drugs. Pogge identifies the cause of this problem as a lack of redistribution across borders. In contrast, this article shows that institutional shortcomings within developing countries are the main issue. These different explanations are the result of diverging analytic approaches to ethics: a cosmopolitan approach versus an ordonomic approach. This article compares both approaches with regard to how they conceptualize and propose to solve the problem of providing life-saving pharmaceuticals (...) to the poor in developing countries. (shrink)

An earlier version of this paper was presented at the 2011 IEEE International Symposium on Technology and Society at Saint Xavier University in Chicago, Illinois. This paper describes a proposed mobile platform, Transafe, that captures and analyses public perceptions of safety to deliver 'crowdsourced' collective intelligence about places in the City of Melbourne, Australia, and their affective states at various times of the day. Public perceptions of crime on public transport in Melbourne are often mismatched with actual crime statistics (...) and such perceptions thus can act as social barriers to visitors and locals traversing within and through the city. Using interactive mobile applications and social media, the visualization of this crowdsourced safety perception information will increase the commuter's awareness of various situations in the City of Melbourne. In addition, through social behavioral analysis and ethnographic research, the collective public intelligence will also help inform the stakeholders of the city for future policy-making and policing strategies for safety perception management. At the centre of the proposed platform is the design and development of a mobile phone application that can contribute to people feeling safer by supporting users to report crimes and misdemeanors that they witness, and provide information about transportation and emergency services around where the users are located. The proposed application can also act as a crime deterrent with one feature that enables user tracking by up to three nominated friends if the user opts to activate tracking when feeling unsafe while roaming the city. (shrink)

In the contemporary scene, psychological researchers seeking alternative research strategies are turning increasingly toward interpretation theory. However, other strategies are also available, and one of these is descriptive science. Descriptive practices as the basis for the clarification of meanings have received less emphasis because of several epistemological assumptions about meaning that have appeared in the literature of interpretive science. Based upon the work of contemporary transcendental philosophers, especially J. N. Mohanty, this article argues that a descriptive scientific perspective can (...) respond to some of the hermeneutic arguments about meaning and that solid findings can be established descriptively. It is argued that both description and interpretation are legitimate but that they are tied to different conditions and interests. (shrink)

(2001). An alternative strategy for transcultural communication: Dialogic understanding of multiple voices. World Futures: Vol. 57, Future Trends in Communications Strategies, pp. 583-597.

How do states build a security apparatus after violent resistance against state rule? This article argues that in early periods of state building two main factors shape the process: the macro-strategic goals of the state and administrative challenges of personnel management. These dynamics are studied in the context of the establishment of police forces in the settler colony of German Southwest Africa, present-day Namibia. The empirical analysis relies on information about the location of police stations and a near full census (...) of police forces, compiled from the German Federal Archives. A mismatch is found between the allocation of police presence and the allocation of police personnel. The first was driven by the strategic value of locations in terms of extractive potential, political importance, and the presence of critical infrastructure, whereas the allocation of individual officers was likely affected by adverse selection, which led to the assignment of low-quality recruits to strategically important locations. (shrink)

The analysis of the concept of knowledge is understandably regarded as central to the development of an adequate philosophical system. And yet, as is also apparent, no proposal of recent date has succeeded in meeting certain well-known objections, counterinstances, anomalies. It is reasonable, therefore, to step back from these would-be direct contributions to review the principal strategies by which the relevant puzzles may be supposed to be managed.Undoubtedly, it was Roderick Chisholm's recovery and revision of the account of the Theaetetus (...) that encouraged a sustained effort, by various hands, to formulate a definition of knowledge in terms of its necessary and sufficient conditions. (shrink)

This paper summarizes the findings of a three-year exploratory qualitative study of teenage childbearing in 20 low-income multigeneration black families. Teenage childbearing in these families is part of an alternative life-course strategy created in response to socioenvironmental constraints. This alternative life-course strategy is characterized by an accelerated family timetable; the separation of reproduction and marriage; an age-condensed generational family structure; and a grandparental child-rearing system. The implications of these patterns for intergenerational family roles are discussed.

Mechanisms to ensure the integrity of the system stable evolutionary strategy Homo sapiens – genetic and cultural coevolution techno-cultural balance – are analyzed. оe main content of the study can be summarized in the following the- ses: stable adaptive strategy of Homo sapiens includes superposition of three basic types (biological, cultural and technological) of adaptations, the integrity of the system provides by two coevolutionary ligament its elements – the genetic-cultural coevolution and techno-cultural balance, the system takes as result (...) of by develop- ment of genetic and information technologies by advent of genetic and informa- tion technologies extremely unstable conūguration; a harbinger of a radical change in the mechanisms of global evolution religion is a consequence of structural and functional organization of the human psyche; it played (along with science and technology) the role of socio-cultural adaptation of the human mind are present a number of ideas or concepts (the idea of God, including) the genesis of that ideas is associated with the interaction of two information systems, that appear to each other as information substrates – emotional, and verbal-logical (discursive) forms; evolution of the mentality has two nodes, that corresponding to the dominance of rationalism or religion in spiritual culture; the problem of rational justiūcation of religion in modern science is presented by two alternative methodologies – evo- lutionary epistemological and metaphysical-ontological ones; both methodologies are incompatible in a logical perspective; in the evolutionary epistemological im- pact concept of religion and science are equal and alternative building blocks of a stable evolutionary strategy of Homo sapiens, and their balance sheet pro. (shrink)

Diverse and dynamic societies face a problem of social control. Institutions of social control, of which the police are a part, are a necessary part of just and legitimate governance. But in our non-ideal world they are also responsible for injustices of their own. This project raises questions of political philosophy as they apply to the professional police agency. It begins by constructing an inchoate, but mainstream view about just policing, legalism, according to which police power is justified by (...) the criminal code, and just policing is just the faithful enforcement of law. This view is undermined by the practical realities of policing, which involves widespread and unavoidable police discretion. It then develops an account of just and legitimate police discretion, including principles of proportionality, liberal neutrality, and democratic responsiveness. This sheds lights on controversial police tactics, order maintenance initiatives, and community policing strategies. This account also informs the just institutional arrangement of police powers, informing ongoing debates about police reform and abolition. (shrink)

ABSTRACT Drawing upon cross-sectional research with pre- and in-service police officers in the U.K. (N = 571), this paper reports on the moral reasoning strategies favored by the respondents in dealing with bespoke work-related moral quandaries specific to the professional practice of policing. The dominant form of moral reasoning in dealing with those dilemmas was deontological (rule-based). The second most frequently selected reasoning strategy was virtue ethical. Further analysis of the police research data indicated that those with an (...) undergraduate degree were significantly more likely to adopt virtue ethical and consequentialist-utilitarian reasoning strategies than those who did not have an undergraduate degree. (shrink)

This book provides a comprehensive examination of the police role from within a broader philosophical context. Contending that the police are in the midst of an identity crisis that exacerbates unjustified law enforcement tactics, Luke William Hunt examines various major conceptions of the police—those seeing them as heroes, warriors, and guardians. The book looks at the police role considering the overarching societal goal of justice and seeks to present a synthetic theory that draws upon history, law, society, psychology, and philosophy. (...) Each major conception of the police role is examined in light of how it affects the pursuit of justice, and how it may be contrary to seeking justice holistically and collectively. The book sets forth a conception of the police role that is consistent with the basic values of a constitutional democracy in the liberal tradition. Hunt’s intent is that clarifying the police role will likewise elucidate any constraints upon policing strategies, including algorithmic strategies such as predictive policing. This book is essential reading for thoughtful policing and legal scholars as well as those interested in political philosophy, political theory, psychology, and related areas. Now more than ever, the nature of the police role is a philosophical topic that is relevant not just to police officials and social scientists, but to everyone. (shrink)

This paper examines racial discrimination and algorithmic bias in predictive policing algorithms (PPAs), an emerging technology designed to predict threats and suggest solutions in law enforcement. We first describe what discrimination is in a case study of Chicago’s PPA. We then explain their causes with Broadbent’s contrastive model of causation and causal diagrams. Based on the cognitive science literature, we also explain why fairness is not an objective truth discoverable in laboratories but has context-sensitive social meanings that need (...) to be negotiated through democratic processes. With the above analysis, we next predict why some recommendations given in the bias reduction literature are not as effective as expected. Unlike the cliché highlighting equal participation for all stakeholders in predictive policing, we emphasize power structures to avoid hermeneutical lacunae. Finally, we aim to control PPA discrimination by proposing a governance solution—a framework of a social safety net. (shrink)

In 2014, questionable police killings of Eric Garner, Michael Brown, and Tamir Rice sparked mass protests and put policing at the center of national debate. Mass protests erupted again in 2020 after the brutal police killing of George Floyd. These and other incidents have put a spotlight on a host of issues that threaten the legitimacy of policing—excessive force, racial bias, over-policing of marginalized communities, historic injustices that remain unaddressed, and new technology that increases police powers. This (...) introduction gives an overview of these ethical challenges facing police today and the democratic institutions that oversee them. It then outlines the various interdisciplinary perspectives—from Black studies, criminology, history, law, philosophy, political science, and sociology—collected in the volume. Together, these contributions aim to clarify the question of which ethical principles should guide police, where current practices fall short, and what strategies hold the most promise for addressing these failures. (shrink)

Proactive policing strategies produce a range of harms to African Americans in poor urban communities. We know little, however, about how aggressive policing is experienced across gender by adolescents in these neighborhoods. The authors argue that important insights can be gained by examining the perspectives of African American youths and draw from in-depth interviews with youths in St. Louis, Missouri, to investigate how gender shapes interactions with the police. The comparative analysis reveals important gendered facets of African American (...) adolescents' experiences with and expectations of law enforcement. Young men described being treated routinely as suspects regardless of their involvement in delinquency and also reported police violence. Young women typically described being stopped for curfew violations but also expressed concerns about police sexual misconduct. This study highlights the differential harms of urban policing for African American young women and men and highlights the need for systematic attention to the intersections of race and gender in research on criminal justice practices. (shrink)

Governments and majoritarian political formations often present police violence as nationalist media spectacles, which marginalize the rights of the accused and normalize the discourse of majoritarian nationalism. In this study, we explore the public discourse of how the State and political actors repeatedly labeled a college-going student Ishrat Jahan, who died in a stage-managed police killing in India in 2004, as a terrorist. We draw from Derrida’s ethics of unconditional hospitality to show that while police violence is aimed at constructing (...) safety for the cultural majority, in reality, it reveals discourses of anxiety and precariousness. The unethicality of police violence lies in the enlargement of recognition in vicariously blaming the person who has been killed for being involved in several terror attacks. We show that police violence is premised on the temporal structure of majoritarian nationalism, the prevalence of gender inequity, and the call to breach the secular framework of law. (shrink)

Previous research has suggested that an effective strategy for debiasing judgments is to have participants "consider the opposite." The present research proposes that considering any plausible alternative outcome for an event, not just the opposite outcome, leads participants to simulate multiple alternatives, resulting in debiased judgments. Three experiments tested this hypothesis using an explanation task paradigm. Participants in all studies were asked to explain either 1 hypothetical outcome (single explanation conditions) or 2 hypothetical outcomes (multiple explanation conditions) to (...) an event; after the explanation task, participants made likelihood judgments. The results of Studies 1 and 2 indicated that debiasing occurred in all multiple explanation conditions, including those that did not involve the opposite outcome. Furthermore, the findings indicated that debiased judgments resulted from participants' spontaneous consideration of additional alternatives in making their likelihood judgments. The results of Study 3 also identified the perceived plausibility of the explained alternative as an important moderating variable in debiasing. (shrink)

In this paper my concern is with the collective moral responsibility of criminal investigators for the outcomes of their investigations, bearing in mind that it is important to distinguish collective moral responsibility from, and relate it to, individual moral responsibility. In what sense, if any, are police detectives individually and collectively morally responsible for their success (or, for that matter, their failure) in gathering sufficient evidence to identify, arrest, and charge an offender who has committed a serious crime? Alternatively, in (...) what sense are they morally responsible in cases where they identify, arrest, and charge an innocent person? And in what sense, if any, are police detectives individually and collectively morally responsible for the ultimate outcome of the trial, the finding by the courts of someone they have investigated and charged with a serious crime to be guilty or innocent? (shrink)

A European Union counter-terrorism strategy was devised in 2005.1 Of its four strands—prevent, pursue, protect, and respond—only two have a direct connection with policing. Perhaps surprisingly, th...

Examining the eviction of Occupy Philadelphia from city hall on November 30, 2011, this paper analyzes police tactics to address public protests in the United States. The results highlight three aspects of the police strategy deployed during the eviction: a preconceived plan to manage protests, the use of militarized tactics to implement this management plan, and the imposition of a state of dissociative meditation triggered by the incarceration that followed the eviction. The strategy of management, militarization, and meditation (...) demonstrates the Marcusean notion of repressive tolerance and characterizes the police response to public dissent. (shrink)

Policing in many parts of the world—the United States in particular—has embraced an archetypal model: a conception of the police based on the tenets of individuated archetypes, such as the heroic police “warrior” or “guardian.” Such policing has in part motivated moves to (1) a reallocative model: reallocating societal resources such that the police are no longer needed in society (defunding and abolishing) because reform strategies cannot fix the way societal problems become manifest in (archetypal) policing; and (...) (2) an algorithmic model: subsuming policing into technocratic judgements encoded in algorithms through strategies such as predictive policing (mitigating archetypal bias). This paper begins by considering the normative basis of the relationship between political community and policing. It then examines the justification of reallocative and algorithmic models in light of the relationship between political community and police. Given commitments to the depth and distribution of security—and proscriptions against dehumanizing strategies—the paper concludes that a nonideal-theory priority rule promoting respect for personhood (manifest in community and dignity-promoting policing strategies) is a necessary condition for the justification of the above models. (shrink)