Art world talk of “blurred boundaries” and “hybrids” between art and craft, suggests that the philosophy of art needs to rethink the concept of craft. This can best be done by adopting four strategies: first, distinguish between craft as a set of disciplines, and craft as a process and practice; second, keep in mind the differences among craft practices such as studio, trade, ethnic, amateur, and DIY; third, recognize that craft’s relationship with design is as important as its relationship (...) to art; fourth, attend to the role digital design and fabrication are playing in craft and art today. At the core of the craft process are three contested characteristics found in most craft practices: hand, material, and skill, although these are better understood as body, medium, and mastery. After discussing a fourth contested characteristic of many craft and design practices, function, I show that none of the four characteristics is a requisite condition for artistic practice today, yet none are excluded from contemporary art, despite its current “post‐studio” or “post‐disciplinary” tendencies. I conclude that the boundary between art and craft conceived as a set of disciplines defined by materials and techniques has not become blurred, it has all but disappeared. On the other hand, I show through an analysis of some references to “mere craft” by Stephen Davies and Arthur Danto, that craft conceived as a process and practice can be understood as distinct from art, but in a non‐invidious sense. (shrink)

This paper presents a novel methodological approach of how to design, conduct and analyse robot-assisted play. This approach is inspired by nondirective play therapy. The experimenter participates in the experiments, but the child remains the main leader for play. Besides, beyond inspiration from non-directive play therapy, this approach enables the experimenter to regulate the interaction under specific conditions in order to guide the child or ask her questions about reasoning or affect related to the robot. This approach has been (...) tested in a long-term study with six children with autism in a school setting. An autonomous robot with zoomorphic, dog-like appearance was used in the studies. The children’s progress was analyzed according to three dimensions, namely, Play, Reasoning and Affect. Results from the case-study evaluations have shown the capability of the method to meet each child’s needs and abilities. Children who mainly played solitarily progressively experienced basic imitation games with the experimenter. Children who proactively played socially progressively experienced higher levels of play and constructed more reasoning related to the robot. They also expressed some interest in the robot, including, on occasion, affect. Keywords: Human–Robot Interaction, Robot-Mediated Therapy, Robot-Assisted Play, Non-Directive Play Therapy, Assistive Technology, Autism, Children. (shrink)

Mental state reasoning or theory-of-mind has been the subject of a rich body of imaging research. Although such investigations routinely tap a common set of regions, the precise function of each area remains a contentious matter. With the help of functional magnetic resonance imaging (fMRI), we sought to determine which areas are involved when processing mental state or intentional metarepresentations by focusing on the relational aspect of such representations. Using non-intentional relational representations such as spatial relations between persons and (...) between objects as a contrast, the results ascertained the involvement of the precuneus, the temporal poles, and the medial prefrontal cortex in the processing of intentional representations. In contrast, the anterior superior temporal sulcus and the left temporo-parietal junction were implicated when processing representations that refer to the presence of persons in relational contexts in general. The right temporo-parietal junction, however, was specifically activated for persons entering spatial relations. The level of representational complexity, a previously unexplored factor, was also found to modulate the neural response in some brain regions, such as the medial prefrontal cortex and the right temporo-parietal junction. These findings highlight the need to take into account the critical roles played by an extensive network of neural regions during mental state reasoning. (shrink)

The subject of this book is young children's emotional-social learning and development within early childhood care and education settings in Aotearoa-New Zealand. The focus on emotional complexity fills a gap in early childhood care and education research where young children are frequently framed narrowly as 'learners,' ignoring the importance of emotional functioning and the feelings with which children make sense of themselves and the world. This book draws on original data in the form of narrative-like framed events to creatively (...) illustrate the complexities in children's diverse ways of feeling, thinking, playing, being, and becoming. Events illuminate the feelings and meanings of observed experiences in holistic and contextualised gestalts. Awareness of unconscious processes, the feeling of feelings, and cultural dimensions of development and meaning-making are addressed. The book emphasises the emergent and psychodynamic nature of children's development and learning with strong links to the role of play and playfulness in the events, drawing on two ethnographically inspired research projects that present theory, experience and practice in real-life events. (shrink)

Peter-Paul Verbeek elaborates on the concept of “relational freedom” in Moralizing Technology (2011). In this paper, I propose to extend and reinterpret it as a concept of personal autonomy. Generally, studies of autonomy do not examine the use of technology thoroughly, because these studies mainly focus on an individual’s mental process regarding reasons or motives. Consequently, these studies fail to understand technological aspects that contribute to the agent’s actions and decisions. When we take into consideration that our autonomous behaviors and (...) lives are highly intertwined with technologies, it becomes necessary to clarify the aspect of autonomy that relates to the use of technology. This is where Verbeek’s relational freedom comes into play. This is because it refers to the set of capacities to constitute one’s subjectivity in the process of deliberately using technological means. However, some conceptual analysis and critical discussion are necessary. The former includes whether it is a procedural or substantive notion. The latter consists of the problem concerning the correspondence between human participant(s) and a hybrid agent, and the difference between the hybrid agent and a moral subject. (shrink)

Recent research in the educational context has focused not only on academic achievement but also on subjective well-being (SWB) as both play a major role in students’ lives. Whereas the determinants of academic achievement have been extensively investigated, little research has been conducted on school-related determinants of SWB in comparison with other students’ characteristics. In the present cross-sectional study, we set out to investigate whether perceived school climate predicts school grades and SWB above and beyond other variables that (...) are important for SWB and academic achievement. A sample of 767 8th and 9th grade students (n = 361 female adolescents; age: M = 14.07 years, SD = 0.92) completed measures of SWB, perceived school climate, test anxiety, self-efficacy, and interest. Grade point average (GPA) indicated students’ academic achievement. Data were analyzed with latent structural equation models in which GPA and SWB were regressed on the school climate variables and students’ characteristics. Results indicated that a positive school climate as well as self-efficacy and the worry component of test anxiety predicted SWB and/or GPA after all other variables were controlled for. Directions for future research and the importance of school climate variables on adolescents’ SWB and academic achievement are discussed. (shrink)

A great amount of literature documents young children’s innate interest in discovering their surroundings and gradually developing more complex activities and thoughts. It has been demonstrated that when environments support young children’s innate interest and progressive autonomy, they help children acquire a self-determined behavior. However, little is known about the application of this evidence in the daily practice of early childhood educational settings. This study examines Emmi Pikler Nursery School, a center that implements an autonomy-supportive educational approach. We conducted a (...) systematic observation of two experienced Pikler educators while they accompanied young children’s free play. Our objective was to assess: if educators’ instrumental action follows a systematic behavioral sequence; if each instrumental action is supported by specific relational behaviors; and if educators display differentiated intervention levels with regards to children’s free play through the adaptation of the relational dimension. We conducted lag sequential analysis in order to find behavioral patterns and concurrences between the observed behaviors. Our findings indicate that educators perform systematic action sequences and that each of the instrumental actions of those sequences has a specific relational value. We conclude that educators display three differentiated intervention levels depending on the child and the circumstances of the moment, providing an appropriate autonomy support and reinforcing children’s self-determination. (shrink)

Using photographic documentation to understand the extraordinary in the ordinary and the experiences of young children in an early childhood education center, I began to wonder how children’s interactions define their identity formation. This research looked at how boys reconstruct their identity based on the knowledge gained from those around them. Specifically, the study investigated the ways in which boys explore gender roles in relation to pregnancy and birthing. Using a phenomenological approach, the purpose of this research was to explore (...) the meaning of young children’s gender and identity play, and the experiences they take to form their identity in the early childhood setting. During the course of the study I drew meanings from the boys’ pretend playing pregnancy and gender role development. From three emerging themes, I came to the conclusion that the boys were not necessarily defining “boy” or “girl”, but using their play to make meaning of another individuals’ experience as related to gender. Indo-Pacific Journal of Phenomenology , Volume 12, Special Edition May 2012. (shrink)

Relationships are central to enacting person‐centred care of the older person with cognitive impairment. A fuller understanding of relationships and the role they play facilitating wellness and preserving personhood is critical if we are to unleash the productive potential of nursing research and person‐centred care. In this article, we target the acute care setting because much of the work about relationships and older people with cognitive impairment has tended to focus on relationships in long‐term care. The acute care (...) setting is characterized by archetypal constraints which differentiate it from long‐term care, in terms of acuity and haste, task‐orientated work patterns and influence from “the rule of medicine,” all of which can privilege particular types of relating. In this article, we drew on existing conceptualizations of relationships from theory and practice by tapping in to the intellectual resources provided by nurse researchers, the philosophy of Martin Buber and ANT scholars. This involved recounting two examples of dyadic and networked relationships which were re‐interpreted using two complementary theoretical approaches to provide deeper and more comprehensive conceptualizations of these relationships. By re‐presenting key tenets from the work of key scholars on the topic relationships, we hope to hasten socialization of these ideas into nursing into the acute care setting. First, by enabling nurses to reflect on how they might work toward cultivating relationships that are more salutogenic and consistent with the preservation of personhood. Second, by stimulating two distinct but related lines of research enquiry which focus on dyadic and networked relationships with the older person with cognitive impairment in the acute care setting. We also hope to reconcile the schism that has emerged in the literature between preferred approaches to care of the older person with cognitive impairment, that is person‐centred care versus relationship‐centred care by arguing that these are complementary rather than mutually exclusive and can be brought together in one theoretical framework acknowledging personhood as relational in essence. (shrink)

The terms “politics” and “political” have become so overdetermined that it is difficult to use them in any effective manner. We argue that this has dangerous political consequences, and that this could be addressed by providing a new, sounder, notion of politics. This paper argues that defining politics in relation to the notion of play can provide a notion both intuitively appealing and able to withstand the problematic overdeterminations. We argue that politics is the set of practices through which the (...) indeterminate of Spielraum is made more determinate. This suggests that politics is always partly a matter of play: it is about instituting values without making any claims about the legitimacy of this instituting act. With reference to Huizinga and Nietzsche’s analyses of play, we define play as the living unity of seriousness and frivolity, and non-play as either seriousness without frivolity or frivolity without seriousness. In order to illustrate this, we comparatively analyse the attitudes of Barack Obama and Donald Trump in the single context of the well-known yearly White House Correspondent’s Dinner. There, we see two opposed attitudes to playfulness. Our analysis allows us to apply our _Spielraum_ model of politics to show that the thrust of Obama’s attitude involves an embrace of the non-foundational nature of politics as play, whereas Trump’s attitude is politicidal: it is animated by a refusal to acknowledge its own lack of foundation, leading to an oscillation between over-seriousness and over-frivolity. (shrink)

Audio features such as inharmonicity, noisiness, and spectral roll-off have been identified as correlates of “noisy” sounds. However, such features are likely involved in the experience of multiple semantic timbre categories of varied meaning and valence. This paper examines the relationships of stimulus properties and audio features with the semantic timbre categories raspy/grainy/rough, harsh/noisy, and airy/breathy. Participants rated a random subset of 52 stimuli from a set of 156 approximately 2-s orchestral instrument sounds representing varied instrument families, registers, and (...) both traditional and extended playing techniques. Stimuli were rated on the three semantic categories of interest, as well as on perceived playing exertion and emotional valence. Correlational analyses demonstrated a strong negative relationship between positive valence and perceived physical exertion. Exploratory linear mixed models revealed significant effects of extended technique and pitch register on valence, the perception of physical exertion, raspy/grainy/rough, and harsh/noisy. Instrument family was significantly related to ratings of airy/breathy. With an updated version of the Timbre Toolbox, we used 44 summary audio features, extracted from the stimuli using spectral and harmonic representations, as input for various models built to predict mean semantic ratings for each sound on the three semantic categories, on perceived exertion, and on valence. Random Forest models predicting semantic ratings from audio features outperformed Partial Least-Squares Regression models, consistent with previous results suggesting that non-linear methods are advantageous in timbre semantic predictions using audio features. Relative Variable Importance measures from the models among the three semantic categories demonstrate that although these related semantic categories are associated in part with overlapping features, they can be differentiated through individual patterns of audio feature relationships. (shrink)

This book attempts to bridge the gulf that still exists between 'literary' and 'philosophical' interpreters of Plato by looking at his use of characterization. Characterization is intrinsic to dramatic form and a concern with human character in an ethical sense pervades the dialogues on the discursive level. Form and content are further reciprocally related through Plato's discursive preoccupation with literary characterization. Two opening chapters examine the methodological issues involved in reading Plato 'as drama' and a set of (...) questions surrounding Greek 'character' words, including ancient Greek views about the influence of dramatic character on an audience. The figure of Sokrates qua Platonic 'hero' also receives preliminary discussion. The remaining chapters offer close readings of select dialogues, chosen to show the wide range of ways in which Plato uses his characters, with special emphasis on the kaleidoscopic figure of Sokrates and on Plato's own relationship to his 'dramatic' hero. (shrink)

The main aim of this paper is to shed light on two somewhat underappreciated theories, which, by drawing attention to the embodied and relational nature of the self, both went beyond the disembodied and individualist paradigm long before most current leading approaches in the field. The paper first considers the routes out of the crisis of this paradigm proposed by care ethics. The first part focuses mainly on Carol Gilligan’s relational account of subjectivity, which served as an inspiration for the (...) development of care ethics as a moral theory, and discusses the strengths and weaknesses of her account. In the next step, the paper sets out to compare the view of the self deployed by care ethics with Donald Winnicott’s account of the transitional area of play. The paper argues that both care ethics and Winnicott’s theory make it possible to understand human subjectivity as at the same time dependent and mature, ambivalent and integrated, vulnerable and responsible, relational and non-arbitrary. Winnicott and care ethicists jointly demonstrate that it is neither an absolute symbiosis with others, nor a total separation from them, that is decisive for the well-being of an individual and a social field. Rather, it is beneficial and morally desirable to cultivate concrete interpersonal relationships in the area of complex relationality. The paper concludes that the crisis of the disembodied and individualistic paradigm of the self cannot be overcome by an uncritical emphasis on the positive function of relational, embodied and supra-individual aspects of human existence. Though essential, these aspects are at the same time complex and developmentally conditioned. (shrink)

© 2014 Shapiro, Tassone, Choudhary and Simon.Chromosome 22q11.2 Deletion Syndrome is caused by the most common human microdeletion, and it is associated with cognitive impairments across many domains. While impairments in cognitive control have been described in children with 22q11.2DS, the nature and development of these impairments are not clear. Children with 22q11.2DS and typically developing children were tested on four well-validated tasks aimed at measuring specific foundational components of cognitive control: response inhibition, cognitive flexibility, and working (...) memory. Molecular assays were also conducted in order to examine genotype of catechol-O-methyltransferase, a gene located within the deleted region in 22q11.2DS and hypothesized to play a role in cognitive control. Mixed model regression analyses were used to examine group differences, as well as age-related effects on cognitive control component processes in a cross-sectional analysis. Regression models with COMT genotype were also conducted in order to examine potential effects of the different variants of the gene. Response inhibition, cognitive flexibility, and working memory were impaired in children with 22q11.2DS relative to TD children, even after accounting for global intellectual functioning. When compared with TD individuals, children with 22q11.2DS demonstrated atypical age-related patterns of response inhibition and cognitive flexibility. Both groups demonstrated typical age-related associations with working memory. The results of this cross-sectional analysis suggest a specific aberration in the development of systems mediating response inhibition in a sub-set of children with 22q11.2DS. It will be important to follow up with longitudinal analyses to directly examine these developmental trajectories, and correlate neurocognitive variables with clinical and adaptive outcome measures. (shrink)

Existing explanations of political intolerance and partisanship highlight how individuals’ ideological commitments and the homogeneity of their political environments foster intolerance toward other political groups. This article argues that cultural, interactional conditions play a crucial role in how personal and environmental factors work – or do not work – in local groups. Based on a four-year ethnographic study and 12 focus group discussions with two culturally distinct civic associations of American libertarians, I show how groups’ varying patterns of interaction, (...) or “styles,” establish distinct cultural settings, in which different attitudes and behaviors seem sensible and appropriate, particularly regarding other political groups. Thus, when libertarian groups established a “community style” of interaction, viewing the relationship among members in terms of friendship and community bonds, they also opened their social activities to non-libertarians, collaborated with them in political projects, and viewed politics as a matter of advancing shared interests with people from other political groups. Comparisons across and within field sites show how this relationship between style and political tolerance works in different libertarian groups and different social environments. These findings highlight the role of local factors in explaining variations in groups’ levels of political tolerance and present a key mechanism—centered on interaction patterns—to supplement existing analyses of the relationship between political intolerance and changing forms of civic organizing in the US. (shrink)

The dispute over the viability of various theories of relativistic, dissipative fluids is analyzed. The focus of the dispute is identified as the question of determining what it means for a theory to be applicable to a given type of physical system under given conditions. The idea of a physical theory's regime of propriety is introduced, in an attempt to clarify the issue, along with the construction of a formal model trying to make the idea precise. This construction involves (...) a novel generalization of the idea of a field on spacetime, as well as a novel method of approximating the solutions to partial-differential equations on relativistic spacetimes in a way that tries to account for the peculiar needs of the interface between the exact structures of mathematical physics and the inexact data of experimental physics in a relativistically invariant way. It is argued, on the basis of these constructions, that the idea of a regime of propriety plays a central role in attempts to understand the semantical relations between theoretical and experimental knowledge of the physical world in general, and in particular in attempts to explain what it may mean to claim that a physical theory models or represents a kind of physical system. This discussion necessitates an examination of the initial-value formulation of the partial-differential equations of mathematical physics, which suggests a natural set of conditions---by no means meant to be canonical or exhaustive---one may require a mathematical structure, in conjunction with a set of physical postulates, satisfy in order to count as a physical theory. Based on the novel approximating methods developed for solving partial-differential equations on a relativistic spacetime by finite-difference methods, a technical result concerning a peculiar form of theoretical under-determination is proved, along with a technical result purporting to demonstrate a necessary condition for the self-consistency of a physical theory. (shrink)

Summary This paper rests on the assumption that norms of success and fairness may come into conflict in a variety of situations in competitive soccer, forcing individual actors to weigh and balance the two sets of norms. If established norms of fair play are violated, shame and guilt may result. Based on qualitative interviews with soccer players, the study identified key experiences associated with shame and guilt resulting from harmful actions toward others. In the context of transformative (...) learning processes, the athletes began to question previously unchallenged success-oriented attitudes and to understand them in new ways. Here, individual experiences showed the potential to have a transformative impact on long-term sports-related socialization processes and counteract institutionalized structures of socialization. The study shows that such experiences can become turning points in an athlete’s biography. (shrink)

We systematically study the completion of choice problems in the Weihrauch lattice. Choice problems play a pivotal rôle in Weihrauch complexity. For one, they can be used as landmarks that characterize important equivalences classes in the Weihrauch lattice. On the other hand, choice problems also characterize several natural classes of computable problems, such as finite mind change computable problems, non-deterministically computable problems, Las Vegas computable problems and effectively Borel measurable functions. The closure operator of completion generates the concept of total (...) Weihrauch reducibility, which is a variant of Weihrauch reducibility with total realizers. Logically speaking, the completion of a problem is a version of the problem that is independent of its premise. Hence, studying the completion of choice problems allows us to study simultaneously choice problems in the total Weihrauch lattice, as well as the question which choice problems can be made independent of their premises in the usual Weihrauch lattice. The outcome shows that many important choice problems that are related to compact spaces are complete, whereas choice problems for unbounded spaces or closed sets of positive measure are typically not complete. (shrink)

Multiplicity and continual change characterize the Peruvian agricultural knowledge and information system (AKIS), reflecting changes in the agricultural sector as a whole. The evolution of these changes can be traced back to the pre-Columbian era when a relatively stable and well-organized system based on indigenous knowledge prevailed. During colonial (1532–1821) and early Republican times (beginning 1821) several changes affecting the agricultural sector contributed to a weakening of indigenous knowledge systems. During the 20th century extension services provided by the government and (...) a variety of private organizations began to play an important role in the dissemination of information, albeit in an erratic way. Since the 1970s the system increased in complexity with the emergence of non-governmental institutions. Today government participation is limited and there is a more important participation by a number of NGOs and private organizations. This diversity of actors using different approaches has generated disarray in the information system owing to the lack of coherent policies to guide the interaction among actors. This paper uses the case of potato pest control-related information to illustrate changes in local knowledge systems. It differentiates pest control based on indigenous knowledge, chemical control, and integrated pest management (IPM) and explains how changes in the system have influenced the use of these three types of information in AKIS. Currently, the coexistence of different types of potato pest control information promoted and used by diverse and usually unconnected sets of organizations and individuals presents a challenge and requires inter-institutional action guided by clear policies to promote sustainable agriculture. (shrink)

Self‐trust is essential to the well‐being of people with chronic illnesses and those who care for them. In this exploratory essay, we draw on a trove of health narratives to catalyze examination of this important but often overlooked topic. We explore how self‐trust is impeded at both personal and structural levels, how it can best be nourished, and how it is related to self‐advocacy. Because people's ability to trust themselves is intrinsically linked to the trust others have in (...) them, we pay particular attention to the role that allies such as clinical professionals play in the development of self‐trust, highlighting the importance of eliciting patient narratives, of curious listening, and of compassionately raising questions. We also contrast the self‐trust paradigm with that of self‐management, which tends to replace the former's attention to patients’ experiences, abilities, qualities, or judgments with a professionally dominated discourse dedicated to addressing illness through behavior changes prescribed by clinicians. We close with a call to action, exhorting readers to focus on supporting self‐trust in health care settings and on creative research in this critical yet heretofore underrepresented domain. (shrink)

This paper argues that accepting incommensurability can be a useful step for developing attractive hybrid theories to how to distribute scarce health-related resources. If one provides opportunity for distributive options to be incommensurable with respect to substantive criteria, one can hold on to substantive criteria while also providing room for decision processes to play a significant role. The paper also argues that the strategy of accepting incommensurability is preferable to the strategy of having substantive criteria establish sets (...) of options that are equally, explains why incommensurability gives us reason to go hybrid, and argues that reasons grounded in decision processes have properties that make them appropriate as “tiebreakers” in choice situations characterized by incommensurability. (shrink)

'A Differential Play of Forces' is a study of transcendental empiricism in musical contexts. It presents a reading of Gilles Deleuze and Félix Guattari’s philosophical apparatus and explores how music can be thought of as functioning in the operation Deleuze terms transcendental empiricism. Central to transcendental empiricism is the idea of an encounter with intensive difference and the consequent experience of intensive and virtual forces. The thesis sets out to explore this idea in three interwoven steps. First, it (...) develops transcendental empiricism as a philosophical framework, expounding central notions related to time and aesthetic experience. In the context of this philosophical apparatus, music is then discussed as an encounter with intensity and what this may entail for our understanding of musical experience and its potential. The third part of the thesis explores the idea of experiencing intensive forces through music in the thinking and poietic of three composers of the twentieth century: Arnold Schönberg, Olivier Messiaen and Giacinto Scelsi. The thesis develops three ‘images of thought’ corresponding, respectively, to the composers’ expressed theoretical ideas, identifying central concepts from Deleuze and Guattari’s philosophy. A mutual illumination of ideas about music and transcendental empiricism is thus presented, pointing towards a possible convergence between theory and practice, thinking and aesthetic experience as a differential play of intensive forces. (shrink)

Beards are a sort of dwelling. Much like Heidegger's linguistic play with related etymologies of building and dwelling, beards are in a constant state of becoming, forever changing length, shape, and color. To the person—usually, but not always, a man—who grows a beard, the end product is always projected out into the future, like Heidegger’s concept of being. The beard is trimmed and groomed constantly; it is cultivated in a way that feels authentic to its wearer. But the (...) same ontological problems that Heidegger applies to dwelling in a home also apply to beards. Long facial hair symbolizes wisdom in many cultures, but anyone who has grown a beard can attest to the existential dilemma of long facial hair. I didn’t recognize you with the beard, someone will say. Beards can serve as symbols of erudition, yes, but they are also masks for our social selves. The beard is, after all, is a curious appendage, as it is an extension of the self, but not the self per se. Herman Melville called beards “suburbs of the chin.” If, like Heidegger, we are to see being as not a fixed entity divorced from other beings, but a being-in-the-world, a set of relations among other beings, then beards are not simply static accessories or styles, but an example of the slippery nature of being itself. (shrink)

This paper is concerned with unhoming secure ideas and practices of knowledge creation, through non-hierarchical, boundary-crossing forms of pedagogy, in order to attend to how processes of enquiry matter, whenever we engage in the struggle to address injustice, and not only for humans. Entrenched assumptions related to age, phase, or education setting, are brought into question, to blur distinctions such as for/with; child/adult; playful/serious and learning/teaching/research and to explore further possibilities for creative enquiry. Practices of enquiry are (...) theorised through the movement of Philosophy for/with Children, its community of enquiry pedagogy, and philosophy with picturebooks. What more can happen, when vibrant matter is taken into account, is a driving question. “Thing-power” and “thinking-through-making” are activated as part of this exploration. Through accounts of research events from two international projects, the paper draws attention to artists Viviane Schwartz and Paula Rego, their picturebook artworks, and their artistic processes. Each example shows how the artists, artworks and processes came into play through the events, provoking different forms of experimentation. Through exemplification, showing rather than telling, further possibilities for creative enquiry might be inspired. (shrink)

The question of enhancement occupies a prominent place not only in current bioethical debates but also in wider public discussions about our human future. In all of these, the problem of enhancement is usually articulated via two sets of questions: moral questions over its permissibility, extent and direction; and technical questions over the feasibility of different forms of regenerative and synthetic alterations to human bodies and minds. This article argues that none of the dominant positions on enhancement within the (...) field of bioethics is entirely satisfactory due to the limited, monadic, pre-technological and non-cultural conception of the human that is adopted in these models. Critically engaging with both opponents of enhancement (Habermas) and its advocates (Harris, Agar, Bostrom, Dworkin), Zylinska also takes some steps towards outlining a nonnormative ethics of enhancement. The latter sees its human and non-human subjects as always already enhanced, and hence dependent, relational and coevolving with technology. (shrink)

The partitions of a given set stand in a well known one-to-onecorrespondence with the equivalence relations on that set. We askwhether anything analogous to partitions can be found which correspondin a like manner to the similarity relations (reflexive, symmetricrelations) on a set, and show that (what we call) decompositions – of acertain kind – play this role. A key ingredient in the discussion is akind of closure relation (analogous to the consequence relationsconsidered in formal logic) having nothing especially to (...) do with thesimilarity issue, and we devote a final section to highlighting some ofits properties. (shrink)

ABSTRACTWe investigated the impact of emotions on learning vocabulary in an unfamiliar language to better understand affective influences in foreign language acquisition. Seventy native English speakers learned new vocabulary in either a negative or a neutral emotional state. Participants also completed two sets of working memory tasks to examine the potential mediating role of working memory. Results revealed that participants exposed to negative stimuli exhibited difficulty in retrieving and correctly pairing English words with Indonesian words, as reflected in (...) a lower performance on the prompted recall tests and the free recall measure. Emotional induction did not change working memory scores from pre to post manipulation. This suggests working memory could not explain the reduced vocabulary learning in the negative group. We argue that negative mood can adversely affect language learning by suppressing aspects of native-language processing and impeding form-meaning mapping with second language words. (shrink)

The emotion of admiration and the semantic theory of natural kinds and direct reference are foundational for Linda Zagzebski's exemplarist moral theory and divine motivation theory. Many have examined difficulties that arise from the central role of admiration, while others have engaged her account of the incarnation. Little attention has been given to her semantic theory or philosophy of language. This essay demonstrates the difficulties and problems that arise from this theory, problems that could be avoided with a sociopractical (...) account of language and exemplarity. One set of problems pertain to the “principle of the division of linguistic labor.” Related problems come to light in Zagzebski's attempt to account for radical changes in perceptions of exemplars through social, political, and ethical revolutions. In the end, her semantic theory creates the very epistemological uncertainties that it is meant to forestall. It also fails to account for radical disagreements about exemplars and the role moral exemplars play in sociopolitical and ethical revolutions. (shrink)

We present a general framework for forcing on ω2 with finite conditions using countable models as side conditions. This framework is based on a method of comparing countable models as being membership related up to a large initial segment. We give several examples of this type of forcing, including adding a function on ω2, adding a nonreflecting stationary subset of, and adding an ω1‐Kurepa tree.

This book analyses anthropological debates on "relationism" (referring to methodological and theoretical issues) and sets out to reconsider these discussions with regards to the notion of "substance" (generally associated with the body). Reflecting on the philosophical origins and implications of these two concepts, the author aims to bring them to the heart of contemporary anthropological discourse and addresses the erasure (or blurring) of "substance" in favour of "relation." The argument put forward is that the conceptual pairing of (...) "substance-relation" should be substituted for the "nature-culture" dualism that has been dominant in structural anthropology. The chapters engage with the work of scholars such as Philippe Descola, Eduardo Viveiros de Castro and Wang Mingming as part of a decentring and questioning of the tradition in which anthropology is rooted. The book also considers the role that the anthropology of China plays in the re-evaluation of the relationship between relation and substance. The concept of "submutance" is introduced with Chinese ethnographic material to explore the possibility of moving beyond the relation-substance dualism of Western heritage. This is valuable reading for scholars interested in the theory and history of anthropology. (shrink)

Advanced old age has been characterized as a biologically highly vulnerable life phase. Biological, morbidity-, and cognitive impairment-related factors play an important role as mortality predictors among very old adults. However, it is largely unknown whether previous findings confirming the role of different wellbeing domains for mortality translate to survival among the oldest-old individuals. Moreover, the distinction established in the wellbeing literature between hedonic and eudaimonic wellbeing as well as the consideration of within-person variability of potentially relevant mortality predictors (...) has not sufficiently been addressed in prior mortality research. In this study, we examined a broad set of hedonic and eudaimonic wellbeing indicators, including their levels, their changes, as well as their within-person variability, as predictors of all-cause mortality in a sample of very old individuals. We used data from the LateLine study, a 7-year longitudinal study based on a sample of n = 124 individuals who were living alone and who were aged 87–97 years at baseline. Study participants provided up to 16 measurement occasions between 2009 and 2016. Dates of death were available for 118 individuals who had deceased between 2009 and 2021. We ran longitudinal multilevel structural equation models and specified between-person level differences, within-person long-term linear change trends, as well as the “detrended” within-person variability in three indicators of hedonic and four indicators of eudaimonic wellbeing as all-cause mortality predictors. Controlling for age, gender, education, and physical condition and testing our sets of hedonic and eudaimonic indictors separately in terms of their mortality impact, solely one eudaimonic wellbeing indicator, namely, autonomy, showed significant effects on survival. Surprisingly, autonomy appeared “paradoxically” related with mortality, with high individual levels and intraindividual highly stable perceptions of autonomy being associated with a shorter residual lifetime. Thus, it seems plausible that accepting dependency and changing perceptions of autonomy over time in accordance with objectively remaining capabilities might become adaptive for survival in very old age. (shrink)

The aim of this paper is twofold: (1) to assess whether the construct of neural representations plays an explanatory role under the variational free-energy principle and its corollary process theory, active inference; and (2) if so, to assess which philosophical stance - in relation to the ontological and epistemological status of representations - is most appropriate. We focus on non-realist (deflationary and fictionalist-instrumentalist) approaches. We consider a deflationary account of mental representation, according to which the explanatorily relevant contents of neural (...) representations are mathematical, rather than cognitive, and a fictionalist or instrumentalist account, according to which representations are scientifically useful fictions that serve explanatory (and other) aims. After reviewing the free-energy principle and active inference, we argue that the model of adaptive phenotypes under the free-energy principle can be used to furnish a formal semantics, enabling us to assign semantic content to specific phenotypic states (the internal states of a Markovian system that exists far from equilibrium). We propose a modified fictionalist account: an organism-centered fictionalism or instrumentalism. We argue that, under the free-energy principle, pursuing even a deflationary account of the content of neural representations licenses the appeal to the kind of semantic content involved in the aboutness or intentionality of cognitive systems; our position is thus coherent with, but rests on distinct assumptions from, the realist position. We argue that the free-energy principle thereby explains the aboutness or intentionality in living systems and hence their capacity to parse their sensory stream using an ontology or set of semantic factors. (shrink)

Dung’s abstract argumentation provides us with a general framework to deal with argumentation, non-monotonic reasoning and logic programming. For the extension-based semantics, one of the basic principles is I-maximality which is in particular related with the notion of skeptical justification. Another one is directionality which can be employed for the study of dynamics of argumentation. In this paper, we introduce two new extension-based semantics into Dung’s abstract argumentation, called grounded-like semantics and initial semantics which satisfy the (...) I-maximality and directionality principles. The initial semantics has many good properties and can be expected to play a central role in studying other extension-based semantics, such as admissible, complete and preferred semantics. (shrink)

The essay considers two sets of interrelated difficulties that follow from our kinship to animals: those that arise chronically from our individual psychologically complex and often ambivalent relations to animals, and those that reflect the intellectually and ideologically criss-crossed connections among the various discourses currently concerned with those relations, including the movement for animal rights, ecological ethics, posthumanist theory, and such fields as primatology and evolutionary psychology. I begin with some general observations on classification and then turn (...) to the increasingly complex play of claims and counter-claims regarding the so-called species barrier. (shrink)

According to relational egalitarians, equality is not primarily about the distribution of some good but about people relating to one another as equals. However, compared with other theorists in political philosophy – including other egalitarians – relational egalitarians have said relatively little on what role personal responsibility should play in their theories. For example, is equality compatible with responsibility? Should economic distributions be responsibility-sensitive? This article fills this gap. I develop a relational egalitarian framework for personal responsibility and (...) show that relational equality commits us to responsibility. I develop two sets of arguments. First, I draw on relational theories of moral responsibility – particularly Strawsonian views – to show that valuable egalitarian relationships require responsibility. Second, I show why relational equality sometimes requires that economic distributions be sensitive to responsibility and choice. I also defend a seemingly paradoxical result: being committed to responsibility, relational egalitarianism not only justifies some distributive inequalities but some relational inequalities too. Overall, relational egalitarianism gives a nuanced and coherent answer as to why and how responsibility matters from within egalitarianism. That it does should be an important argument in its favour. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:'kvieuJs SELECTED· LETTERS KATHARINE TAIT Carn Voel Porthcurno,- Cornwall TRI9 6LN, England Nicholas Griffin. The Selected Letters ofBertrand Russel~ Vol. I: The Private Years, I884-I9I4. London: Allen Lane the Penguin PreSs, 1992. Pp. xxi, 553.£25.00; C$47.99; US$35·00. Nicholas Griffin has done an admirable job of selecting and explaining the letters in this first volume. It is amazingly to his credit that he 'manages to be so well acquainted (...) class='Hi'>with and to understand so well a world so remote from his own. In the whole volume, I found only two small points on which to augment his knowledge. If he had looked up Shakespeare's poem about greasy Joan, which we all know in part, he would have solved for himself the mystery of Marian's nose, referred to on page 93. It was red and raw from the cold, as Russell's always was from sunburn in the summer-and usually peeling besides. And on page 217, perhaps a more esoteric mystery: Milligan is a game of patience played with two packs of cards, which I have seen him playing with a special small set capable of being spread out on a small table. My only other quibble is that I think perhaps Griffin is a trifle too hard on Grandmother Russell, who may have been less calculating and more sentimental than he supposes. That she was not above emotional blackmail is clear from Russell's letter to Alys of 17 August 1894: I went to· my Grandmother, and found her on the sofa in her sitting-room. We embraced in silence for some time and then I looked at her sadly with tears in my eyes and she said "Well I'm worse than you thought I was": not with an air of triumph, but of mild reproof for my heartlessness in having felt so little anxiery. She besought me to consent to an absence; she says everybody who comes thinks it strange I should not be here when she is so ill, and that both thee and I are suffering in reputation in consequence. She gave repeated assurances (which I didn't need) of her absolute unselfishness in urging my home-duties; she really does care only about my moral welfare, which she feels to be imperilled by such neglect. (P. 98) Awful stuff, yet I think she may have rather been seizing any weapon that came to hand than laying deeply cunning schemes; but this is only opinion and I would bow to Griffin's greater knowledge of the facts. His analysis of Evelyn Whitehead's "attacks",their effect on Russell and his relations with russell: me Journal of me Bemand Russell Archives McMaster University Libraty Pr... n.s. I> (winter 1992-9~): 211-24 ISSN OO~6-O1631. 212 Reviews her, on the other hand, I found enlightening and quite the best thing I have read on the subject. Some other fine items must be singled out for special mention. First, the generous tribute to Russell's integrity over Frege on page 245. Russell had spent five years working in almost complete isolation on the Principles only to find, when it had gone to press, that much of what was best and most original in it had been anticipated by Frege. Yet, even in his private correspondence, he never gave so much as a hint of any concern about his loss of priority, but only his delight at having found a thinker with similar ideas. It required an integrity beyond the call of duty to add to the Principles an appendix drawing attention to Frege's work and generally to do what he could to make it better known. Griffin's editorial work is for the most part adlJIirably dispassionate, always informative, sometimes speculative, occasionally critical; but when the occasion warrants (usually over professional matters), he is unstinting in his praise. Russell's comments about The Principles ofMathematics in his letters seem absurdly modest. The book was undoubtedly a wotk of genius; in some ways, the greatest thing he ever wrote.... (I]r offered not merely a new philosophy ofmathematics bur a new way of doing philosophy. Yet Russell... (shrink)

Many who write about the playwright Maria Irene Fornes’s work comment with reverence about the experience of watching those productions she herself directed.1 Managing somehow to combine frank depictions of cruelty and violence with an odd, otherworldly charm, Fornes’s direction conveyed a distinct sui generis quality that has deflected analytic scrutiny—the exterior operates in such an exquisite fashion one hesitates to lift the hood and look beneath. The set is a wooden room which sits on an earth promontory. (...) The promontory is five feet high and covers the same periphery as the room. The wood has the color and texture of bone that has dried in the sun. It is ashen and cold. In Mud’s opening notes.. (shrink)

In this paper I propose clearly to distinguish four fundamental types of intertheoretical relations that may be used to represent different types of theoretical change in empirical science. These four types can be represented formally through a refined version of the set-theoretical apparatus of structuralism. They may be described as: crystallization, theory-evolution, embedding, and replacement with partial incommensurability. They will be first explicated in intuitive, informal terms, and some historical examples will be suggested for each type. In the second (...) part of the paper, the four types are characterized in structuralistic terms; the notions of a partial substructure and of a diachronic theory-net will play a central role. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Reviewed by:Christianity and Secular Reason: Classical Themes and Modern Developments ed. by Jeffrey BloechlJoseph W. Koterski, S.J.Christianity and Secular Reason: Classical Themes and Modern Developments. Edited by Jeffrey Bloechl. Notre Dame, Ind.: University of Notre Dame Press, 2012. Pp. vii + 288. $40.00 (paper). ISBN: 978-0-268-02228-0.It does not bode well for a collection of essays when the introduction needs to make a concession like the one found here: “This (...) volume brings together a plurality of approaches to a loosely related set of questions, themes, and phenomena” (6). Yet, surely, truth in advertising is an uncommon virtue. The frank honesty of Jeffrey Bloechl, the editor of this volume, is much to be commended.What unifies the essays in this volume is not a common topic or a common approach but a common concern with the problem of understanding the relation between Christianity and secular reason. The issue in play is how much respect a religion that claims to be the recipient of divine revelation owes to autonomous reasoning in any particular age. The problem is exacerbated in those periods of history that are marked by strong claims for the powers of human reasoning.Bloechl’s introduction is particularly helpful due to its distinction between secular reason and secularized reason. Unless a believer takes the fideist position of holding that only claims grounded in faith are valid knowledge-claims, there is no reason to deny or cast skeptical aspersions on secular reason. The term simply names the use of reason according to its proper governing principles on any topic where the justifications for various truth-claims are drawn only from this-worldly experience and, for disciplinary reasons, make no use of divine revelation. It is the type of reasoning that is done within a saeculum, that is, within a given period of time, according to the canons of sound reasoning operative in that epoch. The term “secularized reason,” by contrast, names the view of reason that is hostile to the legitimacy of any knowledge-claim that involves the testimony of divine self-disclosure as its warrant. The proponents of secularized reason often conveniently overlook the likelihood that such hostility risks begging the question by disallowing any form of divinely backed testimony in principle, while allowing human testimony in such spheres as history or courts or law. If one is prepared in general to accept testimony as a justification for a truth-claim, then the proper criterion is the credibility of the source. But then there is no principled way to preclude in advance the possibility that testimony that originates with God might provide the strongest possible type of warrant for certain knowledge-claims. It is mere prejudice to decide in advance that this alternative is simply beyond the pale of consideration.Threaded through the essays in this volume is the perennial problem of the relationship of faith and reason. Earlier ages posed the problem on their own terms, sometimes quite different from modern assumptions. Readers unfamiliar with the thought of Thomas Aquinas, for instance, might well be [End Page 141] surprised to learn that the very first question of the Summa theologiae asks whether any sort of sacra doctrina is necessary beyond the philosophical sciences. Such a stance does not raise a question about whether faith can be a genuine source of knowledge, but merely asks if there is need for the sort of knowledge that is grounded in faith. Aquinas answers the question not only by reflecting on the difficulties that arise from expecting that everyone will have the necessary time, interest, and intellectual resources to figure out for themselves the things that they need to know for the sake of salvation; he also notes certain areas that are entirely beyond the scope of unaided reason, such as knowledge about the triune nature of God.By contrast, the proponents of secularized reason tend to cast doubt on the very possibility that any truth-claim based on religious faith could even be counted as knowledge. Brad Gregory’s recent book, The Unintended Reformation: How a Religious Revolution Secularized Society (Harvard University Press, 2012) does a masterful job in tracing the unforeseen... (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)

In lieu of an abstract, here is a brief excerpt of the content:336 BOOK REVIEWS The Nature of All Being: A Study of Wittgenstein's Modal Atomism. By RAYMOND BRADLEY. New York and Oxford: The Oxford University Press, 1992. Pp. xxi + 244. $39.95. Bradley offers as his point of departure this epigraph from Wittgenstein 's Notebooks 1914-1916, written 22 January, 1915: My whole task consists in giving the nature of the proposition. In giving the nature of all being. (And here (...) being does not stand for existence.) His aim in this contribution to the corpus of Wittgenstein scholarship is to " bring into sharp focus the crucial role which modal notions-the notions of necessity, contingency, possibility, impossibility, and so onplay in Wittgenstein's early thinking" (xiii). At this task the book is a clear success. I know of no other work on the Tractatus which is so thoroughly dedicated to the role of modal notions, nor of any which does so much to bring the early Wittgenstein into conversation with contemporary philosophers who work on modal logic and who talk about possible worlds. Bradley convincingly argues that Wittgenstein is not only the largely unrecognized Urvater of modal logic in the twentieth century, with a stature that ought to be equivalent to that of Leibniz, he also presented arguments that even now have an important role to play in contemporary debates among possible world theorists and practitioners of modal logic. Philosophers who are interested in modal logic, especially its history, or in the logical structures of the Tractatus, will find very much of interest in this book. Those who, on the other hand, are chiefly interested in Wittgenstein's views on ethics, the aesthetic, God, or the mystical, or who are interested in the relation between the Tractatus and his later work, will find little here to their taste. The book's structure perspicuously tracks Bradley's argument. Chapter One sets the reader straight on what modal atomism is, giving the history of Wittgenstein's association with Russell, and establishing that the atomism of the Tractatus is in fact modal in nature. Chapter Two argues that Wittgenstein is a possibilist, that is, that he asserts the reality of merely possible entities and that his work is consistent with the modern modal logic called SS. Chapter Three turns to the ontological side, showing how Wittgenstein's commitments to atomic objects as the " substance of the world " entails certain modal relations among objects and the complex facts which they may form. In Chapter Four logic and ontology are brought together in an account of the mirroring relation through which language depicts the world, with attention to a set of intricately argued principles that makes this relation possible. The final chapter brings Wittgenstein's thought to bear on the BOOK REVIEWS 337 whole range of contemporary problems and issues in modal logic, demonstrating by example the author's contention that the Tractatus, rightly attended to, contains important contributions, still unappre· ciated, to the field. Bradley's overall intentions could not be more clear. His strategy for each chapter is clear. Each chapter is divided into between ten and twenty short sections each of which has a specific and well-defined topic. The argumentation within each such section, with a pardonable lapse or two, is well-structured and easy to follow, even for one whose expertise in modal logic is not honed by regular practice. And yet the hook has, on reading, the feel of a very dense landscape of trees, with· out much overview of the forest. This impression is given, I believe, by the style of argumentation. While the topics are sequentially related and build to a general picture, the arguments that must be articulated and answered in each section have little relation, one to the next: a problem in this view, a contradiction or a paradox in that, a resolution, and then on to the next section, where an apparent inconsistency of some sort must be addressed, and so on. There is the feeling of dealing serially with connected topics, but not the feeling of cumulative argumentation building toward a conclusion. A conclusion, however, there is: that Wittgenstein was the modal logician par excellence of the early 20th century, who has much... (shrink)

This article surveys measurements of celestial (chiefly solar) altitudes documented from twelfth- and thirteenth-century Latin Europe. It consists of four main parts providing (i) an overview of the instruments available for altitude measurements and described in contemporary sources, viz. astrolabes, quadrants, shadow sticks, and the torquetum; (ii) a survey of the role played by altitude measurements in the determination of geographic latitude, which takes into account more than 70 preserved estimates; (iii) case studies of four sets of measured solar (...) altitudes in twelfth-century Latin sources; (iv) an in-depth discussion of the evidence relating to altitude measurements performed in Paris in the period 1281–1290. The findings from the last part indicate that by the end of the thirteenth century Parisian astronomer had developed rigorous standards of observational practice in which altitudes were typically measured to a precision of minutes of arc and with a level of accuracy higher than ± 0;5°, and sometimes exceeding ± 0;1°. (shrink)

"Ever Since This World Began" from Love Dog (Penny-Ante Editions, 2013) by Masha Tupitsyn continent. The audio-essay you've recorded yourself reading for continent. , “Ever Since the World Began,” is a compelling entrance into your new multi-media book, Love Dog (Success and Failure) , because it speaks to the very form of the book itself: vacillating and finding the long way around the question of love by using different genres and media. In your discussion of the face, one of the (...) themes of Love Dog , I think there is something to be said about the surfaces media create and how you constantly manipulate them in your work. This seems important for thinking also about your book LACONIA: 1,200 Tweets on Film ; a book on film written in tweets, interposing already three sets of expectations and pushing the boundaries of each medium's faciality, it's surface tension. In Love Dog , is there another kind of facial interaction? Perhaps the discursive faces of approaching love as topic and love as method? If so, how did/do these intersect for you, do/did they drive the creation of this book? MASHA TUPITSYN With LACONIA and Love Dog , I wanted to pay homage to the work modernism has done on subjective time and chronological time by carrying that experiment over into the digital economy. Because LACONIA is a time-based work of cultural criticism that employs the aphorism to look at 21 st century American culture, it is also an archival work of cultural mourning and memory. And in Love Dog , which is also a work about mourning as it relates to love, I wanted to think with all my senses, and to reflect that in the writing itself by using a multi-media form. LACONIA tackled the sound bite and the promotional image--the everyday language of consumer culture--which often wants to communicate ideological agendas through the repetition of a single image or reductive phrase. I had always been interested in the approaches of artists like Barbara Kruger and Jenny Holzer and essayistic, typographical filmmakers, like Chris Marker and Godard. In both cases, I felt it was important to try to compose a book in which deep—critical—thinking happens in so-called immediate, informal, and disposable contexts. That is, in places where you are either not supposed to be serious or are not required to take things seriously. To me the most intervention is needed in every day instances of culture and representation. In order to do that, I had to utilize and interrogate the very structures I was critiquing. In other words, the writing had to materialize in that live, digital, public space. It couldn’t simply happen at home on a piece of paper or in a word document on my computer that no one could see until it was finished. It had to unfold in real time, amidst everything else. And it had to literally be surrounded by the cultural landscape I wanted to assess. In both LACONIA and Love Dog , I wanted to know how and if we can get away from what we cannot get away from? From which there is no respite. Given this, I don’t think hypertexts can really be called hypertexts anymore. Hypertexts are simply the world today. This is not only the way we read the world now. It is the way the world reads. Likewise, interfaciality, as you put it, works on a number of levels for me, both on and off the page. There is my relation to epistemological and phenomenological surfaces—the screen, the body, the face, the voice, gender; the official story. Then there is the way this dovetails formally, and to which the digital adds yet another dimension. It’s also where sound comes into Love Dog (giving the book a sound; giving tonality to the book’s ideas and feelings). As Anne Carson pointed out in her essay “The Gender of Sound,” the two are connected, and of course so are love and gender. In “Ever Since This World Began,” I wanted to think about the phenomenology of the voice, which is why I visualize the sonic in the book and why in my writing about faces, I look at the tonal aspects (the things a face voices and a voice faces) of a face. This was standard to do when images and faces were “silent” in the silent era. Those images/faces were extraordinarily audible. The greatest screen face, to me, is still Falconetti’s in Dreyer’s The Passion of Joan of Arc . We can hear her face—even though there is no actual sound on screen of her speaking. The internet is a similarly “silent” space where actual voices are lacking. So intertextuality goes with interfaciality. I’ve also talked a lot about how categorization worked when it came to the reception of my first book, Beauty Talk & Monsters . How despite the fact that Beauty Talk is a text that crisscrosses form and content in a variety of ways, not pinpointing its exact genre—choosing one genre over another—only made things worse. Fiction was the category people were most adverse to me using, even though of course there is a lot of fiction in the book. Part of how fiction works in Beauty Talk is in the reader not knowing exactly where the fiction resides. In Godard’s 1967 film, Weekend , for example, everything matters. Everything is political, whether it’s real or imaginary, film or reality. In Weekend , life is not a game and neither is the game a game. The game is really life. Either everything is important or nothing is. But many people want clear answers and demarcations so that they can decide what is important and what is not important. My use of the “I,” subjective criticism, made everything “real” in Beauty Talk . But fiction is in the construction. It is in the blending. This is why I perforate the movie screen and connect the onscreen and the offscreen; the official story and the backstory. Although I don’t think there is a difference between onscreen and offscreen anymore. Nor is there a dialectic. It’s all screen all the time now. Non-fiction, on the other hand, was more tolerated as a moniker. Unlike Love Dog , Beauty Talk wasn’t explicitly or tangibly (what is tangible is a question in all these books) working with digital forms or within this digital economy, so some people resisted the book’s hypertextuality or intertextuality because they couldn’t see its other forms, if that makes sense. It was a problem of invisibility; of how to make something appear (this is where Nietzsche, big presence in Love Dog , comes in—the nature of appearances). Something people don’t necessarily want to see. Some readers couldn’t see the way forms were interfacing in that book. On the surface, Beauty Talk was simply a text about media culture—the domination of entertainment as a mode of being and knowing—and most readers could only see that one side of the book. But as Godard puts it in Wim Wenders’ documentary about the future of cinema, Room 666 , “Films are made, images are made, when there’s no one looking. That’s what the invisible is, that which we don’t see. That’s what the incredible is, that which we don’t see. And cinema shows you that which we don’t see, the incredible.” We are living in the aftermath of narrative and temporal collapse, which means we don’t read or feel in the same way. I began to use digital forms in my writing because I don’t see us as traditional book people anymore. I would add that power also resides in the invisible, in the things we make invisible by making them visible. Or it did for a long time. The new face of power is quickly becoming so-called transparency, which is even more corrupt because even though we now live in a behind-the-scenes culture, and see and know how the mechanisms of power and corruption operate, we still don't change. The world still doesn't change. Finally, another important thing that Godard says in Room 666 that relates to Love Dog is: “I’m here in front of the camera, and yet in my body and in my head, I’m behind it. My world is the imaginary and the imaginary is a journey between forwards and backwards.” This idea of visible/invisible, foresight and hindsight , backwards and forwards is an important dialectic in relation to time and the idea of the destinal. This is why I wanted Love Dog to travel, literally, figuratively, and discursively. You have to be open to not knowing. To epistemological, geographical, chronological, and emotional aporias. In Love Dog my story is both visible and invisible to me. Sometimes I could see where I was going. Other times I was completely in the dark existentially. Truth procedure, which love is, as bell hooks and Badiou tell us, requires expedition and openness to possibility. Unless you want a story you already know, but that is not truth procedure. So I tried to create this backwards and forwards journey in the book—this sense of travel and motion, hope and doubt—by jumping between forms, media, time; traveling to different places, texts, and emotional registers. The book’s “Time-Jump series,” which mostly takes the form of music—songs—but also a series of “green” videos that I shot, is the most obvious tribute to this idea of subjective and chronological time. continent. Your work aligns with writers that play with the form of their language, or have assumed the role of performance artist at some point: Kathy Acker, Chris Kraus, Avital Ronell, and Anne Carson to name a few representing varied approaches that show up in Love Dog . At the risk of ossifying the work, or missing the point—as these experimental modes of writing stack-up in piles of published works, do they approach a genre? MASHA As I noted in my book Life As We Show It , in Chelsea Girls the poet Eileen Myles points out, “You can’t get money without a category.” More importantly, you can’t get a category—or respect, rank—without a clear genre. This makes genre and gender an obvious pair. The two words are even linked etymologically and both genre and gender concern taxonomies of legitimacy—of sorting through what and who is valuable. So the words share common prejudices. The things one does not want to read is often synonymous with who one doesn't want to read about. Therefore a break-up of or with genre is maybe the genre or anti-genre that could be said to link these writers. Avital Ronell breaks up with philosophical tradition and modes of inquiry. Like Nietzsche, she revaluates methods of evaluation, testing out things you are not supposed to use philosophy to test (and, by the same token, testing philosophy in ways it’s not supposed to be tested), like drugs and stupidity—where philosophy fails and we fail philosophy. And Chris Kraus does something similar in her experimental fiction, using different forms to put female subjectivity “to the test,” so to speak. All these female writers and thinkers have tried to destabilize the systems that have been set up in (and against) writing. Thus missing the mark with genre, even intentionally, means that we have missed the point in some sense as writers and thinkers. And that to me is a good thing, however difficult. We’ve started at the wrong point and gone somewhere else instead. We’ve acknowledged that writing and thinking are also about failure, and that failure is always embedded in the act of writing and in our reasons for writing. So that missing the point is also the point. Derrida insisted: “We must invent a name for those ‘critical’ inventions which belong to literature while deforming its limits.” But how can you give something that resists and deforms, a name? Wouldn’t the name also be deformed? Isn't this why the aforementioned writers get hyphenated descriptors like ficto-criticism? Do we need a proper name to be able to read something carefully? I don’t think so. I don’t need it as a reader. I’ve always taken a work on its own terms. But for most people, if you don’t have an address, people don’t know how to find you. A lot of time, they won’t even know how to look. And in some cases, they’ll think you’re not even worth finding. You are not on the map because you have to literally make the map in order to exist. In her essay, “The Gender of Sound” Carson asks, “Why is female sound bad to hear?” I think for the same reason something uncategorizable (pedagogically, creatively, racially, and sexually)—Other—is hard to read. *For an audio recording of Florida , read by Masha Tupitsyn click here . continent. : We're also curious to hear know how you see the significance of 'performance' (and why the label sticks to the shoes of these authors like toilet paper) in describing this kind of writing work? MASHA I think I responded to the parenthetical portion of this question in my previous answer. As far as how performance relates to Love Dog , in Acker’s Don Quixote , which is another big presence in the book, she writes, “there is no other reality than anthropomorphism.” In Don Quixote , the dog is human and the human is dog. Which brings us to the title of Love Dog and the totemic function of the dog in the book: giving human things animal characteristics and animal things human characteristics. Rather than investing all our human love ideals into dogs, which we do constantly as a culture of dog lovers, I wanted to put the dog into love. It is the difference between the consumption of love as a patriarchal institution or status position and the essence of a type of radical and liberatory relation that would benefit humans in their bonds with other humans. So the dog in Love Dog is not simply the book’s cover or performative affect, so to speak. Love has always needed the dog, which is why the dog is the very embodiment of belief in love . Recall Argos The Great Dog and Odysseus. Argos is the only one who remembers and recognizes the ragged and old Odysseus even after his 20-year absence. So love is the high ideal and the dog, both common and dependable, is the bridge between the sacred and the profane. The dog is the house of love. And because Love Dog is a digital project, it seemed impossible to think about the post-human, technology, the virtual, or difference (which Badiou says is essential to love in In Praise of Love ) without thinking about animal-being and being-animal. Instead of simply “performing” these ideas and characteristics as literary affects, I’m interested in being-becoming. Which means the book’s tropes, leitmotifs, series, and even its titles are in service of that truth procedure. In other words, I actually want to live this way, not just write this way. And, more importantly, I want to live this way not just think this way. So Love Dog became both my totem animal and my autobiographical animal. This made the book organic, anthropomorphic—beyond literary. See the trailer to Masha Tupitsyn's new book available now from Penny Ante Editions. (shrink)

Climate change has increasingly been recognised and associated with consumer behaviour: Practitioners are developing their strategies to reduce environmental degradation while increasing the management of sustainable consumption; it needs to better understand consumer attitudes and eco-friendly factors about the issue. Therefore, the current study focused to understand the effects of pro-environmental factors on individuals’ environmental attitudes through the lens of theory of planned behaviour in a cross-cultural setting. Moreover, present research focuses on the moderating role that religiosity plays in (...) causal pathways between certain determinants and intentions in this context. A multi-wave time-lagged research design was employed in this study, and university students from two developing countries were surveyed. The findings revealed pronounced similarities between the two examined countries. Overwhelmingly, pro-environmental factors examined were found to be positively related to attitude formation. Further results showed that attitude and subjective norms are significant predictors of the intention to purchase products with recycled packaging. Moreover, with the exception of perceived behavioural control, religiosity moderates the relationships between all the determinants of TPB and intention to purchase recycled packaged products. Present study offers insightful implications to management of these emerging and/or similar cultural markets regarding customer value for green products. Using TPB, present study broadened and deepen extant stream of literature on consumption of recycled packaged products in two highly emerging markets; Pakistan and Malaysia. (shrink)

In recent years, language has been shown to play a number of important cognitive roles over and above the communication of thoughts. One hypothesis gaining support is that language facilitates thought about abstract categories, such as democracy or prediction. To test this proposal, a novel set of semantic memory task trials, designed for assessing abstract thought non-linguistically, were normed for levels of abstractness. The trials were rated as more or less abstract to the degree that answering them required the participant (...) to abstract away from both perceptual features and common setting associations corresponding to the target image. The normed materials were then used with a population of people with aphasia to assess the relationship of abstract thought to language. While the language-impaired group with aphasia showed lower overall accuracy and longer response times than controls in general, of special note is that their response times were significantly longer as a function of a trial’s degree of abstractness. Further, the aphasia group’s response times in reporting their degree of confidence (a separate, metacognitive measure) were negatively correlated with their language production abilities, with lower language scores predicting longer metacognitive response times. These results provide some support for the hypothesis that language is an important aid to abstract thought and to metacognition about abstract thought. (shrink)

Tschumi believes that the quality of architecture depends on the theoretical factor it contains. Such a view led to the creation of architecture that would achieve visibility and comprehensibility only after its interpretation. On his way to creating such an architecture he took on a purely philosophical reflection on the basic building block of architecture, which is space. In 1975, he wrote an essay entitled Questions of Space, in which he included several dozen questions about the nature of space. The (...) questions he formulated could be regarded as analogous to the situation in the philosophy of the time, in which the interest in questioning the most obvious forms of understanding the world and intellectual categories increased. The research on space is an area common to many fields of natural sciences, humanities and artistic creation, but it also deals with other problems, such as issues of experience. The concept of space-time continuum proposed by Hermann Minkowski drew attention to the identity of time and space with the events taking place. Probably regardless of the postulates of physicists commenting on Einstein’s discoveries, also in philosophy it increased the importance of the concept of the event which became dominant in Heidegger’s latest work Contributions of Philosophy. Of the event. Furthermore, Tschumi’s reflections on space entered into relation with the problem of experience, which aroused the interest of a group of French philosophers trying to assimilate Georges Bataille’s concept of “inner experience”. Both Tschumi and Derrida referred to Bataille because his views could be used not only to modify the concept of the subject, but also to change the understanding of what constitutes the area of architecture. The discussion on experience has led to the recognition that the subject is not sovereign, but actually a form of what is on their outside. Such insights make it possible to treat the area of the Parc de La Villette as existing mainly when it is organised by its users. The decisive features of the Park are its assumptions, according to which it is a variety of active void that leads to agreeing new social relations with it. The park does not force to participate in already existing moral or political communities, but tries to move into an unknown future in which the scope of free functioning of individuals will be increased. Doubts about the principles of functioning of the individual self and its discovery as a whole composed of non-coherent parts, as well as its dependence on its own depth full of disordered forces, influenced the understanding of architecture as a set of contradictions whose source is a fundamental void anticipating the empty phenomenal space. The use of this phenomenal void in architecture, as well as the rejection of the whole and unity, had a specific political purpose and drew its inspiration from political analyses. In the Parc de La Villette, metaphysics and politics were brought closer together because the philosophy of void was used to create new conditions for community action. It can be argued that the source of this philosophy was the perception of errors in existing societies dependent on the shortcomings of traditional metaphysics. Spacing (espacement) was one of the key terms in Derrida’s philosophy, which was also combined with the concepts of différance and chôra. The study of the nature of space, especially its transition from the level of pure possibility to the level of sensual phenomenon, also contributes to understanding how well designed space can have an impact on its audience. This explanation is based on Tschumi’s assumption that the space of the Parc de La Villette contradicts the integrating approaches and instead exposes contradictions, but it does so in a way that combines incompatible properties into a single piece of architecture. The specificity of such integration is similar to the invention of a musical phrase, which is an ideological message: moral and political. Such a thesis may raise doubts, however, if both the clearly adopted assumptions and those deduced from the work allow for their ↪Quart Nr 2(52)/2019 logically ordered presentation then to a limited extent it may be assumed that the work has achieved a connection between a specific philosophy of space and its practical application. Derrida combined the problem of spatiality with the problem of transcendental imagination in Kant’s philosophy, who in the first version of Critique of Pure Reason assumed that pure imagination precedes the appearance of time and space, even in their transcendental forms. The imagination in such a situation can be described as a factor activating time and space, which indicates what function is played by movement in this activity. This leads us to recognize that the ultra originary source of pure forms of sensual intuition is movement, which in early Greek philosophy was identified with void and its lack of resistance to phenomena occurring in it. Derrida’s philosophy in search of a certain super-transcendental source of time and space pointed to différance which, like void or the chôra, does not have material features or even any other form of being. Différance is the primary cause of the disruption of motionlessness and the introduction of activity into motionless time and space, thus its activity can be described as spacing (espacement). Derrida’s discoveries in this respect are not entirely original, because Hegel already pointed out when examining the present that it is primarily a differential relation (differente Beziehung), which, being seemingly neutral, influences the present with supernatural force and makes it unidentifiable with itself. Differente Beziehung must similarly influence the originary space, negating its initial character by multiplying its divisions and expanding its boundaries. Différance acts by revealing contradictions wherever there is apparent undifferentiation. Tschumi, composing the Parc de La Villette as a variety of void and a set of incompatible layers, followed the rules of différance or the chôra: he made void visible together with its saturation with contradictions. If space can be considered to be the result of the activity of difference, such activity has a certain regularity, which influences the behaviour of its observers. Differences or contradictions fall into a certain rhythm, which can be considered a manifestation of transcendent order. The problem is that what can be considered the source of such order, namely the logos or God, is partly disorder and error. According to descriptions contained in Timaeus, the world is a combination of forces that drive to order with forces of erroneous necessity that resounds in every order and forces it to return to disorder. Derrida denied the possibility of understanding différance as a theological value, even if it were a negative or apophatic theology, but no categorical denial could be perfect. The assumption that différance or the chôra are not endowed with any substance properties cannot deny their activity, and thus a certain force. Already since Democritus, philosophy has multiplied the names of such a force and the contradictory variety of its manifestations, never forgetting also the necessity for reason to withdraw from the possibility of giving its correct characteristics. Such a withdrawal may be interpreted as an expression of respect and, in certain situations, as a cult of the force that precedes reasonableness. The Parc de La Villette, which is an artistic divagation about the contradictions and forces behind them, can be considered as a place of their sublimation, and therefore as a variation of the temple of what differs from order and disorder. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Postmodern Assumptions of Philosophy of PsychiatryThe author reports no conflicts of interest.This paper makes claims for relevance of philosophy to psychopathology, as inspired in part by the work of Karl Jaspers. Yet there is no such thing as philosophy, in a general sense; there are philosophies, or as Jaspers would prefer, there is philosophizing (Ehrlich & George, 1994; Jaspers, 1951). Jaspers' approach to philosophy was akin to Freud's approach (...) to psychology: the goal was to make unconscious assumptions conscious. The unconscious assumption in the present paper is that there is such a thing as philosophy, which could then be useful for psychopathology. In effect, the author is probably meaning academic philosophy, or mainstream thinking in current philosophy of psychiatry. If that is the meaning, then Jaspers' question would be: What are the unconscious underlying assumptions of modern academic philosophy of psychiatry? The author's paper does not ask that question. But if we do, my answer would be that current mainstream philosophy of psychiatry has a basic worldview, another concept very central to Jaspers' thinking (Rindermann, 2021). Its worldview is postmodernist relativism about truth and skepticism about science, especially biology as applied to psychiatry. This unconscious assumption in modern philosophy of psychiatry is a major impediment in any benefits it might provide to psychiatry and psychopathology, as will be explained in the rest of this commentary.The paper refers to major depressive disorder (MDD) without appreciating that the term itself makes assumptions which the paper wishes to argue should be in the province of philosophy to analyze. The term MDD is not the same as depression, although the paper synonymizes the two. This synonym is an unanalyzed assumption, namely, that the Diagnostic and Statistical Manual of Mental Disorders (DSM) diagnostic system validly defines psychopathology. It clearly does not, for reasons that modern philosophy of psychiatry has not accurately analyzed (Ghaemi, 2014).About a decade ago, when DSM-5 was being developed, colleagues in the field of philosophy of psychiatry had worked for decades on psychiatric diagnosis, and there was initial hope that the time had come for an impact (Kendler et al., 2008). The leader of the prior edition of DSM was unhappy [End Page 17] with the fifth revision. A set of essays were published where philosophers and psychiatrists engaged the former DSM leader about psychiatric diagnosis (Frances, 2013). His response, with a somewhat derisive reference to "philosophyland," was eye opening to me. He explicitly stated that DSM revisions were not based on science or facts, but on "pragmatism," on the beliefs of DSM leaders about what was best for the profession or society. In short, it was admitted that DSM was a social construction, just as postmodern thinking had said about psychiatric diagnosis since Foucault. Yet this admission was made unconsciously; DSM leadership does not use that phrase, nor does it understand its conceptual foundations. Surprisingly to me, colleagues in the world of philosophy and psychiatry also failed to make the obvious connection, or if they did, they seemed to have little problem with it (Phillips et al., 2012). Social constructionism was their worldview too.In effect, philosophy of psychiatry had nothing to provide; it did not analyze or critique the philosophical worldview of DSM leadership; it shared that worldview and participated in it (Kendler, 2013).The result, in my view, is that mainstream philosophy of psychiatry has failed in the role which it could have played, the role of making the unconscious postmodern assumptions of psychiatry conscious, and criticizing those assumptions. Instead, it applauded them.My broader critique of mainstream philosophy of psychiatry gets played out in papers such as this one in relation to the DSM term MDD, which should be dropped because it is not a scientifically sound term; it has many conceptual and scientific falsehoods within it, which both a philosophical analysis and a scientific analysis would demonstrate.The term MDD was invented in the DSM-III process in the late 1970s to get votes for passage of that third revision by the American Psychiatric Association in 1980 (Decker, 2013). It literally was a social construction. To the extent that it had any scientific basis, it had its roots in the... (shrink)