What is unpresentable in art? This paper considers VALIE EXPORT’s feminist exhibitionism in her 1968 performance artwork Genital Panic, which took place in a Munich cinema. EXPORT’s transgressive display of her genitals, which finds art-historical precedents in medieval sheela na gigs and Courbet’s Origin of the World, established a paradigm for a kind of feminist art collision that continues today, – for instance in Deborah de Robertis’ 2014 unauthorized performance at the Musée d’Orsay. EXPORT’s staged presentation and representation of blatant (...) power and sexuality contradicts the lack postulated in Freud’s castration complex. At the same time, it raises the question of the unpresentable, a notion taken up by Jean-François Lyotard’s The Inhuman, which explores concepts of representation and the unpresentable. The latter he defines as an expression of an “Idea of reason,”, an absolute. I reflect on how this concept applies to EXPORT’s marker for the use of the body in feminist art. (shrink)

In this essay I revisit The Prince and the Discourses and argue that across the design of these two texts on the theme of conspiracy Machiavelli constructs an ambush on Medici princes. I reconsider Mary Dietz's (1986), and Langton's and Dietz's (1987) suggestion that Machiavelli's The Prince was a deceptive political act through an exploration of the link Dietz and Sheldon Wolin (2004) draw between Machiavelli's method and Renaissance artistry. I suggest that Machiavelli applied a one-point linear perspective – (...) a scientific and visual method of pictorial representation and geometrical modelling that emerged for the first time in the Renaissance – to the political field. I test this hypothesis on the theme of conspiracy in Machiavelli’s work by arguing that The Prince ultimately presents one vantage point – that of the prince – while the Discourses offers another – that of the conspirators. I argue that a blind spot is created by these two texts when they are jointly considered: conspirators seduced, recruited, and trained by the Discourses eliminate a prince caught off guard for having followed the advice on conspiracy in The Prince. (shrink)

This article examines ancient depictions of the death of Troilus in art and literature and challenges the widespread belief that the Iliad implies an alternative version of the myth in which Troilus dies in battle. In particular, it argues that the death-in-battle interpretation is both insufficiently supported by the internal evidence and incompatible with the external evidence. Given the evident popularity of the story of Achilles’ ambush of Troilus in the Archaic period, it is hard to avoid the conclusion (...) that the poet of the Iliad knew the story of Troilus’ death by ambush. That the poem's only reference to Troilus does not contradict this story, and possibly even alludes to it, should persuade critics of the strong likelihood that the popular story of Troilus’ ambush at the fountain was also the one in the poet's mind. (shrink)

'Community' is one of those words that feels good: it is good 'to have a community', 'to be in a community'. And 'community' feels good because of the meanings which the word conveys, all of them promising pleasures, and more often than not the kind of pleasures which we would like to experience but seem to miss. 'Community' conveys the image of a warm and comfortable place, like a fireplace at which we warm our hands on a frosty day. Out (...) there, in the street, all sorts of dangers lie in ambush; in here, in the community, we can relax and feel safe. 'Community' stands for the kind of world which we long to inhabit but which is not, regrettably, available to us. Today 'community' is another name for paradise lost - but for a paradise which we still hope to find, as we feverishly search for the roads that may lead us there. But there is a price to be paid for the privilege of being in a community. Community promises security but seems to deprive us of freedom, of the right to be ourselves. Security and freedom are two equally precious and coveted values which could be balanced to some degree, but hardly ever fully reconciled. The tension between security and freedom, and between community and individuality, is unlikely ever to be resolved. We cannot escape the dilemma but we can take stock of the opportunities and the dangers, and at least try to avoid repeating past errors. In this important new book, Zygmunt Bauman takes stock of these opportunities and dangers and, in his distinctive and brilliant fashion, offers a much-needed reappraisal of a concept that has become central to current debates about the nature and future of our societies. (shrink)

This essay reviews David Halpin's Hope and Education, which aims to bring theories of hope and utopia to bear on the practical processes of schooling in contemporary Britain, and which sees education as an intrinsically hopeful and future-oriented process. It argues that the properly utopian character of Halpin's project is subverted by his espousal of a currently fashionable pragmatism, represented by Richard Rorty and Anthony Giddens, which insists that ‘good’ utopias must be realistic and practical. Utopian hope for a better (...) world, in which a transformed educational process will be central, is ambushed by this pragmatism and reduced to managerialism. (shrink)

ABSTRACTPopular culture has many examples of evil characters having vertically pupilled eyes. Humans have a long evolutionary history of rivalry with snakes and their visual systems were evolved to rapidly detect snakes and snake-related cues. Considering such evolutionary background, we hypothesised that humans would perceive vertical pupils, which are characteristics of ambush predators including some of the snakes, as threatening. In seven studies conducted on samples from American and Turkish samples, we found that vertical pupils are perceived as more (...) threatening on both explicit and implicit level and they are associated with physical, rather than social, threat. Findings provided partial support regarding our hypothesis about the relevance of snake detection processes: Snake phobia, and not spider phobia, was found to be related to perceiving vertical pupils as threatening, however an experimental manipulation of saliency of snakes re... (shrink)

In the history of Indo-European peoples warriors were known to possess characteristic physical and ethical features which went together with special social status. This is undoubtedly true of ancient Greeks. According to Homer characters who made heroic feats depicted in his books had moulded their personality in accordance with requirements of arete and battle was the best means to achieve this end, even though particular ways of obtaining it were heavily affected by subjective considerations. The individualism of the epic heroes (...) can best be seen in the freedom they enjoyed to choose any method of fighting that suited them at the moment. The highest credit, however, was given for the fortitude displayed in a duel monomachia, which often awarded the warrior with eternal fame. But in exceptional circumstances the heroes resorted to guiles mētis or ambushes dolos. We have no ground to believe, therefore, that any kind of „chivalry code” was observed at that time. (shrink)

Very shortly before the end of Book 11 of the Aeneid, Turnus, hearing of Camilla's death, is forced to abandon his ambush in order to fall back to the city. Just after he leaves the wooded gorge, Aeneas passes through it unscathed with his company. Both then head toward the city walls. Virgil marks this near miss of the two commanders by an acrostic :ille furens deserit obsessos collis, nemora aspera linquit.uix e conspectu exierat campumque tenebat,cum pater Aeneas saltus (...) ingressus apertosexsuperatque iugum siluaque euadit opaca.sic ambo ad muros rapidi totoque ferunturagmine nec longis inter se passibus absunt. (shrink)

Good interlocutors are a blessing, and needless to say, I’m feeling very blessed today. This is especially true for a project in which _vision_ figures so centrally, since we often see most clearly through the parallax of another’s eyes. Contributors to this conversation have cast distinct lines of sight onto _Anticolonial Eruptions _that have allowed me to see both otherwise and better, to recognize which elements of my original argument remain incomplete or unclear, to glimpse what was overlooked or taken (...) for granted, and to realize other moments where I might have been wrong entirely. They have revealed how my book, despite diagnosing colonial hubris, might reproduce blindspots that are more or less hubristic in their own right. This apparent irony is anything but. Any book, especially one this short, slices into and across history and theory ways that are inescapably partial, leaving a generative remainder to be dealt with. But more than this, I find nothing but encouragement in how my comrade-readers have taken up the lenses provided—the colonial blindspot, the second sight of the colonized, and the decolonial ambush—to excavate and cultivate a radical second sight from the depths of the colonial blindspot. Whether diagnosing the paradoxical unseeing of ocular-centrism, my own blindness toward the revolutionary nature of care as community resistance, or the ways that tropes of inevitability might refract my political judgment, each of the critiques printed above offers, in Kevin Bruyneel’s words, “more ammo for the canon/cannon” (88). (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Feminist Studies 46, no. 1. © 2020 by Abby Minor 103 JUMP ROPE CHANT: A CURE FOR ALL KINDS OF STOMACH ACHES, ca. 2000 BCE–ca. 2000 CE Abby Minor Happy are those who stand in a field at night and hear the double rainbows land, or clap the gaps that RHYTHM makes, or shout to the beat of grasses; They are like trees planted by streams of water, which (...) yield their fruit in its season, & their leaps & their leaves & their feet do not wither, they leap up in the morning singing, in all that they do they chant, and jump, and are singing: “Blood root, hair pin, lupine, clover, watermints and cinnamon, a pencil, myrrh, poplar, juniper, copper water, whiskey, cotton root, snake root, savin, wire,  Clap your hands, all you peoples. —Psalm 47.1 104 Abby Minor wallflower, gunpowder, emeralds, myrtle, tonic of geranium, lace seeds, soap, bone stay, coltsfoot, catheters, quinine, a hoop bound with oil-silk, a hat pin, oak—” I chant a long time I chant from within a hollow place I chant all colors of cohosh Instantly as dawn clips green & white, I chant to dissolve separate parts I jump backwards and I chant So that you may bathe your feet in blood, it was in the Psalms, it’s what God does it might be a rain dance it will come to you like a beautiful cigar filled with fine leaves like the fine feet of a deer cleft in gold leaves Like rhythm a hair pin, rhythm a hat pin, rhythm a knitting hook, rhythm a nail RHYTHM makes my feet like the feet of a deer. I chant rosemary so assiduous I chant pennyroyal forever most poisonous I chant intransigence and double rainbows pop on the sidewalks of the cosmos, double Abby Minor 105 Dutch ropes spin like twin rivers, there I am planted like a tree by the water, like an outrider dropping fire into the ropes: I will kick up my heels seven times there will be a noise and the seed will fall out on the ground shouting, “Date palms, dancing, anise, trillium, turpentine, scissors, silphium, rum, cundums, pomegranate, pearlash, iron, foot baths, borax, birthwort, rue, wormwood, fern root, fig leaf, sneezing, a small ball of sheep’s wool, smart weed, brass, blackberries, goldbeaters, button hooks, hawthorn, womb veil, vinegar, saffron, glass—” If you try our hearts, RHYTHM, if you visit us by night; if I forget which is my left hand and which is your right— just let it be me; psalmist, you, a trace of blood. Me, muscle, 106 Abby Minor you, myrrh. Or you jumping, me rope. Me mirrorstep, you leave your dark prints on the light. Me ambush, you flood. Me bloodthirsty, you a smaller blood. You bloodthirsty, me myrrh. Me fortress, you a tent for the sun. Me splendor, you go on and on. Me hat pin, me flood. You poetry, me a clapping tree, or me poetry and you nothing at all. I say to RHYTHM, “You are my Rhythm, I have no song apart from you and I could never tell just where the sole leaves the sidewalk and turns into the smallest lit pause popped, suspended above shoe shadow; I could never say whether I’m the jumper picking up her knees or the turner planted so still save for her hands— and what pilots her hands, pilot, if not you, if not her hands? If not the offbeat, the bows of light we pattern, Rhythm which is both the rivet and what’s held: like rhythm a hair pin, rhythm a hat pin, rhythm a knitting hook, rhythm a nail Abby Minor 107 RHYTHM makes my feet like the feet of a deer. Now I chant the bitter melon fruit who lights up darkness and my feet do not grow weary writing RHYTHM on the sidewalk lighting incense in the bathtub filled with gin in which I lay chanting like the singers in front, like the musicians last, like the girls between them playing tambourines: Rhythm make a riot Rhythm eat a bee Rhythm use a chicken feather & make a joyful noise Praise Rhythm with mint & astringents with spearmints & syringes with pipes, pen handles, mercury... (shrink)

The early Pleistocene hunt scene was instant: when an antelope jerked in the water edge, the first “drivers” of the hunt were already in motion; the moment of outburst after a long ambush lasted less than second. The sudden hunt movements were typical of every prey-abundant landscape since even earlier geological periods. The analysis of Laetoli footprints made by our evolutionary ancestors more than three millions years ago indicates that in a randomly chosen moment, the landscape was full of (...) animals of different species. The language used in the attack moment has to be agitative, only vowels in clausure between two consonants. During the process of further development, those consonants became more and more similar to delimitators, the borders where intrasemiotic realities translate extrasemiotic environment. Speech is an old Paleolithic tool for directing hunters to the useful positions. It was rather an instrument of a leader than grooming “clicks” of kin’s females. (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)

If you were Monica Lewinski's mother, how would you describe Linda Tripp? Remember that Linda Tripp is the woman who tapped her own phone conversations with Monica and then used them to incriminate President Clinton. Marcia Lewis, Monica's actual mother, chose the following expression: "She is like a meddlesome witch, a praying mantis." This expression conveys a multiple analogy, a comparison in which several sources are likened to a target. In this case, the first source tells us that Marcia thinks (...) of Linda as a disagreeable woman who entices youngsters into her confidence in order to ensnare them for her own purposes, much like the witch who trapped Hansel and Gretel. The second source tells us that Marcia thinks of Linda as a creature that ambushes others out of an inhuman lust for prey. ;This example shows the usefulness of multiple analogies in satisfying certain cognitive goals, such as constructing an adequate explanation of Linda Tripp and her behavior. Multiple analogies have also proven to be very useful in satisfying other kinds of cognitive goals, such as those of philosophers and scientists. However, no cognitive model of multiple analogies has yet been proposed or explored. This dissertation presents an exploration of multiple analogies as found in the literature of evolutionary biology, archaeology, and philosophy with the aim of proposing a cognitive model of this interesting mode of reasoning. This model is based upon the Multiconstraint theory of analogies, which is extended for the purpose, and also contrasted with previous theories of analogy. (shrink)

The TV series American Gods (2017-2021) features a war between the Old Gods, a syncretic pantheon of deities of the natural powers drawn from all mythological and religious traditions, and the New Gods, the deities of history and the artificial realm of man-made technics. Gods of both fences are shown as beings whose morals beyond good and evil is entirely focused on fulfilling their will to power in terms of immortality. Humans are trapped within this conflict; their only option is (...) seemingly limited to choose which side they stand. While the series sumptuously renders Heidegger’s claim that metaphysics and technics are the same, it also employs a different and positive meaning of the latter: by showing the old gods, the new ones, and humans as different options about existence – namely the logic of sacrifice, the logic of hedonism, and the economic logic of human reason – and eventually rejecting all of them as viable solutions, it favours an idea of existence as full open-ness and experimentality. In the end, technics is one with man’s self-creativity, embodied in his very biology, providing him an escape route from the vicious circles constantly ambushing him on his path towards authenticity – namely, all deities, religious as well as secular. (shrink)

The deeply imaginative structure of Dungeons Dragons (DD) can allow for players to explore the intricacies of gender and sexuality in creative and potentially radical ways. One would be hard pressed to argue that cartoonishly large breasts and skin‐tight leather skirts really allow for dexterous swordplay or quick getaways. DD liberates us from the limitations of our sex by making male and female characters equal in terms of abilities. The shyest of men can be the most outspoken of wizards, the (...) most honest girl can play the most unscrupulous rogue, and the pacifist woman can don full armor and fly into a berserker rage on a group of bugbears ambushing her adventuring party because, after all, bugbears are her species enemy and she just can't help herself when they are around. (shrink)

Geo Maher’s _Anticolonial Eruptions_ is a force to be reckoned with. As a reading experience, it’s a bloody delight, even as – and maybe because – Maher guides us down in to the depths of the volcanoes stoking the explosive fires of rebellion. We also get to follow the moles below and high above ground as they wait for their moment to emerge, shock, and rebel. These moles are blind in one sense, while in another sense they can tell time, (...) or more accurately they create time in the form of political time; marking the potential beginning of a new era. This political time is created in the moment of the emergence of these moles from the shadows in order to ambush and take advantage of the “hubris” of colonizers who are comfortable in their own blindness, in not-seeing what they cannot grapple with, that which is right before their eyes; colonization and all it has wrought upon the colonized. A new political moment is then birthed, time starts anew, and this is a result of the colonizer’s limitations in grasping the depths and heights of their oppression of the colonized. (shrink)

This study examines the death of Achilles in ancient myth, focusing on the hero's imperfect invulnerability. It is concluded that this concept is of late origin, perhaps of the Hellenistic period. Early evidence about Achilles' infancy does not suggest that he was made invulnerable, and early evidence concerning his death apparently indicates that Achilles was wounded more than once. The story of Achilles' heel as we know it is therefore late, though it is demonstrable that certain themes and motifs of (...) earlier traditions about Achilles were preserved in later traditions. What caused the concept of Achilles' imperfect invulnerability to emerge, it is proposed, was the late story in which the hero is ambushed in the temple of Thymbraean Apollo. Certainly Achilles was wounded in the lower leg in early Greek myth. An explanation is needed if this does not reflect the story of his imperfect invulnerability, and the arguments of several scholars are surveyed. The theory that the "swift-footed" hero was first immobilized by a lower wound before being slain is ultimately favored, though it is suggested that invulnerable armor and poison may have played a role. A comparative approach to myth and ritual is employed, with attention given to evidence from various areas and ages in an effort to illuminate stories about the infancy and death of Achilles. The study also assesses two alleged reflections in the Iliad of Achilles' death, the death of Patroclus in Book 16 and the wounding of Diomedes in Book 11. The evidence in ancient art and literature about the death of Achilles is often obscure, but this exploration of continuity and innovation in myth about Achilles should assist our understanding of it. (shrink)

eliciunt caelo te, Iuppiter; unde minoresnunc quoque te celebrant Eliciumque uocant.constat Auentinae tremuisse cacumina siluae,terraque subsedit pondere pressa Iouis. (Ov.Fasti3.327–30)They draw you down from the sky, Jupiter, and that is why more recent generations still worship you today, and call you Elicius. It is certain that the summit of the Aventine wood trembled, and the earth sank beneath the weight of Jupiter.Dismayed by an unprecedented flurry of thunderbolts, the pious King Numa sets out to expiate the omen. His divine consort (...) Egeria advises him to learn theritus piandi(291) from Picus and Faunus, who will, however, only reveal the necessary information under compulsion. Numa makes plans to ambush the gods, taking up position in a cave within a grove ‘under the Aventine, black with the shade of the holm oak, at sight of which you would say, “A spirit is here”’ (lucus Auentino suberat niger ilicis umbra, | quo posses uiso dicere ‘numen inest’, 295–6). The description of this numinous location continues (297–9):in medio gramen, muscoque adoperta uirentimanabat saxo uena perennis aquae;inde fere soli Faunus Picusque bibebant.In the middle was a meadow, and an unceasing stream of water, covered with green moss, flowed from the rock. From it Faunus and Picus, unaccompanied, were in the habit of drinking.Once captured by the king, Faunus and Picus tell Numa that only Jupiter himself can be consulted about Jupiter's own domain (if we readtectaat 316; Jupiter's weapons, if we readtela, and there's little to choose between those readings), but that with their help Numa may be able to draw Jupiter down from the sky to answer his enquiry. (shrink)

An unnerving parallel to the latest crisis of the Left gently ambushes the reader long before the last page of Rabinbach's monograph has been turned. Between 1904 and 1914 a group of sharp, well-read, generously thoughtful University of Vienna men created a form of Marxism “which has perhaps made more original contributions to die history of the doctrine than any other” — an intellectual and political program tensely poised between orthodox revisionism and Bolshevism. Then, over the next 20 years, they (...) resolutely marched into historical oblivion by paying less attention to “petty tactical artifices” than to elegant thought on behalf of their Utopia, a Bildungsgemeinschaft sans politics. (shrink)

Raymond Kelly’s widely cited _Warless Societies and the Origin of War_ (University of Michigan Press, 2000) seeks to explain the origins of two central signatures of human society: war and segmented—i.e., multilevel—societies. Both, he argues, arose with the emergence of a social-substitutability principle, a rule that establishes a collective identity among a set of individuals such that any one member becomes equivalent to, and responsible for the actions of, the others. This principle emerged during the Holocene, when population increase gave (...) rise to the first lethal ambushes. By its nature, ambush obscures attackers’ identities. Those attempting to retaliate for the ambush were therefore obliged to target members of the ambushers’ group indiscriminately—i.e., based on a social-substitutability principle. Kelly’s proposals draw welcome attention to a widespread, deeply influential, and unsettling human behavior, the disposition to hold everyone in a group culpable for the actions of a few, a proclivity that all too often results in mass slaughter. His general argument, however, is logically and empirically deficient, and cross-cultural evidence on ambush in contact-era New Guinea undermines his anonymity-of-ambush hypothesis. What then accounts for war and multilevel society? The New Guinea evidence strongly supports a contention that social-substitutability behavior arose not from offensive military action (i.e., ambush) but from the defensive military response to ambush. These findings render the social-substitutability argument’s unconventional definition of war superfluous, undermine its chronology for the emergence of war, and underwrite an alternative scenario for the origins of multilevel, segmented society. (shrink)

One particularly interesting aspect of Hirschkop’s essay is the repertoire of “double-voiced words” it displays. I will enumerate just three of them:1. The Misaddressed Word. Apparently, Hirschkop has been arguing these points with someone else, whose voice has drowned out what was actually said by myself and the other contributors to the Forum on Bakhtin. In a number of cases, Hirschkop objects that we failed to say things that were, in fact, explicitly stated and attributes to us a different, phantom (...) position, which he then cites as evidence of “liberal,” individualistic, and “cold war” biases . Likewise, I ostensibly “implied” a number of things, thought Hirschkop offers no direct quotations as evidence .2. The Word That Lies in Ambush . In a way that has become increasingly common in theoretical essays, Hirschkop contents himself with stating only what is not the case and neglects telling us his conception of the alternative, correct position. For example, Hirschkop says: “Such ambiguities [in Bakhtin] are not the sign of an open and skeptical mind, but neither are they mere inconsistencies which can be safely ignored” . In consequence, respondents who presume to guess at his position, whether they guess rightly or wrongly, are subject to an accusation of total or partial misrepresentation of his position or, perhaps worse, of drawing typically liberal inferences.3. The Preemptive Word . Using a strategy familiar to most polemicists, Hirschkop attempts to discredit his adversaries by anticipating their objections within his own argument. Unfortunately, he projects responses—that no one has made—as if those responses were inevitable and seeks to dismiss them simply by naming them rather than answering them. Thus, he accuses my fellow contributors and me of a “kind of relativism, whose ideological affinities with the commonplaces of Western cold war discourse cannot be missed” and which “crops up again and again when Bakhtin is interpreted” . The phrase in parentheses and the word in quotation marks are an example of preemptive discourse. Gary Saul Morson is the author of The Boundaries of Genre: Dostoevsky’s “Diary of a Writer” and the Traditions of Literary Utopia and the editor of Literature and History: Theoretical Problems and Russian Case Studies . He is currently completing a book on Tolstoy, one chapter of which appeared in the Summer 1981 issue of Critical Inquiry. He was the guest editor of Critical Inquiry’s Forum on Mikhail Bakhtin, for which he wrote the introduction, “Who Speaks for Bakhtin?”. (shrink)

This paper discusses in detail the ethical issues in the contemporary professional sports and shows how these issues are addressed in the European Union countries and in the United States. From the ethical perspective it was decided that it is disputable to finance companies in competitive sports from a public purse (central and local government purse), to sponsor football clubs by bookmaking companies, to pay compensations (financial equivalents) for the change of membership in clubs by the players (the so called (...) transfers). It was noticed that in the era of deepening sports commercialisation and application of ambush marketing strategies a real problem has become how to protect the interests of sport fans. It was decided that reaching of a certain scale of business operations (e.g. a certain threshold of revenues or profits) by monopolistic sports organisations should be paralleled by their loss of privileged status and/or change of their organisational and legal status (change from voluntary, non-profit organisations into companies operating under commercial law). (shrink)

For the past three decades Sri Lanka was stalemated between governments that were not prepared to devolve power to the Tamil majority provinces and a Tamil militant movement that wanted a separate country. In February 2002, the Sri Lankan government and LTTE signed a ceasefire agreement under Norwegian government auspices that appeared to offer the real prospect of a final end to violence as a means of conflict resolution. The ceasefire between the government and the LTTE held for nearly four (...) years despite significant problems affecting the peace process, problems that led to the LTTE’s withdrawal from the peace talks. However, the ceasefire collapsed in early 2006 with a series of ambushes of government soldiers by the LTTE, eventually leading to counter measures and counter attacks by the forces of the government, measures in which the government wrested back control of territory placed under the control of the LTTE by the terms agreed upon by the Ceasefire Agreement. Today Sri Lanka is a country that continues to be deeply divided on lines of ethnicity, religion and politics. Horizontal inequalities, defined as severe inequalities in economic and political resources between culturally defined groups, were undoubtedly a contributing factor for the perpetuation of Sri Lanka’s long-running conflict. No sooner it won the war, the government asserted economic development to be the main engine of reconciliation. (shrink)

Atque illo die certe Aricia rediens devertit Clodius ad se in Albanum: quod ut sciret Milo ilium Ariciae fuisse, suspicari tamen debuit eum, etiam si Romam illo die reverti vellet, ad villam suam, quae viam tangeret, deversurum. THIS passage is interesting in that its argument runs counter to the main picture which Cicero had earlier presented of the movements of Milo and Clodius before they met on the Appian Way in January 52 B.C. In an earlier passage Cicero says: ‘Interim (...) cum sciret Clodius–neque enim difficile erat id scire–xiter sollemne, legitimum, necessarium ante diem XIII Kalendas Februarias Miloni esse Lanuvium ad flaminem prodendum, quod erat dictator Lanuvii Milo, Roma subito ipse profectus pridie est, ut ante suum fundum, quod re intellectum est, Miloni insidias conlocaret.’ Cicero remains true to this latter version in all the relevant arguments concerning the motives and movements of Clodius and Milo. Milo had legitimate business at Lanuvium, and hence a legitimate reason for being on the road at the time of the affray; Clodius′ presence is explained by Cicero as due solely to the desire to place an ambush for his enemy at a convenient spot, i.e. in front of his farm, and for this reason he had set out from Rome a day before Milo, when his presence was really required in Rome. (shrink)

Atque illo die certe Aricia rediens devertit Clodius ad se in Albanum: quod ut sciret Milo ilium Ariciae fuisse, suspicari tamen debuit eum, etiam si Romam illo die reverti vellet, ad villam suam, quae viam tangeret, deversurum.THIS passage is interesting in that its argument runs counter to the main picture which Cicero had earlier presented of the movements of Milo and Clodius before they met on the Appian Way in January 52 B.C. In an earlier passage Cicero says: ‘Interim cum (...) sciret Clodius–neque enim difficile erat id scire–xiter sollemne, legitimum, necessarium ante diem XIII Kalendas Februarias Miloni esse Lanuvium ad flaminem prodendum, quod erat dictator Lanuvii Milo, Roma subito ipse profectus pridie est, ut ante suum fundum, quod re intellectum est, Miloni insidias conlocaret.’ Cicero remains true to this latter version in all the relevant arguments concerning the motives and movements of Clodius and Milo. Milo had legitimate business at Lanuvium, and hence a legitimate reason for being on the road at the time of the affray; Clodius′ presence is explained by Cicero as due solely to the desire to place an ambush for his enemy at a convenient spot, i.e. in front of his farm, and for this reason he had set out from Rome a day before Milo, when his presence was really required in Rome. (shrink)

The myth for today is an axiom of what we may call Leninology — a branch of Kremlinology that has rapidly grown in the hands of the various university Russian Institutes, doctoral programs, political journalists, et al. According to this axiom, Lenin's 1902 book What Is To Be Done? represents the essential content of his ‘operational code’ or ‘concept of the party’: all of Bolshevism and eventually Stalinism lies in ambush in its pages; it is the canonical work of (...) ‘Leninism’ on party organisation, which, in turn, bears the original sin of totalitarianism. It establishes the ‘Leninist type of party’ as an authoritarian structure controlled from the top by ‘professional revolutionaries’ of upper-class provenance lording over a proletarian rank and file. (shrink)