The problem of insufficient usage of research results devoted to the development and teaching a person in multi-aged in pedagogical theory and practice is considered. The occurrence of ‘invisible assets‘ as a phenomenon of human activity results is also reviewed. These results show the synergic effect that considerably exceeds the index relative to the effort sum of separate components. The results of the emergent effect of invisible assets manifestation in multi-aged unions studied in Russian pedagogical science (...) are represented. The systemic factors defining the magnitude, power and limit of educative potential of a multi-aged union are singled out. The necessity of using the results of rich Russian pedagogical experience of G. V. Radetskiy, S. T. Shatskiy, A. S. Makarenko, I. P. Ivanov, V. P. Krapivin and their followers of the 21st century in studying social development of adolescents based on the historical-genetic analysis is shown in the paper. (shrink)

The practice of giving the wealthy perpetual control of their assets is re-emerging in an era of great wealth inequality, long after it had been banned in common law countries. The philosophical justification for such control rests on the claim that there are posthumous rights to wealth, and that such rights do not extend in problematic way to other goods, such as political suffrage. On the basis of such a claim, we give people freedom of testation, and deem them (...) vulnerable to posthumous harm. I present a short history of legally sanctioned posthumous control of property in common law, and I argue that its philosophical justification is untenable. No principled case for posthumous rights to wealth survives scrutiny, and the large and powerful institutions that enforce such rights are morally illegitimate. (shrink)

The enterprise socially responsible activities system of the needs the effective management mechanism. It has been proved the enterprise social responsibility policy should be included in the management strategy. Modern management methods shifts the emphasis of influence to the invisible asset using with this new management methods, including the social responsibility management. However, it is only small size of the domestic enterprises include the social responsibility policy in the management strategy. The article shows the author's understanding of the "socially (...) responsible activities management mechanism" category, as the component part of the management system which determinates the enterprise socially responsible activities order through the management components and characterizes their external and internal factors. It has been proposed to perform the social responsibility management system in accordance with the initial, main and final or resultant stages, which can be parted in their turn on the following stages: initial ; main ; final or resultant. It has been proved that social programs don't have the direct influence on the profit growth. It is because the social; policy and social programs have non-profit character and because of this they should not concentrate on the arguments of the profit increasing. However it doesn't mean that the effective social policy of the enterprise doesn't give indirect influence on improving of its financial indicators. Researches which were performed in this field allow us to affirm that the effective social policy programs make influence on the increasing of the enterprise capitalization, the rofit increasing, the reduction of expenses, growth of sales volumes, and also affect such an important factor as the stability of demand, the consumers commitment to one or another enterprise brand. (shrink)

Selon Damásio, le moi conscient se crée à partir de la capacité du cerveau à raconter, c’est-à-dire à transformer en récit les signaux et messages produits par ses diverses couches. Les mythes donnent au monde une cohérence significative qui provient de l’organisation des éléments que ses récits produisent. Les rapports au monde de toutes les espèces vivantes sont contenus dans les limites de leurs possibilités phylogénétiques qui résultent déjà d’une relation continuée pendant des millions d’années. La capacité humaine de créer (...) des récits sur le réel doit intégrer ces éléments phylogénétiques qui se manifestent même dans les parties non conscientes du cerveau intégrées pourtant dans le récit qui construit un moi. Ce dépôt venu du fond des âges est une des causes de l’excès de sens que nous poursuivons toujours et qui est, au niveau de l’imaginaire « premier » la voix de ce fonds dans ces rapports avec le texte du monde. Un récit est ainsi une façon de donner à voir l’invisible, et cette invisibilité produit un excès de sens qui cherche toujours à se manifester. Il est marqué par les cohérences et consistances des images de cet imaginaire premier qui médiatise toujours nos relations au monde et aux autres, et auquel s’ajoute les cohérences des imaginaires « seconds » des individus et des cultures. According to Damásio, the self-conscious arises from the ability of the brain to tell, i.e. turn into a story the signals and messages produced by its various layers. Myths give the world a significant consistency that comes from the organization of the elements produced by its stories. The relationships of all living species with the world are contained within the limits of their phylogenetic opportunities resulting from a relationship continued for millions of years. The human ability to create stories about reality must incorporate these phylogenetic elements into the narrative that builds self-awareness. This unknown repository coming from the depths of time is one of the causes of the excess of meaning that we always pursue and is, at the level of the basic imaginary, one that Gilbert Durand considered the heritage of sapiens, the voice of these assets in their links with the text of the world. A narrative is thus a means of seeing the invisible, and this invisibility produces an excess of meaning which always seeks to manifest itself. It is marked by the coherence and consistency of the images of this basic imaginary which always mediates our relationship to the world and to others, and to which is added the coherences of the secondary imaginary coming from individuals and cultures. (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)

Modern payment cards encompass a bewildering array of consumer technologies, from credit and debit cards to stored-value and loyalty cards. But what unites all of these financial media is their connection to recordkeeping systems. Each swipe sends data hurtling through invisible infrastructures to verify accounts, record purchase details, exchange funds, and update balances. With payment cards, banks and merchants have been able to amass vast archives of transactional data. This information is a valuable asset in itself. It can be (...) used for in-house data analytics programs or sold as marketing intelligence to third parties. This research examines the development of payment cards in the United States from the late 19th century to present, drawing attention to their fundamental relationship to identification, recordkeeping, and data mining. The history of payment cards, I argue, is not just a history of financial innovation and computing; it is also a history of Big Data and consumer surveillance. This history, moreover, provides insight into the growth of transactional data and the datafication of money in the digital economy. (shrink)

Starting from a specific critique of the traditional «metaphysical mistake» (to take apart being and appearing), Hannah Arendt points out the necessity to support a radical “phenomenalism”, which can be able to become politically relevant through 'spectacularity'. Far from the task of replacing an unknown being or substance, in Arendt's view all appearances are phenomena enhancing a singular exhibition on the 'world stage' in order to communicate an opinion or to perform deeds. Along this path, the encounter with Merleau-Ponty’s thought (...) occurs at several levels. Specifically, the thesis of the ‘spectacular’ character of the world reveals itself in Arendt’s political theory as intimately linked to the thesis of an aesthetic and, at the same time ontological basis of experience, where opinion 'opens' to determined 'portions' of being. Such features of Arendt's political theory join it to Merleau-Ponty's theory of vision as “conditioned thought ” (by the world), “which advents” as “instituted” in a singular proper-body (Eye and Mind). According to Arendt, thought itself has to be considered not only as invisible (The Life of the Mind), but as a visible “doxa”, showing specific “aspects of world”, also revealed as specific positions to take and to defend in public. The paper suggests that the theoretical encounter of the two philosophers is a valuable asset in the context of contemporary political “publicity”. (shrink)

Starting from a specific critique of the traditional «metaphysical mistake», Hannah Arendt comes to supporta “phenomenalism” that is not only radical but also spectacular in the sense that it enhances, not appearances that would replace an unknown being or substance, but an appearing as a unique exhibition on the world stage in view of an opinion to communicate or an action to perform. Along this path, an encounter with Merleau-Ponty’s thought can occur at several levels. Specifically, the thesis of the (...) ‘spectacular’ character of the world is presented in Arendt’s political theory as intimately linked to the thesis of an aesthetic and, at the same time, ontological basis of experience, which relates her thought to the Merleau-Pontian theory of vision as “thought conditioned” by the world and “which advents” as “instituted” in a body that is properly its own. For Arendt, thought is not only invisible, it is also ontologically visible as “doxa” in which it is divided into “aspects of world” that are revealed in a “specular” fashion as positions to take and show “outside,” to present and defend. This is a valuable asset in the context of political “advertising.”. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Border CrossingEllen T. ArmourAs a philosophical theologian deeply formed by a long apprenticeship in continental philosophy, I find more points of entry into Kalpana Seshadri's HumAnimal: Race, Law, Language than I can possibly pass through in the space available to me here. Inevitably, whichever point of entry I take will violate what I take to be a core responsibility of a respondent: to hew closely to the text in (...) question, to trace in one's own words its outline in order to open it up to those who have not had the privilege to devote time and attention (those most valuable of assets for academics, it seems) to the project in question. Such a model of a responsible response itself bespeaks the central problematic of the project: the relationship between speech and silence, language and law, ethics and politics.And so I begin with a de-cision that is, simultaneously, an in-cision; I enter this text through this opening, not that, and in doing so, I relegate to a spectral silence of not-saying what other (in/de)cisions would bring to speech and/or to the invisibility of not-writing what other (in/de)cisions would render legible. In the spirit of a Derridean supplément, I hope to productively open and extend for you, if not precisely retrace, Seshadri's project.HumAnimal: Race, Law, Language (Seshadri 2012) is a brave book in many respects, but particularly in its attempt not just to delineate but to map out certain contested yet liminal spaces. In addition to those I've already mentioned, [End Page 175] let me add those between literature and philosophy, theology and philosophy, work and play, Agamben and Derrida, deconstruction and biopolitics, human and animal. (Any one of these alone would have been plenty for one book.) I take my mark from the site where these last two (or perhaps three) liminal spaces meet. First, allow me to indulge in a bit of intellectual autobiography: I began my career as a Derridean (and may yet end it that way … that remains to be seen), but have in the last few years, taken a decidedly more Foucauldian turn. Reading HumAnimal made me keenly aware of how profound a reorientation I have undergone in the process. And yet I entered into that process of reorientation (perhaps quite naively) sensing that, for all that separated Derrida from Foucault, deconstruction from biopolitics, they were not unconnected (please note the double negative). Thus, I found myself in deep sympathy with Seshadri's project in many ways. Whatever separates projects that foreground the machinations of power (as constitutive of knowledge, and vice versa) as object of analysis and those that foreground language (as constitutive of knowledge, and vice versa) as object of analysis,1 Seshadri's detailed readings suggest they share important points of overlap (which is not to say sameness). To a degree, then, HumAnimal undoes the very delineation between these kinds of projects that I just articulated. To be sure, Seshadri is aided a great deal in this by the fact that Agamben's own work invokes (though not uncritically) both Derridean and Foucauldian antecedents framed largely though not exclusively in and through the relationship between sovereignty and (bare) life.The book's title, HumAnimal: Race, Law, Language, names both the stakes of and framework for Seshadri's incision into this shared but contested space. Her neologism humAnimal marks a boundary integral to sovereignty's exercise, that between human and animal. The subtitle marks the forces at play in sovereignty's construction and its deployment. Race has often figured as the border demarcating those served by the law and those served up by it; those granted access to language and those denied it. Consignment to the nether side of law and language entails as well consignment to the nether side of the human/animal divide. The American practice of chattel slavery serves as one constitutive exemplar of a biopolitical and legal/linguistic regime in HumAnimal, as it will in my comments. But Seshadri seeks out the possibilities for resistance from this nether side; of possibilities opened up by and in silence, the suspension of law, and even... (shrink)

In the December 2006 edition of Harvard Business Review, Michael Porter and Mark Kramer argue that by approaching corporate social responsibility (CSR) based on corporate priorities, strengths and abilities, firms can develop socially and fiscally responsible solutions to current CSR issues, which will provide operational and competitive advantages. We agree that an effective approach to CSR includes a mapping of strategy, risk and opportunity. However, we also caution that the identification of these to the exclusion of societal input may not (...) be to the corporation's advantage. Instead, an investment in both strategic analysis and social capital can pay off from a social and an organizational standpoint. Compared with their larger counterparts, small‐ and medium‐sized enterprises (SMEs) frequently have stronger relationships with their internal and external stakeholders that foster the development of social capital. As such, we believe that the sector offers a unique opportunity to identify additional models and frameworks in order to approach a strategic CSR model as espoused by Porter and Kramer. This paper explores a case study of one Canadian SME that uses a community development framework called Asset Based Community Development (ABCD) for its CSR programming. Because ABCD relies heavily on the development and maintenance of social capital and can be utilized to attain set objectives, we propose that it provides a supplementary framework through which the arguments of Porter and Kramer can be expanded. In applying the ABCD framework for CSR, we can begin to establish a programme that supports strategy, integrates employees and stakeholders towards a common vision, and creates unique and sustainable alternatives towards the resolution of social and corporate goals. (shrink)

The goal of this article is to introduce a philosophical analysis of a widely neglected condition which affects between 3% and 18% of the population. People affected by this condition experience a lower level of wellbeing than the average population and are discriminated against in both their professional and their personal life. I will argue that this form of discrimination should be taken more seriously in philosophical debate and that social, legal and medical measures ought to be taken in order (...) to improve the quality of life of people affected by this condition. (shrink)

In the December 2006 edition of Harvard Business Review , Michael Porter and Mark Kramer argue that by approaching corporate social responsibility (CSR) based on corporate priorities, strengths and abilities, firms can develop socially and fiscally responsible solutions to current CSR issues, which will provide operational and competitive advantages. We agree that an effective approach to CSR includes a mapping of strategy, risk and opportunity. However, we also caution that the identification of these to the exclusion of societal input may (...) not be to the corporation's advantage. Instead, an investment in both strategic analysis and social capital can pay off from a social and an organizational standpoint. Compared with their larger counterparts, small- and medium-sized enterprises (SMEs) frequently have stronger relationships with their internal and external stakeholders that foster the development of social capital. As such, we believe that the sector offers a unique opportunity to identify additional models and frameworks in order to approach a strategic CSR model as espoused by Porter and Kramer. This paper explores a case study of one Canadian SME that uses a community development framework called Asset Based Community Development (ABCD) for its CSR programming. Because ABCD relies heavily on the development and maintenance of social capital and can be utilized to attain set objectives, we propose that it provides a supplementary framework through which the arguments of Porter and Kramer can be expanded. In applying the ABCD framework for CSR, we can begin to establish a programme that supports strategy, integrates employees and stakeholders towards a common vision, and creates unique and sustainable alternatives towards the resolution of social and corporate goals. (shrink)

Introduction -- Unintended consequences -- The origin of money -- Segregation -- The invisible hand -- The origin of money reconsidered -- Models and representation -- Game theory and conventions -- Conclusion.

Dragon days: introduction to the new edition -- Enter the dragon: on the vernacular of beauty 1 -- Nothing like the son: on Robert Mapplethorpe's X portfolio -- Prom night in flatland: on the gender of works of art -- After the great tsunami: on beauty and the therapeutic institution -- American beauty.

Asset egalitarianism is a new agenda but an old idea. At its root is the notion that every citizen should be able to have an individual property stake, and it has recently been revived in Britain and in the U.S. in a number of proposals aimed at countering the huge and growing inequality in the distribution of assets. Such asset egalitarianism is fed from many streams; it has a long history in civic republican thought, beginning with Thomas Paine and (...) Thomas Jefferson, but has also featured in the distributist theories of G.K. Chesterton and Hilaire Belloc; the guild socialism of G.D.H. Cole and the ethical socialism of R.H. Tawney; the market liberalism of the Ordo Liberals and some of the Austrian School, particularly F.A. Hayek; and more recently the market socialism of James Meade, A.B. Atkinson and Julian Le Grand, and the market egalitarianism of Michael Sherraden, Samuel Bowles, Herbert Gintis, Richard Freeman and Bruce Ackerman. There are also important links to the proponents of a citizens' income as a different approach to the welfare state (White 2002) as well as to the ideas of stakeholding (Dowding et al. 2003). (shrink)

Strengthening the abilities of smallholder farmers in developing countries, particularly women farmers, to produce for both home and the market is currently a development priority. In many contexts, ownership of assets is strongly gendered, reflecting existing gender norms and limiting women’s ability to invest in more profitable livelihood strategies such as market-oriented agriculture. Yet the intersection between women’s asset endowments and their ability to participate in and benefit from agricultural interventions receives minimal attention. This paper explores changes in gender (...) relations and women’s assets in four agricultural interventions that promoted high value agriculture with different degrees of market-orientation. Findings suggest that these dairy and horticulture projects can successfully involve women and increase production, income and the stock of household assets. In some cases, women were able to increase their control over production, income and assets; however in most cases men’s incomes increased more than women’s and the gender-asset gap did not decrease. Gender- and asset-based barriers to participation in projects as well as gender norms that limit women’s ability to accumulate and retain control over assets both contributed to the results. Comparing experiences across the four projects, especially where projects implemented adaptive measures to encourage gender-equitable outcomes, provides lessons for gender-responsive projects targeting existing and emerging value chains for high value products. Other targeted support to women farmers may also be needed to promote their acquisition of the physical assets required to expand production or enter other nodes of the value chain. (shrink)

This paper provides an examination of some problems caused by the concentration of influence in the capital markets of developed countries. In particular, I argue that large asset managers exercise quasi-political power that is not democratically legitimate. In section two, I will examine the economic driver behind the size and power of the big asset managers: the passive investing revolution. I will discuss several respects in which this revolution has fundamentally changed capital markets, most notably by making a large share (...) of investors universal owners. In the third section, I argue for my central analytical conjecture: asset managers exercise quasi-political power. They use their influence to shape the rules of the game in public capital markets in order to implement social and environmental policies that have traditionally been the exclusive purview of states. “Asset manager capitalism” is a recent term coined to refer to the contemporary system of corporate governance that succeeded the Berle and Means corporation with its dispersed ownership; the argument of this section is that asset manager capitalism is also a new political-economic regime. In the fourth section I defend my central normative claim: asset manager capitalism is an untenable and illegitimate political-economic arrangement, for at least two reasons. First, the power of asset managers is not checked by any institutional constraints, and is not rendered legitimate by any democratic process. More fundamental than this procedural critique is an argument that the interests of asset managers could not be aligned with the public interest, given the fact that the distribution of capital is highly unequal. I conclude by discussing several proposals to reform asset manager capitalism. (shrink)

David Hull accounts for the success of science in terms of an invisible hand mechanism, arguing that it is difficult to reconcile scientists' self-interestedness or their desire for recognition with traditional philosophical explanations for the success of science. I argue that we have less reason to invoke an invisible hand mechanism to explain the success of science than Hull implies, and that many of the practices and institutions constitutive of science are intentionally designed by scientists with an eye (...) to realizing the very goals that Hull believes need to be explained by reference to an invisible hand mechanism. Thus, I reduce the scope of Hull's invisible hand explanation and supplement it by appealing to a hidden hand explanation. (shrink)

‘Rentier capitalism’ is the term increasingly used to describe economies dominated by rentiers, rents, and rent-generating assets. A growing body of scholarship considers how the ownership of such assets by individuals and households is reshaping patterns of class and inequality and accordingly requires the reconceptualisation of the latter phenomena. The significance of company-owned assets and corporate rents for class, inequality and their conceptualisation has not been considered, however. This article offers an exploratory investigation along these lines, highlighting (...) the importance of employees’ working relationship to company-owned, rent-generating assets for their class position. The article further reflects on how developments in this regard might be approached from the perspective of Marx’s writing on value, labour and class, and the challenges that those developments potentially pose to Marxian concepts. (shrink)

In this paper I will discuss the idea of the invisible hand in the connection of its recent use in the philosophy of science. It has been invoked by some philosophers of science with a naturalistic bent as a part of their account of science. Some have made explicit references to the idea (Hull, 1988a) and others have only presupposed it (Giere, 1988; Goldman, 1991; Kitcher, 1993). I will argue that there are some problematic features in the way the (...) idea of the invisible hand isused inthese accounts. I will first discuss some general properties of the invisible hand explanations and then present some motives for its use in the theory of science. Then I will show how one particular philosopher of science, David Hull, uses the idea. I will use Hull's account as a practising target and offer some comments and criticism in order to promote more disciplined use of this model of explanation in science studies. (shrink)

"We believe the government’s conduct in forfeiture cases leaves much to be desired. We are certainly not the first to be ‘enormously troubled by the government’s increasing and virtually unchecked use of the civil forfeiture statutes and the disregard for due process that is buried in those statutes’" (Quoting Judge George Pratt in US v. All Assets of Statewide Auto Parts, Inc., 971 F.2d 896, 905 (2d Cir. 1992)). US v. $506,231 in U.S. Currency, 125 F.3d 442 (7th Cir. (...) 1997). (shrink)

This study was part of a larger cross-national research project at the Norway’s University of Bergen, which involved participants from over 30 countries. This undertaking delves into developmental assets, creativity, and thriving, and the part they play in determining mental health. Thus, this study examined the developmental assets, creativity, thriving, and their importance to mental health in a sample of Malaysian emerging adults. This study was based on a sample of 394 undergraduate students, comprising 264 females and 130 (...) males, ranging between the ages of 18 and 26 years. Two subscales of the Reisman diagnostic creativity assessment were used to measure creativity. Meanwhile, thriving indicators of Search Institute were used to measure thriving while the short form of the mental health continuum for adolescents was used to measure mental health. An online Google form was used to collect data from university students enrolled in both public and private universities. The correlation analysis results revealed that all the variables were positively correlated to each other and that the relationship between development assets, creativity, thriving, and mental health ranged from weak to moderate. Multiple regression analysis produced four models that indicated that positive identity, support, creativity, and thriving have a significant influence on mental health among emerging adults. Further, analyses using the PROCESS procedure demonstrated significant indirect effects of positive identity and support on mental health through its effects on creativity and thriving. As such, it is our recommendation that mental health practitioners tailor their treatment approach to include positive identity, support, creativity, and thriving in their sessions with Malaysian emerging adults. (shrink)

For several years, scholars have (for good reason) been largely preoccupied with worries about the use of artificial intelligence and machine learning (AI/ML) tools to make decisions about us. Only recently has significant attention turned to a potentially more alarming problem: the use of AI/ML to influence our decision-making. The contexts in which we make decisions—what behavioral economists call our choice architectures—are increasingly technologically-laden. Which is to say: algorithms increasingly determine, in a wide variety of contexts, both the sets of (...) options we choose from and the way those options are framed. Moreover, artificial intelligence and machine learning (AI/ML) makes it possible for those options and their framings—the choice architectures—to be tailored to the individual chooser. They are constructed based on information collected about our individual preferences, interests, aspirations, and vulnerabilities, with the goal of influencing our decisions. At the same time, because we are habituated to these technologies we pay them little notice. They are, as philosophers of technology put it, transparent to us—effectively invisible. I argue that this invisible layer of technological mediation, which structures and influences our decision-making, renders us deeply susceptible to manipulation. Absent a guarantee that these technologies are not being used to manipulate and exploit, individuals will have little reason to trust them. (shrink)

The COVID-19 pandemic is global and affects all countries in the world. The difference in the financial impact assessment of its outbreak concerns, inter alia, the state of preparation of the public sector in the previous period. The article assumes that countries which coordinated the structure of sovereign assets and liabilities before 2020 were less exposed to the negative effects of financial risks resulting from the COVID-19 pandemic. The study uses data and methodology of the International Monetary Fund and (...) the authors’ measures dedicated to the public sector to assess the sovereign asset and liability management (SALM). As part of the results, the negative value of net worth and the national net welfare index for the studied countries, including Poland in the period before the pandemic crisis, were indicated. In addition, the level of the loans mismatch on the public balance sheet and the scale of the increase in financial risk in the first year of COVID-19 are presented. Conclusions of research make it possible to assess the impact of COVID-19 on Sovereign Asset and Liability Management. (shrink)

. In this post-Enron era, we have heard much talk about the need for integrity. Today’s employees perceive it as being in short supply. A recent survey by the Walker Consulting Firm found that less than half of workers polled thought their senior leaders were people of high integrity. To combat the perceived lack of corporate integrity, companies are stressing their probity. This stress is problematic because executives tend to instrumentalize the value of integrity. This paper argues that integrity needs (...) to be better defined because the current mode of talking about the subject is misleading. The paper considers three traditions’ understanding of the idea of integrity, argues that integrity is intrinsically valuable, and concludes with some reflections on the way in which integrity, properly understood, functions as a business asset. (shrink)

To what level are invisible stimuli processed by the brain in the absence of conscious awareness? It is widely accepted that simple visual properties of invisible stimuli are processed; however, the existence of higher-level unconscious processing (e.g., involving semantic or executive functions) remains a matter of debate. Several methodological factors may underlie the discrepancies found in the literature, such as different levels of conservativeness in the definition of "unconscious" or different dependent measures of unconscious processing. In this research (...) topic, we are particularly interested in yet another factor: inherent differences in the amount of information let through by different suppression techniques. In the same conditions of well-controlled, conservatively established invisibility, can we show that some of the techniques in the "psychophysical magic" arsenal (e.g., masking, but also visual crowding, attentional blink, etc.) reliably lead to higher-level unconscious processing than others (e.g., interocular suppression)? Some authors have started investigating this question, using multiple techniques in similar settings. We argue that this approach should be extended and refined. Indeed, in order to delineate the frontiers of the unconscious mind using a contrastive method, one has to disentangle the limits attributable to unawareness itself, and those attributable to the technique inducing unawareness. The scope of this research topic is to provide a platform for scientists to contribute insights and further experiments addressing this fundamental question. (shrink)

We are defined by our faces. They give identity but, equally importantly, reveal our moods and emotions through facial expression. So what happens when the face cannot move? This book is about people who live with Mbius Syndrome, which has as its main feature an absence of movement of the muscles of facial expression from birth.

writings, however, reveals a profoundly medieval outlook. Smith is preoccupied with the need to preserve order in society. His scientific methodology emphasises reconciliation with the world we live in rather than investigation of it. He invokes a version of natural law in which the universe is a harmonious machine administered by a providential deity. Nobody is uncared for and, in real happiness, we are all substantially equal. No action is without its appropriate reward – in this life or the next. (...) The social desirability of individual self-seeking activity is ensured by the ‘invisible hand’, that is, the hand of a god who has moulded us so to behave, that the quantity of happiness in the world is always maximised. (shrink)

The community mining space remains contested for a range of complex reasons. This inherently difficult discursive space is made most apparent in the context of international development where mining is often viewed as a potential lever in the effort to lift poorer nations out of poverty. In this article, the authors offer a critical review of community development (CD) approaches that are currently being applied by the mining sector. While the authors acknowledge recent positive developments in this domain, there remains (...) a good deal of scope for improving the internal standing of, and the external influence over, CD practice in mining. Drawing on the contemporary CD literature, the authors assert “assets” as one possible heurism for enhancing this discursive space by highlighting the ways in which community and company representatives may be able to participate more actively in dialogical processes—both between and within company and community—where development discourse is not prefigured or biased against participating parties. (shrink)

This paper is positioned within broader scholarly debates about ritual‐religious and psychological elements underlying the phenomenon of altered states of mind in Egyptian Muslim contexts. This research examines the intricate relationships between ritual, consciousness, and the unseen/unknowable world reflected in the imagination and practices of urban and rural communities belonging administratively to the city of Tanta in Egypt. This comparative study proposes that the image of the embodied invisible Other, in both benevolent and malevolent forms, impacts the state of (...) consciousness of persons participating in two different rituals, the zikr (remembrance of God) and the zār (the exorcism of spirits). This inquiry concentrates on the transformation of the states of people's consciousness, namely the majzūb (those mystically attracted to God) and the malbūs (those possessed by spirits), through embodied engagement with the invisible Other that is made visible through participation in the ritual performances of the zikr and/or the zār. Rituals performed by Egyptians, particularly those who experience altered states of consciousness, display both a psychic (emotional) experience and an encounter with the invisible Other that may be depicted as divine or otherwise non‐divine. Each case of the zikr ritual and zār cult relates to its participants' perception of reality. (shrink)

This paper addresses what I call ‘the constitutive question’ concerning the rules we follow: namely, what determines the standard for a rule's correct application. John McDowell has offered a putative ‘middle position’ between two extreme, unacceptable answers: empirical idealism, which takes the requirements of a rule in any given situation to be constituted by our reaction to the case; and hard platonism, which takes these requirements to be delivered by unvarnished reality as absolutely the simplest or most natural way to (...) carry on. Tellingly, however, McDowell's position is itself unacceptably idealist in his picture of the way in which we are ‘involved’ on the right-hand side of biconditionals such as, ‘“Diamonds are hard” is true if and only if diamonds are hard’.In response to this stultifying state of affairs, I suggest that McDowell has followed the empirical idealist and hard platonist in assuming that the requirements of a rule must be grounded by something else: something external to the rule, which mediates between the rule and the standard for its correct application. This assumption is false. What is more, one application of a metaphor to which Wittgenstein has a somewhat equivocal relation—that of rules as rails invisibly laid to infinity—can help this point to stick. (shrink)

This article critically explores John Rawls’s contention that the personal assets of individuals, i.e. their mental and bodily powers, should not determine the size of their holdings. Since such an argument may have several forms, the first task is to establish which of them Rawls himself advocates. He relies, it is argued, on a version that attempts to convince us that personal assets should not play a decisive distributive role because they are undeserved. This account is then formally (...) reconstructed, making all the relevant premises visible and preparing the ground for a critique that concentrates on the argument’s separate steps. Coming under attack first is the claim that everything should be deserved. The discussion examines next the premise urging us to find an ultimate, indisputable ground for desert-claims. Debate about this issue reveals some fundamental weaknesses in Rawls’s position: that he demands too much and is inconsistent; that some strong counter-intuitive consequences follow from his demands; and that his entire project, were such a criterion taken seriously, is undermined. Final comments are directed against the assertion that the community should own everything an individual does not deserve, showing that this does not remove moral arbitrariness, allows for the use of some persons as resources for others, and cannot plausibly limit its range of application. Most of these criticisms are not original, but are in accord with this paper’s main intention of combining as many good points against Rawls as possible. (shrink)

Today, after the family, the school is the first institution in which children experience the implementation of social rules and the behaviors that follow from them. It is useful, therefore, to insert paths that favor the consolidation of a system made up of rules, inspired by the principles of transparency, fairness and solidarity, which can be the first and most effective lesson of democratic legality. In this perspective, teaching activities can appropriately refer to the programmatic contents of the disciplines which, (...) not only with regard specifically to civic education and law, but also with regard to other cultural areas, are bearers of explicit information and formative experiences. Particular attention is paid today to the planning of “Percorsi per le Competenze Trasversali e l’Orientamento” [Paths for Soft Skills and Guidance] (PCTO), which will also have an implicit educational value, that consisting in showing, through field experiences, the convergence of multiple cultural interests towards the purpose of education to legality. (shrink)

The essays in Invisibility in Visual and Material Culture contribute pioneering and revelatory insights into the phenomenon of invisibility, forging new and multi-disciplinary approaches at the intersection of aesthetics, technology, representation and politics. Importantly, they acknowledge the complex interaction between invisibility and its opposite, visibility, arguing that the one cannot be fully grasped without the other. Considering these entanglements across different media forms, the chapters reveal that the invisible affects many cultural domains, from digital communication and operative images to (...) the activism of social movements, as well as to identity, race, gender and class issues. Whether the subject is comic books, photographic provocations, biometric and brainwave sensing technologies, letters, or a cinematic diary, the analyses in this book engage critically and theoretically with the topic of invisibility and thus represent the first scholarly study to identify its importance for the field of visual culture. (shrink)

Blockchain’s language and terminology is confusing, contested, and rapidly changing. As a hype-driven technology, Blockchain is critical to an increasing number of projects that exist in a space of regulatory uncertainty. As communities of blockchain develop and evolve, the language they use to describe these functions changes. This causes concerns when attempting to have global regulatory certainty and clarity. Regulators and communities have different approaches to blockchain language, and this causes problems because of the translation between practical use in a (...) community, and the legal effects created by regulators. Of particular concern is the lack of clear expression amongst the broader community regarding the concept of blockchain-related assets as these ‘tokens’, ‘coins’, and ‘assets’ form a key part of financial regulation. This project uses semiotics to study the diverse language associated with blockchain. This analyzes a series of self-proclaimed ‘dictionaries of blockchain’ to assess key definitions, themes, perceptions, and misconceptions present in these communities. The study involved a case analysis of the terminology used in Australia’s proposed response to blockchain in comparison with that of wider communities. When comparing this to regulatory definitions and approaches, it becomes clear that this is an area that requires further attention. This project highlights the need for regulators to understand and use common terms in blockchain regulation. It is argued that this approach facilitates a better understanding of poorly understood concepts and clearly connects the law with those it intends to target. (shrink)

Conklin's thesis is that the tradition of modern legal positivism, beginning with Thomas Hobbes, postulated different senses of the invisible as the authorising origin of humanly posited laws. Conklin re-reads the tradition by privileging how the canons share a particular understanding of legal language as written. Leading philosophers who have espoused the tenets of the tradition have assumed that legal language is written and that the authorising origin of humanly posited rules/norms is inaccessible to the written legal language. Conklin's (...) re-reading of the tradition teases out how each of these leading philosophers has postulated that the authorising origin of humanly posited laws is an unanalysable externality to the written language of the legal structure. As such, the authorising origin of posited rules/norms is inaccessible or invisible to their written language. What is this authorising origin? Different forms include an originary author, an a priori concept, and an immediacy of bonding between person and laws. In each case the origin is unwritten in the sense of being inaccessible to the authoritative texts written by the officials of civil institutions of the sovereign state. Conklin sets his thesis in the context of the legal theory of the polis and the pre-polis of Greek tribes. The author claims that the problem is that the tradition of legal positivism of a modern sovereign state excises the experiential, or bodily, meanings from the written language of the posited rules/norms, thereby forgetting the very pre-legal authorising origin of the posited norms that each philosopher admits as offering the finality that legal reasoning demands if it is to be authoritative. (shrink)

The notion of a spontaneous social order, an order in human affairs which operates without the intervention of any directly ordering mind, has a natural fascination for social and political theorists. This paper provides a taxonomy under which there are two broadly contrasting sorts of spontaneous social order. One is the familiar invisible hand; the other is an arrangement that we describe as the intangible hand. The paper is designed to serve two main purposes. First, to provide a pure (...) account of the invisible hand, with some indication of the varieties of invisible hand (and, indeed, backhand) available. Second, to develop and motivate the unfamiliar conception of the intangible backhand. We believe that a recognition of the availability of this latter sort of spontaneous organising mechanism — and the mechanism is implicitly recognised in many traditions — is of great importance in political theory; it is of particular importance nowadays when the usual focus is entirely on the invisible hand. (shrink)

Some photographs show determinate features of a scene because the photographed scene had those features. This dependency relation is, rightly, a consensus in philosophy of photography. I seek to refute many long-established theories of photography by arguing that they are incompatible with this commitment. In Section II, I classify accounts of photography as either single-stage or multi-stage. In Section III, I analyze the historical basis for single-stage accounts. In Section IV, I explain why the single-stage view led scientists to postulate (...) “latent” photographic images as a technical phenomenon in early chemical photography. In Section V, I discredit the notion of an invisible latent image in chemical photography and, in Section VI, extend this objection to the legacy of the latent image in digital photography. In Section VII, I appeal to the dependency relation to explain why the notion of a latent image makes the single-stage account untenable. Finally, I use the multi-stage account to advance debate about “new” versus “orthodox” theories of photography. (shrink)

It is fairly easy to charge intergenerational justice accounts that recommend a distribution of healthcare resources favoring the young as being ageist. Clearly, such policies strongly privilege the interests of one age group over those of another. In a time of tight resources, the elderly are to get the short end of the stick, though for reasons that some theorists believe are ethically justifiable. What is not as immediately clear, however, is the sexist nature of rationing healthcare resources for the (...) elderly. In this essay, I contend that perspectives capitalizing on justice, fairness, or equity between age groups do not readily reveal, and perhaps even obstruct, a clear view of such sexist dimensions. (shrink)

Friedrich Hayek’s account of “spontaneous order” has generated increasing interest in recent decades. His argument for the superiority of the market in distributing knowledge without the need for central oversight has appealed to progressive democratic theorists, who are wary of the hubris of state planning and attracted to possibilities for self-organization, and to Foucaultians, who have long counseled political theory to cut off the King’s head. A spontaneous social order, organized by an invisible hand, would appear to dispense with (...) arbitrary power and foster creativity and individual liberty. This article challenges this view by highlighting the centrality of submission to Hayek’s account of spontaneous order. It shows that Hayek struggles to obscure the providentialism underpinning the account of social order he derives from Adam Ferguson and the Scottish Enlightenment. Nonetheless, his own account of spontaneous order relies on faith in the workings of the market, and submission to unintelligible market forces. (shrink)

Digital personal data is increasingly framed as the basis of contemporary economies, representing an important new asset class. Control over these data assets seems to explain the emergence and dominance of so-called “Big Tech” firms, consisting of Apple, Microsoft, Amazon, Google/alphabet, and Facebook. These US-based firms are some of the largest in the world by market capitalization, a position that they retain despite growing policy and public condemnation—or “techlash”—of their market power based on their monopolistic control of personal data. (...) We analyse the transformation of personal data into an asset in order to explore how personal data is accounted for, governed, and valued by Big Tech firms and other political-economic actors. However, our findings show that Big Tech firms turn “users” and “user engagement” into assets through the performative measurement, governance, and valuation of user metrics, rather than extending ownership and control rights over personal data per se. We conceptualize this strategy as a form of “techcraft” to center attention on the means and mechanisms that Big Tech firms deploy to make users and user data measurable and legible as future revenue streams. (shrink)

Violence has always accompanied human societies, and appeared in various forms of artworks such as movie, painting, and even cave art, but Persian painting by showing the utopian calm images surprisingly kept itself away from representing the violence, even in the scenes of war and slaughter. This paper aims to study the Persian painting –with focus on the early Safavid dynasty as the age of glory of Iranian art- on the basis of Žižek’s theory, to show that invisible violence (...) floated in Persian painting regardless of its extreme calm beauty and its different context from contemporary philosophy. Žižek categorizes the violence into three modes: visible subjective, and two modes of objective violence -Symbolic and Systematic - which are invisible and flow in latter layers. By going to deeper level of creation and content of Persian images which were illustrated in the court and on the command of rulers of the time, it is concluded that some elements of invisible violence such as strict law, visual symbols like “Qizilbash Hat”, the issue of the language, neighbor, fear of error, repetition of historical characters, extremism and nonviolent situation can be analyzed in the content or illustration of Persian Painting. (shrink)

The ArgumentThe text analyzes the related semantics of bacteriology and politics in imperial Germany. The rapid success of bacteriology in the 1880s and 1890s was due not least to the fact that scientific concepts of bacteria as “the smallest but most dangerous enemies of mankind” resonated with contemporary ideas about political enemies. Bacteriological hygiene was expected to provide answers to social and political problems. At the same time metaphors borrowed from bacteriological terminology were incorporated into the political language of the (...) time. While the “high command of our doctors” fought diseases, some contemporaries were identified with members of the evil species of “bacillus communis odii.”Both imperialistic politics and bacteriological science relied on images of inferior and invisible but potent enemies. Both were able to increase their prestige via a mutual interchange of their vocabularies. (shrink)

In 1973, the Supreme Court of the United States issued Roe v. Wade, a historic and contentious decision that established abortion as a fundamental constitutional right. This ruling protected aborti...

:Visual culture – art, film, entertainment, advertising – are saturated with images of normative heterosexual masculinity. They form visual narratives that project a largely coherent kind of masculinity where heterosexual men are shown to be creative and powerful; they initiate heroic action, take the moral high ground and preserve traditional roles and the status quo. This widely extensive visual field, peopled with normative images of masculinity, also affects and infiltrates the domain of art exemplified by Jackson Pollock and abstract expressionism (...) which, to the present day, continues to project masculinity as the originator and pioneer of aesthetic value. This essay reviews feminist and queer artists’ image making that appropriates the myth of homogeneous masculinity and turns it into a medium for a variety of creative and hybrid explorations. I argue that Deleuzoguattarian concepts such as becoming-woman and becoming-imperceptible help us to understand this molecularisation of masculinity. And importantly in the other direction, these feminist and queer image makers allow us to understand and explore more fully these concepts. (shrink)