Persons with Parkinson’s disease are advised to use compensatory strategies such as external cues or cognitive movement strategies to overcome gait disturbances. It is suggested that external cues involve the processing of sensory stimulation, while cognitive-movement strategies use attention allocation. This study aimed to compare over time changes in attention allocation in PwP between prolonged walking with cognitive movement strategy and external cues; to compare the effect of cognitive movement strategies and external (...) cues on gait parameters; and evaluate whether these changes depend on cognitive function. Eleven PwP participated in a single-group pilot study. Participants walked for 10 min under each of three conditions: natural walking, using external cuing, using a cognitive movement strategy. Attention and gait variables were extracted from a single-channel electroencephalogram and accelerometers recordings, respectively. Attention allocation was assessed by the% of Brain Engagement Index signals within an attentive engagement range. Cognitive function was assessed using a neuropsychological battery. The walk was divided into 2-min time segments, and the results from each 2-min segment were used to determine the effects of time and condition. Associations between cognitive function and BEI signals were tested. Findings show that in the cognitive movement strategy condition, there was a reduction in the % of BEI signals within the attentive engagement range after the first 2 min of walking. Despite this reduction the BEI did not consistently differ from natural and metronome walking. Spatiotemporal gait variables were better in the cognitive movement strategy condition relative to the other conditions. Global cognitive and information processing scores were significantly associated with the BEI only when the cognitive movement strategy was applied. In conclusion, the study shows that a cognitive movement strategy has positive effects on gait variables but may impose a higher attentional load. Furthermore, when walking using a cognitive movement strategy, persons with higher cognitive function showed elevated attentive engagement. The findings support the idea that cognitive and attentional resources are required for cognitive movement strategies in PwP. Additionally, this study provides support for using single-channel EEG to explore mechanistic aspects of clinical interventions. (shrink)

This article aims to explain the declining efficacy of California’s Agricultural Labor Relations Act over the past quarter century. It argues that the origins, terms, and outcomes of the Act emerged from an interplay between state and society: between the capacity of the state to initiate and implement social reform policy and the capacities of key social classes to tilt outcomes to their benefit. In contrast to both “state-centered” and “society-centered” views of the relationship among social classes, state structures, and (...) public policies, an historical-institutional theoretical frame reveals that social forces and political institutions are reciprocally constitutive, and that policy outcomes emerge from their interaction. Whereas labor union decline and policy failure are usually attributed to shifts in the political climate, in this case shifts in class leverage effected by the strategic choices of the farm labor union movement were at certain points more influential. (shrink)

A theory is presented to explain how accurate, single-joint movements are controlled. The theory applies to movements across different distances, with different inertial loads, toward targets of different widths over a wide range of experimentally manipulated velocities. The theory is based on three propositions. (1) Movements are planned according to “strategies” of which there are at least two: a speed-insensitive (SI) and a speed-sensitive (SS) one. (2) These strategies can be equated with sets of rules for performing diverse (...) movement tasks. The choice between SI and SS depends on whether movement speed and/or movement time (and hence appropriate muscle forces) must be constrained to meet task requirements. (3) The electromyogram can be interpreted as a low-pass filtered version of the controlling signal to the motoneuron pools. This controlling signal can be modelled as a rectangular excitation pulse in which modulation occurs in either pulse amplitude or pulse width. Movements to different distances and with loads are controlled by the SI strategy, which modulates pulse width. Movements in which speed must be explicitly regulated are controlled by the SS strategy, which modulates pulse amplitude. The distinction between the two movement strategies reconciles many apparent conflicts in the motor control literature. (shrink)

Scholarly debate over the transformative potential of neoliberal, market-based, food movement strategies historically contrasts those who value their potential to reform the food-system from the inside against those who argue that their use concedes the primacy of the market, creates citizen-consumers, and undermines overall movement goals. While narrow case studies have provided important amendments, the legacy of such strategies requires impacts to be evaluated both contextually and more broadly than the specific activism. This study thus conceptualizes (...) the ‘case’ of U.S. biotechnology market activism expansively, drawing on interviews with 25 activists from diverse organizations to investigate the legacy of two food-labeling movement strategies (one public and mandatory, one private and voluntary). The results support that the legacy of market strategies extends more broadly than the immediate initiative. They also confirm that the consequences of such neoliberalized strategies are most productively assessed contextually and applied, rather than categorically—as most clearly illustrated by the counterintuitive results of the failed mandatory labeling effort. Of the two market strategies, voluntary labeling demonstrated the most problematic relationship to broader movement goals of food system transformation, in part because of the greater potential for overlapping credence claims and in part due to the risks of niche market logic. (shrink)

This chapter focuses on the experimental practices and reasoning strategies employed in nineteenth century investigations on the causal origin of the phenomenon of Brownian movement. It argues that there was an extensive and sophisticated experimental work done on the phenomenon throughout the nineteenth century. Investigators followed as rigorously as possible the methodological standards of their time to make causal claims and advance causal explanations of Brownian movement. Two major methodological strategies were employed. The first was the (...) experimental strategy of varying the circumstances. Suspected causal factors were varied and the resulting effect on Brownian movement was studied. The main goal of this strategy was the identification of difference-making factors, i.e., factors having a causal influence on the phenomenon. The second was the so-called method of hypothesis. Rather than relying exclusively on the ability of experiments to identify difference-making factors, its proponents tried to show how the independently developed tenets of the new kinetic-molecular conception of matter provided a plausible causal explanation of Brownian movement. Each one of these methodological strategies had its distinctive practices and notions of control. None of these strategies could, on its own, establish molecular motion as the cause of Brownian movement. It was only the fruitful combination of the two strategies and of their accompanying practices and notions of control that led, at the end of the nineteenth century, to the recognition of molecular motion as the most probable cause of Brownian movement. (shrink)

This essay considers the social effects of the strategy of "speaking out" about sexual violence to transform rape culture. I articulate the paradox that women's identification as victims in the public sphere reinscribes the gendered norms that enable the victimization of women. I suggest we create a more diversified public narrative of sexual violence and sexuality within the context of the movement against sexual violence in order to deconstruct masculinist power in feminine victimization.

he article focuses on the contemporary social movements and new identities as well as the new theoretical paradigms to explain these developments. It is reported that the social movements like feminist, ecological, and local-autonomy movements started in the Europe in the 1970's. The participants in these movements, it is said, did not view themselves in terms of a socioeconomic class. Class background does not determine the collective identities of the actors of these socio-political movements. Different social philosophers and thinkers like (...) Karl Marx and Emile Durkheim and their ideas are also discussed. (shrink)

This article brings a phenomenological account of the body into dialogue with theories of gender performativity, through an analysis of performance artist Cathy Sisler’s videos Aberrant Motion #1 (1993) and Aberrant Motion #4 (1994). In the work I discuss, Sisler foregrounds he limits of visibility and employs a visual mode which is more haptic than strictly optic. At the same time, the work makes explicit the power of visibility to regulate, control and mark out the subject and critiques the effect (...) of the gaze upon structures of identity formation and, crucially, the motility of the body. I argue that in this work, the viewer’s relation to the images is severed from the visual mastery associated with the modes of viewing which position Sisler as ‘other’, but which remain vitally at stake within the haptic visual economy she creates. (shrink)

Despite the importance of effective observational analysis in the technical aspects of climbing performance, limited research informs this aspect of climbing coach education. Thus, the purpose of the present research was to explore cognitive-perceptual mechanisms underpinning visual search strategies of expert and novice climbing coaches through the novel combination of eye-tracking technology and retrospective think-aloud methodology. Analysis of gaze data revealed expert climbing coaches to demonstrate fewer fixations of greater duration, and fixate on distinctly different areas of the visual (...) display, than their novice counterparts. Retrospective think-aloud interviews further demonstrated differences in the cognitive-perceptual mechanisms underpinning these visual search strategies, with expert coaches more cognisant of their visual search strategy. To expand, the gaze behaviour of expert climbing coaches was underpinned by hierarchical and complex knowledge structures relating to principles of climbing movement. This enabled expert coaches to actively focus on the most relevant aspects of a climber’s performance for analysis. Findings demonstrate the utility of combining eye tracking and retrospective think-aloud interviewing as a new, efficient methodology of capturing the cognitive-perceptual processes of climbing coaches to inform coaching education/strategies. (shrink)

Features of gait are determined at multiple levels, from the selection of the gait itself (e.g. walk or run) through the specific parameters utilized (stride length, frequency, etc.) to the pattern of muscular excitation. The ultimate choices are neurally determined, but what is involved with that decision process? Human locomotion appears stereotyped not so much because the pattern is predetermined, but because these movement patterns are good solutions for providing movement utilizing the machinery available to the individual (the (...) legs and their requisite components). Under different circumstances the appropriate solution may differ broadly (different gait) or subtly (different parameters). Interpretation of the neural decision making process would benefit from understanding the influences that determine the selection of the appropriate solution in any set of circumstances, including that of normal conditions. In this review we survey an array of studies that point to energetic cost as a key input to the gait coordination system, and not just an outcome of the gait pattern implemented. We then use that information to rigorously define the construct proposed by Sparrow and Newell (1998) where the effects of environment, organism and task act as constraints determining the solution set available, and the coordination pattern is then implemented under a pressure for energetic economy. Environment is defined in terms of affordances based on the ecological psychology definition of the concept and organism is defined as classic morphology and physiology based capabilities. We rely on a novel conceptualization of task that recognizes that the task goal needs to be separated from the mechanisms that achieve the goal if the motivation behind the selection of the mechanism strategy is to be exposed and understood. This reformulation of the Sparrow and Newell construct is then linked to the proposed pressure for economy by considering it as an optimization problem, where the most readily selected gait strategy will be that which achieves the task goal at (or near) the energetic minimum. (shrink)

Explaining digital impacts on social movements requires moving beyond technological determinism by addressing two underdeveloped questions: How does political strategy shape the use of information and communication technologies? And how do divergent uses of ICTs influence movement outcomes? This study addresses these questions by examining the 2018 educator walkouts in Oklahoma and Arizona—statewide actions initiated through rank-and-file Facebook groups. To explain why the strike in Arizona was more effective than in Oklahoma, despite more auspicious conditions for success in the (...) latter, this study shows that the impact of ICTs is mediated by leaders’ strategic choices. Whereas Oklahoma’s strike was marked by mobilization without organization—scaling up protest without an organizational foundation—Arizona used digital tools to build, rather than eschew, organization. Digital impacts further depend on the nature of the contentious performance itself, since the efficacy limitations of relying solely on ICTs are particularly pronounced for actions like strikes. (shrink)

This article offers a critique of the central role afforded to the rights/sentience-based moral argument in the rhetorical strategy of the animal rights movement since the 1970s. Though important for articulating the movement’s philosophy and recruiting new activists, this argument has limited persuasive appeal, as suggested by the common failure of liberation movements to achieve their goals through moral advocacy. A two-prong approach addressing human health and environmental effects of animal agriculture is offered both as a supplemental strategy (...) for reaching audiences unaffected by the moral argument and as a critical means of strengthening that argument. (shrink)

Strategies of environmental organisations in the Netherlands regarding the ozone depletion problem have been analysed both at the cognitive level and at the operational level. The first objective of this analysis was to describe their strategies over a period of time. Secondly, it aimed to increase understanding of the linkage between cognitive and operational aspects of the strategies. The third objective was to find out to what extent strategies are constant features of an organisation and how (...) far they are defined by particular problems. The results indicate that each of the organisations concerned with the ozone depletion problem adopted several different strategies, that the strategies of the organisations did not change much over time, and that there was no one-to-one linking of different aspects of the strategy of the organisations. Strategies seem largely to be defined by the problem encountered. (shrink)

The Movement for Black Lives has gained worldwide visibility as a grassroots social justice movement distinguished by a decentralized, non-hierarchal mode of organization. MBL rose to prominence in part thanks to its protests against police brutality and misconduct directed at black Americans. However, its animating concerns are far broader, calling for a wide range of economic, political, legal, and cultural measures to address what it terms a “war against Black people,” as well as the “shared struggle with all (...) oppressed people.” Despite the significance of the social, political, and economic goals of MBL, as well as the innovative organizational leadership strategies it employs, MBL has received little sustained philosophical attention. The Movement for Black Lives: Philosophical Perspectives brings philosophical analysis to bear on the aims, strategies, policy positions, and intellectual-historical context of MBL. Leading scholars address the following themes: “Black Lives Matter” as a political speech act, MBL’s conception of the value of black lives, the gender dynamics of the Movement, the relation of MBL to other black liberation movements and transitional justice movements, the Movement’s new forms of leadership and organization, and the impact of racism on the normative assessment of the criminal justice system. Accordingly, the volume broaches a wide range of pressing issues in the philosophy of language, social and political philosophy, philosophy of race, philosophy of gender, and the philosophy of punishment. It is important reading for students and scholars in the humanities and social sciences interested in race, inequality, and social justice movements. (shrink)

Research illustrates that social movements can fuel new markets and that these markets can create social change, but the role of leaders in this process is less understood. This exploratory interview-based study of the localism movement contributes to such understanding. It articulates the relationship of social movement leaders and the legitimacy of their organizations to new market creation. Specifically, leaders in this study engaged in a dual role to legitimize their organizations and to legitimize the movement. At (...) an organizational level, leaders chose strategies that conformed to a conventional organizational model of the social movement organization as a business network, much like a local chamber of commerce. At a movement level, the SMO’s level of legitimacy influenced the leader’s choice of strategies to grow a “local” market. These strategies aimed, primarily, to shape consumer purchase behavior and, secondarily, to foster the development of producers’ skills, and only in a tertiary way, to alter the nature of exchange. Finally, this study’s findings suggest a tension between the dual roles that may ultimately challenge the efficacy of the movement. (shrink)

_Strategies of Deconstruction _ was first published in 1991. Minnesota Archive Editions uses digital technology to make long-unavailable books once again accessible, and are published unaltered from the original University of Minnesota Press editions. In the past two decades, the "movement" of deconstruction has bad tremendous impact on a number of academic, disciplines in the United States. However, its force has been rather limited in the field of philosophy, despite the fact that in Europe the practice of deconstruction emerged (...) in the work of philosophers. Although the reasons for this can be debated, two of the more obvious explanations are the mainstream Anglo-American philosophers rarely studied the German and French philosophical traditions in great detail, and deconstruction's focus on discourse and interpretation has made it more attractive to the literary and humanistic disciplines. With this context, _Strategies of Deconstruction _ focuses on the early work of Jacques Derrida, the French philosopher who introduced deconstruction in _Speech and Phenomena_,his study of Edmund Husserl, and _Of Grammatology_, and whose philosophical reputation stems in no small part from his work on Husserl. In examining the philosophical import of Derrida's theories of reading, text, and language, specifically as they related to _Speech and Phenomena_,J. Claude Evans makes careful reference to Husserl's own texts. His analysis indicates that there are many systematic irregularities in Derrida's study and that without those irregularities Derrida's conclusions cannot be substantiated. (shrink)

Sequential action makes up the bulk of human daily activity, and yet much remains unknown about how people learn such actions. In one motor learning paradigm, the serial reaction time (SRT) task, people are taught a consistent sequence of button presses by cueing them with the next target response. However, the SRT task only records keypress response times to a cued target, and thus it cannot reveal the full time‐course of motion, including predictive movements. This paper describes a mouse (...) class='Hi'>movement trajectory SRT task in which the cursor must be moved to a cued location. We replicated keypress SRT results, but also found that predictive movement—before the next cue appears—increased during the experiment. Moreover, trajectory analyses revealed that people developed a centering strategy under uncertainty. In a second experiment, we made prediction explicit, no longer cueing targets. Thus, participants had to explore the response alternatives and learn via reinforcement, receiving rewards and penalties for correct and incorrect actions, respectively. Participants were not told whether the sequence of stimuli was deterministic, nor if it would repeat, nor how long it was. Given the difficulty of the task, it is unsurprising that some learners performed poorly. However, many learners performed remarkably well, and some acquired the full 10‐item sequence within 10 repetitions. Comparing the high‐ and low‐performers’ detailed results in this reinforcement learning (RL) task with the first experiment's cued trajectory SRT task, we found similarities between the two tasks, suggesting that the effects in Experiment 1 are due to predictive, rather than reactive processes. Finally, we found that two standard model‐free reinforcement learning models fit the high‐performing participants, while the four low‐performing participants provide better fit with a simple negative recency bias model. (shrink)

Sequential action makes up the bulk of human daily activity, and yet much remains unknown about how people learn such actions. In one motor learning paradigm, the serial reaction time (SRT) task, people are taught a consistent sequence of button presses by cueing them with the next target response. However, the SRT task only records keypress response times to a cued target, and thus it cannot reveal the full time‐course of motion, including predictive movements. This paper describes a mouse (...) class='Hi'>movement trajectory SRT task in which the cursor must be moved to a cued location. We replicated keypress SRT results, but also found that predictive movement—before the next cue appears—increased during the experiment. Moreover, trajectory analyses revealed that people developed a centering strategy under uncertainty. In a second experiment, we made prediction explicit, no longer cueing targets. Thus, participants had to explore the response alternatives and learn via reinforcement, receiving rewards and penalties for correct and incorrect actions, respectively. Participants were not told whether the sequence of stimuli was deterministic, nor if it would repeat, nor how long it was. Given the difficulty of the task, it is unsurprising that some learners performed poorly. However, many learners performed remarkably well, and some acquired the full 10‐item sequence within 10 repetitions. Comparing the high‐ and low‐performers’ detailed results in this reinforcement learning (RL) task with the first experiment's cued trajectory SRT task, we found similarities between the two tasks, suggesting that the effects in Experiment 1 are due to predictive, rather than reactive processes. Finally, we found that two standard model‐free reinforcement learning models fit the high‐performing participants, while the four low‐performing participants provide better fit with a simple negative recency bias model. (shrink)

Defining the common good -- Assessing the impact of proposed actions on human happiness and well-being -- Protecting and enhancing public goods -- Identifying today's major social problems -- Activists, reformers and social movements -- Key tools for advancing the common good -- What can businesses do to advance the common good? -- What can government do to advance the common good? -- What can nonprofit organizations do to advance the common good?

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)

The paper investigates Maurice Merleau-Ponty’s discussion of body and space and Gilles Deleuze’s reading of Francis Bacon’s work, in order to derive a renegotiated interrelation between habitual body, phenomenal space, preferential plane and constructive line. The resulting system is ap- plied as a filter to understand the sartorial fashion of Rei Kawakubo and Hussein Chalayan and their potential as a spatial prosthesis: the operative third skin. If the evolutionary nature of culture demands a constant change, how does the surface of (...) a third skin, which embodies the generative of stable/ unstable, respond to changes of context? The fleeting, shifting conditions of contemporary culture/ lifestyle rely upon, result in, and reflect one constant, change: change of working conditions, family structures, modes of inhabitation, relation networks, of userprofile and identity, of social and territorial boundaries. We occupy the shift- ing spatial parameters of a transitional supermodern environment. Culture, as enacted or embodied through each of these fields, is regulated by a number of abstract and factual variables that interplay constantly: time, space, movement, surface, individual, and data. Elizabeth Grosz argues that culture is an evolutionary effect: it regenerates itself in order to ensure the survival of the species. Each “prosthetic” expression of culture – language, fashion, architecture, etc. – changes repeatedly. Here change is not an end in itself, but a means. And the most successful prosthesis may not be the one that is able to answer the largest number of challenges, but one which itself undergoes a process of learning, self-modification, and differentiation – in short, a process of evolution. Any prosthesis is by nature an extension of the body. In the case of architecture and fashion the prosthesis addressing change is most often external to the body – a “cultural fur” or a surface phenomenon, that is, a highly profiled supplementary skin. As with all prostheses, their respective life-span depends on their ability to reflect a change in context and value systems. They are adapted or updated, if not, they vanish. Any situation of change is processed as a differentiation between the actual and the virtual of a given context. Grosz identifies distinctions between the actual and virtual, the real and the possible: the possible is a preformed real that has not yet received its final materiality, and thus delineates a range of options of becoming. The real is the blueprint of the possible, negotiated by factual limitations, and it is conjoint with the actual through a process of differentiation and divergence. The virtual comprises alternate variations of the actual, it defines a realm of deviation from the blueprint. In order to be responsive to change, the balance between the actual and virtual thus must be rendered unstable: “The virtual requires the actual to diverge, to differentiate itself, to proceed by way of division and disruption, forging modes of actualisation that will transform this virtual into others unforeseen or uncontained within it.” 4 The integration of the virtual allows a re-ordering of the blueprint, a return to the crossroad of possibilities, unlimiting and processing an alternative real, and establishing a state of continual change. A repeated change – not as a choice between a number of options but as a gradual process – marks the moment of evolution, and requires a dynamic system. Such a dynamic can be rendered as an adaptable, flexible, modular, mobile, or morphing system of change. The key lies with the fluency and ability of adaptation for the proposed differentiation between actual and virtual – thus it is an elastic change that is required. The nature of this elasticity is encoded in a repeated repositioning of the variables: a constant fine-tuning of a maximum number of parameters that engineer, alter and define the blueprint. When looking for a dynamic system that incorporates a transformation of skin or space, we are in search of dynamics through an operative surface, controlled by means of the constructive line. Both operative surface and constructive line are generative methods for the formation and form finding of the second and third skin of sartorial fashion and architecture respectively, as they both produce inhabitable or wearable envelopes with a specific responsiveness. Both professions share communication, coding and signage, form information programs, pattern charts, volume outlines, texture fields, surface operations, and implement electronic or digital extensions. In both, the constructive line shapes the surface twice: before production and in operation. The surface demarcates space, spatial envelope, enclosing garment, field of action. In which way can an operative system of the surface with stable/ unstable conditioning generate a phenomenological or evolutionary change in the reconstruction of body and context? How do time, space, movement, surface, individual and data interact in this framework? What is the impact of surface strategies and constructive line on that system? (shrink)

Background: People with a personality disorder suffer from enduring inflexible patterns in cognitions and emotions, leading to significant subjective distress, affecting both self and interpersonal functioning. In clinical practice, Dance Movement Therapy is provided to clients with a PD, and although research continuously confirms the value of DMT for many populations, to date, there is very limited information available on DMT and PD. For this study, a systematic literature review on DMT and PD was conducted to identify the content (...) of the described DMT interventions and the main treatment themes to focus upon in DMT for PD.Methods: A systematic search was conducted across the following databases: EMBASE, MEDLINE, PubMed, WEB OF SCIENCE, PsycINFO/OVID, and SCOPUS following the PRISMA guidelines. The Critical Appraisal Skills Programme for qualitative studies was used to rank the quality of the articles. The Oxford Center for Evidence-based Medicine standards were applied to determine the hierarchical level of best evidence. Quantitative content analysis was used to identify the intervention components: intended therapeutic goals, therapeutic activities leading to these goals, and suggested therapeutic effects following from these activities. A thematic synthesis approach was applied to analyze and formulate overarching themes.Results: Among 421 extracted articles, four expert opinions met the inclusion criteria. Six overarching themes were found for DMT interventions for PD: self-regulation, interpersonal relationships, integration of self, processing experiences, cognition, and expression and symbolization in movement/dance. No systematic descriptions of DMT interventions for PD were identified. A full series of intervention components could be synthesized for the themes of self-regulation, interpersonal relationships, and cognition. The use of body-oriented approaches and cognitive strategies was in favor of dance-informed approaches.Conclusions: Dance movement therapists working with PD clients focus in their interventions on body-related experiences, non-verbal interpersonal relationships, and to a lesser extent, cognitive functioning. A methodological line for all intervention components was synthesized for the themes of self-regulation, interpersonal relationships, and cognition, of importance for developing systematic intervention descriptions. Future research could focus on practitioners' expertise in applying DMT interventions for PD to develop systematic intervention descriptions and explore the suitability of the identified themes for clinical application. Clients' experiences could offer essential insights on how DMT interventions could address PD pathology and specific PD categories. (shrink)

The following text is a translation of Daniel Bensaïd’s ‘Strategy and Politics’, which covers debates within the workers’ movement from the time of Marx and Engels, through the Second and Third Internationals, up to the more immediate revolutionary experiences in Nicaragua and Latin America. An Introduction to this has been published simultaneously.

The following text is a translation of Daniel Bensaïd’s ‘Strategy and Politics’, which covers debates within the workers’ movement from the time of Marx and Engels, through the Second and Third Internationals, up to the more immediate revolutionary experiences in Nicaragua and Latin America. An Introduction to this has been published simultaneously.

Political philosophers’ prescriptions for poverty alleviation have overlooked the importance of social movements led by, and for, the poor in the global South. I argue that these movements are normatively and politically significant for poverty reduction strategies and global justice generally. While often excluded from formal political processes, organized poor communities nonetheless lay the groundwork for more radical, pro-poor forms of change through their grassroots resistance and organizing. Poor-led social movements politicize poverty by insisting that, fundamentally, it is caused (...) by social relations of power that exploit and subordinate poor populations. These movements and their organizations also develop the collective capabilities of poor communities in ways that help them to contest the structures and processes that perpetuate their needs deprivation. I illustrate these contributions through a discussion of the Landless Rural Worker’s Movement in Brazil, a poor mobilization organization in Bangladesh, and the slum and pavement dweller movement in India. Global justice theorizing about poverty cannot just “add on” the contributions of such struggles to existing analyses of, and remedies for, poverty, however; rather, we will need to shift to a relational approach to poverty in order to see the vital importance of organized poor communities to transformative, poor-centered poverty reduction. (shrink)

This paper describes the emergence of a controversy concerning pollution and environmental and health risks in two southern French towns, Viviez and Salindres, which are both known for their long industrial history. It explores some of the reasons why the majority of the local populations resented the fact that the; issues raised were addressed publicly. It also examines some of the coping strategies residents may have developed to avoid talking about risks and to distance themselves from them. It goes (...) on to discuss the differences and similarities in the development of concerns for environmental inequalities in the North American and French contexts, asking, in the manner of Werner Sombart on socialism in the USA at the end of the nineteenth century, why environmental justice is not a strong concern (either as a social movement or frame of analysis) this side of the Atlantic. (shrink)