This article discusses the integration of principle-based ethics into business ethics education. It explains how several pedagogical innovations were successfully undertaken in over 20 business ethics courses taught since 2018 to enhance active student engagement with a principle-based ethical framework central to decision making in the complex environment that many organizations face on a day-to-day basis. The teaching initiatives used include case-based projects and discussions, a personal code of ethics developed by each student, and an arts-inspired presentation as well as (...) a student integrity and citizenship rubric assessing students’ ethical conduct throughout each course. To date, this approach to principle-based ethics education seems to deliver very promising results. (shrink)

The individual and society: Meerloo, J. A. M. Freedom--our mental backbone. Allport, G. Freedom. Marcuse, H. The new forms of control. Kerr, W. A. Psychology of the free competition of ideas. Eysenck, H. J. The technology of consent. Dewey, J. Toward a new individualism. Emerson, R. W. Self-reliance. Fromm, E. Freedom and democracy.--Religion and the inner man: St. Augustine. The freedom and the will. Mercier, L. J. A. Freedom of the will and psychology. Dostoyevsky, F. The grand inquisitor. Berdyaev, N. (...) Master, slave and free man. Buber, M. I and thou. Govinda, A. Time and space and the problem of free will. Prabhavananda, S. Control of the subconscious mind.--Philosophy and philosophical psychology: Bergson, H. Psychological determinism. James, W. The dilemma of determinism. Mill, J. S. The freedom of the will. Sartre, J. P. Being and doing: freedom. Wyschogrod, M. Sartre, freedom and the unconscious. May, R. Will, decision and responsibility: summary remarks. Knight, R. P. Determinism, "freedom," and psychotherapy. Royce, J. Meaning, value, and personality.--Selected bibliography (p. 393-408). (shrink)

This is an excerpt from the contentThere has been increasing interest in recent years in dual process theories of human thought. This special issue of Mind and Society reflects this interest, some criticisms of these theories, and the major topics that have been discussed and debated as a result. There is the basic topic of how the postulated dual processes should be defined in the first place. Do these processes have essential defining features that can be distinguished from less central (...) correlates? Can decoupling, metarepresentation, or working memory be used for making the essential distinction?There are questions about how these dual processes work and interact. What do dual process theories tell us about different modes of thought and insight in problem solving? One topic that could throw light on these questions is creative thinking. It deals with novelties and yet can be rule following. It can be an aspect of hypothetical thinking, but how far it is a conscious or unconscious process is still unknown. There is th. (shrink)

Explores the extraordinary states of expanded consciousness that arise during comas, both positive and negative.

In the near future, vehicles will gradually gain more autonomous functionalities. Drivers’ activity will be less about driving than about monitoring intelligent systems to which driving action will be delegated. Road safety, therefore, remains dependent on the human factor and we should identify the limits beyond which driver’s functional state (DFS) may no longer be able to ensure safety. Depending on the level of automation, estimating the DFS may have different targets, e.g. assessing driver’s situation awareness in lower levels (...) of automation and his ability to respond to emerging hazard or assessing driver’s ability to monitor the vehicle performing operational tasks in higher levels of automation. Unfitted DFS (e.g., drowsiness) may impact the driver ability respond to taking over abilities. This paper reviews the most appropriate psychophysiological indices in naturalistic driving while considering the DFS through exogenous sensors, providing the more efficient trade-off between reliability and intrusiveness. The DFS also originates from kinematic data of the vehicle, thus providing information that indirectly relates to drivers behaviour. The whole data should be synchronously processed, providing a diagnosis on the DFS, and bringing it to the attention of the decision maker in real time. Next, making the information available can be permanent or intermittent (or even undelivered), and may also depend on the automation level. Such interface can include recommendations for decision support or simply give neutral instruction. Mapping of relevant psychophysiological and behavioural indicators for DFS will enable practitioners and researchers provide reliable estimates, fitted to the level of automation. (shrink)

Consequential historical decisions that shaped transportation systems and their influence on society have many valuable lessons. The decisions we learn from and choose to make going forward will play a key role in shaping the mobility landscape of the future. This is especially pertinent as artificial intelligence (AI) becomes more prevalent in the form of autonomous vehicles (AVs). Throughout urban history, there have been cyclical transport oppressions of previous-generation transportation methods to make way for novel transport methods. These cyclical oppressions (...) can be identified in the baroque and modernist periods, and a third oppression may occur in the contemporary period. To explore the idea of a third oppression, we focus on the bicycle and outline the history of cycling to understand how historical mode oppression unfolded. We then present several social and political factors that contributed to the oppression of cycling and share recommendations for how to avoid future oppressions including political, social, and design actions for researchers and policymakers to take. This paper argues that priorities for AI-enabled mobility and cyclist needs be advanced in proportion to the extent that they contribute to societal goals of urban containment, public realm, and proximal cities. Additionally, future mobility evolutions should prioritise mobility justice and mode choice over inducing a singular transportation method. (shrink)

In lieu of an abstract, here is a brief excerpt of the content:Philosophy, Psychiatry, & Psychology 12.1 (2005) 1-7 [Access article in PDF] Clinical Practice, Science, and the Unconscious Douglas McConnell Neil Pickering Keywords psychotherapy, cognitive science, neuroscience, computational view of mind. This volume of Philosophy, Psychiatry, & Psychology is devoted to questions about the unconscious mind. The philosophical complexities and difficulties associated with the unconscious are many and, despite widespread confusion and disagreement as to the nature (...) of the unconscious mind, it is used as a concept informing psychotherapy. It is therefore not surprising that papers in a special edition on the unconscious might be weighted heavily toward uncovering a justifiable conceptual niche for the unconscious and elaborating on some of the main conceptual connections. Although this makes for a slightly more philosophical edition of PPP than usual, those perhaps less interested in philosophy and more interested in actual psychiatric practice can incorporate the concepts and insights developed in these papers into their practice as they see fit.The three main articles take three quite distinct approaches to the unconscious. Schechtman (2005) addresses the need for a theory of personal identity to incorporate the unconscious and presents one that does so by developing some central Lockian intuitions. Church (2005) investigates whether the kinds of things happening in the unconscious can be explained by cognitive operations not normally associated with consciousness, specifically, spatial structuring of experience. McConnell and Gillett (2005) clarify some of Lacan's ontology of the mind where the language encountered and used by the subject provides the structure for their unconscious.The aim of this introduction is to ask and try to answer a question that logically precedes those raised in the articles in the light of the therapeutic use of the unconscious. When dealing with psychoanalysis or psychoanalytic concepts in an Anglo-American context, the struggle that psychoanalysis has had and continues to have in a psychiatric domain ruled by science is never far from the spotlight. Indeed Hinshelwood (2005) also picks up the importance of this conflict when replying to McConnell and Gillett. It seems to be historically true that the unconscious has fallen out of favor in scientific and psychiatric circles (it is no surprise that psychiatric training is largely based in "hard," that is, biological and biochemical science) particularly over the last 50 years or so. But is the scientific skepticism to be found about the use of the unconscious well-founded? And how does the continued utilization [End Page 1] of the unconscious by the therapist fit into current practice given this skepticism? Psychotherapy and the Unconscious In psychotherapy, the therapist and the client together construct a story that explains why the client is having some form of difficulty in his or her life. The stated aim is to enable the client to overcome this difficulty by gaining an understanding of what has generated it. Doing so may be a first step to dealing with that conflict. For example, an office worker who is scared of the boss and whose life at work is a misery as result may come to think that the boss is a reminder of some threatening figure from childhood and that the reaction is a regression to infantile behavior. Knowing this, the fear of the boss can be revisited—perhaps reconfigured, perhaps overcome—and life may improve. In the process of therapy, the relation of the figure from childhood to the boss is made conscious. But it was still operative before it was made explicit, even though the client did not realize it and some would say that the client's unconscious had somehow buried the memory from childhood or hidden from the client the relation of this memory of a threatening figure to the boss.A description of the content of the unconscious is, then, an intentional description involving the client's thought life, one made to help an individual understand otherwise unintelligible (to that individual) feelings, beliefs, desires, actions, and so on. Subjects' intentions are their normatively structured mental representations of, and attitudes toward, the world (e.g., "He is my boss"; "I am afraid of him"). An intentional unconscious description then takes an intentional form... (shrink)

In the context of nonstandard analysis, the somewhat vague equality relation of near-equality allows us to relate objects that are indistinguishable but not necessarily equal. This relation appears to enable us to better understand certain paradoxes, such as the paradox of Theseus’s ship, by identifying identity at a time with identity over a short period of time. With this view in mind, I propose and discuss two mathematical models for this paradox.

This essay defends moral expertise against the skeptical considerations raised by Gilbert Ryle and others. The core of the essay articulates an account of moral expertise that draws on work on expertise in empirical moral psychology, and develops an analogy between moral expertise and linguistic expertise. The account holds that expertise is contrastive, so that a person is an expert relative to a particular contrast. Further, expertise is domain specific and characterized by “automatic” behavior and judgment. Some disagreements in the (...) literature regarding moral expertise are diagnosed as being due to failures to adequately distinguish different ways in which someone can be a moral expert. For example, expertise in action does not imply expertise in judgment or analysis. (shrink)

The unprecedented economic changes taking place in China over the past three decades have led to significant new fiscal pressures for the central and provincial governments. The relative decline of public ownership and rise of the private sector has forced governments to substitute revenues from new taxes for the funds formerly provided by public enterprises. The shift from profit distribution to tax revenues has led to a realignment of power between local governments and the central government while the growing disparity (...) in wealth between have and have-not provinces has increased the pressure on the central government to further consolidate control over tax revenues and to apply the enhanced revenues to fund fiscal redistribution transfers. At the same time, modernization of the economy and the influx of foreign investment have created pressure to revamp tax laws and tax administration so both resemble more closely western market economy norms. These processes may lead to an irreversible shift of fiscal power from provincial governments to the central government and a consequent consolidation of political power, changing forever the political economy of modern China. (shrink)

In The Virtues of Ignorance the author demonstrates that classical theories of virtue are flawed and developes a consequentialist theory of virtue. ;Virtues are excellences of character. They are traits which are considered to be valuable in some way. A person who is virtuous is one who has a tendency to act well. Classical philosophers, such as Plato and Aristotle, believed that virtues, as human excellences, could not involve ignorance in any way. On their view, the virtuous agent, when acting (...) well, knows what she is doing under the description which makes the action conform to virtue. For example, the generous person must know that she is, in fact, helping others in need. Yet, there is a class of virtues, the "virtues of ignorance," which essentially involve ignorance. For example, modesty requires that the agent underestimate self worth. In the first portion of the dissertation, this class of virtues is discussed, and problems raised for the traditional theories of virtue. ;In the latter portion of the dissertation, the author outlines a consequentialist theory of virtue. It is argued that the only hope of developing a unified theory of virtue is along consequentialist lines, because attempts at identifying the psychological state which is necessary for virtue have failed. On a consequentialist theory, a virtue is defined in terms of its consequences. Thus, the moral quality of the character trait is determined by how much good it brings about . The virtues of ignorance can easily be accommodated in such a theory because these traits do bring about good, even if the agent possessing the trait acts out of ignorance. (shrink)

The predominant view of moral virtue can be traced back to Aristotle. He believed that moral virtue must involve intellectual excellence. To have moral virtue one must have practical wisdom - the ability to deliberate well and to see what is morally relevant in a given context. Julia Driver challenges this classical theory of virtue, arguing that it fails to take into account virtues which do seem to involve ignorance or epistemic defect. Some 'virtues of ignorance' are counterexamples to accounts (...) of virtue which hold that moral virtue must involve practical wisdom. Modesty, for example, is generally considered to be a virtue even though the modest person may be making an inaccurate assessment of his or her accomplishments. Driver argues that we should abandon the highly intellectualist view of virtue and instead adopt a consequentialist perspective which holds that virtue is simply a character trait which systematically produces good consequences. (shrink)

Paul Katsafanas presents a clear, systematic study of Nietzsche's moral psychology. He analyzes Nietzsche's distinction between conscious and unconscious mental events, explains the nature of a type of motivational state that Nietzsche calls the 'drive', and examines the connection between drives, desires, affects, and values. He explores Nietzsche's account of willing unity of the self, freedom, and the relation of the self to its social and historical context. And he argues that Nietzsche's account enjoys a number of advantages over (...) the currently dominant models of moral psychology--especially those indebted to the work of Aristotle, Hume, and Kant--and considers the ways in which Nietzsche's arguments can reconfigure and improve upon debates in the contemporary literature on moral psychology and philosophy of action. (shrink)

Consequentialism is the view that the rightness or wrongness of actions depend solely on their consequences. It is one of the most influential, and controversial, of all ethical theories. In this book, Julia Driver introduces and critically assesses consequentialism in all its forms. After a brief historical introduction to the problem, Driver examines utilitarianism, and the arguments of its most famous exponents, John Stuart Mill and Jeremy Bentham, and explains the fundamental questions underlying utilitarian theory: what value is to be (...) specified and how it is to be maximized. Driver also discusses indirect forms of consequentialism, the important theories of motive consequentialism and virtue consequentialism, and explains why the distinction between subjective and objective consequentialism is so important. Including helpful features such as a glossary, chapter summaries, and annotated further reading at the end of each chapter, Consequentialism is ideal for students seeking an authoritative and clearly explained survey of this important problem. (shrink)

This essay attempts to show that sophisticated consequentialism is able to accommodate the concerns that have traditionally been raised by feminist writers in ethics. Those concerns have primarily to do with the fact that consequentialism is seen as both too demanding of the individual and neglectful of the agent's special obligations to family and friends. Here, I argue that instrumental justification for partiality can be provided, for example, even though an attitude of partiality is not characterized itself in instrumental terms.

Accounts of virtue suffer a conflation problem when they appear unable to preserve intuitive distinctions between types of virtue. In this essay I argue that a number of influential attempts to preserve the distinction between moral and epistemic virtues fail, on the grounds that they characterize virtuous traits in terms of ‘characteristic motivation’. I claim that this does not distinguish virtuous traits at the level of value‐conferring quality, and I propose that the best alternative is to distinguish them at the (...) level of good produced. It follows from this that a consequentialist account is best placed to avoid a conflation of moral and epistemic virtue. (shrink)

This essay attempts to show that sophisticated consequentialism is able to accommodate the concerns that have traditionally been raised by feminist writers in ethics. Those concerns have primarily to do with the fact that consequentialism is seen as both too demanding of the individual and neglectful of the agent's special obligations to family and friends. Here, I argue that instrumental justification for partiality can be provided, for example, even though an attitude of partiality is not characterized itself in instrumental terms.

We seem less likely to endorse moral expertise than reasoning expertise or aesthetic expertise. This seems puzzling given that moral norms are intuitively taken to be at least more objective than aesthetic norms. One possible diagnosis of the asymmetry is that moral judgments require autonomy of judgement in away that other judgments do not. However, the author points out that aesthetic judgments that have been ‘borrowed’ by aesthetic experts generate the same autonomy worry as moral judgments which are borrowed by (...) moral experts. The author then explores various approaches to accepting the testimony of moral experts and concludes that the asymmetry may best be explained by (1) the conditions for moral expertise being more difficult to satisfy than those of aesthetic expertise and (2) the intuitive greater seriousness of accepting the moral judgments of others, since moral norms are generally viewed as more binding than aesthetic norms. (shrink)

_Ethics: The Fundamentals_ explores core ideas and arguments in moral theory by introducing students to different philosophical approaches to ethics, including virtue ethics, Kantian ethics, divine command theory, and feminist ethics. The first volume in the new Fundamentals of Philosophy series. Presents lively, real-world examples and thoughtful discussion of key moral philosophers and their ideas. Constitutes an excellent resource for readers coming to the subject of ethics for the first time.

abstract In this paper moralism is defined as the illicit use of moral considerations. Three different varieties of moralism are then discussed — moral absolutism, excessive standards and demandingness, and presenting non‐moral considerations as moral ones. Both individuals and theories can be regarded as moralistic in some of these senses. Indeed, some critics of consequentialism have regarded that theory as moralistic. The author then describes the problems associated with each sense of ‘moralism’ and how casuistry evolved to try to deal (...) with some of these problems. The author also defends consequentialism against one charge of moralism [1]. (shrink)

: This essay attempts to show that sophisticated consequentialism is able to accommodate the concerns that have traditionally been raised by feminist writers in ethics. Those concerns have primarily to do with the fact that consequentialism is seen as both too demanding of the individual and neglectful of the agent's special obligations to family and friends. Here, I argue that instrumental justification for partiality can be provided, for example, even though an attitude of partiality is not characterized itself in instrumental (...) terms. (shrink)

Discipline Over Punishment is an exploration of the transformative potential of restorative discipline practices in schools, ranging from the micro-level of one-on-one interactions with students to the macro-level of re-routing the school-to-prison pipeline and improving life outcomes for young people. Gardner, who continues to teach high school in Oakland, CA, has spent nearly 20 years innovating, struggling, and succeeding to implement various restorative justice practices in classrooms and schools around the Bay Area. Using classrooms and schools where he has (...) taught and students, families and educators with whom he has worked, Gardner examines how restorative justice, as a set of beliefs and practices can be a force for justice and equity in our classrooms, schools, and beyond. (shrink)

Purpose The widespread use of information and communication technologies enables consumers to obtain and share information whenever they feel the urge. With the advent of review websites and forums, companies and business owners may find themselves victims of consumer cyber aggression, which can hurt a company badly. This study aims to explore why consumers would engage in cyber aggression against companies, and to that end, it examines consumers’ ethical orientation and other possible drivers of cyber aggression. Design/methodology/approach To examine (...) how ethical orientation affects consumers’ intention to engage in cyber aggression, a scenario-based 2 × 2 between-subject experimental design is used. Moreover, 26 possible drivers in related literature are identified and included in a questionnaire administered to 226 college students. Findings The results show that adult consumers’ deontological and teleological evaluations significantly affect their ethical judgment about engaging in cyber aggression, which further impacts their intention to perpetrate an act of cyber aggression. Moreover, the study identifies six factors contributing to cyber aggression engagement as follows: personal aggressiveness, ease of perpetration, internet negativity, personal gains, helping the company and recreation. Originality/value Cyber aggression is generally viewed as interpersonal violence among adolescents. This study views cyber aggression from a different perspective and it is one of the few studies to look at adult consumers’ motivations to engage in cyber aggression against companies. The findings of this study can help firms understand why their customers attack them online, and understanding that will enable businesses to formulate more effective responses to attacks. (shrink)

Homegardens are traditional food systems that have been adapted over generations to fit local cultural and ecological conditions. They provide a year-round diversity of nutritious foods for smallholder farming communities in many regions of the tropics and subtropics. In southwestern Uganda, homegardens are the primary source of food, providing a diverse diet for rural marginalized poor. However, national agricultural development plans as well as economic and social pressures threaten the functioning of these homegardens. The implications of these threats are difficult (...) to evaluate, because the structure and functions of the homegardens are not well understood. The aim of the study was to identify patterns and influencing factors in the diversity of homegardens by documenting the floristic diversity and its interactions with spatial, environmental and socio-economic factors. A geographically and socially focused assessment of floristic diversity in 102 randomly selected homegardens in three districts of southwest Uganda was conducted along a deforestation gradient following a human ecology conceptual framework and testing multiple quantitative hypotheses regarding the above mentioned factors. A merged mixed-method approach was followed to provide context and feedback regarding quantitative findings. Results show a high total richness of 209 crop species dominated by food species, which constituted 96 percent of individuals and 44 percent of all species. Forest-edge homegardens maintained higher plant diversity compared to homegardens in deforested areas and near degraded wetlands. Multiple linear regression models indicated elevation, location, homegarden size, distance to market, additional land ownership and livestock ownership as significant predictors of crop diversity. Cluster analysis of species densities revealed four garden types: ‘diverse tree gardens’, ‘small forest-edge gardens’, ‘large, old, species-rich gardens’, and ‘large, annual-dominated herb gardens’, with 98% correct classification. Location, elevation, and garden size were also important determinants in the cluster assignment. We conclude that the diversity of the studied homegardens may be changing as part of adaptive traditional practices and in response to external drivers. The identified patterns illustrate the importance of homegardens for rural livelihoods and may offer some ways to support farmers to maintain these systems as relevant mechanisms for development in Uganda. (shrink)

abstract In this paper moralism is defined as the illicit use of moral considerations. Three different varieties of moralism are then discussed — moral absolutism, excessive standards and demandingness, and presenting non‐moral considerations as moral ones. Both individuals and theories can be regarded as moralistic in some of these senses. Indeed, some critics of consequentialism have regarded that theory as moralistic. The author then describes the problems associated with each sense of ‘moralism’ and how casuistry evolved to try to deal (...) with some of these problems. The author also defends consequentialism against one charge of moralism [1]. (shrink)

The thesis of this paper is that there is an important asymmetry between a duty to love and a duty to not love: there is no duty to love as a fitting response to someone’s very good qualities, but there is a duty to not love as a fitting response to someone’s very bad qualities. The source of the asymmetry that I discuss is the two-part understanding of love: the emotional part and the evaluative commitment part. One cannot directly, or (...) “at will,” control an emotional response, but one can undermine any commitment one would normally have under the circumstances. Thus, the feeling of love is not a duty, though being disposed to act a certain way with respect to the person one has the feelings for is controllable. (shrink)

Various types of health settings use clinical ethics committees (CEC) to deal with the ethical issues that confront both healthcare providers and their patients. Although these committees are now more common than ever, changes in the content of ethical dilemmas through the years is still a relatively unexplored area of research. The current study examines the major topics brought to the CEC of a psychiatric hospital in Israel and explores whether there were changes in their frequency across nearly three (...) decades. The present paper reports on a thematic analysis of the written verbatim transcripts from 466 ethical topics brought to the CEC between the years 1991 and 2016. The following major topics related to ethical dilemmas were identified: confidentiality (30%), patient autonomy (23%), health records (14%), dual relationship (12%), allocation of resources (11%), inappropriate professional and personal conduct (9%), and multicultural sensitivity (1%). Topics related to confidentiality increased significantly over the years, as did inappropriate professional and personal conduct. In addition, the analysis showed that the content of the ethical cases and the resolutions suggested by the CEC also varied over the years. In conclusion, although most ethical topics have remained relatively stable over time, the discourse around them has evolved, requiring a dynamic assessment and reflection by the mental health practitioners serving as members of a CEC. (shrink)

Joaquin Segura. Untitled (fig. 40) . 2007 continent. 1.2 (2011): 117-124. The interview that follows is a dialogue between artist and gallerist with the intent of unearthing the artist’s working strategies for a general public. Joaquin Segura is at once an anomaly in Mexico’s contemporary art scene at the same time as he is one of the most emblematic representatives of a larger shift toward a post-national identity among its youngest generation of artists. If Mexico looks increasingly like a foreclosed (...) home burning to the ground, Segura could likely be the one walking away, charred matchstick between thumb and forefinger and shit-eating grin on his face. His corrosive attacks on institutions, ideologies, and power reflect a deep general distrust of authority, increasingly evident within the work of younger Mexican artists. It is perhaps most directly the result of President Calderon’s deeply unpopular war against the cartels but no doubt equally the product of decades upon decades of rampant corruption and errant policy within Mexico. Brett W Schultz (BWS): A recurring—if not dominant—theme within your current work and investigation explores ideological extremism in reaction to some perceived political and economic disenfranchisement, especially that espoused and practiced by right-wing groups in United States. That's exactly why I thought of you when I was approached to contribute a piece to an issue on the subject of the moraine—taken metaphorically here to signify a certain set of beliefs that have resurfaced within mainstream American culture in the wake of a probably over-exaggerated political sea-change, marked by Obama's election. You're a Mexican artist who now lives and works in Guadalajara, far from the border cities where such concerns would seem more likely to be relevant to a contemporary artist; of course, you're even farther from the culture that birthed this nature of extremism. What interests you so intensely about this movement, if we can call it that? Joaquin Segura (JS): I think there are several seminal points that you touch on in this particular question. There's a very specific set of interests that make me address the socio-political issues I've been dissecting through my practice in the last few years. First of all, I don't really consider myself a 'mexican' artist. As I've made clear in the past, I don't really believe in the notion of 'identity' or the idea of 'nation', which I find totally laughable and heartwarmingly passé. I'm convinced that these are totally outdated models of understanding our differences and similarities, expanding our already immense and irreconcilable cultural abysses instead of bringing them together, thus resulting in their total dispersion among the complex and extremely arbitrary weaving of contemporary social nucleii. Pretty much a frankly bad joke, if I may say so. The fact that I live and work in Mexico is a completely random geographical and temporal factor, which of course affects what I think and what I do, but I've chosen not to be limited by this specific circumstance. In the past, while working abroad, I've taken advantage of this preconception of Mexico—to be more exact, pretty much all of Latin America—as one of the last barbaric bastions of western civilization. Totally amusing, if you ask me about it. I consider my practice to be, among other things, a gonzo strategy of deceit: there are quite a few roles you can adopt in this approach that may actually reveal themselves to be a privileged vantage point. In my experience, the gentle savage is one of the most effective ones to establish my standing position. Thus, I'm a mexican artist if I need it to prove my point. If it's not necessary in a specific circumstance, I'm not. Quite simple, I think. Said in other words, it's just an ace I can play to win a particular match. It has worked so far, at least for me. L: Hey, America… , 2009. R: The Inaugural Address , 2009. I am interested in the nature of power and the rise and fall of totalitarian ideological and political apparatuses nowadays. But I guess, going even further, I'm essentially fascinated by the fissures and contradictions that have made these structures spectacularly crumble to the ground. I do believe extreme ideologies have played a crucial role in the globalization of socio-political crisis. In the end, our world is nothing more than a fading monument to all things gone wrong—the inspiring triumph of failure, in every sense. I see this as an exciting parable. And of course, it is an undeniable fact that the US, through their influence in world economy, international policies and general attitude towards the rest of the planet is the largest structure waiting to collapse. I think we are all secretly awaiting that moment of splendor, even americans. It'll be disastrous and as nasty as it can get, but it will also be liberating and incredibly inspirational. Not just because it’s the US but because it'll prove that absolutely everything is susceptible to fall. And not only that, most importantly, it would confirm that radical change may actually be possible and not just one more of the unfulfilled promises modernity has left us to struggle with on our own. BWS: I want to talk first about two of your works in particular: Hey, America... and The Inaugural Address . I feel like your more recent work has a subtle —or even hidden—sinisterness, but these two works are perfect examples of how brutally confrontational your earlier work has been. When we showed Hey, America... at Mexico City's Zona Maco art fair in 2010, there were at least a couple visitors to our stand who were absolutely ready to punch me in my gringo face for having done so. Certainly the shock value of these works is crucial to their central ideas, but can you tell me more about your intentions and how these works relate to your general oeuvre? JS: So funny. Perhaps we do deserve to be punched in the face. I think that's what I'm sometimes looking for, but I hardly ever get it. I do think of such works as some sort of logical trap, a somewhat perverse ambush waiting for someone to walk into head-on. I think what I tried to do with those two specific works, as well as some other past projects, is just emphasize issues or themes that do disturb or make me uneasy and restless. I consider my essential intention a need to make clear that we do not have to look the other way, ignore or forget. We must address, understand and solve these manifestations of senseless violence and absurdity because if we don't confront them this way, they'll end up consuming us. In other words, I do consider these works as a personal need of coming to terms with the nonsense of the world we all are living in. I don't particularly consider myself to be someone with a clear set of beliefs. Perhaps my only certainty would be that everything is there to be denied, demolished and obliterated—even my supposed unquestionability of that particular 'dogma.' My practice is a reflection of that paradox, and I do think that's how these two pieces relate to a wider body of work. Every democratic system and so-called developed contemporary society is deeply flawed on the inside, and that is because each has swept things under the rug. Of course, there's tolerance, good will and eagerness to make a difference but there's also hatred, pain and fear lingering all around. We must learn to relate to both sides of the spectrum. In a way, I approach the themes behind these particular works in what I think to be a non-biased, somewhat 'neutral' way. I do think there's an encryption process going on in the way I work, some sort of formal refinement of this somewhat outrageous content. A digest of infamy, if we can refer to it that way. It is up to the individual experiencing the work to decide which way these pieces lean. They can easily be seen from both positions and I'm ok with that. If you look closely at these works, there's nothing that establishes an unrelenting position—neither support nor rejection. I don't want my personal political views to directly set an agenda for the spectator as that’s essentially propaganda, which is one of the things I absolutely despise. To sum it up, I strive for the spectator to complete the piece in that sense. The work then becomes a reflection of his or her own contradictions, a playground of the mind. I'm interested in achieving a deadpan and deadlock state in the observer. So, in a way, those visitors threatening to beat the shit out of you unconsciously became that particular issue the work is alluding to. Just blind and senseless reaction to god knows what people feel must be defended, the overwhelming virtue of ambiguity. Beautiful. Perhaps you can also think of my practice as a uber-sophisticated and snobbish version of Punk'd. And you wouldn't be far from what I'm trying to convey. Untitled (Disturbance Scenarios #2) . 2010. BWS: To me, an important transitional marker in the overall trajectory of your work is the series, Disturbance Scenarios , which evokes a similar generalized state of panic, paranoia, and impending doom through its incorporation of sensationalist newspaper headlines, yet also suggests this slyly mysterious meta-narrative via the context in which the newspaper itself is placed. How did you arrive at this series and why did you choose photorealistic painting as the medium for it? JS: I consider this series to be a by-product of the process I follow when making work. I spend an important part of my time just doing research, going through documentation and accumulating visual or historical references for the themes or episodes I'm interested in, in that particular moment. These are, of course, valuable assets that connect among themselves in a mysterious and almost undetectable manner, sometimes a few years between one and the other. I've employed similar production strategies in the past, in ongoing series like Random Moments of Urban Decay , in which I document what I consider to be physical traces of ethnic, religious or ideological violence in the form of text graffiti, invisibly scattered in different cities of the world, mostly in the US. Disturbance Scenarios was started in early 2010, following a particularly intense period of traveling here and there that lasted for most of the year. I've always felt compelled by text, as I find quite intriguing the idea of how words can create equally intense evocations of what I call a mental panorama of uneasiness than those produced by aesthetically-charged imagery; of course, if handled right. I have a close relationship to print media—due both to my academic background and to my attraction to its ubiquity and almost unlimited influence, which in the end, is nothing else but power—so I found myself with a growing archive of newspaper headlines snapshots from cities like Melbourne, Auckland, London, and LA. Going through them, I noticed that they had in common a very specific thematic slant: they were all about some sort of conflict: energy crisis, political unrest, local episodes of domestic violence, you name it. So as you very well put it, I felt they all connected through this feeling of anxiety and anguish and I decided to start thinking of them as a body of work. Basically, I felt an interest in creating what I think of as my personal fragmented prefigurements of the end of civilization. There were few elements on the shots that could give away its actual location, geographically speaking, and I liked that. I find this sensation of vagueness and uncertainty quite alluring. The more subtle, the more perverse. The formal resolution of the series—as photo-realistic painting—is linked to my intention of creating distance between me as the artist and the themes I work with. I rarely execute my own work, and that is more a personal choice as I'm more interested in the ideas I mingle with than in the actual outcome of that process, understood as an "art-object" with certain market value. I did some tests with light-jet prints of those snapshots and I found them devoid of that nightmarish, disturbing indistinctness that I felt was so important for them to be able to project the turmoil I experienced upon encountering them and in conceiving of them as a series. So I thought that photorealistic painting would be an interesting resource to play with, as I hardly had worked with that medium before because of my lenient animosity toward painters and their craft. So they were executed like that and I think it turned out to be just right. Homemade (Napalm #2) . 2010. BWS: Though Disturbance Scenarios remains ongoing, it's an interesting contrast to another series of yours, Homemade, which are these beautifully banal photographs of the ingredients used to make improvised explosives. Whereas Disturbance Scenarios still confronts the viewer aggressively with its visual emphasis on loaded texts, in Homemade , you've dropped the surface-level bravado entirely. They're pieces that require explanation to someone not already versed in the fine art of amateur explosive-making. You weren't known for subtlety in your past work; why this change in direction? JS: I'm personally convinced that these are just two angles of the same conceptual preoccupation. I mentioned before my obsession with the idea of encryption. I'm quite enticed by how these processes of translation can politically and semantically alter and deviate purportedly subversive materials such as the ones these works allude to. I do think subversion is futile. I was really troubled by that thought for some time, but I think now I understand that it's not really that important. What is really significant is to elaborate on these alternate views, to envision and refine possible escape routes. It doesn't really matter if they go nowhere, but that is because nothing really matters. A "mute" artwork is a notion that captivates me. When you look at the works you mention, you know there's something off, but it's not fully clear how and why that is. I rely on that insecurity—on that moment of hesitation. And that can also be achieved through an approach like the one I'm now interested in. Let's just call it a smoke screen, a surrogate ruse to get to the same point: to talk about impotence and defeat in contemporary life. The notion that readily accessible information is actually a weapon is a double-edged fallacy: sure, you can make use of whatever resources you can lay your hands on, but that doesn't set you free because freedom is impossible. Still, that doesn't mean you can't blow up stuff during the process, metaphorically or not. I didn't understand the nature of subtlety before. I used to think that you needed to be loud and manifest anger and unconformity in the most aggressive manner possible. Then I finally realized that you can actually permeate and rarify a battleground—because after all, this is low-intensity war—if you actually aim at silently building up the contradictions and making the symbolic value of ideas and acts clash within themselves. Or perhaps it is that I am just getting old. I guess I used to be an angry kid until recently. Now I think of myself as a disenchanted post-teenager, and of course that reflects in my work and my approach to art-making. Kind of a rite of passage and I laugh at it because, overall, it has been overwhelmingly fun. And that doesn't mean that I'm not ready to stick it in someone or something's face again if I feel like it. BWS: You're now taking the subtlety of the Homemade series even further with your newest series, Definitive Reader For a Botched Revolution , in which you photograph a series of politically-charged books side-on, negating their content entirely—essentially reducing them to purely aesthetic objects in which the subject matter is only revealed in the title of the work. Can you talk about the ideas behind this series? Furthermore, is your recent interest in this idea of the "botched revolution" an indication of a general attitudinal or philosophical shift you've since adopted? JS: This new series of works is the logical outcome of a brief period I went through. Probably the last couple years, in which due to a number of circumstances that don't really have to do with my art-making, I was forced to renegotiate my ideas, my beliefs and practically everything that surrounds me. It was quite distressful and turbulent, but in the end, I think it was also almost epiphanic. I came to terms with myself and now I'm calm and serene. That is, of course, my personal take on it but I mention it because I do think it's important to address this shift you mention. The idea of an artwork as a container for latent revelations enthralls me quite a bit. That's how I see these particular works: art as an incendiary agent. It's up to the artist and the spectator to do whatever they please with it. I think the detachment and almost surgical cleanliness from the Definitive Reader series is also my take at poking fun of the way some art is totally innocuous and uncompromising. These images may be pleasing to the eye, but there's something twisted and rotten within them, well hidden beneath. You'll either see it or not, but without a doubt, it will not cancel its presence. This series is intrinsically linked to Homemade . I'm pretty much horsing around with similar ideas and statements here. And well, yes, I do think any revolution is a botched one. There's nothing too heavy about their own downfall. Decay and breakdown are here and will not go away. Perhaps we must learn to embrace them in one way or another, for our own sake. L: Untitled (T.A.Z.). R: Untitled (United States Marine Guidebook of Essential Subjects) . 2011. BWS: Finally, let's discuss the near future. You've got an upcoming solo show at the Sala de Arte Público Siqueiros [SAPS] in Mexico City this summer. What can we expect from that? What else do you have planned? JS: I'll go and get seafood as soon as I'm done with this interview. It's pretty good here in Guadalajara. That's my top priority at this very moment. About my solo project at SAPS, it's due to open in late July. I'm quite looking forward to it. I'm still closely working with the curator on the general feel for the show but I can say that it'll be more of a revision of past works that have not been shown in Mexico City except for a couple pieces. It definitely won't be a showcase for new projects, although we may include one or two previously unseen works. What you can expect is a rereading of what I've been working on during the past few years. In a way, that's exciting to me because for some reason I don't really care about, I'm not that active in Mexico City even though that's where I lived and work for years. I've hardly shown there after my solo project at Yautepec in February of 2010. It'll be nice to see how it all comes together and I'm more thrilled about it because I totally love the space and I think they're doing an excellent job with their programming and its direction. And in a certain way it feels like going back home. About everything else, I need a period to reflect and fully understand what I've been thinking and working on. I've got a few group shows here and there: New York, San Francisco, and Melbourne are the ones happening soon. I will present my censored project Untitled ( Gringo Loco ) as part of the programming of the Museo de Arte de Zapopan in Guadalajara, two years after being escorted at gunpoint from the installation site by police sent by the extreme right-wing mayor of the city, which I found pretty amusing for an otherwise typical Saturday afternoon. I'm also involved in a couple "curatorial" projects. In my case, "curatorial" means that I help put together stuff I like and I'm interested in. One of them will open in late September of 2011 at Arena Mexico Arte Contemporaneo, and I will work with three of whom I consider to be some of the best artists in a lively and active scene such as the one here in Guadalajara. But most importantly, I've been doing heavy research so there are also a number of projects that I've yet to finalize. That'll be my main focus during the rest of the year, even though I really enjoy procrastination. There'll be time for that later. Or maybe not. We'll see. About Joaquin Segura The action, installation, intervention and photographic work of Joaquin Segura (b. Mexico City, 1980) has been shown in solo and group exhibitions in Mexico, the United States, Europe, and Asia. Some spaces that have featured his work include La Panaderia, Museo de Arte Carrillo Gil, Centro de la Imagen and Ex-Teresa Arte Actual in Mexico City; El Museo del Barrio and apexart, New York, NY; Museo Nacional Centro de Arte Reina Sofia in Madrid, Spain; National Center for Contemporary Art, Moscow, Russia; and Palace Adria in Prague, Czech Republic. In 2008 and 2009, Segura was an artist-in-residence at the International Studio and Curatorial Program, New York, NY and at the 18th Street Arts Center, Santa Monica, CA. He is represented YAUTEPEC in Mexico City and by Arena Mexico Arte Contemporáneo in Guadalajara. Further Reading Joaquin Segura’s website YAUTEPEC artist page for Joaquin Segura Capps, Kriston. “ID-ENTITY: Washington, DC.” ART PAPERS . 2009. (shrink)

This essay explores the obligations that may arise from benevolently intended interventions that go awry. The author argues that even when the intervening agent has acted with good intentions and in a non-negligent manner, she may be required to continue aid in cases where her initial intervention failed. This is surprising because it means that persons who perform supererogatory acts run the risk of incurring additional heavy obligations through no fault of their own. The author also considers deflationary accounts that (...) run counter to her own analysis. (shrink)

Studies of testosterone's effect on dominance are confounded by the effects of dominance experiences on testosterone. Furthermore, antisocial behavior tends to originate prepubertally, when testosterone levels are the same for aggressive males, nonaggressive males, and females. It seems more parsimonious to view variation in testosterone as an effect of dominance-related mood states than to invoke a reciprocal model.

This paper begins with the idea that we can learn a good deal about promising by examining the conditions and norms that govern promise- breaking. Sometimes promises are broken as a deliberate plan, other times they are broken because they are simply incompatible with other, more signifi cant moral norms, or because it becomes clear that they are impossible to keep. There are cases where people make promises that are actually incompatible with each other. Politicians, for example, often give such (...) incompatible promises, either intentionally, or by making too many commitments, some of which turn out to be incompatible. In making such promises, agents guarantee that at least one promise be broken. Is the agent who makes incompatible promises under any obli- gation? If ‘ought’ implies ‘can,’ and promises entail obligations, then it seems that one cannot, in fact, make promises one cannot keep. This paper explores the problem by drawing analogies between incompatible promises and other promises that cannot be kept. It suggests that we can deny ‘ought’ implies ‘can’ strictly speaking, but recognize that there is a practical limit on what the agent can be called on to do. On this view, even promises to do the impossible commit the agent. Similarly, politi- cians who promise too much are still obligated to do as promised. (shrink)

Rosalind Hursthouse has written an excellent book, in which she develops a neo-Aristotelian virtue ethics that she sees as avoiding some of the major criticisms leveled against virtue ethics in general, and against Aristotle's brand of virtue ethics in particular.

Blindsight is the term commonly used to describe visually guided behaviour elicited by a stimulus falling within the scotoma (blind area) caused by a lesion of the striate cortex. Such is normally held to be unconscious and to be mediated by subcortical pathways involving the superior colliculus. Blindsight is of considerable theoretical importance since it suggests that destriate man is more like destriate monkey than had been previously believed and also because it supports the classical notion of two visual (...) systems. It is also of potential clinical importance, since it has been claimed recently that systematic practice in blindsight can lead to the recovery of normal visual function in patients with cortical lesions. From a review of the literature it is concluded that all of the phenomena of blindsight can be attributed either to light scatter into unimpaired parts of the visual field or to residual vision resulting from spared striate cortex. The possible contribution f other factors is also considered. It is concluded that blindsight studies have generally failed to control for such nonblindsight interpretations partly because of poor methodology and partly because of difficulties in defining the term. (shrink)

Some of our moral commitments strike us as necessary, and this feature of moral phenomenology is sometimes viewed as incompatible with sentimentalism, since sentimentalism holds that our commitments depend, in some way, on sentiment. His dependence, or contingency, is what seems incompatible with necessity. In response to this sentimentalists hold that the commitments are psychologically necessary. However, little has been done to explore this kind of necessity. In this essay I discuss psychological necessity, and how the phenomenon of imaginative resistance (...) offers some evidence that we regard our moral commitments as necessary, but in a way compatible with viewing them as dependent on desires (in some way). A limited strategy for defending sentimentalism against a common criticism is also offered. (shrink)

Virtue ethics has generated a great deal of excitement among ethicists largely because it is seen as an alternative to the traditional theories – utilitarianism and Kantian ethics – which have come under considerable scrutiny and criticism in the past 30 years. Rather than give up the enterprise of doing moral theory altogether, as some have suggested, others have opted to develop an alternative that would hopefully avoid the shortcomings of both utilitarianism and Kantian ethics. Several writers, such as Jorge (...) Garcia and Michael Slote, have tried to develop this alternative of virtue ethics, or at least sketch out ways such a theory could be developed. (shrink)

This chapter focuses on sentimentalism – the view that morality is based on sentiment – in particular, the sentiment of sympathy. Sentimentalism was historically articulated in opposition to two positions: Hobbesian egoism, in which morality is based on self-interest; and Moral Rationalism, which held that morality is based on reason alone. The Sentimentalists challenged both views, arguing that there is more to what motivates human beings than simple self-interest and that reason alone is insufficient to motivate our actions, including our (...) moral actions. The philosophies of Anthony Ashley Cooper, the Third Earl of Shaftesbury, Francis Hutcheson, David Hume, and Adam Smith are considered. The discussion then turns to sympathy, moral realism, moral virtue, and psychological realism. (shrink)

This essay explores the obligations that may arise from benevolently intended interventions that go awry. The author argues that even when the intervening agent has acted with good intentions and in a non-negligent manner, she may be required to continue aid in cases where her initial intervention failed. This is surprising because it means that persons who perform supererogatory acts run the risk of incurring additional heavy obligations through no fault of their own. The author also considers deflationary accounts that (...) run counter to her own analysis. (shrink)